Blue Pottery of Multan and Kashi-Gars

Introduction
Art is a term that describes a varied range of human activities and the product of those activities.
Art covers the creation of images or objects through painting, photography, printmaking,
sculpture and other visual media. To define the term art is a subject of constant contention; many
books and journal articles have been published arguing over the basics of what we mean by the
term art. Theodore Adorno (1969) claimed that, “It is self-evident that nothing concerning art is
self-evident.”

The recent sense of the word art is creative art which means that skill is being used to express
the artist’s creativity or to engage the audience’s aesthetic sensibilities, or to draw the audience
towards consideration of the finer things. Making of Blue pottery is one of the arts of hand
painted pottery by master. Multani Kashi-gari has combination of dark blue and very fine
turquoise with white background. The glaze pottery basically originated in China. It is
said that Changez Khan, after his conquest of China in 2012 A.C brought back with him a
Chinese wife and through the Chinese art, glaze pottery spread to Persia (Iran) and hence
to Multan, Pakistan. When Muhammad-Bin-Qasim conquered his area accompanied with
some Kashigars who knew particularly the Punjab Multan and Sindh, with a repertoire of
their particular design, color schemes, shapes of pottery, vessels and so forth. Multan
now, claims to be the country’s only city with a continuous tradition of handmade blue
pottery. The pottery in clay was first time made with pottery wheel and hand painting was
done by Kashigars. This art become very popular in no time and was being transferred
from generation to generation. Due to interest taken by custodians, the art of kasha was at
the verge of extinction.

In order to revive this art, the heritage art of this area i.e. Kashigari, Punjab small scale
industries corporation established institute of blue pottery development in 1985 to revive
this art of Kashigari by introducing training centers, technical education, and vocational
trainings under the TEVTA authority government of Pakistan. Both male and female are

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now imparting training in the institute but the youth of the area are also producing
sophisticated, beautiful blue pottery with modern touch in design and making new
patterns to make potters more marvelous. In present study, the government institutional
help to established again the industry of blue pottery will be studied. Such government
institutes are also working to enhance the development of blue potter with some
modification in designs and materials. These institutes also give training to the youth to
ensure that this art is transferred to the coming generations. Therefore, in order to revive
this heritage these institutes are playing an important role. Mostly people of this
profession start working in these institutes and provide training to others. Now this art is
again flourishing like the old times with the help of institutes.

Historical Background

In the beginning of Neolithic Period, people started making pottery in around 6000 BC.
They may have begun making pottery as a way of storing grain safely when they started
farming. Probably they had always known how, but just hadn’t done it much, the same
as planting seeds. In the beginning, pottery was made by just pushing a hole into a ball of
clay, or by making a long snake of clay and coiling it up into a pot shape. Many early
pots, meant to be used once and thrown away, are nothing more than a large lump of clay
that someone socked their fist into, the way you might sock your fist into a catcher’s mitt.
These were just lightly fired in a fire of dry weeds. The coiled kind of pot was often fired
in a hotter fire, probably by being put in an open campfire or bonfire [CITATION Pot \t \l 1033
]”.

The history of the art of pottery is as old as the history of mankind. The craft of glazed
pottery has its origin in Persia. “The Chinese had further discovered porcelain and
celadon but without the vibrant blue color the pottery looked dull and lifeless. In 1301
A.D. Abdul Quasim Qasani wrote a book on the art of evolving colors and painting on
pottery. During this period, the Chinese learnt all about Gila-lazwart from Iranians. The
Chinese were prepared to pay the price of gold for this wonderful element. Much later,

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Arab merchants would buy Gila-lazwart from Ajmer in India and sell it in China. A new
name ‘Muslim blue’ was also tagged on. In the 15 th and 16th centuries, Chinese porcelain
was in great demand in Europe. Ship loads of the stuff were regularly dispatched from
China. Seeing this, Iran’s ruler Shah Abbas (1587- 1620) thought of a shrewd scheme. He
invited 300 artists and potters from China. Their leader was Manuhar and they found that
Iranian soil was unsuitable for making porcelain. They along with their Iranian
counterparts found a new alternative and thus were born ‘Blue Pottery’. This title was
conferred by the British. In Iranian language it is known as ‘Sangine’ or ‘Aatike’ and
means ‘made out of stone’ or ‘old fashioned’.
The ties between India and Iran are ancient. Mughals enjoyed an unbroken relationship
with Iran. Humayun took refuge there and Noor Jahan hailed from there. The Sultans of
South India had a deep bond with them. The technique of applying yellow lead oxide in
the tiles of the Golconda Palaces came from Iran. This art crept into Afghanistan and
then to Multan, Lahore, Delhi, and Agra[CITATION Gup11 \p 13 \l 1033 ]”.
The very ancient and historical city of Pakistan, Multan, is well reputed for its unique
handicrafts. Among these handicrafts, the art of painting and blue-pottery have their
special encampment. These old art have become the identity of Multan because of the
painting of blue and turquoise blue color. In spite of sub-continent, in the central Asian
states and in Arab realms, these arts are approved and also praised no doubt, the art of
painting and blue-pottery have their exalted ranks as excellent arts in Islamic way of life.
The blue pottery ranges from surahis or pots of different shapes and sizes for multiple
uses to ashtrays, tiles, flower pots, lamp shades, jars, various accessories or interior items,
etc.
Blue pottery is different from other pottery because it is the only pottery in the world that
does not use clay. The pottery has a distinct appearance. The pottery can be semi‐
translucent or opaque. Originally, it was only done with blue and greenish‐blue colors on
a white base. Lately, however, it has experimented with other colors such as yellow, dark
blue and brown. The conventional floral or arabesque, handmade patterns and the animal
figure patterns are the prominent designs.

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Statement of the Problem
In present research study, the focus is to find out the original old blue pottery which is
diminishing from the society and only some craftsmen are left who know it. These people
are also facing many problems in this profession nowadays. Some people left their
profession while others are in the position of transformation.

The research question for the present study is to find out why people are leaving their
traditional profession and which type of problems are they facing in the new industrial
world. Research will also find out causes of diminishing the traditional skill and govt.
institutional help to promoting blue pottery skills.

Study will also find out the socio-economic position of blue pottery makers, Jaat
Tameem/Taheem caste are working nowadays in Multan city. The study also focuses to
find out root causes of behavior change regarding the development of blue pottery skills.
People are not motivated to carry on their traditional profession anymore and want to
switch from their ancestral profession to a new one.

Objectives of the Study

For the present study, research questions are divided into some themes which are
as under;

1. To understand the process of blue pottery making

2. To find out problems associated with blue pottery
3. To understand the decorative motive of (Kashi-gari)
4. To document the socio-economic background of blue pottery makers

Significance of the study

Study will be helpful for the blue pottery lovers and would be a unique account. It also
includes the socio-economic position of skilled persons who are leaving the profession.
The further development of blue pottery profession into next generation is not an easy

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task because people’s perception about existing art is diverting. Blue pottery making is a
tough job as one has to be focused and careful at all procedural points. Skipping or not
being able to do all parts accordingly may affect the final product. Different big shops,
institutes and peoples who are making blue pottery as a profession will be the part of
present research to find out professional and economic aspects of blue pottery making.

Review of Relevant Literature

In ancient times, pottery was a necessity as well as a luxury. Those were excellent times
for the use of pottery. In today’s world there is pottery all around us but the use of it has
become very rare. In earlier days, it was present in houses in the form of pots, cups,
plates, dishes and also monuments to honor or portray certain gods or important figures
of their time and age. These sources are all kinds of thing that the ancient people have
used.  The art and craftsmanship of making pottery was known around the world since
ancient times.
Art is an expression which can be expressed in many ways like drawing, painting and carving
that provides psychological and mental satisfaction to the artist in different ways.

As Carol R. Ember said, ‘So, art seems to several qualities; it expresses as well as
communications it stimulates the senses, affects emotions, and evokes ideas. It is produced in
culturally patterned ways and styles. It has cultural meaning (Carol, 2005). Art is a great blend of
different qualities, man’s senses evoke him to create art in different ways.

As Barrouw argued, ‘The arts are often interrelated and integrated.’ According to Alexander, ‘To
say that an art object has a style is one thing to define a style is another (Alexander, 1988: 174).

The art has been defined by Carol R. Ember, ‘Art express feelings and ideas from the view point
of the observers or participants. It evokes feelings and ideas on each side which may or may not
be exactly the same and they may be expressed in a variety of ways like drawing, painting,
carving, weaving, body decoration, music, dance and story. An artistic work or performance is
intended to excite the senses, to stir the emotions of the holder or participant. It may produce
feeling of pleasure, awe, repulsion or fair but usually not indifference (Carol, 2003: 455).

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According to D.W.F Hegal, ‘The primary and original need or art is that an idea or thought
generated by the sprit shall be produced by man as his own work and presented by him, just as in
a language there are ideas which man communicates as such and makes intangible to others
(Hegal, 1975: 635).

Peter B. Hammond said, ‘Art for the anthropologists can be partially defined as the formal
product of any activity. Whether it is performance in sound or movement, any combination of
visual, auditory, tactile, olfactory or other sense impression conveyed through a permanent and
impermanent medium (Hammond, 1971: 366).

Art is an activity which can be performed in different ways and projected through print and
electronic media. Milton, James argued, ‘Thus art meet not just one but many basic needs,
psychologically and socially. As an institution it has a multiplicity of functions in society, not
least those of fostering social stability and enriching our culture. Most important, perhaps is its
representation of a secular substitute for religion, developing and spreading values that are
alternatives to prevailing ones, values that may become crucial for social change (Milton, 1970:
15).

In the society, the art is considered as a specific segment and is included in every institution of
the society i.e. religion, culture, and languages etc. Thus the art is a universal activity which
cannot be ignored. It is the part of the result of the attributing meaningful pattern to experience
and imagined its experience, it is primary a matter of perception of order in relations
accompanied by a feeling of rightness in that order not necessarily pleasurable or beautiful but
satisfying some inner recognitions of values (Jermy, 1992: 16).

He again shared that, ‘Art may be defined as the cultural forms that results from creative
processes that manipulate movement, sound, words or materials, aesthetic may be defined way of
thinking about such forms.

The art can be manipulated in different forms depending on the choices and aesthetics. To
describe any art, aesthetic give way to the varieties of art. As argued by Hoebel, ‘Art is any
human activity or product that emphasis from beyond all requirements except those of a
distinctive pleasure that he manufactures and contemplation of forms can give by form is meant

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a perceptible relation of a whole, the distinctive pleasure it gives is here called ‘aesthetic
expression (Hoebel, 1966: 28).

Art is a human activity which does not emphasis for any requirements. It is a distinct pleasure
that gives psychological satisfaction to the artist who perceives his ideas and thoughts according
to his own way through aesthetics expressions. As described by Batson, ‘Art is about grace that
is man’s search for grace. It means grace about native simplicity, it is terms of innocence that
lack of self-conscious, lack of absence of decide, that someone is graceful but someone is not
conscious that he is graceful, implication about stillness also in terms of achievement the
meaning shows at artist is basically maker, master of technique. Art is also an imaginary thing; it
exists in imagination and dies with imagination (Batson, 1958: 702).

Art is an expression which is based on imagination; it is linked with grace which is not
concerned with consciousness. Man just expresses his feeling without any requirements.
According to Kessing, ‘In a classical study titled primitive art (1927), postulated that man has an
inborn impulse to shape creativity but that particular form through which such impulse finds
outlet is culturally determined. Art, he says, arises from two sources; technical as soon as these
assume fixed forms. The more energetic that control of form over uncoordinated movement, the
more aesthetic is the result.

According to Roger, ‘Art is a symbolic currency, is an important means of the instinctive life of
man, but art as created by the artist is in violent, revolt against the instinctive life, since it is an
expression of the reflective and fully conscious life. It is natural enough, then that before it can
be used by the instinctive life; it must deprived by Travesty of its too violent assertion of its own
reality. Travesty is necessary at first to make it assailable, but in the end long familiarity may rob
even original works of art their insistence, so that finally even the great master pieces may
become the most cherished symbols of the lord of the instinctive life-may, as in fact they
frequently do, become the property of milliners (Roger, 1937: 66).

Again Hegal argued that the aesthetic means, more precisely, the science of sensation, of feeling.
In this sense it had its origin as new science, or rather as something which is for the first was to
become a philosophical discipline (Hegal, 1975: 25).

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Roger defined the art as, ‘Art is an expression and a stimulus of this imaginative life, which is
separated from the actual life by the absence of responsive action. Now this responsive implies in
actual life normal responsibility. In art, we have no such moral responsibility, it presents a life
free from the binding necessities of our actual existence (Roger, 1973: 37).

Art is a technique which is linked with imaginative life and it is beyond the moral
responsibilities. Actually it is the type of expression in which man gives existence to his feelings
in different ways. The imaginative life of people has very different levels, and these levels do not
always correspond with the general level of the morality of actual life.

Art is beyond moral and economic activity, it is just concerned with the artist that how he
expresses his ideas and thoughts although they are not matched with moral or economic
activities. Mental construction made by artistic view with a purpose is not truly beautiful. They
are practiced experiences rather than aesthetic experiences. Involving selection of means and
ends, they are in a sense of artificial movements, not spontaneous outpourings in the forms of
imagination. Art as a creative activity, has no ends and involves no voluntary selection, even of
contexts. The artist has to wait for his expression, if he has the genius, he cannot choose it. It
follows that no moral judgment of praise or blame can be passed on him or of good or bad,
useful or useless on his works. The sphere of art is independent if all his considerations of
morality.

According to Croce’s theory of beauty and expression, beauty is essentially expression. It is not,
as common sense assumes, quality possessed by objects such as mountain, pictures, statues,
poems and songs. It is rather a quality of the experience of the man, who pronounces these
objects to be beautiful. This quality is at basis the mental activity of expression.

Ashley Aragon says that, about 700 A.D. in China, plain white porcelain pottery first
began to appear, like cups and these bowls. Porcelain is a special kind of pottery; Chinese
potters working under the Tang Dynasty discovered that if you used a special kind
of clay to make your pottery, it would have special qualities. The Chinese potters didn't
know it yet, but what made this clay special was that it had a lot of kaolin in it. In
addition, the Chinese potters fired this clay at very high temperatures, so hot that some of
the clay melted and became like glass, shiny and translucent[CITATION Car14 \p 45 \l 1033 ].
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The existence of pottery is there since the ancient times and Ashley Aragon says in his
research paper that in 700 A.D. the plain Porcelain began to made in China in which cups
and bowls were also made it was invented by Tang Dynasty and Chinese pottery related
to Islamic pottery which exists in our country and it is related with Chinese pottery.
Ashley Aragon also discusses Islamic pottery that;
It’s easy to distinguish Islamic pottery from the pottery that came before, because it was
just at the time of the Arab conquests about 600-700 A.D. that potters began to use metal-
based glazes on their pots. This way of glazing pottery had been invented in West Asia
during the Roman Empire, but Roman potters didn’t use it very much. Chinese again
became fashionable in West Asia, and a lot of West Asian pottery began to copy Chinese
colors and patterns[CITATION Car141 \p 55 \l 1033 ].
At present most of the designs of China pottery is also used in Multan. As Robert
Fournier discusses Athens and Greece pottery work and says that;
It had become established by Adolf in 1893. Back in 1973 we had found pottery in an old
work shop with broken down kilns in a place called Metapontum that proves some works
were made in Italy instead of in Athens, Greece was the original thoughts of that tine.
Just about all forms of pottery used in Greece were made in south Italy but south Italian
potters made little changes to their works to produce a different look or idea. For
example, Aqulian potters took Volute Krater, a form of Greek pottery, they basically
made the pottery better, more suitable and to make them more elaborate and easy on the
eyes[CITATION Fou \p 42 \l 1033 ].
Surrey also discussed the culture (homogeneous character) of pottery which is not remain
the same and shared that; ‘the pottery of this province is remarkably homogeneous in
character, and we are warranted in assigning it to a single period of culture, and, in
concluding, that the people who developed and practiced the art belonged to a group of
closely-allied tribes are very intellectual in their skills. We can also state without fear of
precipitating a controversy that the people who made this pottery were ‘mound-builders.’

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At the same time, they were not necessarily of the same people as the builders of the
mounds of Wisconsin, Ohio, or Georgia or contemporaneous with them [CITATION Sur06 \p
68 \l 1033 ]. Some people used the pottery of that time at a very small scale and some

people used according to their needs.

Designs are transforming when they shift one to other place because of environment and
William says that; the relations of the various articles of pottery to the bodies with which
they were associated seem to be quite varied. The position of each vessel was determined
by its contents, by its symbolic use, or by the pleasure of the depositor. Uniformity
cannot be expected in this more than in other features of burial. In other sections of the
country the pieces of pottery are said to have been broken before final Inhumation took
place, but such was certainly not the practice in this province[CITATION Wil10 \p 75 \l 1033 ].
The relationships of pottery of different countries are different according to the climate
and storage things of the country. The pottery within same country also varies according
to the environment and use of that vessel.
The pottery is made with the combinations of different pottery and the people who are
making like this its practice is very less and William also dicusses about Upper
Mississippi region pottery and says that; Most of the pottery of the Upper Mississippi
region belongs to a distinct family. It has never been as abundant as the pottery of the
more southern sections of the country and is not well represented in our museums. There
are only a few pieces in the Davenport collection and these are all in a more or less
fragmentary state. A majority from a mound near the city of Davenport, but a limited
number came from Wisconsin [CITATION Wil10 \p 80 \l 1033 ].
William also says in his book in the territory of Upper Mississippi region the pottery is
made which is different from all surroundings and other nearby areas which were used
pottery at that time. The whole territory to the upper region used only one family based
made pottery. The manufactures of the upper Mississippi pottery art was not allocated
portion in museum according to their work.

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Hamilton discusses about Zuñi tribe pottery work and says; ‘A more reliable example is
furnished by the farming pueblos of Zuñi. At fifteen miles east of Zuñi tribes, clays of
several varieties and color minerals are abundant. The finest pottery of the tribe is made
there in great quantity, while, notwithstanding the facilities for transportation which the
Zuñis now possess, at the opposite farming to a nearby town where clay is scarce and of
poor texture removed, the pottery, although somewhat abundant, is of miserable quality
and of bad shape[CITATION Fra05 \p 44 \l 1033 ]. Writer was talking about the quality of Zuñi
tribe’s pottery, which was very famous because people there used special clay and kept
the good temperature. The people here are the big traders of pottery and therefore the
pottery is made here in a large scale and poor people are very happy there due to this
situation.
Ronald also disusses the production growth of pottery in Ráquira city and says that the
growth in production over the last two decades has changed the world of Ráquira pottery
from a traditional rural craft to a twenty century production oriented business with the
accompanying problem of urban market, intermediaries, & large volume competitors.
When asked to identify the problem they faced in the 1990’s many potters mentioned
typical techniques problem making but other the new circumstances of pottery as a
business[CITATION Ron \p 62 \l 1033 ]. The protection of pottery is very rapidly increasing.
As it is was mentioned in other works regarding the development of pottery in territory of
Ráquira in 1990 and their pottery profession development.
Clifford disusses pottery of Multan and says that; Multani Blue pottery was mentioned by
the writers of the 19th century, such as Bird Wood and Baden-Powell. It is mentioned in
present day guidebooks of Pakistani crafts, such as the work of Mirza (1964). Wares from
Multan are now sold in many shops throughout Pakistan, which cater to the tourist
trade[CITATION Owe76 \p 95 \l 1033 ] . He stated the work of blue pottery in Multan, Pakistan
and tries to create a link between other societies which are making blue pottery and
promoting it. But the situations nowadaya in Multan is very critical as people are not in
the favor to carry on their traditional skilled work. They are shifting to other works like
woods business and clay pottery business.

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Clifford further disusses pottery of Multan and its designs and colours and says that,
within the work known as ‘kdshi-kdri’ there are three classes of decoration, divided on
the basis of the type of floral motif. These classes are bel, vines; pauda, plants and
flowers; and darakht, trees. Specific elements of decoration are further sub-divided. The
three traditional colors of Multan Blue pottery are cobalt blue (lajvard), turquoise (sabzi),
and white (citta). A fourth color which also commonly used; this is a pale cobalt blue,
which can sometimes appear very similar to the turquoise color [CITATION Owe76 \p 42 \l
1033 ]. Clifford also discusses the color combination with further modification of

Pakistani perspective. He analyzed that such type of color were also used in pottery of
Egypt and some European countries.
Shirazi also disucsses Pakistan’s blue pottery and says that blue pottery of Multan is
displayed in prestigious president’s house, Prime Minister’s Secretariat, Culture Missions
of Pakistan in different countries and British Museum London too. Foreign tourists and
private collectors love to buy vases vessels planters, cookie jars and table lamps with
hand painted in comfortable designs of such as China Kashi, Special Kashi and Bamboo
Shoot these are the names of designs which were presented on different vessels
mentioned. World Bank team has also visited the Institute which was now facilitating and
provides help in the development of blue pottery in Pakistan[CITATION Shi07 \p 5 \l 1033 ].
Shirazi additionally describes the industrial work in Pakistan and says that; in 1985,
Punjab Small Industries Corporation established an Institute of Blue Pottery
Development to save the art from extinction. It further aimed at providing training
advisory technical and processing facilities to the private sector in carrying out research
and development in the hereditary art of Multan. The institute has trained many artists
and developed over 400 designs of pottery and decoration ware. The Institute produces
pieces that are sold in the market. Some new ceramic units have been set up in Multan
through advisory service and technical assistance of the institute [CITATION Shi07 \p 6 \l
1033 ].

Lutz links Multan's pottery to new developed pottery of Egypt and says that; ‘pottery
decorated in a distinctive pale blue color was in vogue in New Kingdom Egypt,

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particularly during the reigns of Amenhotep III and Ramesses II. The pale blue is due to
cobalt that may have been derived from a mineral mined at an oasis [CITATION Dia10 \p 4 \l
1033 ]. In these days recently been invented the pottery of 400,000 years old and this

pottery alone with blue and white color had been used and these are much related to blue
pottery of Multan.

Research Methodology

Methodology is an important aspect of any research. It is the combination of tools and

techniques, which are used to collect information for the research purpose. Primary and
secondary data have been collected from the traditional blue pottery makers and different
institutions which are working for the development of blue pottery art. Anthropological
research is famous for its varied number of research tools that is why it is known as
multi-instrumental research.

Rapport Building

The important step taken on the onset of research that lasts long and researcher makes effort to
have good interaction with community members in order to conduct research with possible ease.
According to Wax; ‘Indeed the process of involvement is circular and cumulative; the less
anxious a field worker is the better he works and as he/she becomes aware that he/she is doing
good work he/she becomes less anxious. Usually the essential factor in this transformation is
assistance and supports the reciprocal social response-given to him by some of his host (selected
community).

Rapport building requires patience on the onset being aware of the researcher’s position in the
community. Such techniques render researcher the sense of familiarity which later help
researcher to carry the activities out efficiently, directly requiring the researcher's behavior of
adjustment which assists them to overcome the inner anxieties. It depends on the fact that how
much a researcher allows their energies, expressions and emotions to fuse amongst community
members in order to have easiness in work without realizing himself the sense of unfamiliarity as
well as community too.

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Participant Observation

According to Bernard, ‘Participation observation, or ethnographic fieldwork, is the

foundation of cultural anthropology. It involves getting closer to people and making them
feel comfortable enough with your presence that you can observe and record information
about their lives[CITATION Ber40 \p 342 \l 1033 ].

He again narrates about participant observation that it involves establishing rapport in a

new community; learning to act so that people go about their business as usual when
researcher shows up; and removing their selves every day from cultural immersion so
researcher can intellectualize what they have learned, put it into perspective, and write
about it convincingly[CITATION Ber40 \p 346 \l 1033 ]”.

Key Informants

According to Russell, key informants are those people who understand the information
you need and who are glad to give it to you or get it for you.”[CITATION Ber40 \p 376 \l 1033 ]

Sampling

Sampling is the process of selection, from whole population or universe; researcher have to
select a specific number of respondents with the help of probability or non-probability sampling.
It is the important methods which are used in conducting an anthropological research. A sample
is the representative of a larger whole; which have all characteristics of the selected universe.’

Cluster Sampling

“Cluster sampling is based on the fact that people act out their lives in more or less
natural groups, or ‘clusters’. They live in geographic areas (like communities, precincts,
states and so on), and they participate in the activities of institutions (like schools,
churches, brotherhoods, credits unions etc.). Even if there is no list of people whom you
want to study, you can sample areas or institutions and locate a sample within that
cluster.”[CITATION Ber40 \p 157 \l 1033 ]

Snowball sampling
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“Snowball sampling is very useful, however, in studies of social networks, where the
object is to find out who people know and how they know each other. It is also useful in
studies of small, bounded, or difficult to find population, like members of elite groups,
women who have been recently divorced, urban migrants from a particular tribal group,
and so on[CITATION Ber40 \p 193 \l 1033 ]”.

Selection of Respondents

In the present research two types (one from probability and one from non-probability) sampling
methods will be used. First of all the whole area which would be the proposed universe of the
research will be divided into seven clusters. One cluster would be selected from all on the basis
of purposive sampling because it is directly linked to the research topic. When dealing with
people, it can be defined as a set of respondents (people) selected from a larger population for the
purpose of a survey. A population is a group of individual persons, objects, or items from which
samples are taken for measurement. Interviewees will be selected through snowball sampling
from different spheres such as, from institutes, shops, socialized and general native’s opinion
regarding the profession and other ethnographic aspects of topic; one respondent refers to
another which were suitable for present topic.

Census Survey

Census forms will be utilized to find out the statistical information regarding the monthly
income, consumption, type of arts which each shop produce from shopkeepers and
pottery makers.

The toll will be very helpful in present research for collection of numeric information.
Socio economic survey form is an important tool for collection of reliable data in numeric
format. Census survey forms will enable the researcher to know more about each
household (skilled people). It consists of the information of the names of person as well
as his family members according to age, monthly income, educational status of family
and his too, occupation if he has any, livestock if he has and the type of family he lives
in.

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In-depth Interview/s

Interview is a conversion with purpose specifically to get detailed and in-depth

information. The interviewing is an important tool used in fieldwork for in-depth
knowledge of the respondent. The anthropological research involves a variety of
interviews.

How the process of blue pottery takes place, how they lived their lives and some
questions would be included about the livelihood patterns in interview schedule. About
vast range of interview techniques and preparing interview schedule, researcher will use
open ended questionnaires and censes survey forms for in-depth interviews because of
the flexibility of the topic. This positive aspect of the interview will help to get more
detailed information through a freedom of expression by the respondent.

Focus group discussion (FGD)

This tool will help to understand the problems faced by blue pottery makers. Institutional
help which were given to blue pottery for its development and, business and expansion of
business in other cities will be the major themes of group discussions.

One discussion will be conducted from shopkeepers consisting of seven shopkeepers;

another from institutional instructors and the number of instructors will be six. A third
discussion will be conducted from natives and the last discussion will include laborers
who are working there in workshops. All discussions will be conducted from
homogenous groups but the numbers of group members might be different.

Case study

It is another technique which is used to include personal experiences and other relevant
events which can be helpful for the development of blue pottery and its skills. Case
studies are also very important in social research to define a specific problem. The case
study is the detailed information of the problem, which explain the problem and highlight
each and every aspect of the problem. In present research four case studies were

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conducted and included in the process on report writing in relevant portions. The
methods of including case studies are very productive because it makes the whole
document more native and helpful in giving strength to the research themes.

Daily diary

Daily diary is record keeping of all day to day activities happening around during the field and
the researcher’s own identity and his reflecting emotions and perception building. Being
researcher and individual results in duality during field as to how it influenced the work, was the
significant part of field research in anthropology. Daily diary later on, provides source for
understanding mutual interplay between attic and Emic approaches, which is important part of
literature in anthropology.

Photography

Modern research tools are very helpful to enrich collected information with visualizing
events. Photography is a visual representation of reality. In present research this tool will
be used during the research to keep the record of observation about the community. The
visual images would give more clarity about research topic, about the people, area and
their way of living. It is said that a picture is more powerful than the thousand words.
This tool is very helpful and gathering lot of information.

Voice recording

Another modern tool used during data collection is the voice recorder. Using voice
recorder for interviews is very important. Through voice recording all the important
information is kept safe. All in-depth interviews will be recorded and captured.

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