M N E

DAYANANDA SAGAR COLLEGE OF ENGINEERING Kumaraswamy Layout, Bengaluru, Karnataka 560078

A REPORT ON

“SMALL SCALE INDUSTRY ON POTTERY” Submitted in partial fulfillment of the requirements for the ALTERNATE ASSESMENT IN MANAGEMENT AND ENTREPRENEURSHIP

Submitted By SHUBHAM S PATIL

1DS15ME133

SRINIDHI S V

1DS15ME140

SUHAN S JOLDAL

1DS15ME144

TEJAS KUMAR V

1DS15ME148 Under the guidance of Ms. RANJITHA Associate professor Dayananda Sagar College Of Engineering Bengaluru

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HISTORY Pottery in the Indian subcontinent has an ancient history and is one of the most tangible and iconic elements of regional art. Evidence of pottery has been found in the early settlements of Mehrgarh from the Indus Valley Civilization. Today, it is a cultural art that is still practiced extensively in India, Bangladesh, Nepal, Sri Lanka and Pakistan. Until recent times all Indian pottery has been earthenware, including terracotta. Hindu traditions historically discouraged the use of pottery for eating off, which probably explains the noticeable lack of traditions of fine or luxury pottery in South Asia, in contrast to East Asia and other parts of Eurasia. Today, pottery thrives as an art form in India, and it is slowly gaining awareness as a functional items as well. Various platforms, including potters' markets and online pottery boutiques have contributed to this trend.  VEDIC POTTERY Wilhelm Rau (1972) has examined the references to pottery in Vedic texts like the Black Yajur Veda and the Taittiriya Samhita. According to his study, Vedic pottery is for example hand-made and unpainted. According to Kuzmina (1983), Vedic pottery that matches Willhelm's Rau description cannot be found in Asia Minor and Central Asia, though the pottery of Andronovo culture is similar in some respects.  INDUS VALLEY CIVILIZATION Indus valley has a great and ancient tradition of pottery making. The origin of pottery in India can be traced back to the neolithic age, with coarse handmade pottery - bowls, jars, vessels - in various colors such as red, orange, brown, black and cream.

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 WARE PAINTED GREY During first millennium BC, painted grey ware was found in parts of North India and the Gangetic plain. Decorated pottery becomes significant in the Shunga, Kushan and Gupta periods.  RED POLISHED WARE (GUJARAT) The Red Polished Ware (RPW) is found in great quantities in Gujarat, especially in the Kathiawar region.[4] Commonly, it consist of domestic forms like cooking pots, and it dates to around first century BC. But this type of ware also is widely distributed in other places in India. It is found at Baroda, Timberva (Surat), Vadnagar, Vala, Prabhas, Sutrapada, Bhandaria, and many other places. The use of this pottery continued for many centuries.  TURKO-MUGHAL PERIOD The phase of glazed pottery started in the 12th century AD, when Turkic Muslim rulers encouraged potters from Persia, Central Asia and elsewhere to settle in present-day Northern India. Glazed pottery of Persian models with Indian designs, dating back to the Sultanate period, has been found in Gujarat and Maharashtra.

INTRODUCTION DSCE,BENGALURU

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Pottery being an age old handicraft in India, the roots of the India pottery industry can be traced back to the earliest times of civilization. The beginning of pottery making trails back to the Neolithic era. During the time of the Indus Valley Civilization, this effective art form improved with technology. In the present day, the pottery industry in India has been put forward as a major cottage industry as well as on the contemporary lines in both small and big pottery concerns. The pottery industry in India provides mass employment along with betterment of the living standards; both the village and city people comprise the work force of the industry. Moreover, this industry is known to play a vital role in the total GDP of India and even in the foreign revenue. Handicraft industry is one of the important cottage industries which generate employment to the weaker section of the society in rural and urban area. But artisans are in the negative side of the environment. Only production process was given importance by artisans and produce in mass. They always depend on the middlemen for their marketing activities, so they are economically weak as they were exploited by the major players like entrepreneur/mastercrafts men. Economic development and its activities start with the reforms on knowledge on how effective marketing can be done with creative production. ICT can take a right product to the right customer which can be by effective marketing. Additionally, networking helps in interactive communication between artisans, Government bodies, NGOs, academic and research institutions and the society. ICT helps artisans, to take suitable steps to improve their craft, recognize their product and document their skill and to bring changes in marketing (Pitchai, 2013).

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INDUSTRY BACKGROUND India is dotted with various pottery firms, big and small pottery concerns have mushroomed in India like never before, thereby, making the Indian subcontinent self-sustaining in the manufacturing of various pottery products. Among other states, Uttar Pradesh is responsible for taking this industry to new heights. Parts of Uttar Pradesh like, Khurja, Chinhar, Chunar, Phulpur, Mathura, Agra, Vrindaban, Ghaziabad, Jhansi, Moradabad, Kanpur, Etmadpur, Rampur, Aligarh are mainly engaged in pottery making. The pottery industry in Uttar Pradesh comprises 600 units altogether, out of which 570 are working actively. Furthermore, the working units are divided into Independent units, Semi-independent units as well as Dependent units. India pottery industry, over the years, has bravely battled several of India hindrances and emerged as the proud winner. This profit-earning industry is without any application of modern day technical support; most of the technologies are outdated and are also inefficient at the same time. Moreover, this important industry has failed to taste success in respond to meet the present market demands. It has been estimated that over 40 lakhs rural potters still work with the help of conventional pottery wheels. Of the 15 lakhs traditionally skilled potters, about 95% are involved in the work of conventional red local pottery. In addition, the products made in the village pottery are only sold to a restricted part of the society. However, the emergence of the Studio Pottery has played a significant role in boosting the India pottery industry. More and more artists are getting involved with this kind of pottery.

STYLES DSCE,BENGALURU

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Over time India's simple style of molding clay went into an evolution. A number of distinct styles emerged from this simple style. Some of the most popular forms of pottery include unglazed pottery, glazed pottery, terracotta, and papier-mache.

UNGLAZED POTTERY This is the oldest form of pottery practiced in India. There are three types of unglazed pottery. First is paper thin pottery, biscuit-colored pottery decorated with incised patterns. Next is the scrafito technique; the pot is polished and painted with red and white slips along with intricate patterns. The third is polished pottery; this type of pottery is strong and deeply incised, and has stylized patterns of arabesques. GLAZED POTTERY This era of pottery began in the 12th century AD. This type of pottery contains a white background and has blue and green patterns. Glazed pottery is only practiced in selected regions of the country. TERRACOTTA SCULPTURE Terracotta is the term used for unglazed earthenware, and for ceramic sculpture made in it. Indian sculpture made heavy use of terracotta from a very early period (with stone and metal sculpture being rather rare), and in more sophisticated areas had largely abandoned modelling for using moulds by the 1st century BC. This allows relatively large figures, nearly up to life-size, to be made, especially in the Gupta period and the centuries immediately following it.

INDIA POTTERY INDUSTRY – MARKET PLAYERS DSCE,BENGALURU

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 Palam Potteries: Manufacturer of pottery products.  HiItkari Potteries  Pelican Pottery  Jaipur Glass Industries  Heritage Pottery  Venus Industries & Emporium  Lacmi Air And Potteries House: Producer, exporter of pottery  Blue Art Flower Vases Works  Confetti Exports Private Limited: Manufacturer and exporter of pottery 

Terakots

– Manufacturer and exporter of black pottery.

WORKING

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Terracotta means “baked earth” in Italian. Terracotta is the type of clay used to produce terracotta pottery on a potter’s wheel. The potter at a full tilt rotates the wheel with his hands and gives the ball of clay a shape. The pot or object, after being left to dry is kept on top of combustible materials in a pit and fired. Mostly charcoal, wood or coconut shells are used for firing and the temperatures may range from 600 to 1000 deg C. The process is complete only after the pottery has been baked for more than two hours to ensure it is hard, strong and durable. Then, given the nature of the clay, terracotta pottery is porous and water can seep through these pots. However, a coat of glaze can fix that, making the pots water tight. Thus, terracotta is usually of two types, glazed and unglazed. The glazed pots are easy to clean and food gets cooked evenly in them. However, numerous benefits are lost, like the maintenance of the acid-alkaline balance as well as the earthy flavour that unglazed terracotta adds to the food Terracotta is usually reddish or brown in colour and is considered to be the first ingenious expression of civilization. From the small earthen pots in which we store water to the giant-sized cultic equestrian figures of the rural Tamil deities of the Aiyanar cult, terracotta art occupies a consequential place in Indian life and culture. It has broken all the principles of Shilpasastra or sculpting and gives itself enormous freedom in terms of imagination and conception, allowing the potter to translate his emotions and thoughts into a work of art.

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MANAGEMENT If they could secure sufficient food and clothing in the village. It is no exaggeration if we say that half of our agricultural population never know from year to year what is to have their hunger fully satisfied. Indian factory workers mostly come from this hungry village population. It is the insufficiency of land and occupation in the village that pushes these village folks out of their village homes. They are not drawn to the city by any great ambition or temptation of better standard of city life. Even when working in a factory, the worker regularly returns to his village home to look after his affairs and to live with his family for sometime after the strain of his factory life. In cities, the average Indian worker finds himself subjected to unaccustomed strain, both of body and mind, owing to disciplined hours of continuous toil instead of the spasmodic work with long intervals of rest which he has been accustomed to in the village. He is further demoralised by certain evils, comparatively unknown in the village, such as gamb- ling and drunkenness. The environs of the mill or factory in India are not such as to enable a simple villager to maintain his moral character for a long time specially when away from his family. The labourer does not rely exclusively upon factory employment in order to obtain a permanent livelihood. He desires ultimately to return to his village home where he regularly remits money from city. He is unable to develop any lasting interest in his factory.

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CONCLUSION Globalization has changed the way people live, learn, work and relate. An explosion in the free flow of information and ideas has brought knowledge and its myriad applications to millions of people. It has created a number of new choices and opportunities for human efforts and showed way for good governance. Timely access to news and information can promote trade by effective advertisement and training/education. Information and knowledge are at the heart of efforts to strengthen tolerance, mutual understanding and respect for diversity. The Government need to do much by enhancing access to education and technology to the rural artisans and help them in adverstising their products by digital displays at governmnet offices, public places, market centers. NGO’s have to train these artisans by forming Self Help Groups or Clusters and arrange for training classes at evening time and can create websities to promote the craft. Institutions can take up these artisans group and promote them under their Corporate Social Responsibility activity, help in marketing; technical guidance; training and technology upgradation, etc. ICT can improve the quality of life for poor rural communities who do not have access to these facilities.

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REFERENCES 1] Akilandeeswari, S.V and C. Pitchai. (2014). Improvisation of Pottery Industry and the rural Artisans by Marketing the Products on the Web, Innovative Facades in E-Commerece, ISBN No: 978-93-81723-265, pp. 108-112. 2] Ganeshmoorthi, S.(2000). Indigenous Knowledge on Post Harvest Practices, Unpublished thesis, Tamilnadu Agricultural University. [3] Lee, B. (2010). University Students assessment of Entrpreneurial Environments. University of Nebraska-Lincoln: Unpublished thesis of Business Adminstration, pp. 27-30. [4] Regi, S. B. & S, A. R. G. (2014). “A DESCRIPTIVE STUDY ON THE ROLE OF CONSUMER PSYCHOLOGY AND BEHAVIOUR IN PRODUCT PURCHASING”. Indian Streams Research Journal, 3. [5] Periyasamy, M.(2003). Prosperity and Education, Kisan World, Vol. 30(2), Feburary 2003), p.20.

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