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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. [4] Thus it has great utilitarian as well as aesthetic significance.
A small manufacturing cluster of fritware exists around Jaipur, Rajasthan in India, where it is known as 'Blue Pottery' due its most popular glaze. The Blue Pottery of Jaipur technique may have arrived in India with the Mughals, [18] with production in Jaipur dating to at least as early as the 17th century. [19] [20]
He revived the art of blue pottery, with the help of patrons such as Kamladevi Chattopadhyay and Rajmata Gayatri Devi. He learnt all the secrets of the nearly extinct art as it had been perfected in Jaipur in the 19th century, and made many changes to make it a modern practice. His hard work helped re-establish an entire tradition.
The pottery was made of semi-porcellanous clay with cobalt-blue floral ornamentation on a white or copper-blue base. In the course of time, many experimental designs like mythological figures, hunting scenes, Amber Fort, and Rajput havelis found a place in the pieces exhibited in the collection that housed both decorative and functional pieces.
In 1991 the Delhi Blue Pottery Trust was founded by him to further develop the art. [6] A documentary film "The Lotus and the Swan" was made about his life by Nirmal Chander and presented at the Dharamshala International Film Festival. [7] He died in 1995 at the age of 99. [8]
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Not only is the following unsupported, but seems unlikely (as anyone trying to use Fuller's Earth would know): The use of blue glaze on pottery made from Multani mitti, or Fuller’s Earth ThanxTheriac 16:01, 22 February 2007 (UTC) ````
Common motifs in Sultanabad ware include stylized blue and green foliage, pheasants or other birds, hares, deer. Mongol figures (often wearing feather caps) are rather more rare. The use of pseudo-inscriptions around the rims of the vessels and the Mongolian decorative themes, hint at the fact that the buyers of those wares were Turco-Mongolians.