From nawabs to modern masters: Tracing Madras’ ceramic evolution

What secrets lie buried in the soil beneath our feet? From lost civilisations to untold tales of ancient rituals, even the darkest mysteries of hidden crimes, the soil holds countless stories waiting to be discovered. The exhibition, Clay by Ashvita’s delves deep into the clay of Madras, unearthing a forgotten chapter of the city’s past through the artistry of ceramics.

The idea for the exhibition emerged during an inventory review at Ashvita’s. As the team sifted through their collection, they stumbled upon a significant number of ceramics, some of which bore a striking resemblance to the works of modern masters. “We realised we had a treasure trove of ceramics collected over the years by our director, Ashvin E Rajagopalan,” shares the curator, Nafeesa Kaderkutty. “What began as a simple inventory exercise turned into an exciting journey into Madras’ artistic past.”

The exhibition also sheds light on the challenges of preserving and understanding this heritage. “Ceramics are durable, but uncovering their history required travelling to places like Vridhachalam to explore ceramic clusters and speaking with artists who were part of these institutions,” the curator recounts. The exhibition focuses on ceramics from the 1960s, a period when KCS Paniker’s visionary leadership at the Government College of Arts and Crafts redefined the boundaries between art and craft.

It also extends its lens to include ceramic works from as far back as the 1700s, with ceramics that were patroned by nawabs of Arcot, presenting a comprehensive narrative of the medium’s evolution in the region. At the heart of the exhibition are the works of S Kanniappan, a pivotal figure in Madras’ ceramic story. His contributions went beyond creating art—he shaped institutions like the Cholamandal Artists’ Village, Tacel Art Pottery, and Claytoys, leaving an indelible mark on the ceramic industry. “Kanniappan’s archival materials were a goldmine,” she says.

“We even found scribbled recipes and formulas for ceramics that showcase his deep understanding of the craft.” The discoveries made during the research phase challenge traditional narratives of Madras’ modern art history. Paniker’s emphasis on integrating craft into the curriculum at the Government College and Cholamandal was groundbreaking. “This approach not only encouraged artists to experiment with ceramics but also provided them with a sustainable income,” notes the curator.

Archival material reveals that these works were widely exhibited and sold, with government institutions and platforms like the Victoria Technical Institute playing a significant role in their dissemination. “It’s quite possible that your grandmother’s cupboard holds one of these ceramics,” Nafeesa adds with a smile. Visitors to Clay can expect an immersive experience that educates and inspires. The exhibition layout has been designed to guide viewers through the evolution of Madras’ ceramic industry, offering insights into the lives and works of its pioneering artists. “We hope people walk away with a deeper appreciation for the history of modern art in Madras and the immense contributions of its artists,” says Nafeesa.

The exhibit houses many astonishing facts for us to stumble upon and be mindblown, one of which flabbergasted us the most was that, Parryware Ceramics was initially involved with manufacturing and exporting fertilisers. They started making the iconic ceramic jars, the ones we find in the pantry of our kitchen filled to the brim with pickles, as a solution to minimise hassle in exporting their fertilisers overseas. They slowly segued into other ceramic wares. Through Clay, Ashvita’s not only uncovers a forgotten history but also underscores the importance of preserving Madras’ cultural legacy. By spotlighting artists like Kanniappan and Paniker and institutions that shaped the ceramic industry, the exhibition ensures that their contributions are remembered and celebrated.

Free entry. On till February 28. From 11 am to 7 pm. At Ashvita’s, Mylapore.