363:). They are kneaded into a dough by mixing together and adding water. The moulding dough is rolled and flattened into a 4–5 millimetre thick 'Chapatti' (pancake) and placed in moulds with a mixture of pebbles and ash. Moulds, made from Plaster of Paris (POP), are maintained with care to enable multiple use. The mould is turned upside down and removed and the product is left for drying for 1–2 days. After cleaning and shaping the pottery, the surface is polished with sandpaper. This step smoothens the product and makes it ready for painting. After painting motifs over it and adding a final coat of glaze, the fully dried product is ready to get in furnace.
400:
level has also contributed to promote blue pottery of Jaipur. Leela Bordia with ceramic training from US extended the art of blue pottery to beads, necklace, pendants and other ornament-like items. Her inventory also included items like tiles, bathroom fittings etc. that gained popularity with interior decorators. It has been suggested that to revive and promote the art of blue pottery, sustained efforts are required to train the artists to use standardized tools, diversify into utility products by moving beyond decorative ones, and to assist and enable marketing avenues.
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338:. Today, blue pottery is an industry that provides livelihood to many people in Jaipur. Jaipur blue pottery, despite new innovations in vessels and designs, has retained the traditional blue and adheres to the traditional motifs rendering it instantly recognisable. The fountains inside the Polo Bar and the Maharani Suite within the Rambagh Palace complex are examples of some of the finest craftsmanship of Jaipur Blue Pottery and evidence the support of royal patronage to the art.
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The products are kept inside a furnace to dry. For approximately 4–5 hours firing of the pieces takes place with meticulous care to maintain even temperatures to avert any cracks. Before taking out the products, the artisans wait for the kiln to cool off completely. It might take 2–3 days before the products can be taken out. The finished products are lightly cleaned before they are showcased or packaged.
237:, where the fountains are lined with blue tiles. Sawai Ram Singh, in his reign (1835–1880), promoted art in Jaipur state with dedication. Legend says that impressed by the art of blue pottery, he brought artists from Delhi to Jaipur. However, Jaipur blue pottery introduced original innovations and mastered the art in such a way that it was claimed to have surpassed the Delhi pottery. Back in 1916,
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Sawai Ram Singh and the then director of the school, Opendronath Sen, who had worked particularly to promote the blue pottery, was also happy to see it being showcased in the exhibition. Jaipur School indigenised the art of Blue
Pottery through designs that were drawn from Indian life like Indian animals, Hindu deities, Indian human figures, features of Indian palaces etc.
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113:) as ingredients. Like pottery it is fired only once. The biggest advantage is that blue pottery does not develop any cracks, and blue pottery is also impervious, hygienic, and suitable for daily use. Blue pottery is beautifully decorated with the brush when the pot is rotated. Thus it has great utilitarian as well as aesthetic significance.
245:
patronized an exhibition of industrial arts and crafts in 1883 in which finest blue pottery pieces were exhibited with other arts and crafts. Prized possessions of the exhibition were displayed in a museum like space in the exhibition. Many of artisans had been trained in the school of art opened by
59:
Jaipur blue pottery has been strongly influenced by the
Persian ceramic style but it has developed its own designs and motifs. Inspired more from nature, the pottery is adorned profusely with animals, birds and flowers with a hint of Persian geometric design in the compositions. Some of this pottery
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In its new lease of life many blue pottery shops and training schools have sprung up in Jaipur. Kripal Kumbh, the pottery studio founded by Kripal Singh
Shekhawat is still in operation. Established in 1995, Rural Non-farm Development Agency (RUDA) aims to promote artisans of Rajasthan at the global
392:
production. In many places, diesel furnaces are being used instead of traditional wood or charcoal-fueled kilns. Even the designs and motifs are moving away from classical repertoire to cater to modern sensibilities and market demands. The revival of Jaipur blue pottery art owes a lot to the artist
382:
The artisans traditionally used to offer prayers before they would set up the furnace. Some artists even today continue the practice to pray for successful baking of pottery. Preparing a furnace for the firing of the pottery is a delicate process, and any misstep can lead to cracks in the product.
140:
and white, though other non-conventional colours, such as yellow and brown are sometimes included. The products made include plates, flower vases, soap dishes, surahis (small pitcher), trays, coasters, fruit bowls, door knobs, and glazed tiles with hand painted floral designs. Sometimes, designer
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Making blue pottery is a complex and time-intensive procedure and is done in many steps. Being fired at very low temperature makes the process a fragile one, fraught with risks and requires practice, patience, and expertise. The absence of clay is what distinguishes blue pottery from traditional
391:
Jaipur's blue pottery has evolved significantly in terms of materials, styles, and forms. The raw materials used and making processes have changed over the years. Previously, the glazed coating used on pottery contained lead but an increasing awareness of harmful effects has led to lead-free
396:. Seeing the dwindling interest in the art, and deplorable state of the artists, he made it his mission in reviving the art. He garnered the support of Maharani Gayatri Devi of Jaipur and others to give a fillip to the dying art of Jaipur blue pottery.
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A notable training center in Jaipur is Sawai Ram Singh Shilp Kala Mandir, but many artists also conduct short training programmes at their workshops to sustain the legacy of Jaipur blue pottery.
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began using them in India. Gradually the blue glaze technique grew beyond an architectural accessory to Indian potters. From there, the technique traveled to the plains of
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233:(1835–1880). The Jaipur king had sent local artisans to Delhi to be trained in the craft. Some specimens of older ceramic work can be seen in the
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However, by the 1950s, blue pottery had all but vanished from Jaipur, when it was re-introduced through the efforts of the muralist and painter
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pieces for display are also made. The craft is found mainly in Jaipur, but also in
Sanganer, Mahalan, and Neota.
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605:
Notes on Jaipur
Pottery. The Journal of Indian Art, 1886-1916; London Vol. 17, Iss. 129-136, (Oct 1916): 27–34.
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Other accounts of the craft state that blue pottery came to Jaipur in the early 19th century under the ruler
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Being fired at very low temperature makes them fragile. The range of items is primarily decorative, such as
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glazing technology with
Persian decorative arts. This technique traveled east to India with early
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pottery. The materials used to make blue pottery are quartz stone powder, powdered glass,
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Tryst with
Tradition: Exploring Rajasthan Through the Alankar Museum, Jawahar Kala Kendra
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conquests in the 14th century. During its infancy, it was used to make tiles to decorate
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recorded that Jaipur ware was an improvement upon Delhi pottery. His successor
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The use of blue glaze on pottery is an imported technique, first developed by
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of
Central Asian origin. The name 'blue pottery' comes from the eye-catching
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655:. All India Artisans and Craftworkers Welfare Association. Archived from
494:. All India Artisans and Craftworkers Welfare Association. Archived from
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727:"A Historical and Artistic Study of the Blue Pottery of Jaipur"
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Blue
Pottery design being sketched and painted before glazing
218:. Later, following their conquests and arrival in India, the
132:. The colour palette is restricted to blue derived from the
574:
Statement of Case for Blue
Pottery of Jaipur in Rajasthan
40:
blue dye used to colour the pottery. It is one of many
631:
Tillotson, G. (2004). The Jaipur Exhibition of 1883.
614:
Tillotson, G. (2004). The Jaipur Exhibition of 1883.
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Famous Raja Rani (King Queen) Vase of Jaipur School,
60:
is semi-transparent and mostly decorated with Mughal
378:Blue Pottery Painted, ready to go into the furnace
427:Subodh Kapoor (2002). "Blue Pottery of Jaipur".
32:is widely recognized as a traditional craft of
765:"Blue Pottery by BIJO JOSEPH PURACKAL - Issuu"
48:, and related in the shapes and decoration to
492:"Craftmark Certified Processes: Blue Pottery"
87:stone powder, powdered glass, multani mitti (
8:
580:. Govt. of India. p. 25. Archived from
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169:Blue Pottery Exhibit, Jaipur School of Art,
264:Blue Pottery Pilgrim Flask with Animals at
345:Contemporary blue pottery products, Jaipur
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226:and in the 17th century went to Jaipur.
75:Jaipur blue pottery, made out of ceramic
731:Interceram: International Ceramic Review
253:Blue Pottery Collection, Jaipur School,
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330:, with the support of patrons such as
275:Vase depicted Indian Palace Design at
148:Blue Pottery Decorative Dholak, Jaipur
817:Geographical indications in Rajasthan
548:"Blue Pottery - Rajasthan Industires"
510:"Blue Pottery - Rajasthan Industries"
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633:Journal of the Royal Asiatic Society
616:Journal of the Royal Asiatic Society
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459:
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286:Goddess Saraswati on Pilgrim Flask,
16:Traditional craft from Jaipur, India
433:. Cosmo Publications. p. 935.
64:patterns and bird and other animal
156:Blue Pottery Designer Vase, Jaipur
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99:and water. Another source cites
1:
700:"Colour me bright & blue"
79:material similar to Egyptian
128:, small bowls and boxes for
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673:shubhangi (4 March 2016).
359:, gum, and Multani mitti (
297:Deity Hanuman on a Flask,
308:Lord Ganesha on a Flask,
239:The Journal of Indian Art
530:Museum, Alankar (2011).
466:Taknet, DK (July 2016).
430:The Indian Encyclopaedia
68:, a design forbidden in
725:Gupta, Anil K. (2002).
332:Kamladevi Chattopadhaya
536:. Jawahar Kala Kendra.
394:Kripal Singh Shekhawat
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328:Kripal Singh Shekhawat
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52:and, more distantly,
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571:Subodh Kapoor. "6".
468:Jaipur: Gem of India
105:powder (a gum), and
72:of Islamic origin.
25:Examples in a museum
587:on 10 December 2017
812:Indian handicrafts
706:. 20 February 2016
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321:Albert Hall Museum
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310:Albert Hall Museum
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231:Sawai Ram Singh II
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182:Albert Hall Museum
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171:Albert Hall Museum
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807:Culture of Jaipur
662:on 1 August 2015.
440:978-81-7755-257-7
243:Sawai Madho Singh
136:, green from the
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111:soda bicarbonate
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771:. 18 June 2017
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737:(6): 400–403.
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650:"Blue Pottery"
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622:(2), 111–126.
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657:the original
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444:. Retrieved
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336:Gayatri Devi
334:and Rajmata
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216:Central Asia
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138:copper oxide
134:cobalt oxide
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30:Blue pottery
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18:
775:23 November
710:23 November
684:23 November
553:23 November
515:23 November
102:Katira Gond
70:Persian art
791:Categories
591:9 December
407:References
769:issuu.com
751:190196201
743:0020-5214
62:arabesque
44:types of
679:D'Source
446:23 April
192:artisans
130:trinkets
126:coasters
118:ashtrays
42:Eurasian
387:Revival
350:Process
220:Mughals
212:palaces
204:mosques
196:Chinese
161:History
81:faience
749:
741:
474:
437:
200:Turkic
189:Mongol
85:quartz
66:motifs
38:cobalt
34:Jaipur
747:S2CID
660:(PDF)
653:(PDF)
585:(PDF)
578:(PDF)
357:borax
224:Delhi
208:tombs
122:vases
107:saaji
93:borax
777:2022
739:ISSN
712:2022
686:2022
593:2017
555:2022
517:2022
472:ISBN
448:2012
435:ISBN
210:and
77:frit
214:in
97:gum
91:),
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735:51
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
