DETAIL OF CLAY POTS interior design work

Interior

1. IN THE SMALL VILLAGE OF KHAVDA, BHUJ, GUJARAT,
FOR GENERATIONS, CRAFTSMEN HAVE BEEN MAKING
EARTHEN POTS WITH THE SAME PROCESS AND
DESIGNS AS THOSE SEEN IN THE INDUS VALLEY
EXCAVATIONS. KHAVDA IS A SMALL VILLAGE AT THE
RIM OF THE RANN OF KUTCH. IT HAS SKILLED
CRAFTSMEN LIKE ABDUL BHAI, WHOSE FOREFATHERS
MIGRATED HERE FROM SINDH A FEW HUNDRED
YEARS AGO.
KHAVDA CLAY POTS
THEY CRAFT A WIDE VARIETY OF VESSELS, SUCH
AS MATKAFOR WATER STORAGE, PLATES, DIYAS,
BOXES, KETLI, AND KULHADATO KEEP
BUTTERMILK.
THE POTTER GETS MUD FROM A SPECIFIC ACRE(A LAKE) AREA
NEAR THEIR VILLAGE. IT IS CALLED “RANN KI MITTI”. THIS SOFT
CLAY IS SHAPED INTO A POT ON A POTTER’S WHEEL AND LEFT TO
DRY IN THE SHADE, THEN KUMBHAR WOMEN USE RED, BLACK, AND
WHITE CLAY-BASED PAINTS TO DECORATE EACH PIECE OF
POTTERY WITH DISTINCT COMMUNITY -SPECIFIC DESIGNS.
AFTER A WHILE, THE POT IS CLEANED AND PUT IN THE SUN TO DRY,
AND THEN BAKED IN A FURNACE POWERED BY SIMPLE AND
LOCALLY AVAILABLE FUELS OF DRY WOOD AND COW DUNG. THE
VESSELS ARE COATED WITH A THIN WASH OF GERU(RED COLOR).
THE POTS OF KHAVDA GET THEIR RED COLOUR FROM GERU, A
TYPE OF SOIL (OCHER/UMBER), AND THE BLACK -AND-WHITE DOTS
AND STRIPES ARE ALSO MADE WITH NATURAL MATERIALS.
THE ART OF KHAVDA POTTERY STARTED DURING
THE INDUS VALLEY CIVILISATION, IN THE REGION OF
PRESENT-DAY KUTCH. THE GOLD AND BEADED
JEWELLERY, TERRACOTTA TOYS AND BRONZE
FIGURINES, AND SEALS WITH SYMBOLS FOUND AT
THE SITES REFLECT THE OBJECTS WE USE TILL THIS
DAY. ONE SUCH OBJECT, UNCHANGED THROUGH
MILLENNIA, IS THE EARTHEN POT, AN UBIQUITOUS
OBJECTSEEN ALL OVER THE COUNTRY.
MANUFACTURE PROCESS OF CLAY POTS
THE TOOLS OF THE TRADE -
1.FRAYED BAMBOO TWIGS USED TO PAINT THE NATURAL COLOURS.
2.BLACKISH RED IS GOT BY POUNDING THE STONE, ‘GERU’ AND LEAVING
IT IN WATER.
3.THE WHITE IS ‘KHARI’ MITTI ( FINE SOIL) MIXED WITH WATER.
4.THE CLAY IS THE SPECIAL MUD CALLED ‘RANN KI MITTI’.
5.THE POTTERS’ WHEEL ( CHAKDA).
6.AND LOTS OF TALENT AND HARD WORK.
THE POPULAR PATTERNS ARE EITHER GEOMETRIC FORMS OR STYLIZED
MOTIFS OF HUMANS, BIRDS, FLORA AND FAUNA. THE SHAPE OF THE
VESSEL AND THE DESIGN CHOSEN IS DETERMINED BY THE
COMMUNITY IT IS INTENDED FOR AND THE FUNCTION IT IS TO SERVE.
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BIRD DESIGN
FORAL DESIGN
PRESENTED BY:
ADITI PRABHU
M.ARCH I.D
CRITICAL SEMINAR RESEARCH
CSIIT

2. AJRAKH PRINTING IS ONE OF THE FAMOUS TRADITIONAL
SPECIAL SKILLSOF KUTCH. THE WORD ‘AJRAKH’ MEANS
‘KEEP IT O DAY’. IT ALSO MEANS MAKING BEAUTIFUL AND IN
ARABIA, AJRAKH INDICATES THE BLUE COLOR WHICH IS AN
IMPORTANT TECHNIQUE. KHATRI COMMUNITY HAS BEEN
OCCUPIED IN THIS CRAFT FOR MANY CENTURIES AND THE
TECHNIQUE IS CONTROLLED DOWN FROM FATHER TO SON.
AJRAKH PRINTING, KHAVDA
PROCESS
FIRST, THE MATERIAL IS PRE-OCCUPIED AND
PROGRESSED BY WASHING. WASHED CLOTH IS DIPPED
IN A SOLUTION OF MICROBALANCES AND DRIED. THEN, IT
IS SPREAD ON PRINTING TABLE TOPPED WITH SACK
MADE STUFFING. THE FABRIC SECTION REQUIRED TO
MAINTAIN THE ORIGINAL WHITE COLOR IS FIRST PRINTED
WITH DEFEND AGAINST PREPARED BY USING LIME, GUM
AND WATER.WHEREVER RED COLOR IS REQUIRED THAT
SEGMENT IS PRINTED WITH ALUM SOLUTION.
THE ALUM SEES THROUGH THE CLOTH WHILE LIME ACTS AS
REFUSE TO ACCEPT. SOMETIMES, SAWDUST OR CAMEL DUNG
POWDERIS SPOTTED TO STRENGTHEN THE RESIST. THE SAME
PROCESS IS REPEATED ON THE OTHER SIDE FOR BOTH SIDES
PRINTING.AFTERWARDS THE CLOTH IS ABSORBED IN
MIXTURE COTAINING ALIZARINE AND PADVAS IN WHICH THE
PROCESS CLOTH GETS A BRIGHT RED COLORON THE
PORTION PROVIDED WITH ALUM AGAIN, RESIST RINT IS
REPEATED TO MAINTAIN WHITE AND RED COLORS.
THEN, THE CLOTH IS DRIPPED IN INDIGO SOLUTION
PREPARED BY MIXING INDIGO CAKE, CHANJIKAR, LIME AND
WATER BY THE EXCITING METHOD. EVEN A TYPE OF YELLOW
SOIL NEARBY IDENTIFIED AS ‘KAIYA’ IS USED FOR BLACK
COLOR. THE CLOTH IS WASHED IN FLOWING WATER , DRIED,
IRONED AND PACKED.
IN THE ‘MINAKARI’ PROCESS OF PAINTING, LIME OR
TERRACOTTA RESISTS IS AVOIDED AND THE WHITE
PORTION OF AJRAKH TWIST INTO LIGHT BLUE.
MINAKARI PROCESS MAKES POSSIBLE THE
PRINTERS TO GET DIFFERENT SHADES FROM DARK
BLUE AND RED TO DEEP MAROON. TO AVOID THE
LENGTHY AND TIME OVERWHELMING METHOD THE
CRAFTMENS ALSO MAKE USE OF ARTIFICAL COLORS.
NEPTHOLS FOR RED AND FOR BLUE COLOR INDIGO
GREEN NO.60 IS ALSO UTILIZED.
CHAMPAKALI, RAIYA,
KHAREK, NIPAD, GRINARI
ETC ARE THE MAIN AND
FAMOUS TRADITIONAL
DESIGNS USED IN PRITIN
AND THEY ARE USED ON
CADLE SPREADS, LUNGIS,
SAREES, DRESS
MATERIALS, PILLOW
COVERS AND TABLE
CLOTH.
PRESENTED BY:
ADITI PRABHU
M.ARCH I.D
CRITICAL SEMINAR RESEARCH
CSIIT

3. PEOPLE OF BHUJODI ARE THE VANKARS OR WEAVERS, THE
MUGHAL MIGRANTS WHO HAD MIGRATED FROM RAJASTHAN
ABOUT 500 YEARS AGO, TO WEAVE THE WOOLLEN VEIL CLOTHS
AND COARSE WOOLLEN BLANKET FOR THE RABARI COMMUNITY.
THERE ARE ABOUT 1200 PEOPLE WORKING IN THE PRODUCTION
OF THE TEXTILE CRAFTS.
INTRODUCTION
BHUJODI WEAVING IS TRADITIONAL CRAFT IN BHUJ AREA.
DIFFERENT TYPES OF TOOLS AND RAW MATERIALS ARE USED.
FINEST THREADS ARE USED FOR THE WEAVING. FLYING SHUTTLE
IS USED ACCORDING TO THE DESIGNS TO BE WEAVED.
TRADITIONAL FOUR PEDAL LOOM IS USED FOR THE WEAVING
PROCESS.
TOOLS AND RAW MATERIALS USED IN BHUJODI WEAVING ARE:
• BAMBOO STICKS: TO HELD THE THREADS EVENLY DURING WARPING.
• WARPING FRAME: WARPING FRAME IS USED TO ARRANGE THE
YARNS EVENLY TO THE WARP BEAM
• DYEING VESSEL (TUB): THIS VESSEL IS USED TO COLOUR THE YARNS.
• WOOD ASH: WOOD ASH IS USED TO HOLD THE TWO ENDS OF THE
YARN FIRMLY DURING PIECING.
• WINDING (CHARAKA MACHINE): CHARAKA MACHINE IS USED TO WIND
THE THREADS IN HANK FORM FOR WARPING PURPOSE.
• WOOL, COTTON, TASSAR SILK: THESE ARE TYPES OF MATERIALS
USED TO MAKE THE SHAWLS, STOLES ETC.
• COLOURS (DYES): ACID DYES ARE MOST PREFERRED TYPE OF DYES
FOR COLORATION OF THE YARNS.
TOOLS AND RAW MATERIALS
TOOLS
MAKING PROCESS
FOR DYEING, THE REQUIRED YARN IN HANK FORM IS TIED
WITH THE POLY PACK AT BOTH ENDS AND WEIGHED,
COLOUR ALONG WITH ACID IS MEASURED AND HEATED TO
65 -750C AND DYED TILL THE SOLUTION TURNS
COLOURLESS, SO THAT THE COLOUR GETS TRANSFERRED
ON TO THE YARN, AFTER THIS PROCESS YARNS ARE
SPREAD.
IN WARPING PEGS, THE WOODEN PEGS ARE FIXED TO GROUND
NEAR WALL AND CONTINUE TO WALL OF REQUIRED LENGTH
USUALLY DONE IN THE PREMISES OF THE HOUSE OR OUTSIDE.
PEG SERVES THE PURPOSE OF MAINTAINING THE SEQUENCES
AND FORMATION OF THE LEASE WITH THE HELP OF WARPING
STICK OF 2 TO 3 FT. LONG TO WHICH AT ONE END A HALLOW
STICK OF 90 DEGREE IS ATTACHED AS A GUIDE TO MAKE THE
WARP.
IN WARPING FRAME THE YARNS ARE PROPPED UP AGAINST A
WALL TO MAKE THE WARP. IF THE MATERIAL IS COTTON OR
WOOL, THE WARP IS THEN PLACED IN THE STARCH SOLUTION
AND PLACED BETWEEN TWO POLES AND THE ADDITIONAL POLES,
WHICH IS THEN FIXED TO THE GROUND SO THAT THE WARP
DRIES UNDER TENSION. BASIC STRUCTURE OF THE LOOM IS A
PIT THAT ACCOMMODATES THE TREADLE, WHERE THE WEAVER
SITS ON A NARROW SHALLOW DEPRESSION IN FRONT OF THE
LOOM PLACING HIS LEGS WITHIN THE PIT. THE WEFT PATTERNS
ARE INSERTED INDIVIDUALLY AS THE SHEDS.
FINISHING (MAKING UP) OF A BLANKET OR
SHAWL IS JOINING OR ADDING OF FRINGES,
WHICH IS CONSIDERED TO BE AN EXTREMELY
IMPORTANT AND INTEGRAL STAGE IN
COMPLETING THE PRODUCT.

4. BHUJODI VILLAGE WALLS ARE ADORNED WITH VARIETY OF SHAWLS
FAMED WITH MIRROR WORK OF ALL HUES, STOLES, BLANKETS,
UPHOLSTERY MATERIAL AND CARPETS MOSTLY WOVEN FROM
SHEEP HAIR, MERINO WOOL, CASHMILON ETC. SOMETIMES SHAWLS
ARE EMBROIDERED WITH INTRICATE DESIGNS AND MIRRORS USED
AS THE GEOMETRIC PATTERNS. TODAY, STOLES, CARPETS, MATS,
SHAWLS ARE MADE FOR THE WINTER, WHICH HAS MORE DEMAND
IN NORTH INDIAN CITIES LIKE DELHI, CHANDIGARH AND LUCKNOW.
FOR THE SUMMER, THE WEAVERS WEAVE COTTON
WEARS/DRESSES.
PRODUCT
USES OF BHUJODI IN INTERIORS