Hari Potter

Magic creeps up on you slowly as you walk through the village near Madurai called Vilachery. People who asked us to visit this place told us that it was a potter’s village. Initially that conjured up images of potter’s wheels, and ranks of pots and jugs. Then, slowly, as I began to realize that Tamil visual culture is steeped in clay images, a vague other image started taking shape in my mind. Sathiamoorthy parked the car in a widening of the dirt road through the village, and we started walking. The first indication that something sparkled in the air was the door in the featured photo. Headless angels and a madonna with a hidden face? “The game is afoot,” I told The Family.

I need not have bothered. She’d already found a workshop behind blue doors. “Who’s next?”, she asked. We peered through the door. Nobody was home. The whole row of houses here had workshops attached to them. We walked on, peering at courtyards piled with large and small statues. In a very real sense, this was the heart of Tamil culture, at least its visual expression. I was glad we had decided to come here.

In another lane in the village we came to the workshops of those who use clay. In a little opening around which two of these workshops clustered, we found a smoking heap of straw. In the straw were many different kinds of figurines, but several of each type. Again, economics dictated that multiple copies of each be made.

This row of workshops seemed to specialize in moulded plaster. I guess the ability to make many copies with molds is way to make a steady income. I peered into a workshop and saw a whole battalion of the figures that you see in the photo above. A woman sat near them and was hand-painting them one by one. She had several day’s worth of work ahead of her, I guessed.

I looked through an open door and found a workshop of a slightly different kind. Two large Ganesh sat here. They were clearly individually crafted, since their postures were slightly different. The master spoke only Tamil, but with Sathiamoorthy as an interlocutor I figured that a framework is built first in bamboo and straw, and then clay is applied over it. Similar techniques are in use everywhere in India.

This was a two storied house. I’d assumed that the ground floor was the workshop and the upper floor was where the master and his family lived. As I wandered past the blue Ganesh, I saw the marvelous sight which you can see in the photo above: a large clay statue of Ganesh in a kitchen. Where is the mouse, I wondered. Has it wandered off into the kitchen?

Even though the master worked on such large pieces (individually commissioned) the workshop did not disdain the plaster figures that others made. In one corner of the workshop there was a company of figures, made up of small platoons of several different kinds. The history of globalization since the 16th century can be seen in these figures: they bring together influences from India, Europe and China.