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INDEX
 Pottery Tradition in India: Overall View ....................................................................................01-02
 Ochre Coloured Pottery (OCP) .....................................................................................................03-04
 Black and Red Ware (BRW)............................................................................................................05-06
 Painted Grey Ware (PGW) ..............................................................................................................07-08
 Northern Black Polished Ware (NBPW) ....................................................................................09-10
 Glazed and Unglazed Pottery.......................................................................................................11-12
 11 th Hour Revision Notes

Pottery Tradition
in India MOMENTUM IAS

by: Shashank Sir

POTTERY TRADITION IN INDIA: OVERALL VIEW

INTRODUCTION TO POTTERY TRADITION IN INDIA

 Pottery in India has a rich history, dating back to the Indus  Indian pottery showcases the diversity of regional
Valley Civilization (c. 2500 BCE), where both functional styles, materials, and techniques, each with its unique
and decorative pottery emerged. characteristics.
 It is one of the earliest human inventions and is deeply
intertwined with India’s cultural and religious practices.

HISTORICAL EVOLUTION OF POTTERY IN INDIA

INDUS VALLEY CIVILIZATION (C. 2500–1900 BCE)  Black pottery with lustrous shine and fine designs became
a symbol of social status and was often used for religious
 Harappan pottery was mainly wheel-made and featured offerings and rituals.
red ware with black painted designs of animals, trees, and  Example: NBPW pots discovered in Pataliputra and
geometric patterns. Taxila are known for their rich black finish and intricate
 The use of kilns for firing and the production of large designs.
storage jars, bowls, and ornamental pottery were
advanced techniques. POST-MAURYAN AND GUPTA PERIODS
 Example: The discovery of large storage jars in
Mohenjo-daro highlights the utility of pottery for food  The use of terracotta became prominent during the post-
storage in the Indus Valley. Mauryan and Gupta periods (c. 3rd to 6th centuries CE).
 This period saw the emergence of figurative pottery, often
PAINTED GREY WARE (PGW) CULTURE (C. 1200–600 used for religious purposes, such as making images of gods
BCE) and goddesses.
 Example: Terracotta figurines of Ganesha and
 PGW is associated with the Vedic period and marked a other deities from the Gupta period.
shift in pottery style with the use of grey clay, painted with
simple black geometric designs. MEDIEVAL AND MUGHAL PERIODS
 This pottery was found in the Ganga-Yamuna Doab and is
considered a precursor to later cultural developments.  During the Mughal period, pottery saw Persian influences
with the introduction of blue pottery and glazed tiles.
NORTHERN BLACK POLISHED WARE (NBPW) (C.  Blue pottery of Delhi and Jaipur became famous for its
700–200 BCE) use of cobalt blue dye and intricate floral designs.
 Example: Jaipur Blue Pottery became a prominent
 Known for its highly polished and luxurious finish, NBPW craft, with designs inspired by Persian and Central
pottery was used by the elite during the Mauryan period. Asian motifs.

REGIONAL POTTERY TRADITIONS IN INDIA

BLACK POTTERY OF NIZAMABAD (UTTAR PRADESH)  Characteristics: Cobalt blue dye, delicate floral patterns,
and the use of glazing techniques.
 This unique form of pottery is known for its jet black finish  Example: Blue pottery vases, tiles, and decorative
achieved through a reduction firing process. plates are exported globally as part of India’s handicraft
 Silver patterns are etched onto the pottery, giving it a tradition.
distinct and elegant look.
 Example: Vases, plates, and water jugs with silver floral TERRACOTTA POTTERY (WEST BENGAL)
patterns are typical examples of Nizamabad pottery.
 Terracotta pottery is a traditional craft practiced widely in
Bishnupur and other parts of West Bengal.
KHURJA POTTERY (UTTAR PRADESH)
 Themes: The pottery is often used to create idols, sculptures,
 Khurja in Uttar Pradesh is known for producing colorful and ornamental pottery, particularly for religious festivals.
glazed pottery that is widely used for domestic and  Example: The Bankura horse, a stylized terracotta
decorative purposes. horse, is a symbol of West Bengal’s pottery craft.
 Themes: Floral and geometric patterns in vibrant colors,
with products ranging from tableware to tiles. MOLELA CLAY PLAQUES (RAJASTHAN)

BLUE POTTERY OF JAIPUR (RAJASTHAN)  The Molela potters of Rajasthan are known for creating
clay plaques used in ritual worship.
 Originally from Persia, this pottery was introduced to India  These plaques depict village deities, animals, and folk
by Mughal rulers and flourished in Jaipur. stories, and are often used in shrines and temples.

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Pottery Tradition
MOMENTUM IAS
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by: Shashank Sir

POTTERY TRADITION IN INDIA: OVERALL VIEW

MANIPUR LONGPI POTTERY  Known for its natural black color, the pottery is strong and
eco-friendly, used for both cooking and serving.
 Longpi Pottery from Manipur is crafted without a potter’s  Example: Longpi black cooking pots and kitchen
wheel, using black serpentine stone and clay. utensils are sought after for their durability and
aesthetic appeal.

TECHNIQUES AND MATERIALS IN POTTERY TRADITION

WHEEL-MADE VS. HAND-MADE POTTERY GLAZING AND DECORATION

 Wheel-made pottery is more common in India, especially  Glazing techniques were introduced during the Mughal
for creating symmetrical shapes like vases, pots, and period, with blue pottery and glazed tiles becoming
bowls. popular.
 Hand-made pottery is generally used for sculptural  Decorations often include painted designs, etching, and
forms, such as figurines and terracotta plaques. engraving before or after the firing process.

FIRING TECHNIQUES

 Traditional potters in India use a kiln or open fire to harden

their pottery. Reduction firing is often used to achieve black
pottery.

POTTERY IN CONTEMPORARY INDIA

REVIVAL AND PRESERVATION OF TRADITIONAL  Many cities now promote the use of clay utensils
POTTERY and earthenware for daily use, as part of the green
movement.
 Various NGOs and government initiatives, such as Khadi
and Village Industries Commission (KVIC), are working GLOBAL INFLUENCE AND EXPORT
to revive traditional pottery crafts and provide economic
support to artisans.  Indian pottery, particularly blue pottery from Jaipur and
black pottery from Nizamabad, is widely exported and
 Example: In 2020, the Pradhan Mantri Mudra Yojana
sought after in international markets.
supported traditional potters by providing them with loans to
upgrade their technology and increase production.  Pottery fairs like Surajkund Mela and Dilli Haat showcase
Indian pottery to both domestic and international buyers,
ECO-FRIENDLY POTTERY PRACTICES helping artisans gain visibility.

 With the focus on sustainable living, traditional pottery is

gaining popularity due to its eco-friendly nature.

CHALLENGES FACED BY POTTERS IN INDIA

COMPETITION FROM INDUSTRIAL PRODUCTS LACK OF INFRASTRUCTURE AND MODERN

EQUIPMENT
 Traditional pottery faces competition from plastic and metal
products, which are often cheaper and more durable.  Many traditional potters still use manual techniques, making
 Solution: The promotion of pottery as a sustainable and it difficult to scale production or meet market demands.
eco-friendly alternative has helped revive interest in  Solution: Government schemes are helping artisans
traditional crafts. access modern kilns, electric wheels, and better firing
techniques.

CONCLUSION

 The pottery tradition in India is an essential part of the  India’s diverse pottery practices, from the glazed blue
country’s cultural heritage, reflecting both functional and pottery of Jaipur to the terracotta figurines of West Bengal,
artistic innovations across millennia. continue to hold both cultural and economic importance,
ensuring their relevance in the modern world.
 Today, with the help of government initiatives and a
growing awareness of sustainability, traditional pottery is
seeing a revival.

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Pottery Tradition
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by: Shashank Sir

OCHRE COLOURED POTTERY (OCP)

INTRODUCTION TO OCHRE COLOURED POTTERY (OCP)

 Ochre Coloured Pottery (OCP) is a distinctive type of ancient with the Copper Hoard Culture and Painted Grey Ware
pottery found primarily in the Indo-Gangetic plains, dating (PGW) cultures.
back to around 2000–1500 BCE.
 OCP represents a transitional phase between the Harappan
 It is considered one of the early Iron Age cultures and civilization and the later Vedic culture, marking a shift in
is associated with the late Harappan period, overlapping pottery traditions as the Harappan urban centers declined.

KEY FEATURES OF OCHRE COLOURED POTTERY (OCP)

DISTINCTIVE COLOR AND TEXTURE  Example: Large jars and vessels used for storage of
food grains have been uncovered in several OCP sites.
 OCP pottery is characterized by its ochre or rusty red color,  Some vessels show rudimentary decoration in the form of
which comes from the use of iron-rich clay. incised designs or grooves.
 The pottery is often poorly baked, resulting in a crumbly
texture. ASSOCIATION WITH COPPER HOARD CULTURE
 Surface Treatment: OCP pottery often has a thick slip and
may show signs of burnishing or a shiny surface finish.  OCP is often found alongside Copper Hoard objects, which
include celts, harpoons, axes, and antennas swords,
indicating a possible connection between the OCP culture
SHAPES AND FORMS and early metalworking traditions in northern India.
 The typical shapes found in OCP include bowls, vases,  Example: Sites in Western Uttar Pradesh and
jars, and goblets. These were used for both storage and Haryana have revealed OCP pottery alongside
domestic purposes. copper artifacts, suggesting the use of copper tools
by the people of this culture.

GEOGRAPHICAL DISTRIBUTION OF OCP SITES

MAJOR EXCAVATION SITES  Sinauli is significant for the discovery of burial pits
with both OCP and Copper Hoard Culture artifacts,
 Uttar Pradesh: OCP pottery has been found in several suggesting an interaction between these two cultures.
parts of western Uttar Pradesh, including Bara, Hastinapur,
Saunphari, and Jodhpura. DISTRIBUTION IN THE INDO-GANGETIC PLAIN
 Hastinapur is one of the most significant sites, where
OCP was found along with later Painted Grey Ware  The OCP culture is mainly confined to the upper Ganga-
(PGW) pottery, indicating cultural continuity. Yamuna Doab region, which covers parts of western Uttar
Pradesh, Haryana, and northern Rajasthan.
 Haryana: Sites like Sinauli and Jodhpura in Haryana have
revealed OCP pottery, along with burial sites and copper  Regional Variations: The pottery shows some variation
hoard objects. in size, shape, and decoration across different sites,
suggesting regional adaptations

CULTURAL SIGNIFICANCE OF OCP

TRANSITIONAL PHASE POST-HARAPPAN DECLINE  OCP people are believed to have used iron implements,
marking the transition to the Iron Age in this region.
 OCP represents a post-Harappan phase, where the decline
of urban centers like Mohenjo-Daro and Harappa led to LINKS TO EARLY VEDIC CULTURE
a shift towards more rural and agrarian cultures.
 This period is marked by a move towards village settlements,  The geographical spread and chronology of OCP culture
as seen in the Gangetic plains, with agriculture becoming overlap with the early Vedic period, suggesting that the
the primary occupation. OCP people may have been proto-Vedic communities.

 Example: Evidence of plow marks on the OCP sites  OCP sites have provided insights into the early phases of
indicates a focus on agricultural practices. Vedic life, particularly in terms of agriculture, settlements,
and craft production.
EARLY IRON AGE AND COPPER HOARD CULTURE

 The Copper Hoard objects found with OCP suggest the

presence of early metallurgy, particularly copper smelting
and tool-making.

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Pottery Tradition
MOMENTUM IAS
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by: Shashank Sir

OCHRE COLOURED POTTERY (OCP)

POTTERY TECHNIQUES AND MATERIALS

CLAY AND FIRING TECHNIQUES  Example: Some sites have revealed rudimentary
hand-made pots, suggesting the use of different
 OCP pottery was made from iron-rich clay, which gave the techniques for functional vs. ritual pottery.
pottery its distinct ochre color.
 The pottery was often low-fired, resulting in a porous DECORATION AND SURFACE TREATMENT
texture that made it less durable compared to the later PGW
or NBPW pottery.  Decorations on OCP pottery were minimal, with occasional
use of incised lines or geometric patterns.
WHEEL-MADE VS. HAND-MADE POTTERY  Burnishing or polishing was sometimes used to give the
surface a smooth finish, but the quality of firing often
 Most OCP pottery was wheel-made, but hand-made limited the durability of these surfaces.
varieties have also been found, particularly in the form of
smaller vessels and figurines.

RECENT EXCAVATIONS AND CURRENT RELEVANCE

DISCOVERIES AT SINAULI SIGNIFICANCE FOR INDIAN ARCHAEOLOGY

 Recent excavations at Sinauli in Haryana have revealed  OCP pottery and associated findings have helped
important findings related to the OCP culture, including archaeologists understand the transition from the Bronze
burial sites and warrior artifacts. Age to the Iron Age in the Indian subcontinent.
 The discovery of chariots, copper weapons, and OCP  The discovery of OCP pottery in new excavation sites
pottery at Sinauli has reshaped our understanding of the across the Indo-Gangetic plains highlights the spread and
OCP people, suggesting a warlike society with access to influence of this culture during the early Iron Age.
advanced technologies.

CONCLUSION

 Ochre Coloured Pottery (OCP) represents an important  The association with Copper Hoard Culture and early
transitional phase in India’s prehistoric archaeology, metallurgy adds to the significance of OCP in understanding
bridging the gap between the Harappan civilization and the development of technology, social organization, and
the early Vedic period. cultural practices in ancient India.
 The pottery style, with its simple forms and rudimentary  The ongoing excavations and research in sites like Sinauli
decoration, reflects a society in transition, moving from continue to provide valuable insights into this crucial period,
urban centers to agrarian-based rural settlements. making OCP an essential topic for the study of early Indian
history.

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Pottery Tradition
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BLACK AND RED WARE (BRW)

INTRODUCTION

 Period: Black and Red Ware (BRW) dates back to the  Cultural Context: Associated with both the Harappan
Chalcolithic period, around 2600 BCE to 700 BCE, although civilization (Late Harappan phase) and post-Harappan
it continued in later periods like the Early Iron Age. cultures. It is significant for understanding the transition from
Chalcolithic to Early Iron Age cultures.
 Geographical Extent: Found extensively in the Indian
subcontinent, particularly in the Gangetic plains, Central  Significance: The appearance of BRW indicates the
India, the Deccan plateau, and South India. beginning of agricultural communities, the rise of complex
societies, and advancements in pottery techniques.

CHARACTERISTICS OF BLACK AND RED WARE

DISTINCTIVE APPEARANCE: TYPES OF VESSELS:

 Bichrome Finish: Black on the interior and red on the  Bowls, dishes, and storage jars were the primary types of
exterior, sometimes with decorative motifs. BRW pottery.
 Firing Technique: The dual color was achieved through a  Vessels were typically simple in form but sometimes had
specialized firing process, where pots were fired in a reducing incised or painted designs.
atmosphere (lack of oxygen) at high temperatures and then
removed to an oxidizing environment. DECORATIVE PATTERNS:

MATERIAL AND MANUFACTURE:  Some pots show geometric designs, linear patterns, or even
representations of flora and fauna, though decoration was
 Material: Made from well-levigated clay, providing a smooth not as elaborate as in later periods.
texture.
 Firing Method: The control over oxygen flow during firing
led to the characteristic two-tone color, with the inside being
black and the outer surface red.

ARCHAEOLOGICAL FINDINGS AND SITES

KEY SITES:  Ujjain (Madhya Pradesh): Found in early Iron Age contexts,
indicating the expansion of BRW use beyond Chalcolithic.
 Ahichhatra (Uttar Pradesh): BRW layers were found
indicating continuous occupation and transition from ASSOCIATED CULTURES:
Harappan to post-Harappan cultures.
 Chirand (Bihar): Evidence of early agricultural practices  Ochre Coloured Pottery (OCP): In some sites like
and BRW, showcasing settled life. Ahichhatra, BRW is found in association with OCP, indicating
a blend of Chalcolithic and Early Iron Age cultures.
 Navdatoli (Madhya Pradesh): Excavations revealed BRW
alongside other Chalcolithic pottery, indicating cultural  Painted Grey Ware (PGW): Found alongside BRW at some
exchanges. sites, suggesting overlapping usage during the later Vedic
period.

BRW IN RELATION TO AGRICULTURAL AND IRON AGE SOCIETIES

 Agriculture: BRW sites show evidence of sedentary farming  Transition to Iron Age: The introduction of iron tools
communities, with crops like barley, rice, and wheat being and implements coincides with BRW, marking an important
grown, signaling advancements in food production. technological and cultural transition.

IMPORTANCE IN INDIAN ARCHAEOLOGY

 Cultural Marker: BRW is crucial in understanding the pre- certain sites provides insights into the material culture during
Iron Age cultural and technological developments in India. the early Vedic period, especially in terms of subsistence,
pottery, and social structure.
 Link to Early Vedic Society: The overlap of BRW with PGW in

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Pottery Tradition
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by: Shashank Sir

BLACK AND RED WARE (BRW)

FACTUAL EXAMPLES

 Ahichhatra (Uttar Pradesh): Excavations have shown BRW  Navdatoli (Madhya Pradesh): One of the richest BRW
in association with early urban settlements and agricultural sites, contributing significantly to understanding Chalcolithic
activity. and Iron Age transitions.
 Chirand (Bihar): Evidence of early settled life and tool-
making, with BRW marking a key Chalcolithic layer.

CONCLUSION

Black and Red Ware (BRW) is a crucial element of the archaeological advancements, such as agriculture and ironworking, make it a
record in India, marking the transition from Chalcolithic to Iron Age significant cultural marker for early Indian societies.
cultures. Its widespread use and association with key technological

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PAINTED GREY WARE (PGW)

INTRODUCTION TO PAINTED GREY WARE (PGW)

 Period: Painted Grey Ware (PGW) is associated with the (Uttar Pradesh), Ropar (Punjab), and Jakhera (Uttar
Later Vedic period, dating roughly between 1200 BCE to Pradesh).
600 BCE.
 Cultural Context: PGW culture is linked to the Later
 Geographical Extent: The PGW culture extended over parts Vedic Aryans, particularly the Mahabharata and the rise
of northern India, primarily in the Indo-Gangetic plains. Major of small kingdoms, representing a shift from pastoralism to
sites include Hastinapur (Uttar Pradesh), Ahichhatra agricultural societies.

CHARACTERISTICS OF PAINTED GREY WARE (PGW)

 Distinctive Appearance:  Types of Vessels:

 Colour and Finish: Characterized by a fine grey fabric  Common shapes include bowls, dishes, and goblets,
with simple black painted geometric patterns, including which were often used for everyday purposes.
circles, lines, swastikas, and dots.  Decorative simplicity: Unlike earlier pottery types such
 Firing Technique: PGW pottery was fired in a well- as BRW, PGW pottery was more utilitarian in function,
controlled oxidizing atmosphere to achieve the grey with less emphasis on elaborate designs.
color, indicating advancements in pottery technology  Decorative Patterns:
compared to earlier cultures.
 Geometric Designs: Simple geometric patterns like
 Material and Manufacture: circles, dots, and lines were used as decorations.
 Material: Made from well-levigated clay, similar to These designs were likely of symbolic significance or
the pottery of earlier periods, but PGW shows a finer represented tribal or regional affiliations.
finish.  Minimalistic Style: PGW exhibits a transition to a
 Firing Process: Achieved through high-temperature minimalist style, reflecting the social and cultural
kilns, showcasing the development of pottery technology changes of the Later Vedic society.
during the Vedic era.

ARCHAEOLOGICAL FINDINGS AND SITES

 Key Sites:  Ropar (Punjab): Another important site yielding

significant PGW pottery along with evidence of pastoral
 Hastinapur (Uttar Pradesh): One of the most
and agricultural practices.
significant PGW sites, linked to the Mahabharata epic.
Excavations revealed a distinct PGW culture layer,  Associated Cultures:
along with evidence of settlements, agriculture, and
 Iron Age: PGW is often found alongside iron implements,
early town planning.
marking the transition from the Bronze Age to the Iron
 Ahichhatra (Uttar Pradesh): Shows a continuous Age in India. The use of iron for tools and weapons reflects
occupation from PGW levels to later periods, indicating technological advancements during this period.
a gradual urbanization.
 Vedic Society: PGW culture is associated with the Later
 Jakhera (Uttar Pradesh): Provides insights into Vedic period, during which texts like the Samhitas,
agricultural activities, craft specialization, and socio- Brahmanas, and Upanishads were composed.
economic structures of the Later Vedic period. The artifacts provide evidence of the material culture
described in these texts.

PGW AND THE DEVELOPMENT OF EARLY INDIAN CIVILIZATION

 Society and Economy:  Political Structure:

 Agriculture: The PGW culture marks a significant shift  Rise of Janapadas: PGW culture is linked with
towards agriculture, with crops like rice, wheat, and the emergence of early kingdoms or janapadas,
barley cultivated extensively. particularly in the Ganga-Yamuna Doab region. These
political entities laid the groundwork for the later
 Settlements: PGW sites reflect the transition from rural
Mahajanapadas.
to semi-urban settlements. The increasing size and
complexity of settlements like Hastinapur indicate the  Epic Tradition: The PGW culture is often connected
growth of political entities. with the epic narrative of the Mahabharata, suggesting
that this period might have coincided with or inspired
 Crafts and Specialization: Evidence of pottery
the events described in the epic.
making, metallurgy (especially ironworking), and other
crafts suggests growing economic specialization and
surplus production.

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Pottery Tradition
MOMENTUM IAS
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by: Shashank Sir

PAINTED GREY WARE (PGW)

IMPORTANCE OF PGW IN INDIAN ARCHAEOLOGY

 Material Culture of Later Vedic Society: PGW is an Indo-Gangetic plains. This era saw the emergence of towns,
important archaeological marker of the Later Vedic society, trade networks, and political consolidation.
reflecting the material aspects of life during this period,
 Historical Text Correlation: PGW findings correlate with
including advancements in agriculture, metallurgy, and
descriptions in Vedic literature, providing tangible evidence
settlement patterns.
of the social and economic structures outlined in the texts.
 Link to Early Urbanization: PGW sites provide crucial
evidence for the gradual shift towards urbanization in the

FACTUAL EXAMPLES

 Hastinapur (Uttar Pradesh): The PGW layers discovered archaeologists understand the agricultural and craft
here provide insights into the town’s layout, architecture, and production of the Later Vedic period.
socio-economic activities. It is considered one of the most
 Ahichhatra (Uttar Pradesh): Excavations have shown
well-researched PGW sites.
continuous occupation from the PGW period to later periods,
 Jakhera (Uttar Pradesh): Known for its rich PGW layers indicating sustained settlement and political stability.
and evidence of agricultural activities, Jakhera has helped

CONCLUSION

Painted Grey Ware (PGW) is a significant archaeological and cultural presence across northern India highlights the growth of Vedic
marker of the Later Vedic period, representing advancements in civilization and the transition towards urbanization, trade, and the
pottery, settlement, and socio-political structures. Its widespread formation of early kingdoms.

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NORTHERN BLACK POLISHED WARE (NBPW)

INTRODUCTION TO NORTHERN BLACK POLISHED WARE (NBPW)

 Period: The NBPW culture dates from approximately 700  Cultural Context: NBPW is associated with the Second
BCE to 200 BCE, with its peak during the Mauryan period Urbanization in India, marking the growth of cities, trade
(322–185 BCE). networks, and the consolidation of political powers, especially
during the Mauryan Empire.
 Geographical Extent: It was primarily found in the
Gangetic plains, extending from the Indus Valley in the
west to Bengal in the east, and further down into South
India in later periods.

CHARACTERISTICS OF NORTHERN BLACK POLISHED WARE

 Distinctive Appearance:  Types of Vessels:

 High Gloss Finish: NBPW is known for its lustrous  Common Forms: Included bowls, dishes, and small
black or dark grey finish, achieved through a highly pots. The thin-walled nature of these vessels indicated
sophisticated firing process. their primary use in elite households or for ceremonial
purposes.
 Polish: The smooth, glossy texture sets it apart from
earlier pottery types like BRW and PGW. The shine was  Shapes and Sizes: Varied sizes, with some serving
achieved by polishing the ware post-firing. utilitarian purposes, while others were likely symbolic
or luxury goods.
 Thin Walls: NBPW vessels are often thin-walled,
indicating advanced pottery-making techniques.  Decorative Patterns:
 Material and Manufacture:  Minimal Decoration: Unlike PGW, NBPW vessels
were usually devoid of painted patterns. Instead, the
 Material: Made from finely levigated clay, which
smooth, polished surface itself was the main decorative
contributed to the smooth and glossy finish.
element.
 Firing Process: NBPW was fired in a highly controlled
 Luxury Goods: NBPW was often associated with high-
environment, achieving both high temperatures
status households, suggesting its use as a luxury item.
and precise oxygen management. This sophisticated
technique was reflective of advances in technology
during this period.

ARCHAEOLOGICAL FINDINGS AND SITES

 Key Sites: the extensive trade networks during the Mauryan

period.
 Pataliputra (Bihar): The capital of the Mauryan
Empire, where extensive NBPW remains have been  Associated Cultures:
found, indicating its association with urban elites.
 Mauryan Empire: NBPW is often associated with the
 Hastinapur (Uttar Pradesh): An important site where height of the Mauryan Empire, reflecting urbanization,
NBPW has been discovered, showcasing the continuity state formation, and increased trade.
of habitation from PGW to NBPW periods.
 Trade Networks: The widespread distribution of
 Kaushambi (Uttar Pradesh): The discovery of NBPW NBPW suggests its role in long-distance trade, both
pottery here signifies the spread of urbanization and within the Indian subcontinent and with regions like
trade in the Ganga valley. Southeast Asia.
 Taxila (Pakistan): Excavations reveal NBPW in the
northwestern parts of the subcontinent, demonstrating

NBPW AND SOCIO-ECONOMIC SIGNIFICANCE

 Urbanization and Trade:  Cultural and Political Implications:

 Second Urbanization: NBPW marks the rise of urban  Elite Consumption: The high gloss finish and refined
centers, particularly along the Ganga-Yamuna Doab, production techniques indicate that NBPW was primarily
where large cities and market economies developed. used by the elite, especially during the Mauryan
period.
 Trade: NBPW is evidence of robust trade networks
within the Indian subcontinent. The presence of NBPW  State Patronage: The mass production of NBPW
at distant sites like Taxila indicates thriving internal pottery may have been supported by the Mauryan
trade during the Mauryan period. state, reflecting state control over craft production and
economic activities.
 Exports: Some evidence suggests NBPW was traded
with regions outside India, particularly with Southeast
Asia.

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Pottery Tradition
MOMENTUM IAS
in India
by: Shashank Sir

NORTHERN BLACK POLISHED WARE (NBPW)

IMPORTANCE IN INDIAN ARCHAEOLOGY

 Marker of Urbanization: NBPW is an important cultural advancements in pottery-making, setting it apart from earlier
marker of the Second Urbanization period in India, pottery traditions.
highlighting the transition from rural to urban societies, the
 Symbol of Mauryan Power: The association of NBPW
growth of trade, and political consolidation.
with the Mauryan Empire underscores its importance as a
 Technological Advancements: The sophisticated reflection of the economic, cultural, and political changes
techniques used in NBPW production indicate technological during this time.

FACTUAL EXAMPLES

 Pataliputra (Bihar): NBPW pottery was found in association  Kaushambi (Uttar Pradesh): Excavations reveal NBPW
with remains of Mauryan palaces and administrative centers, in large quantities, suggesting this was a key center for
linking it directly to the Mauryan elite. urban growth and trade during the period of the Second
Urbanization.
 Taxila (Pakistan): Discovery of NBPW in this far northern
city demonstrates the widespread trade networks established
during the Mauryan period.

CONCLUSION

Northern Black Polished Ware (NBPW) represents a significant the rise of urbanization and state formation in ancient India. Its
development in Indian pottery and is an important cultural role in trade, urbanization, and elite consumption highlights the
marker of the Mauryan period. It reflects not only technological dynamic nature of the Indian subcontinent during this period.
advancements but also the socio-political changes associated with

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 11 th Hour Revision Notes

Pottery Tradition
in India MOMENTUM IAS

by: Shashank Sir

GLAZED AND UNGLAZED POTTERY

Types: Pottery can be categorized into glazed and unglazed firing process.
pottery, depending on the surface treatment during or after the

UNGLAZED POTTERY

CHARACTERISTICS OF UNGLAZED POTTERY and painted unglazed pottery, especially large storage
jars and bowls.
 Surface Finish:  Famous Example: Red and black pottery, often with
 No external glaze applied. The natural texture of the geometric patterns.
clay remains, which may be smooth or rough depending  Terracotta Art:
on the craftsmanship and quality of clay used.
 Common in the Chalcolithic period, terracotta refers
 Typically porous, unless fired at very high to unglazed earthenware. It was used not only for daily
temperatures. life objects but also for religious figurines and seals.
 Firing Process:  Famous Examples: Terracotta figurines found in sites
 Fired once, without any additional coating. The like Mohenjo-Daro and Kalibangan.
temperature and oxygen levels in the kiln greatly affect  Mature Indian Tradition:
the final appearance.
 Unglazed pottery remained a core part of Indian crafts
 The color of unglazed pottery is often a reflection of throughout history, seen in various forms such as
the natural color of the clay or the effect of the firing Khullars (earthen cups), lamps, and sculptures.
process.
 Material: CONTEMPORARY USAGE
 Made from raw, unfired clay. Different regions use
different clay sources, leading to variation in color and  Rural India:
texture.  Unglazed pottery continues to be widely used in rural
 Functionality: households across India, particularly in regions like
Rajasthan and Bihar. Earthenware pots for water
 Mostly used for utilitarian purposes like storing water, storage, known as matkas, remain popular for their
food, or grains. The porosity of the material makes it cooling properties.
effective for water cooling.
 Factual Example: In West Bengal, traditional terracotta
 Used extensively in traditional crafts, particularly in artisans continue to create unglazed pottery, including
rural areas for functional and decorative purposes. clay lamps and decorative items.
 Eco-friendly Alternative:
HISTORICAL AND REGIONAL SIGNIFICANCE
 Unglazed pottery has gained modern significance as an
 Harappan Pottery: eco-friendly alternative to plastic and metal utensils. In
recent years, there has been a resurgence in the use of
 One of the earliest known examples of unglazed
terracotta kitchenware.
pottery in India. The Harappans produced both plain

GLAZED POTTERY

CHARACTERISTICS OF GLAZED POTTERY  Functionality:

 Glazed pottery is non-porous, making it ideal for
 Surface Finish: holding liquids. It is widely used for tableware, tiles,
 A layer of glaze (a glassy coating) is applied to the and ornamental items.
surface before the final firing process. This makes the  Durability and waterproofing are key advantages of
surface shiny, smooth, and non-porous. glazed pottery.
 Glazed pottery often has colorful patterns or designs
that can withstand high temperatures. HISTORICAL AND REGIONAL SIGNIFICANCE
 Firing Process:
 Mauryan Period:
 Pottery is often fired twice. After the first firing (bisque
firing), a glaze is applied, followed by a second firing  The introduction of glazed pottery is often attributed to
at a higher temperature, which bonds the glaze to the the Mauryan period, around the 3rd century BCE. The
surface. pottery produced in this era was thin and coated with a
fine, glossy glaze.
 Material:
 Famous Example: Northern Black Polished Ware
 Glazed pottery can be made from a variety of clays. (NBPW), known for its lustrous surface, though not
The glaze used can be made of minerals and oxides to technically glazed, had characteristics that paved the
create different colors and effects. way for later glaze techniques.

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 11 th Hour Revision Notes

Pottery Tradition
MOMENTUM IAS
in India
by: Shashank Sir

GLAZED AND UNGLAZED POTTERY

 Medieval India: CONTEMPORARY USAGE
 The arrival of Persian and Central Asian influences
during the Delhi Sultanate and Mughal Empire  Modern Ceramics:
introduced new techniques of glazing. Mughal  Glazed pottery today is used widely for household
potters created beautiful glazed tiles and ceramics, purposes such as dinnerware, bathroom tiles, and
incorporating intricate floral and geometric designs. sanitary ware. It is also favored for artistic and
 Famous Example: Blue Pottery of Jaipur, characterized decorative purposes.
by its striking blue and white colors, is one of the finest  Factual Example: In Khurja (Uttar Pradesh), a
examples of glazed pottery in India. thriving ceramic industry produces both glazed and
 Jaipur Blue Pottery: unglazed pottery, and the town is sometimes referred
to as the “Ceramics City” of India.
 Introduced in India during the Mughal period, it
flourished under the patronage of Raja Man Singh  Cultural Revival:
I of Jaipur.  In recent years, there has been a revival of traditional
 The use of cobalt blue and other minerals gives it a glazed pottery, with efforts to promote and preserve
unique aesthetic appeal. It remains a thriving art form regional styles like Jaipur Blue Pottery, as well as to
and is popular for decorative tiles, vases, and plates. innovate in contemporary ceramics.

COMPARISON BETWEEN GLAZED AND UNGLAZED POTTERY

Features Glazed Pottery Unglazed Pottery

Surface Finish Smooth, glossy, non-porous Rough, porous

Durability More durable, non-porous Less durable, porous

Usage Ideal for liquids and decorative items Suitable for dry storage, cooling water

Historical Examples Jaipur Blue Pottery, Mughal tiles Harappan terracotta, Chalcolithic figurines

Firing Process Fired twice, with glaze applied Single firing, no glaze applied

Cultural Context Associated with luxury and artistic expression Commonly used for utilitarian purposes

CONCLUSION

Glazed and unglazed pottery represents two distinct traditions craftsmanship and cultural exchanges. Both types continue to
in India’s rich ceramic history. While unglazed pottery has hold cultural significance, with unglazed pottery symbolizing eco-
been associated with rural life and utilitarian uses since the friendly traditions and glazed pottery standing out for its artistic
earliest civilizations, glazed pottery reflects the evolution of refinement.

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