Introduction to Kota Pottery

Geographical Context and Origin

The Nilgiris hills of Tamil Nadu — a beautiful highland area with rolling hills, extensive forests and high biological diversity. The Nilgiris lies between the Western and Eastern Ghats and is home to a number of tribal communities, including the Kota, a small tribe that is culturally significant and well known for its skill in craft. Climate, topography and availability of natural resources have played an important role in determining lifestyle and traditional occupations of the Kota people over the centuries, as it has for those in the Nilgiris in general, where the cool climate and fertile valleys abound with vegetation (Patel et al.Of the four tribes, only the Kota tribe can be found in Nilgiris and they inhabit seven settlements, meaning “village” in their dialect, or pronounced as Kokkal. Kunda Kotagiri (Menad), SolurKokkal (Kurgoj), Kollimalai (Kolmel), Gudalore Kokkal (Kalasu), Pudu Kotagiri (Porgad), Thiruchigidi (Thiskad) and Keel Kotagiri (Kenad)—each strategically sited on fertile grasslands or near streams for agriculture and daily livelihood—each play a role in textile manufacture. Though farmers at heart, they are better known as an artisan community with skills in blacksmithing, carpentry, rope-making, and pottery.

Historical Background and Cultural Significance

Kota pottery, which takes centuries to perfect, and has traditionally been part of the Kota tribe an indigenous people of the Nilgiris cultural and spiritual world. The Kota are known as an artisan tribe, and have traditionally worked as blacksmiths, carpenters, and potters among other handicrafts. Pottery practice is one of these aspects, which is distinctive to their heritage, solely practiced by women and remains within the families. Another theory claims it has mystical origins, with the craft said to date back to the gods Aynor and Amnoor the principal deities of the Kota community.Kota tribe uses pottery as one of the mainstays of the religion and tradition. For the Kotas, pottery and terracotta doesn't only serve a household purpose as it does for other tribal potter traditions. Along with serving utility, Kota pottery has a sense of ritualistic and ceremonial. It is closely related to festival, worship and other social customs. These pots, which are wheel thrown and open kiln fired, are used in farming rituals, temple offerings, and special events. These earthenware vessels are considered to contain divine energy, which is why they are essential to the community in any prayer ceremony.We were introduced to the geographical area of Kota pottery in Nilgiris, its history, as well as its cultural significance.The following module will discuss the traditions of the Kota tribe, the role of women in pot making, and how pottery is made.

The Kota Tribe and Their Pottery Traditions

The Kotas are a Scheduled Tribe native to Nilgiris district of the Indian state of Tamil Nadu. Their know-how and skills of craftsmanship- especially in pottery, blacksmith, and carpentry- are well known. The Kotas believe themselves to be the offspring of divine dew, as produced from the dew of the gods Aynor and Amnoor, whom the Kotas worship as their chief gods. Kota literally translates to "fort" and is a title granted to kings, which is fitting since fort history in this area goes back centuries.Traditionally, the Kota tribe contributed towards the socio-economic scenario of the Nilgiris by utilising the skills needed to create hunting equipment, earthen pots and musical instruments used by surrounding groups. The Kotas, unlike other tribal groups in the Nilgiris who practised agriculture in some form or the other, were one of the groups which concentrated more on artisan work than on agriculture, thus being a distinct tribe amongst the tribes of the Nilgiris.

Customs and Lifestyle

Though the Kota people profess Hinduism, their traditional religion is a mix of nature worship and ancestral worship. Their temples are different in the sense that there are no idols only symbols (a bow and arrow which are symbols of their gods).The men wear ‘Varadu’, which is a simple upper garment, and ‘Mundu’ which is the bottom garment, whereas the women wear a ‘Mundu’ along with ‘Dupatti’, and they customarily do not wear colored cloths. Tying of Hair: Kota women have a unique custom of dyeing their hair with a ‘Mandoo’ leaf when they grow up, which continues for the rest of their lives.

Population and Settlements in the Nilgiris

As per 2011 Census, there are only about 2,024 Kotas left, scattered in seven villages in the Nilgiris district. Kokkal which means village is set up by them. They exist through 5 taluks, they are:

• Menad Kunda Kotagiri
• Solomon Kumani (Kurgoj)
• Kollimalai (Kolmel)
• Gurara Kakal (Kalasu)
• Porgad Fortress (Pudu Kotagiri)
• Thiruchigadi (Thiskad)
• Keel Kotagiri (Kenad)

About 80-100 houses occupy a village, which must be located at the foot of the high grasslands and streams that the Kota people prefer; the Kota settled in the mid-elevations of the Nilgiris, neither too high among the mountain peaks nor low in the plains.Their relatively small population and scattered settlement emphasizes the rapidly needed conservation and protection of Kota culture as they work to find a balance between traditional lifestyles and modern-day life.

The Role of Women in Kota Pottery

Among the Kota tribe, pottery is a must-have art where girls make clay pots only by women. Though this tradition is still followed to a considerable extent, Kota pottery differs from other types of tribal/Indian pottery in as much as the continuity of the form has been well preserved over generations. While blacksmithing, carpentry and agriculture are all trades in which men in Kota engage, pottery is still wholly a woman's trade.The craft is passed down through generations from mother to daughter to granddaughter, with no formal schooling but instead through practice and oral traditions with the women, or Kota’s as they are called by the natives, learning from their mothers and grandmothers. This also strengthens their culture and is a symbol of tradition and craftsmanship in the community.

Traditional Techniques Passed Through Generations

The women in Kota creates the pots through hand-moulding rather potter wheel therefore hand mould wakes the clay. The process involves:

1. Gathering and Preparing Clay – Women gather clay from specific locations, which are usually found close to the river. They clean the clay by getting the stones and dirt out to smoothen it up for use.
2. Shaping the Pots — The pots are shaped with hand and the simple tools. They are handcrafted, so each pot is different and usually also gorgeous.
3. Drying and Firing – Once the pots are shaped, they are left to dry in the sun. Later, they are fired (baked) in an open fire with samai (millet) husk. What imparts this black colour and a hard finish to Kota pottery.

Pottery as a Cultural and Economic Contribution

Besides the utilitarian use, pottery determines the ritual and economic aspect in the Kota society. These handmade mud pots are utilized in religious functions, household storage, and drunken festivities. But it can become the threat to this traditional art with passage of time as globalization brings modernization of craft sectors and provide availability of factory made wares. Kota women still practice pottery, overcoming these challenges, and keeping the art form alive as it continues to evolve and find its place in modern times.

Pottery-Making Process

Pottery making in the Kota tribe is an ancient tradition in which only women make the clay pots. This includes multiple careful steps to preserve the individuality, resilience and sacredness of the original material of the parts.

Clay Extraction and Preparation

The process of pottery-making begins with the selection and collection of quality clay. These women collect clay from special banks of rivers where potters are layers of forest which habitat for these soil more subjective for pottery, mostly near the settlements of these Kota.

• Clay Collection – The clay is mined from naturally available deposits, which are typically found close to water. The information about where to find quality clay is passed on life after life;
• Cleaning and Filtering – The collected clay is thoroughly filtered to get stones, roots and other unwanted material for a smooth texture.
• Mix, Knead – Once all the clay is cleaned, it is mixed with water and kneaded properly to get the right texture and flexibility that is needed for shaping.

Moulding, Shaping, and Drying Techniques

• Hand Molding – The women mold the pots with their hands, wooden paddles and smooth stones to get an even structure.
• Decor and Surface Finish: Some pots are decorated with their unique patterns on a surface polished with handmade tools. Often the design somehow holds cultural weight.
• Sun Drying – The shaped pots are kept in direct sunlight for a few days to remove excess moisture from them before the actual firing.

The time-consuming process of handcrafting a unique piece of Kota pottery leaves traces on each one of them that prove authenticity and maintain traditional value alongside their domestic and ceremonial utilitarianism.

Ritual and Ceremonial Importance

Boasting immense importance in terms of religion and culture, Kota pottery is widely used in rituals, ceremonies and social traditions. The pots go beyond just reusable kitchen containers; they are also part of the spiritual life of the Kota tribe, and occupy an indispensable place in their culture. It is claimed to be a god given craft and its practice is steeped in ancient traditions.

Annual Clay Extraction Festival

Kota potters engage in a sacred clay extraction ritual as part of the larger ritual calendar of the community.

• Sacred Clay Collection – Each year, the Kota tribe women conduct a sacred ceremony with the collection of clay from a few selected riverbanks or local forest areas. Sourcing the clay is deemed sacred because it is seen that one must pay respect to the earth before extracting from it.
• Offerings and prayers – Before fetching the clay women pray and perform puja (ritual) and then morsel the ground from where to take the clay.
• Community Involvement – The festival acts as a gathering, allowing women of all ages the opportunity to unite to dig, clean, and prepare the clay.

The highlight of this annual ritual showcases the Kota tribesmen sustainable and respectful fashion towards nature and his craft.

Religious Rituals and Traditional Ceremonies

The spiritual essence of this community can be seen in various religious and lifecycle rituals, which often features Kota pottery.

• Decorative Pots – Pots made especially for worship in temples, marriage ceremony and funeral These pots are said to be associated with spiritual energy and used to be used as offerings at sacred sites.
• Festivalistic Usage – Kota pottery is used in festivals and used to store holy water, grains, and offerings to gods Aynor and Amnoor, the important gods of the Kota people.
• Marriage and Birth Rituals – Handmade clay pots are used in traditional Kota weddings where they represent prosperity and fertility. Likewise, childbirth ceremonies also make use of specially made pots representing protection and health.
• Pottery Related to Death and Mourning Rites – Pottery is also often associated with mourning practices, with pots being broken as part of the unglazing ritual or customs of saying goodbye to the deceased.

These rituals and festivals provide a unique essence to the craft of Kota pottery, as it is reflected not only in the making of it but also through many facets, that makes it a significant element for the spiritual beliefs of the tribe and helps to preserve their culture intact for the next generations.The history of the Kota tribe, how the women play an important role in creating the pots, the traditional techniques they used to cook their food, the story behind their pottery and the importance of their craft was all a part of the artistic experience.In the next module, we will study the styles, techniques, materials and the distinguishing features of Kota pottery.

Styles, Techniques, and Materials in Kota Pottery

Unique Characteristics of Kota Pottery

A unique handicraft, Kota pottery is an art done by the women of the Kota tribe in the Nilgiris region of Tamil Nadu. This ceramic art is a culturally significant pottery which is recognized for its strength, deep black color, and elaborate designs. Kota pottery is a true reflection of the tribe's heritage, drawing on ancient materials, traditional firing methods and art.

Black Clay Pottery’s Durability and Aesthetic Appeal

Black is definitely a key feature of Kota pottery, an indicator of its traditional expertise in smoke-firing. One of the more well-known traditional styles of local pottery, this firing technique impart a shiny, jet black surface to the pottery, different from the general looks of regional pottery.

Distinct Designs and Motifs

Kota pottery decorative features reveals the cultural, environmental, and traditional beliefs of the tribe. They are often simple yet significant, featuring symbols from nature, and spirituality, and daily life.Kota pottery is an incredible indigenous art reflecting strength, culture, and creativity. A complex mix of black clay, meticulous designs and tried-and-tested methods make this pottery fundamental to India’s craft culture. Even as modern artisans face challenges, the Kota pottery serves as a proud testament to the resilience, creativity and skill of the Kota women that have kept this tradition alive for millennia.

Tools and Techniques

Traditionally, Kota pottery is made by hand by generations of Kota women. Making pottery is labour-intensive and done entirely by hand. They use hand-moulded techniques, natural tools, and traditional finishing. This craft differs in that it does not use a potter's wheel – it uses just the hands, wooden paddles, and stones to mould and smooth each handmade item.

Hand-Moulding Techniques Used by Kota Women

Kota is one such example of pottery where the potter does not depend on the potter’s wheel and instead moulds through hand-moulding methods. It provides the pots with an interesting, natural shape that can often show more alive in terms of subtle variations, giving away their handmade origins.

• Coiling Method – The potters starts rolling out long coils of prepared clay and piled them in circle to make the fundamental shape of the pot. The coils are then smoothed and assembled by hand, resulting in invisible seams.
• Pinching and Shaping – Thereafter, pinching is used to shape the pot, with artisans gently pressing and moulding the clay until they have achieved the correct thickness and curvature. It's a highly skilled operation, and the resulting slices must be exactly the same size and shape.
• Bottom – In order to remain even and balanced the general shape of the pot is created by hand spraying. While, fingers, stone and wooden paddles are used by women of Kota to press and smoothen the edges for a tight fit.

Use of Paddles and Stones for Smooth Finishing

Traditional tools roots like wooden paddles and stones are used by artisans to get the uniquely smooth, shiny surface of Kota pottery. These tools, while very basic, are extremely impactful in developing the final output.

1. The pottery craft is performed using the Tyrgann tool. it is the pottery wheel on which the pottery work is made
2. They rub the pot with a Stone so that the stone make it shiny pot. Hence, there are 4 main types of stones that are used called

i. Big stone this is called as ‘Arrat Kalmu thachudu kal.

ii. Medium Stone (circle type) called as ‘Kusku Kalmu Thachudu kal’

iii. Small Little Stone is known as ‘Arrat nice gisuthu kal

iv. Kerpodu is a tiny Spoon type stone.

1. Pottery is also shaped using Poibbu.
2. Filling the clay pot with this method is called as 'Kerpodu'
3. Log used for mixing both mud to arrive at consistent clay-‘Eril’;
4. Once the pot is formed, ‘Ammandu Hel’ leaf is taken to move the wet pot from the machine to the ground.
5. The ‘Harat Pasindhu Gissudhu Khol’ tool work under use for the potter alike design and decoration.
6. These are all very specific tools with clever names that highlight the tactile art of the pottery craft. It talks about the bond between the potter, everything used, and the piece of art.

Firing and Finishing Process

It is the firing and finishing process of Kota pottery which provide a special black color and unique texture with maximum durability. Kota pottery is not a modern kiln fired type of ceramics but rather traditional open-fire ceramics that has been passed down over generations. It increases the durability, longevity, and beauty of the cloth whilst still retaining cultural integrity.

1. Traditional Open-Fire Kiln Methods

Kota Potters use a simple but efficient open-fire method to cure their terracotta pottery. The entire process is sustainable and can be carried out without using any non-renewable energy sources, it only requires natural fuels including wood, dried leaves, and cow dung cakes to sustain the heat temperature.

Steps in Open-Fire Kiln Firing:

• Preparation: After pots have been hand-moulded and air-dried, they are arranged in a pit or an open area, with dry straw, firewood, and cow dung cakes.
• Layering: Pots are stacked in layers — smallest and most delicate on top, largest on the bottom This ensures that the firing process is uniform.
• Ignition: Fuel materials are ignited and the fire is gradually increased to a level where it can start slow, controlled firing.
• Supervision: The clay stays 'alive' for hours, and needs to reach the proper heat so it hardens nicely.
• The cooling phase: Once firing is finished, the pots are left cooling in the embers where they were fired, avoiding cracks or damage due to sudden temperature changes.

The pottery crafted using this ancient technique is hard, heat-proof, and durable, so it is well-suited for cooking or ritualistic use.

2. Smoke-Firing for Black Finish

Unique black finishing of Kota pottery is done using a special smoke-firing technique, which is a key feature of Kota artisans. The way they do this is both aesthetic and a matter of strength, and it is what gives the pots their iconic dark colour.

Process of Smoke-Firing:

• the initial firing, the pots are placed back into a smoke chamber or pit, then covered with ablaze organic matter like sawdust, dry leaves, rice husks, etc.
• The carbon particles used in the firing environment so there is less oxygen, resulting in a deep darkened color on the surface of the pottery.
•   This makes the pots less porous, making the pots more water-resistant and resilient.
• Potters often polish with stones to give a slight sheen to the finished ware.

Attire and Identity of Kota Potters

This document aims to ascertain the attire and cultural identity of Kota potters, their traditional practices, craftsmanship and their community. clothes used in pottery-making is not only utilitarian but also symbolic. In addition, Kota women used unique hairstyles and adornments that also represents an ethnological marker that distinctly separates them from the surrounding populace in the Nilgiris.

1. Traditional Attire of Kota Women During Pottery-Making

Women of Kota sit there doing pottery-making, only half refractory & strict dress code. Comfort, freedom of movement and adherence to cultural modesty dictate their choice of clothing to enable them efficient work with clay.

Key Elements of Their Attire:

  Mundu (Upper Garment):

• For females, they wear a Mundu, which is a loosened cloth that wraps over the factory, on the shoulders as well as the bust.
• The ease of movement that it allows makes it great for a physically demanding craft of pottery.
• Traditionally in Nilgiris Mundu would be made out of cotton, the material perfect for Nilgiris humid hilly climate.

  Dupatta (Lower Piece):

• Dupatti: A plain and unstitched white or off-white piece of cloth wrapped around the Lower body.
• It represents humility and culture traditions.

    Avoidance of Colored Clothing:

• Kota women do not wear bright-colored fabrics in the field, as garments tend to get blotched in color because of the clay and smoke-firing process.
• Their minimalist style and their zen spirituality mean they like to stick to neutrals.

Not only is it practical, it also has ritualistic significance, since Kota potters hear the humus and clay as sacred to their craft and maintain a sense of purity while at work.

2. Hairstyles and Cultural Identity Markers

The Kota Kanum are giving an image of their culture by the hairstyle of Kota women which one such important identity in terms of culture, tradition & status. Hairstyles are a community aesthetic, but also symbolic of customs.

The 'Mandoo' Leaf Ritual:

• A young Kota girl turns 18-19 and goes through a rite of passage when she begins tying her hair in the manner of the 'Mandoo' leaf.
• This is a very warmly orchestrated ritual, which means that now she is considered an adult, and she is now perceived to be ready to start taking on some responsibilities in her community.
• As soon as she meets this tradition, the woman keeps tying her hair with the 'Mandoo' leaf until the end of her life to keep her allegiance to Kota traditions alive.

Symbolism of the Hairstyle:

• A hairdo indicates the age and marital status of a woman in the community.
• Mandoo leaf usage is limited to Kota women which is an instant giveaway that a person belongs to the Kota tribe.
• Considered a talisman, a symbol of cultural continuity and respect for ancestors.

The dress and caste of the Kota potters function as the symbolic stark signification of their cultural identity. Wherein Mundu and Dupatti signifies dignity, Mandoo leaf in hair signifies permanent cultural marker during the wash up」 Even though the modern generation is affecting these aspects, this traditional practice is help to preserve the Kota heritage and also the ancestral bond of the tribe with their craft.We received a brief overview of various features, tools, techniques, and traditional firing processes involved in Kota pottery making.

Efforts for Revival and Promotion and conclusion

Efforts for Revival and Promotion

The NGOs and government and market-oriented strategies are bringing it back and working for the promotion of Kota pottery so that it can survive further. These efforts help in the preservation of this tradition while making it relevant to the modern consumer of today by focusing on artisan support, sustainable production, and providing them with wider markets.

1. Role of NGOs and Government Initiatives

Government Support Programs:

• Financial assistance, skill training and raw material support to Kota artisans is being given through the Ministry of Textiles and Ministry of Tribal Affairs.
• Initiatives for the promotion of handicrafts such as the One District One Product (ODOP) scheme and TRIFED (Tribal Cooperative Marketing Development Federation of India) assist to market the goods of the Kota potters in exhibitions and on e-commerce platforms.
• Paid workshops and Pottery Machine for Kota artisans in seven villages by Adi Dravida Tribal Welfare and Tribal Research Institute Tamil Nadu

NGO and Community-Led Efforts:

• Several NGOs are focusing on training artisans with best practices including modern techniques, sustainable practices, digital marketing, etc.
• Workshops and exhibitions are organized to raise public awareness and creativeness about Kota Pottery.

Educational and Research-Based Initiatives:

• Design schools and craft research institutions have worked with artisans on new design innovations for reused Kota pottery.
• Traditional knowledge documentation will help future generation to practice this craft.

2. Market Potential and Tourism-Based Awareness

Expanding Market Reach:

• Kota Pottery excels in the eco-friendly, handmade product market which has a big demand as many consumers prefer sustainable, and product made by artisans.
• E-commerce platforms such as Amazon, Flipkart and crafts websites have enabled craftsmen to sell their products across the nation and abroad.

Tourism and Cultural Promotion:

• Thousands of tourists visit the Nilgiris every year, so there is a possibility of developing Kota pot making workshops and cultural tourism experiences.
• Identification of craft villages, supported by the government, and starting off from there, of the history of Kota pottery, showcasing the making of the product, so it gains visibility and sales.

Brand and Certification

• Bringing GI tag status to Kota pottery will ensure its originality and help
• promote it as a special entity in the handicraft sector.

Conclusion

It is not just a craft, but a heritage, traditional wisdom and artistic talent passed down through the generations. Having been practically practiced only by Kota women, it forms an integral part of the identity, rituals and socio-economic aspects of the community.Yet, prompted by industrial production, environmental concerns and dwindling numbers of artisans, this art form is in danger of disappearing. What can be done to retain Kota pottery is not only presented as the cultural heritage of the tribal people but also to push the sustainable and green craft of the artisan in the era of buying more organic and indigenous-made materials.Kota pottery can be revived, given a new contemporary context, and its traditional ethos preserved through government promotion, support from NGOs, the expansion of the market, and tourism-based consciousness. In order to ensure that this valuable craft is passed down the generations, integration of Kota pottery in the modern markets and modern design spaces can help creating economic opportunities for artisans.When we support and appreciate Kota pottery, we are giving a step to sustain India, its rich tribal culture, and it’s even much-needed handcrafted alternatives in the contemporary consumer world.From there, we got to know more about Kota pottery, how it is relevant in today times, factors that threaten its survival and what is being done to ensure its continuity.We will engage in interactive activities and assessments in the next module to reinforce the learning of Kota pottery.