Terracotta Craft of West Bengal

Terracotta—fired clay characteristically marked by reddish-brown hues—has long been employed in South Asia for architectural ornamentation and the modelling of ritual and domestic objects. Among the earliest material expressions of human creativity, terracotta traditions remain widely practised across several districts of West Bengal, including Bankura, Uttar Dinajpur, Birbhum, Purulia, and North 24 Parganas.

In Panchmura, in Bankura, artisans produce ritual forms such as horses, elephants, Manasa Chali (ceremonial pitchers associated with Manasa, the snake goddess), and images of Shashti, the guardian deity of children. The development of this craft is closely linked to the spread of Manasa worship, in which devotees vow to offer terracotta animals to the deity upon the fulfilment of wishes. These votive practices continue in rural communities, where clay horses are dedicated to village deities as enduring markers of faith.

The stylised terracotta horse of Bankura has, over time, acquired national and international recognition and is widely regarded as an emblem of the All India Handicrafts Board. Formed from locally sourced clay, sun-dried, and fired in traditional mud kilns, these objects are distinguished by their restrained palette and robust, expressive forms.

Terracotta architecture in the region reached particular prominence under the patronage of the Malla kings, who commissioned a series of terracotta temples in and around Bishnupur. These temples functioned both as sacred spaces and as fortified shelters, combining ornate surface decoration with durable structural design. Craftspeople from Panchmura were brought to execute this architectural programme, laying the foundations of what came to be known as the Bishnupur terracotta tradition. Together, these ritual and architectural practices underscore the enduring cultural, religious, and aesthetic significance of terracotta in the region.

Panchmura, located in Bankura, has emerged as the principal centre of terracotta production in the region and has gradually developed into a significant cultural tourism destination. Approximately eighty artisan households practise this craft, most of whom belong to the Kumbhakar community, traditionally associated with pottery. To strengthen collective organisation and market access, craftspeople established the Panchmura Mritshilpi Samabay Samity in 1959, which continues to play an active role in providing marketing and institutional support to local artisans.

Beyond Panchmura, terracotta production is sustained through several notable clusters across West Bengal. Kunoor, along with Subhashganj in Uttar Dinajpur, constitutes a vibrant centre with nearly three hundred practising artisans. Smaller yet active clusters are found in Kakutiya in Birbhum, while Chaltaberia in North 24 Parganas represents another important concentration of terracotta makers. Together, these clusters reflect the wide geographical spread and continuing vitality of the tradition.

The production process is marked by a gendered division of labour. Men are generally responsible for preparing the clay and operating the kilns, while women play a central role in surface treatment, ornamentation, and finishing of the terracotta objects.

Institutional support for the craft in Panchmura has been further strengthened through the establishment of a folk art centre by the West Bengal Khadi and Village Industries Board. The village also hosts an annual folk festival, attracting visitors throughout the year. These initiatives have contributed to Panchmura’s recognition as a distinctive cultural tourism destination within the state, where artisanal production, heritage, and local livelihoods intersect.

• Artist at Panchmura – 296
• Artist at Kunoor – 171
• Artist at Subhashganj – 154
• Artist at Chaltaberia – 158
• Artist at Kakutia – 38

Several master artisans have played a decisive role in shaping and sustaining the terracotta tradition of Bankura and its associated clusters. Rashbehari Kumbhakar, a National Award recipient, is widely regarded as a key figure in refining and popularising the contemporary form of the iconic Bankura horse. His contribution established a design vocabulary that continues to influence production in Panchmura.Among other distinguished practitioners, Baul Kumbhakar, a State Awardee, has represented Panchmura at international forums, including exhibitions and cultural programmes in Korea, Honolulu, Russia, and the United Kingdom. Jagannath Kumbhakar has participated in cultural exchanges in France, while Sunil Baran Kumbhakar and Kanchan Kumbhakar are also recognised as State Award recipients.The continuity of the tradition is further evident in the work of a younger generation of skilled artisans, including Tapas Kumbhakar, Krishna Kumbhakar, Jagannath Kumbhakar, and Alok Kumbhakar, whose craftsmanship reflects both technical proficiency and adherence to established aesthetic norms.Other terracotta clusters across the state are similarly anchored by accomplished practitioners. In Kunoor, leading artists include Dulal Roy and Hrishikesh Roy, while Subrata Pal and Pankaj Pal are prominent figures in Subhashganj. In Kakutiya, Kanti Pal is recognised as a leading practitioner. Chaltaberia in North 24 Parganas is home to numerous renowned terracotta artists, collectively contributing to the strength and diversity of the region’s craft landscape.

PROCESS

The production process begins with the preparation and refinement of clay to make it suitable for wheel work. Raw clay is first broken down and cleaned to remove silt, sand, and pebbles. This is achieved by crushing the clay into fine particles and refining it either manually or with the help of sieves to eliminate coarse impurities. Once purified, the clay is blended with measured quantities of fine river sand and water to achieve the desired consistency.

When working with small quantities, mixing is carried out by hand; larger volumes are typically kneaded using the feet to ensure uniformity. The prepared clay is then shaped on the potter’s wheel to form basic units such as cones and cylinders, which serve as foundational elements for more complex forms.

Drying is a critical stage in the process. Wheel-thrown components are left to dry naturally for one to two days until they attain sufficient firmness. These semi-dried elements are then assembled by hand to create the basic structure of the object. Decorative motifs are subsequently applied to the leather-hard surface using fingers and bamboo tools locally known as chhiyari.

After brief sun-drying, perforations are carefully made at appropriate points on the form. This step is undertaken before complete drying to ensure even moisture loss from both the interior and exterior surfaces, thereby preventing cracks caused by differential drying. The objects are then allowed to dry fully under natural conditions.

Prior to firing, two coats of a clay-based colour derived from bonop are applied, a distinctive feature of this tradition in which clay itself functions as the colouring medium. The final stage involves firing the finished pieces in a kiln at temperatures ranging between 700 and 750 degrees Celsius for approximately four to five hours, resulting in durable terracotta objects with their characteristic earthy tones.

Traditionally, terracotta in this region was primarily employed for the production of ritual objects such as horses, elephants, Manasa Chali, and architectural or decorative elements for temples. In recent decades, however, the scope of terracotta production has expanded considerably in response to changing markets and design interventions.

Contemporary artisans now produce a wide range of objects that serve both decorative and functional purposes. These include household and lifestyle products such as lampshades, flower vases, pen stands, ashtrays, stools, conch-shaped objects, clay pots, plates, and other utility wares. Alongside these functional forms, artisans continue to create purely decorative items, including wall hangings and a variety of figurative idols.

In addition, terracotta jewellery has emerged as a popular category, reflecting both experimentation with scale and form and the adaptability of the material to new aesthetic and consumer demands. Together, these developments demonstrate the evolving nature of the terracotta tradition, where inherited skills are being reinterpreted to sustain livelihoods while maintaining continuity with established cultural practices.