PROJECT REPORT

ON
TOURISM PERSPECTIVES OF POTTERY CULTURE IN
BHAKTAPUR

Submitted By:

Krishnaman Shakya

BTTM 7th Semester

TU REG. NO: 7-2-31-1099-2017
Roll no: 2554/17
Public Youth Campus (PYC)

Project Work Report

Submitted To:

Faculty of Management

Tribhuvan University

In Partial Fulfillment of the Requirements for the Degree of

Bachelor of Travel and Tourism Management (BTTM)

Kathmandu, Nepal

July, 2022
 DECLARATION

I, Krishnaman Shakya, hereby declare that the project report entitles “Tourism Perspectives
of Pottery Culture in Bhaktapur”, is my original work and all other sources of information
used are duly acknowledged. I have not submitted it or any of its part for any other university
for any academic purpose.

Krishnaman Shakya

BTTM (Public Youth Campus)

TU Regd. No.7-2-31-1099-2017

July, 2022

I
 RECOMMENDATION
This is to certify that the project work assignment report

Submitted by:

Krishnaman Shakya

BTTM 7th Semester

TU REG. NO: 7-2-31-1099-2017

Exam Roll No: 2554/17

Entitled

“Tourism Perspectives of Pottery Culture in Bhaktapur”

Has been prepared and approved by this department

This project work assignment report is forwarded for examination

Date: July, 2022

Raja Ram Adhikari Pramod Kumar Shrestha Bala Ram Thapa

Supervisor BTTM Program Director Campus Chief

II
 ACKNOWLEDGEMENT
This dissertation entitled “Tourism Perspectives of Pottery Culture in Bhaktapur” has been
approved by the college for partial fulfillment of requirement of Bachelor of Travel and
Tourism Management (BTTM) under Tribhuvan University (TU).

Firstly, I would like to thank Public Youth Campus and its faculty members for providing me
such a great opportunity for preparing this dissertation. I do hereby express my sincere gratitude
to my supervisor Mr. Raja Ram Adhikari for his valuable advice and precious guidance for
completing this dissertation in given time frame.

Moreover, I would like to express my sincere gratitude to all the local people and the visitors
of Bhaktapur Municipality, Madhyapur Thimi Municipality, District Development Committee
(DDC), Bhaktapur Tourism Development Committee (BTDC), Ekikrit Hakujya Prajapati
Samaj, Prajapati Samaj- Thimi, Rastriya Prajapati Samaj, Tourism Youth Society ( ToYoS),
Bhaktapur Handicraft Association (BHA), etc. for providing valuable time and suggestion for
preparation of the project.

Further, yet importantly, sense of respect goes to my grandmother Man Kumari Banda, my
father Man Bahadur Banda, my mother Rabita Maya Shakya, my brother Samir Shakya
and my sister in-law Pragati Shakya for their strong support economically as well as for
regular encouragement in every step to make me in present stage.

I am equally obliged to Purna Shova Maharjan, Suman Poudel, Sajeena Maharjan and
Dinesh Singh who helped me out during the collection of data without whom this report could
ever get its final touch.

Last but not the least, I express my profound gratitude to my parents and friends whose moral
support and inspiration contributed greatly for the successful completion of my dissertation.

Krishnaman Shakya

BTTM (Public Youth Campus)

July, 2022

TU Regd. No.7-2-31-1099-2017

III
 TABLE OF CONTENTS
DECLARATION...................................................................................................................... I

RECOMMENDATION .......................................................................................................... II

ACKNOWLEDGEMENT ..................................................................................................... III

TABLE OF CONTENTS...…..……………………………………………………………..IV

LIST OF TABLES .................................................................................................................VI

LIST OF FIGURES ............................................................................................................. VII

ABSTRACT ......................................................................................................................... VIII

ABBREVIATION ..................................................................................................................IX

CHAPTER: I ............................................................................................................................ 1

INTRODUCTION.................................................................................................................... 1

1.1 Background of the Study ............................................................................................. 1

1.1.1 Pottery in Nepal ................................................................................................... 3

1.1.2 History.................................................................................................................. 4

1.1.3 History of Pottery in Bhaktapur ........................................................................... 6

1.1.4 Techniques of Making Pottery ............................................................................. 8

1.2 Objectives of the Study ............................................................................................. 10

1.2.1 General Objectives ............................................................................................. 10

1.2.2 Specific Objectives: ........................................................................................... 10

1.3 Signification of the Study.......................................................................................... 10

1.4 Limitation of Study ................................................................................................... 11

1.5 Research Methodology.............................................................................................. 11

1.5.1 Data Collection Method ..................................................................................... 11

1.5.2 Data Analysis Method........................................................................................ 12

CHAPTER: II......................................................................................................................... 13

REVIEW OF LITERATURE ............................................................................................... 13

2.1 Conceptual Framework ............................................................................................. 13

IV
 2.1.1 Importance of Pottery ........................................................................................ 17

2.1.2 Historical ............................................................................................................ 17

2.1.3 Cultural .............................................................................................................. 17

2.1.4 Religious ............................................................................................................ 18

2.1.5 Social.................................................................................................................. 18

2.1.6 Economical ........................................................................................................ 18

2.1.7 Health ................................................................................................................. 19

CHAPTER: III ....................................................................................................................... 20

DATA ANALYSIS, PRESENTATION AND FINDINGS ................................................. 20

3.1 Data Analysis and Presentation ................................................................................. 20

3.1.1 Analysis of Primary Data ................................................................................... 21

3.2 Findings ..................................................................................................................... 29

CHAPTER: IV ....................................................................................................................... 31

SUMMARY, CONCLUSION AND RECOMMENDATION ............................................ 31

5.1 Summary ................................................................................................................... 31

5.2 Conclusion................................................................................................................. 32

5.3 Recommendation ....................................................................................................... 33

BIBLIOGRAPHY .................................................................................................................. 35

V
 LIST OF TABLES
Table 1: No. of Respondents by gender ................................................................................... 21
Table 2: Visitor’s general profile ............................................................................................. 21
Table 3: Visitor’s age group .................................................................................................... 22
Table 4: No. of visitors, heard about pottery culture of Bhaktapur ......................................... 23
Table 5: No. of visitors prefer buying local pottery handicraft and souvenir .......................... 24
Table 6: Source of information about pottery culture .............................................................. 25
Table 7: No. of domestic and international tourist .................................................................. 26
Table 8: No. of visitors and their opinion ................................................................................ 27

VI
 LIST OF FIGURES
Figure 1: Visitor’s general profile............................................................................................ 22
Figure 2: Respondent’s age group ........................................................................................... 23
Figure 3: Visitors who have heard about pottery culture ......................................................... 24
Figure 4: Visitors prefer to buy local pottery........................................................................... 25
Figure 5: Percentage of tourist knew about pottery culture ..................................................... 26
Figure 6: Types of Tourist ....................................................................................................... 27
Figure 7, Visitors opinion about possibilities of pottery as tourism product ........................... 28

VII
 ABSTRACT
The dissertation topic on “Tourism Perspectives of Pottery Culture in Bhaktapur” is
basically an analytical study of traditional pottery from Bhaktapur. This includes entire study
of pottery in Bhaktapur. This Study encompasses the origin of pottery and various features of
pottery, which used to be and still inner practice even in this modern era.

The study also tries to find out the situation of pottery. What kinds of the difference have been
found in past and now? Similarly, it also focuses on the stage of the preservation and promotion
of pottery; about the importance on the present and the future. Pottery is an identity of
Bhaktapur and it is their duty to preserve and conserve so as to handover to new generation.
All kinds of pottery skills should be merged with the modern methods and commercialization
and it should be managed in the package form which will include all types of pottery features.
The study is performed so as to launch pottery as one of the tourism product in Bhaktapur
which can help in promoting and developing tourism in Bhaktapur. These studies emphasize
for promoting pottery activities in Bhaktapur and develop and promote this city as the open
library for the study and viewing traditional pottery.

The objectives of research and survey on this topic is to display a message to each and every
person who are directly or indirectly interlinked with tourism sector, therefore various kinds of
questionnaires are prepared to know about its grass root level. The questionnaires are prepared
to the targeted people such as local people such as local people, tourists, and organizations. For
the study, both primary and secondary sources are used for the collection of data.

Pottery Square situated in Bhaktapur Municipality, Bhaktapur was selected for case study. Data
was gathered employing mostly quantitative methods consisting semi structured interviews,
visitor survey, direct field observation and questionnaire survey. The findings illustrated that
pottery culture has impacted in both positive and negative ways. Importantly, the respondents
expressed optimism about the future of pottery in Bhaktapur pottery square area. The study
also revealed that there are great opportunities for improving pottery in Bhaktapur. But its
effective practice and implementation is not promising due to lack of commitment of
governmental policy and planning strategy with combination of integrated conservation and
development

VIII
 ABBREVIATION
BHA : Bhaktapur Handicraft Association

BTDC : Bhaktapur Tourism Development Committee

BTTM : Bachelor in Travel and Tourism

DDC : District Developoment Committee

EHPS : Ekikrit Hakujya Prajapti Samaj

HAN : Handicraft Association Nepal

INGO : International Non-Government Organization

NTB : Nepal Tourism Board

PYC : Public Youth Campus

RPS : Rastriya Prajapati Samaj

TOYOS : Tourism Youth Society

UNESCO: United Nations Educational, Scientific and Cultural Organization

IX
 CHAPTER: I

INTRODUCTION

1.1 Background of the Study

Tourism has been an industry of vast dimension and ultimately supports economic growth and
social development. For the constant development of the Nepalese tourism, it has been
commonly decided to give equal priority to some other factors, which do also affect the tourism
sector directly. Such as development and expansion of tourism sites, necessary infrastructure
for tourism, promotion of tourism market, improvement in civil aviation protection of
environment and involvement of private sector in the promotion of Nepalese Tourism.

Destination, as the central object in tourism, exerts a pull on the tourist from different areas. IT
is the one that motivates travel. Therefore the secret of destination is of prime importance that
should never be undermined. In a tourist destination, Tourism resource inventory including
what could a visitor see in this area which might be of interest? What are the different types of
attraction they could visit? What type of services would they require? What different activities
could they do during their stay? If staying overnight, what accommodations are available? Etc.
needs to be prepared.

Pottery is clay that is modeled, dried, and fired, usually with a glaze or finish, into a vessel or
decorative object. Clay is a natural product dug from the earth, which has decomposed from
rock within the earth's crust for millions of years. Decomposition occurs when water erodes
the rock, breaks it down, and deposits them. It is important to note that a clay body is not the
same thing as clay. Clay bodies are clay mixed with additives that give the clay different
properties when worked and fired; thus pottery is not made from raw clay but a mixture of clay
and other materials (Chitrakar & Gurung, 1997).

The potter can form his product in one of many ways. Clay may be modeled by hand or with
the assistance of a potter's wheel, may be jiggered using a tool that copies the form of a master
model onto a production piece, may be poured into a mold and dried, or cut or stamped into
squares or slabs. The methods for forming pottery are as varied as the artisans who create them.

1
Pottery must be fired to a temperature high enough to mature the clay, meaning that the high
temperature hardens the piece to enable it to hold water. An integral part of this firing is the
addition of liquid glaze (it may be painted on or dipped in the glaze) to the surface of the unfired
pot, which changes chemical composition and fuses to the surface of the fired pot. Then, the
pottery is called vitreous, meaning it can hold water.

Bhaktapur, a place of historical importance and the home medieval art and architecture, is
world renowned for its colorful festivals, traditional dances and the typical indigenous Newar
lifestyle. It has emerged as Nepal’s cultural capital displaying traditional music and ritual
dances. For its majesty monuments and the native Newars best known for their long history of
craftsmanship, the ancient city is also known as the ‘living heritage’ (Prajapati & Maharjan,
2005).

Being one of the historical cities in the Kathmandu valley, most of Nepals annual foreign
visitors enjoy Bhaktapur during their visit to Nepal. Bhaktapur is involved in the half-day
sightseeing tour package. Though, many tourists stay overnights in Bhaktapur with their own
purposes and during some specific occasions.

Cultural and living heritage dating back fourteenth century has remained relatively well
preserved. The Taleju shrine, 55 window palace at the durbar square, 5 storied temple, Bharaiv
temple at the Taum square, The Dattatraya Square with many small and big temple as well as
the priest houses have remained the masterpieces not only to Bhaktapur but also to country.

Potters all over Nepal work extremely hard for little economic compensation. Most of the
potters in Thimi adhere to the arduous traditional methods in which every aspect of pottery
production is completed manually- from mixing and drying the clay to powering the wheel. Of
the roughly 1,000 workshops in Thimi, only four or five use modern potting technology such
as electrically powered wheels and kerosene-fuelled kilns. Since they don't have enough land
to grow their own food, many potters walk to farms for trading storage pots for grain when rice
and wheat are being harvested. They make just enough profit to survive on. “I go to Kathmandu
to sell pots when I run out of money,” explains Haku Prajapati. But even that is a challenge
today. Few Nepal’s are interested in earthenware pots because comparatively they can buy
cheaper, longer-lasting mass-produced kitchenware made of steel or plastic.

Bhaktapur is well-known for giving continuity to this age old originality. It has survived
modernization and augments Bhaktapur’s unique identity in preserving our heritage. It’s all
what my project report summarizes and aims to emphasize the traditionally and unique features

2
of pottery in Bhaktapur, so as it could be taken as the library for the pottery lovers to explore
about the traditional way of pottery (Yeti Travel Pvt. Ltd, 2007).

This study is majorly focused on the Past, present and future condition of pottery in Bhaktapur.
It will highlight the importance of pottery and the benefits of using the pottery or clay materials.
It will also be focused on the techniques adopted, Market of the pottery products, importance,
problems and difficulties in pottery making, types of pottery used in household purpose and in
cultural practice and commercialization in pottery.

My effort for the Topic ‘Tourism Perspectives of Pottery culture in Bhaktapur’ is to develop
Bhaktapur as the City of Fine Arts for pottery and familiarize Bhaktapur as an Open Museum
or Library for those who wants to observe the factual pottery works in this world and then after
develop Bhaktapur as one of the major tourist destinations of the world.

1.1.1 Pottery in Nepal

The tradition of pottery making is alive and well in the Nepalese town of Bhaktapur. This can
be best seen at the two adjacent pottery squares where your 6-hour tour will take place. During
the daytime you can see people working in the traditional way, spinning their wheels to make
all sorts of ceramics out of the large lumps of clay. Amidst this inspiring scenery your pottery
workshop is organized in one of the dwelling houses, just next to Pottery Square. This is a real
workshop where hundreds of pots are made every day. During your class you will be taught
the principles of making pottery and will be involved in all the parts of the process, from
processing the clay to actually spinning the wheel. At the end of the fun and informative
workshop you will have enough skills to make your own small pot to take home along, with
the memory of your great learning experience.

3
 Pic: 1, Pottery Square Bhaktapur

According to Surya Prajapati, “Pottery is a very difficult profession now. Its hard work but the
return incentive is not satisfactory”. Nepal Tourism Board state in its magazine “Cultural
Treasure of Nepal”, “Bhaktapur has two famous pottery squares. One is located at Talaco
towards the southern parts of Durbar Square and another at Suryamadi to the west of Dattatraya
Square. Many potters can be seen working on their traditional wheels and thousands of finished
and semi-finished clay product lie about in beautiful rows under the sun. Potters and their
family can be observed busy in preparing the lumps of black clay for the final shaping, mending
some of the row clay products or adding fines craftsmanship onto the half done articles. If one
is lucky one can even see how they burn these clay products in the open traditional kilns for
days before the final product are ready. Within the Talaco pottery square to important temples
of Bishnu and Ganesh can also be seen erected in a very traditional way. Whereas in the other
pottery square the shrine of Wakupati Narayan with beautiful wood carving windows, stone
sculpture and a sample piece of pagoda temple can be observed. It is the local belief that
everyone entering the temple premises must sit somewhere, for at least a while; for good luck!”

1.1.2 History
A great part of the history of pottery is prehistoric, part of past pre-literate cultures. Therefore,
much of this history can only be found among the artifacts of archaeology. Because pottery is
so durable, pottery and shards of pottery survive from millennia at archaeological sites, and are
typically the most common and important type of artifact to survive. Many prehistoric cultures
are named after the pottery that is the easiest way to identify their sites, and archaeologists
develop the ability to recognize different types from the chemistry of small shards (Panta &
Joshi, 2020).

1.1.2.1 Early History

Pottery is one of the most enduring materials known to humankind. In most places it is the
oldest and most widespread art; primitive peoples the world over have fashioned pots and
bowls of baked clay for their daily use. Prehistoric (sometimes Neolithic) remains of pottery,
e.g., in Scandinavia, England, France, Italy, Greece, and North and South America, have
proved of great importance in archaeology and have often supplied a means of dating and
establishing an early chronology. Some of the oldest pottery has been found in Japan and China,
dated to at least 16,000 and 20,000 years old respectively. Pottery has also been of value as
historical and literary records; ancient Assyrian and Babylonian writings have been inscribed

4
upon clay tablets. Simple geometric patterns in monochrome, polychrome, or incised work are
common to pottery of prehistoric and primitive cultures.

The earliest forms of poetry were made from clays that were fired at low temperatures in pit-
fires or in open bonfires. They were hand formed and undecorated. Because the biscuit form
of earthenware is porous, it has limited utility for storage of liquids. However, earthenware has
a continuous history from Neolithic period to today. It can be made from variety of clays. The
development of ceramic glaze which makes it impermeable makes it a popular and practical
form of pottery making. The addition of decoration has evolved throughout its history.

Pic: 2, Pottery in the Paleolithic age

Pottery has been found in archeological sites across the island of Oceania. It is attributed to an
ancient archaeological culture called Lapita. A form of pottery called Plain ware is found
throughout sites of Oceania. The relationship between Lapita pottery and Plain ware is not
altogether clear.

The Indigenous Australian was hunter-gatherer tribes and did not farm or cultivate crops, and
in keeping with these cultural features, they also never developed pottery. After European came
to Australian and settled, they found deposition of clay which was analyzed by English potters
as excellent for making pottery. Less than 20 years later, Europeans came to Australia and
began creating pottery. Since then, ceramic manufacturing, mass-produced pottery, and studio
pottery have flourished in Australia.

5
1.1.2.2 Pottery in 21st Century
Today, potters use a variety of techniques and molds to create functional objects out of clay.
The increase of craft work and perfect home decor trend on social media have heavily
influenced the ceramic community. The trending style is unique, clean and minimal. Colorful
and eclectic pieces are also popular. Additionally, people in 2021 also use arts like pottery to
unplug from the fast-paced and competitive world to indulge in something slow and creative.

Pic: 3, Modern Pottery Culture

1.1.3 History of Pottery in Bhaktapur

Bhaktapur pottery’s history is not as clearly dated as others. It appears that pottery was initiated
along with establishment of Kathmandu valley. It is also said that the Potters here now were
migrated from China and India, the potters from china settled in the eastern side of Bhaktapur
(Suryamadhi) and potters from India remain on the southern part of the city. The potters from
India were believed to have come here with the emergence or introduction of Goddess Taleju
from Simrongadhi, similarly some potters from southern part of Bhaktapur is descended to
Nepal along with the power deity of Navadurga. However, it was difficult for researcher could
not found from where the thimi potters settled?

The history of traditional ceramics goes back to many centuries. The oldest record so far
obtained was of 2600 years old. Various archaeological items made of terracotta like coins, etc.
discovered in the excavation in Lumbini areas were found to be 2600 years old. Likewise, from
the similar terracotta items round in the excavation and the items seen in the existing temples
in the Kathmandu valley, it can be predicted that traditional ceramic industry was very

6
prosperous during the Lichhivi period (464-604 A.D.). Techniques of ceramic were developed
during this period. However, during the Malla period (1200 to 1743 A.D.) traditional ceramic
reached its climax in its development and this period was called the Golden Age of Traditional
ceramic in Nepal, which continued for several decades. It is mentioned in Hindu religion that
god Brahma crested Prajapti to make ‘kalash’ for marriage ceremony of lord ‘Shiva’ and
‘Parvati’. Kalash is the most essential things required for hindu marriage that’s why Prajapati
the potters are takena s of great imporatenace in Newari marriage as the girl from newar cult
get married thrice in her life.’Ihi- Bel Bibah’, ’Bara’-gufa or Surya bibah’ and ‘Ihipa’- marriage
with the husband. All these three marriage requires kalash and agni, both are create by prajapati
in the form of clay (Prajapati H. , 2022).

It is said that in the time before the universe was form, lord Brahma created ten distinct Prajapti
to assist him in creation – Atri, Angirara, Vasistha, Bhrigu, Narada, Marichi, Pulaha, Krathu,
Pulasthya and praches In the earliest writing of Hinduism, Prajapati is viewed as the ultimate
creator. He is said to have made the heavens and earth, and the creatures that live within the
universe. As time went on he became associated to deities that personified the major focus of
the universe, especially the sun. An early creation myth cast prajapati as an almost unwilling
participant in the role of creation.

Pic: 4, making the handicraft pottery clay pot at Bhaktapur

7
1.1.4 Techniques of Making Pottery
The earliest method for making bowls and jugs is hand building using only hands and clay.
This approach is still used today. A ball of clay is pinched or pressed to form a bowl. Or the
clay is rolled into ropes or coils that are then wrapped in upward circles until the desired height
is reached. The coils are then often smoothed so that they are no longer distinct (The Longest
way home, 2022).

Another hand building method is slab-building. A large ball of clay is flattened into a pancake-
like slab. The slab is then cut into rectangles, which are attached together by moist clay, making
the sides of a clay box. To make a bowl, the entire slab is placed over a round mold.

Around 5000 B.C. the potter's wheel was invented, probably by the Sumerians of the Tigris-
Euphrates basin or by the Chinese. The potter's wheel allows the potter to throw even,
symmetrical shapes in much less time and with far less effort. They are thought to have been
in operation even before wheels were used for transportation.

There are many different types of potter's wheels in use. Some are powered by hands or feet,
which spin the platter on which the clay sits. Others use treadles, like the foot pumps seen on
old sewing machines. Many wheels are turned by electricity.

Pic: 5, Process of Making Pottery in pottery wheel

The whole pottery square area is filled with these colorful pots during the sunny day. Younger
men/women are often engaged in carrying heavy heaps of pots from one place of the square to
the other. The final process includes the firing of pots, which is one of another highlight of
pottery making. All the prepared raw clay pots are placed along with straw in the layer wise.

8
 Pic: 6, Drying Pots in Sun Light

After all the pots are kept, it is then covered by ashes from the top, while the fire is given from
the bottom and takes 3-4 days to get fired. It is the traditional way of pottery firing. In this way,
the pots will be ready after all the hard working of artists. However, it would not get the
complete fairness in terms of learning process until you go there and work as a local people,
playing and shaping the clay by your own hands.

Pic: 7, Modern Way of Pottery Firing

9
1.2 Objectives of the Study
The basic objectives of the study are to find out the prospects and the problem of Pottery culture
in as cultural tourism destination. For this purpose the following objectives have been defined
for this study:

1.2.1 General Objectives

 The general objective of this study is to assess the tourism perspectives of pottery
culture in Bhaktapur.

1.2.2 Specific Objectives:

 To examine the existing situation of pottery culture in Bhaktapur.

 To analyze the people’s perception regarding the pottery culture in Bhaktapur.

 To assess opportunities to enhance pottery culture in Bhaktapur.

 To analyze the awareness of pottery culture and its history.

1.3 Signification of the Study

No doubt, pottery culture in Bhaktapur is the oldest form of culture which has been
continuously handed over the generation to generation for conservation and preservation of
their oldest form of culture.

 Tourism is a major and important industry as a source of foreign exchange has an

important role in economic development of least developed countries, like Nepal.
 This study will help to assess the state of economic development of pottery culture and
its preservation.
 This study is hoped to assist in investigating the changes in pottery culture and life
style of people in Bhaktapur practicing pottery culture as their daily activities.
 This study will be able to assess the potentialities and prospects of cultural tourism and
pottery tourism in the area study, both human and culture which may help to
recommend the plan and policy makers to formulate appropriates plans for further
promotion of the similar areas of the nation.

10
1.4 Limitation of Study
 This research is focused on Bhaktapur pottery square was viewed as cultural tourist
destination.
 This research is merely snapshot of specific time period.
 The collected data reflects the potentialities of pottery culture tourism only in
Bhaktapur Pottery Square.
 The amount of time consumed in securing permission to take an interview with
information center as well as while conducting semi-structure interviews with the
respondents.
 Due to limited time, resources and no opportunities to record the other’s views for
corroboration with the residents of Bhaktapur, the detailed research study was not
possible.

1.5 Research Methodology

Research methodology is the way in which researchers specify how they are going to retrieve
the all-important data and information that they will need to make vital decisions.

The methodology adopted for this study will be based on the primary data, and as far as possible
and available secondary data will be used and descriptive research design has been used. The
purpose of the study is to describe the methodology used to achieve the research objective.
Data, information and facts used are both from primary and secondary source. Interview, field
visit, questionnaires, and survey are the sources for primary data collection.

1.5.1 Data Collection Method

As it was difficult to collect primary data for this subject, secondary data has been very much
used. Various data collection techniques had been adopted to collect different types of data and
information according to their nature. Primary data as well as Secondary data had been
collected by the use of library, interview, field observation, information provided by tabloids,
internet, and also from Nepal Tourism Board (NTB), Nepal Ceramic association, Bhaktapur
Handicraft Association, Yekikrit Hakujya Prajapati Samaj etc.

11
1.5.2 Data Analysis Method
The data was initially obtained from primary and secondary sources. The data thus obtained
was categorized and classified under appropriate headings. The data thus summarized is used
for qualitative as well as quantitative analysis. For the purpose of data analysis simple statistical
tools such as frequency, average, percentages etc. are used. The outcome of the analysis has
been presented by using various modes such as tabular formats, pie charts etc.

1.5.2.1 Primary Data

The information regarding to the pottery will be gathered and compiled from the interviews
with the potters, aged people, expertise, culturist, historian and others who know about pottery,
and also with the users of pottery. Direct observation in the places during this project report
will be another source of data.

1.5.2.2 Secondary Data

The study will involve the review of different literature, article published in various magazines,
newspaper, bulletins and use of internet, the information given and provided by the related
organization of pottery such as:

 Nepal Ceramic Association,

 Ekikrit Hakujya Prajapati Samaj,
 Bhaktapur Handicraft Association,
 Small and Cottage industries.
 Bhaktapur Tourism Development Committee.

12
 CHAPTER: II

REVIEW OF LITERATURE

Pottery is clay that is modeled, dried, and fired, usually with a glaze or finish, into a vessel or
decorative object. Clay is a natural product dug from the earth, which has decomposed from
rock within the earth's crust for millions of years. Decomposition occurs when water erodes
the rock, breaks it down, and deposits them. It is important to note that a clay body is not the
same thing as clay. Clay bodies are clay mixed with additives that give the clay different
properties when worked and fired; thus pottery is not made from raw clay but a mixture of clay
and other materials.

2.1 Conceptual Framework

The potter can form his product in one of many ways. Clay may be modeled by hand or with
the assistance of a potter's wheel, may be jiggered using a tool that copies the form of a master
model onto a production piece, may be poured into a mold and dried, or cut or stamped into
squares or slabs. The methods for forming pottery are as varied as the artisans who create them
(Chitrakar & Gurung, 1997).

Pottery must be fired to a temperature high enough to mature the clay, meaning that the high
temperature hardens the piece to enable it to hold water. An integral part of this firing is the
addition of liquid glaze (it may be painted on or dipped in the glaze) to the surface of the unfired
pot, which changes chemical composition and fuses to the surface of the fired pot. Then, the
pottery is called vitreous, meaning it can hold water (The Longest way home, 2022).

Tourism has been an industry of vast dimension and ultimately supports economic growth and
social development. For the constant development of the Nepalese tourism, it has been
commonly decided to give equal priority to some other factors, which do also affect the tourism
sector directly. Such as development and expansion of tourism sites, necessary infrastructure
for tourism, promotion of tourism market, improvement in civil aviation protection of
environment and involvement of private sector in the promotion of Nepalese Tourism (Dhakal,
Chhetri, & Kamsakar, 1997).

Pottery is the ceramic act of making pottery wares. Of which measures types include
earthenware, stoneware and porcelain. The place where such wares are made is also called

13
pottery. Pottery also refers to the art or craft of potter or the manufacture of the pottery
(UNESCO, 2006).

All fried ceramic wares that contains clay when formed, except technical, structural, and
refractory products. Some archeologist use a different understanding of this definition by
excluding ceramic objects such as figurines which are made by similar processes and of similar
materials but are not vessel (Rajupadhyaya, 2016).

As proposed by Olivier P. Gosselain in his article, “Materializing Identities: An African

Perspective, “when comparing pottery techniques in the sub-Saharan region of Africa, it is
possible to understand ranges of cross-cultural interaction by looking closely at “Chinese
operators or production sequences.”

Pottery is made by forming a clay body into objects of a require shape and heating them to high
temperature in a kiln which removes all the water from the clay, which induces reaction that
leads to permanent changes including increasing their strength and hardening and setting their
shape. A clay body can be decorated before and after firing. Prior to some shaping processes,
clay must be prepared. Kneading helps to ensure and even moisture content throughout the
body. Air trapped within the clay body needs to be removed. This is called de-airing and can
be accomplished by a machine called a vacuum pug or manually by wedging. Wedging can
also help produce even moisture content. Once a clay body have been kneaded and de-aired or
wedged it is shaped by a varieties of technique after shaping it dried and fried (The Longest
way home, 2022).

Despite the household use of the pottery, it has a significant meaning to the cultural and ritual
affairs. From the birth ceremony to the death of people, clay pots are needed. On the fourth
day of the birth of a child, "Makal" a hearth, "Pala" or "Palcha", a small bowl shape clay pot
to light the oil lamp made with cotton thread is used. On the death of a person, "Bhajan" also
known as "Handi" in Nepali, "Bhega", pot for curd, "Kalash" and "Ampacha", pots for holly
water are used. Every ritual needs different pottery for different purposes. Without these clay
pots, the Newar culture is not complete. Interestingly, for many ritual and religious purposes,
the clay pots are painted by the "Chitrakars" the painters of Newar society and worshiped in
rituals, without which no ritual is completed (Dhakal & Baniya,
1999).

According to Nepali Time the most common traditional clay products are "Tepa", large
container for water or food storage, "Atha", cloth washing tub, "Gha", big jar for water,

14
"Gamala", flower planting pot, "Bhega", curd making bowl, "Kalash", pots of different shapes
and sizes for ritual and religious purposes. "Koncha", container, "Aga", a large thick body water
storage tank with large open mouth, "Palcha", "Salin" small thin bowl for drinking wine etc.
Ceramic and glazing are not the part of traditional clay art of Nepal. It was not been in use till
the Ceramic Promotion Project started in Bhaktapur. Though they use natural color coat to give
smooth red finish in their products, most of the clay craft is in terracotta in red color (Prajapati
S. , 2022).

As per Surya Kumar Prajapati, the Prajapati’s, traditionally collect the clay in the first half June
and store in their courtyard or in the ground floor of their use. The clay is mixed with rice husk,
sand and other and make big heaps. They form pottery on the wooden wheel made of wooden
disc, which is rotated upon a wooden shaft fixed in the ground. But, for large pots like "Tepa",
"Aga", they just make half, and they make it by beating with a wooden hammer. After dried in
shade, they coat red color and they make a pile and with straw, ash and wooden dust and other
material, they fire the pots, usually in open place nearby their homes (Prajapati S. K., 2022).

The tradition of pottery making is alive and well in the Nepalese town of Bhaktapur. This can
be best seen at the two adjacent pottery squares where your 6-hour tour will take place. During
the daytime you can see people working in the traditional way, spinning their wheels to make
all sorts of ceramics out of the large lumps of clay. Amidst this inspiring scenery your pottery
workshop is organized in one of the dwelling houses, just next to Pottery Square. This is a real
workshop where hundreds of pots are made every day. During your class you will be taught
the principles of making pottery and will be involved in all the parts of the process, from
processing the clay to actually spinning the wheel. At the end of the fun and informative
workshop you will have enough skills to make your own small pot to take home along, with
the memory of your great learning experience (Dhoju, 2018).

Bhaktapur has two famous pottery squares. One is located at Talaco towards the southern parts
of Durbar Square and another at Suryamadi to the west of Dattatraya Square. Many potters can
be seen working on their traditional wheels and thousands of finished and semi-finished clay
product lie about in beautiful rows under the sun. Potters and their family can be observed busy
in preparing the lumps of black clay for the final shaping, mending some of the row clay
products or adding fines craftsmanship onto the half done articles. If one is lucky one can even
see how they burn these clay products in the open traditional kilns for days before the final
product are ready. Within the Talaco pottery square to important temples of Bishnu and Ganesh

15
can also be seen erected in a very traditional way. Whereas in the other pottery square the shrine
of Wakupati Narayan with beautiful wood carving windows, stone sculpture and a sample piece
of pagoda temple can be observed. It is the local belief that everyone entering the temple
premises must sit somewhere, for at least a while; for good luck (Nepal Tourism Board, 2000).

Pottery has been found in archeological sites across the island of Oceania. It is attributed to an
ancient archaeological culture called Lapita. A form of pottery called Plain ware is found
throughout sites of Oceania. The relationship between Lapita pottery and Plain ware is not
altogether clear. The Indigenous Australian was hunter-gatherer tribes and did not farm or
cultivate crops, and in keeping with these cultural features, they also never developed pottery.
After European came to Australian and settled, they found deposition of clay which was
analyzed by English potters as excellent for making pottery. Less than 20 years later, Europeans
came to Australia and began creating pottery. Since then, ceramic manufacturing, mass-
produced pottery, and studio pottery have flourished in Australia (Karki, 2012).

Bhaktapur pottery’s history is not as clearly dated as others. It appears that pottery was initiated
along with establishment of Kathmandu valley. It is also said that the Potters here now were
migrated from China and India, the potters from china settled in the eastern side of Bhaktapur
(Suryamadhi) and potters from India remain on the southern part of the city. The potters from
India were believed to have come here with the emergence or introduction of Goddess Taleju
from Simrongadhi, similarly some potters from southern part of Bhaktapur is descended to
Nepal along with the power deity of Navadurga. However, it was difficult for researcher could
not found from where the thimi potters settled (Magar & Magar, 2018).

According to UNESCO Cultural Potraits, the process of pottery making in Bhaktapur is:

 Clays of different qualities are mixed, either with a machine or bare feet
 The mixed clay can be used immediately. In order to prevent it from drying out, the
clay is piled up, water is added and it is pressed with the feet. The piles are then covered
with plastic and can be seen on the southern side of potters’ square under the bamboo
shelter.
 Before putting the clay on the potter’s wheel, it is kneaded with the hands in order to
provide the necessary flexibility. You can also see the potters taking small stones and
others irregularities out of the clay.
 The clay is then put in the middle of the wheel, and the wheel is rotated with a wooden
stick (or nowadays more and more by a motor)

16
  The potters kneel besides the wheel and they mould the clay into shape with their hands.
 The item is then taken off the wheel and left to dry in the sun light for 2-3 days.
 After having dried, the products are taken to kiln, where items are piled up with the
layers of straw between them. The entire mound of un-fried pots and straw is then
covered with ass to insulate it, and everything is then fried for three days. Some of the
traditional kilns can be seen just south of potters square, behind the small bamboo
shelters.

It’s like a step back in time to visit Bhaktapur. Handicrafts are still made by hand here and not
imported from China with a label stuck onto them. Traditionally spun and fired clay pots are a
fine example of Bhaktapur’s thriving craft trades. It’s a fascinating process to watch more
perhaps because of the people than the actual pot making.

2.1.1 Importance of Pottery

Pottery making has been a notable traditional craft in Bhaktapur adopting both as a primary
and supplementary occupation of some ethnic group particularly Prajapati. It has been their
family traditional occupation rather than a commercial job. There are also some communities
preserving and adopting their traditional arts and crafts as a subsidiary occupation following
the age-old heritage.

Traditional ceramic products have high importance in rural setting basically for livelihood of
the people. Water container, earthenware, and other household vats fulfill the needs of a large
section of the rural population. Some of the traditional ceramic products have importance on
religious ground and they are considered hygienic and safe (Maharjan, 2022).

2.1.2 Historical
The existence of pottery dates back to the beginning of civilization. An invention of mankind
to full fill his necessities, they are perhaps one of man’s first creations. The history of pottery
in Nepal goes back many centuries and it was with earthenware that they began creating various
objects for their personal use (Maharjan, 2022).

2.1.3 Cultural
Despite the household use of the pottery, it has a significant meaning to the cultural and ritual
affairs. From the birth ceremony to the death of people, clay pots are needed. On the fourth day
of the birth of a child, "Makal" a hearth, "Pala" or "Palcha", a small bowl shape clay pot to light
the oil lamp made with cotton thread is used. On the death of a person, "Bhajan" also known

17
as "Handi" in Nepali, "Bhega", pot for curd, "Kalash" and "Ampacha", pots for holly water are
used. Every ritual needs different pottery for different purposes. Without these clay pots, the
Newar culture is not complete. Interestingly, for many ritual and religious purposes, the clay
pots are painted by the "Chitrakars" painters of Newar society mostly in ‘Bel Bibah’ and
‘dhalan- fasting for the good wishing in the name of god Narayan’s and worshiped in rituals,
without which no ritual is complete (Pradhananga & Sthapit, 2022).

2.1.4 Religious
Pottery has the significant role in the religious practice in the valley. The potters used to supply
the necessary pots and clay materials to the royal palace during the rule of Malla as well as
initial Shah Dynasty. Even these days it provides the pottery products to the Taleju temple,
Navadurga, Bhairav Nath temple, Changu Narayan and even in the temples of Kathmandu and
Patan like Swoyambhu, Boudha, Pashupatinath etc.

Beside it, it is believed that ‘Kalash’ which is require for the religious practice in Hinduism,
which was firstly made by the Prajapati for the marriage of Shiva and Parbati. Some of the
religiously needed materials are ‘Gungu Maka- used for a burning coal with the sal dhup and
other incense flavor ingredients’, ‘Nyandhala- used for offering the god a nyan or wine’, ‘
Kisli- pot which is used to offer god with a nut and money for a wish to be fulfill’ are also
made by the Prajapati potters (Maharjan, 2022).

2.1.5 Social
Pottery making has been a notable traditional craft in Bhaktapur adopting both as a primary
and supplementary occupation of some ethnic group particularly Prajapati. It has been their
family traditional occupation rather than a commercial job. There are also some communities
preserving and adopting their traditional arts and crafts as a subsidiary occupation following
the age-old heritage.

The most common traditional clay products are "Tepa", large container for water or food
storage, "Atha", cloth washing tub, "Gha", big jar for water, "Gamala", flower planting pot,
"Bhega", curd making bowl, "Kalash", pots of different shapes and sizes for ritual and religious
purposes. "Koncha", container, "Aga", a large thick body water storage tank with large open
mouth, "Palcha", "Salin" small thin bowl for wine drinking etc (Panta & Joshi, 2020).

2.1.6 Economical
Many of the potters are involved with the traditional pottery making profession and succeeding
their profession to their next generation. This profession has been their source for the

18
economical soundness and for the fulfilled their wants, with the emergence of modern ceramics
their income has also increase with the popularity and high use of such products. With the
goodwill of local products market in the neighboring countries like India and China, some
middlemen purchase the goods and resale it with the export value, and could be one of the
sources of foreign currency earning (Dhoju, 2018).

2.1.7 Health
The use of pottery goods have significant benefits is using and/or applying the clay materials
which non side effect. Some of the traditional pottery products have importance on religious
aspect and they are considered hygienic and safe (Maharjan, 2022).

19
 CHAPTER: III

DATA ANALYSIS, PRESENTATION AND FINDINGS

3.1 Data Analysis and Presentation

Data presentation and analysis is an important, perhaps the major part of any project report.
The justification of any project work is done on analysis and presentation of facts. In addition,
the valid conclusion and recommendation is drawn based on data analyzed and interpreted by
the researcher.

In this section, raw form of data about the managers and the staffs working in different
departments were collected, the various sources are changed to an understandable presentation
using statistical tool as mentioned in the previous chapter i.e. Research Methodology. This
chapter is the heart of the study, which analyze, merge interpret the various information and
data for the outcomes. The analysis of data consists of organizing, tabulating and performing
statistical analysis.

The data for the “Tourism Perspectives of Pottery Culture in Bhaktapur” are collected from
different source like different books and websites as well as various sources of primary and
secondary data. Data presentation and analysis is an important, perhaps the major portion of
any project work. The justification of any project work is based on data analyzed and
interpreted by the researcher. Here data regarding fast food has been presented as bar diagrams
which are based the set of the questionnaire developed for the visitors.

Data presentation and analysis is an important, perhaps the major part of any project report.
The justification of any project work is done on analysis and presentation of facts. In addition,
the valid conclusion and recommendation is drawn based on data analyzed and interpreted by
the researcher.

In this section, raw form of data about the managers and the staffs working in different
departments were collected, the various sources are changed to an understandable presentation
using statistical tool as mentioned in the previous chapter i.e. Research Methodology. This
chapter is the heart of the study, which analyze, merge interpret the various information and
data for the outcomes. The analysis of data consists of organizing, tabulating and performing
statistical analysis.

20
The data for the “Tourism Perspectives of Pottery Culture in Bhaktapur” are collected from
different source like different books and websites as well as various sources of primary and
secondary data. Data presentation and analysis is an important, perhaps the major portion of
any project work. The justification of any project work is based on data analyzed and
interpreted by the researcher. Here data regarding fast food has been presented as bar diagrams
which are based the set of the questionnaire developed for the visitors.

3.1.1 Analysis of Primary Data

Table 1: No. of Respondents by gender

Gender No. of respondents Percentage

Male 24 60%

Female 16 40%

Total 40 100%

Source: Field Survey, 2022

3.1.1.1 Visitors general profile

Table 2: Visitor’s general profile

Gender Percentage Respondents

Male 60%

Female 40%

Total 100%

Source: Field Survey, 2022

21
 Visitor's general profile

40%

60% Male
Female

Figure 1: Visitor’s general profile

According to the above pie-diagram above out of 40 Visitors, 75% are male and remaining was
female. This diagram shows that the male are visiting Pottery Square of Bhaktapur more than
the female. It shows the female are travel less than the number of male in Nepalese society. It
proves that female are dominating by male and they travel comparing with male.

3.1.1.2 Visitor’s Age Group

Table 3: Visitor’s age group

Age Group No. of Respondents Percentage of Respondents

0-14 6 15%

15-24 14 35%

25-44 16 40%

45-64 and above 4 10%

Total 40 100%

Source: Field Survey, 2022

22
 Percentage of Respondent's age group
45%
40%
40%
35%
35%
30%
25%
20% Percentage of Respondents
15%
15%
10%
10%
5%
0%
0-14 15-24 25-44 45-64 and
above

Figure 2: Respondent’s age group

According to the above diagram 15% of visitors are belongs to 0-14 years of age group and
35% of visitors are belongs to 15-24 years of age group. Similarly, 40% of visitors are belongs
to 25-44 years of age group and 10% of visitors are only belongs to 45-64 and above years of
age group. It shows that generally 25-44 years of age group of people used to visit Bhaktapur
Pottery Square.

3.1.1.3 Visitors who have heard about Pottery Culture of Bhatapur

Table 4: No. of visitors, heard about pottery culture of Bhaktapur

Feelings Number of Respondents Percentage of Respondents

Yes 28 70%

No 12 30%

Total 40 100%

Source: Field Survey, 2022

23
 Visitors who have heard about Pottery Culture

30%

Yes
No

70%

Figure 3: Visitors who have heard about pottery culture

According to the above Pie-diagram, the findings during this questionnaire filled up were
70% had heard about the pottery in Bhaktapur and 30% have not even heard about it.

3.1.1.4 Visitors Prefer buying Local Pottery Handicraft and Souvenir

Table 5: No. of visitors prefer buying local pottery handicraft and souvenir

Feelings Number of Respondents Percentage of Respondents

Yes 30 75%

No 10 25%

Total 40 100%

Source: Field Survey, 2022

24
 Visitors prefer to buy local pottery

25%

Yes
No

75%

Figure 4: Visitors prefer to buy local pottery

According to the above diagram, 75% of the visitors are prefer to buy the pottery as the souvenir
from the Bhaktapur pottery square, Rest of the visitors aren’t prefer to buy local handicraft.
25% of visitors like to visit pottery square and understanding the pottery culture rather than
purchasing souvenir.

3.1.1.5 Source of Information about the Pottery Culture in Bhaktapur

Table 6: Source of information about pottery culture

Source of Information Number of tourist knew about Percentage of tourist knew

pottery culture about pottery culture

Internet 5 12.5%
Literature/ Magazine 4 10%
Friends/ Relatives 27 67.5%

Television/ Radio 2 5%
Others 2 5%
Total 40 100%

Sources: Field Survey, 2022

25
 Percentage of tourist knew about pottery culture

5%5% 12%
10% Internet
Literature/ Magazine
Friends/ Relatives
68% Television/ Radio
Other

Figure 5: Percentage of tourist knew about pottery culture

Through the survey of questionnaire with the visitors/ tourist, it was found that about 67.5% of
tourist knew about the pottery culture of Bhaktapur through friends and relatives, 10% got the
information from the literature and magazine, 12.5% knew through internet and 5% got
information from television and radio and rest of 5% of visitors got information through other
sources like at the time of visiting Bhaktapur etc.

3.1.1.6 Types of Tourist

Table 7: No. of domestic and international tourist

Types of tourist Number of Percentage of tourist

tourist
Domestic tourist 24 60%

Foreigner tourist 16 40%

Total 40 100%

Sources: Field Survey, 2022

26
 Types of Tourist

70% 60%
60%
50% 40%
40%
Types of Tourist
30%
20%
10%
0%
Domestic Tourist International
Tourist

Figure 6: Types of Tourist

According to the survey out of 40 respondents, 24 respondents were domestic tourist which is
equivalent to 60%. Similarly, 16 respondents were International tourist which is equivalent to
40%.

3.1.1.7 Visitors Opinion about Possibilities of Pottery as Tourism Product

Table 8: No. of visitors and their opinion

Opinion No. of Respondents Percentage of respondents

Yes 28 70%
No 10 25%
No Idea 2 5%
Total 40 100%

Sources: Field Survey, 2022

27
 Visitors opinion about possibilities of pottery as tourism
product
No Idea, 5%

No, 25%

Yes, 70%

Yes No No Idea

Figure 7, Visitors opinion about possibilities of pottery as tourism product

In the total number of visitors 70% give their opinion about pottery which can be a tourism
product. Similarly, in the number of visitors 25% give their opinion about pottery which can’t
be a tourism product and rest of 5% didn’t had idea about pottery can be a tourism product.

28
3.2 Findings
The Objectives for conducting the research on Tourism Perspectives of Pottery Culture in
Bhaktapur were to introduce Pottery Culture both culturally and historically and attract more
number of cultural tourists and aware the public about the conservation and preservation of
culture and history. It was to promote Pottery culture with more significance of history and last
but not the least it was most importantly done to assess cultural tourism market through finding
out the potential of Pottery culture and solidifying its status as the tourism product of Nepal
that could really be one of the most important ones in terms culture and architectural tourism
for Nepal to be renowned in the world.

The general findings on the basis of the survey with 40 respondents in the topic that Tourism
perspectives of Pottery culture in Bhaktapur from the questionnaire asked to find out the tourist
flow and the perception of the tourist towards the attraction towards potteries in Bhaktapur are
as follows:

 On the basis of survey to 40 respondents, 75% are male and remaining was female it
shows that the male are visiting Pottery Square of Bhaktapur more than the female. It
shows the female are travel less than the number of male in Nepalese society. It proves
that female are dominating by male and they travel comparing with male.
 According to the survey out of 40 respondents, 24 respondents were domestic tourist
which is equivalent to 60%. Similarly, 16 respondents were International tourist which
is equivalent to 40%.
 75% of the visitors are prefer to buy the pottery as the souvenir from the Bhaktapur
pottery square, Rest of the visitors aren’t prefer to buy local handicraft. 25% of visitors
like to visit pottery square and understanding the pottery culture rather than purchasing
souvenir.
 Through the survey of questionnaire with the visitors/ tourist, it was found that about
67.5% of tourist knew about the pottery culture of Bhaktapur through friends and
relatives, 10% got the information from the literature and magazine, 12.5% knew
through internet and 5% got information from television and radio and rest of 5% of
visitors got information through other sources like at the time of visiting Bhaktapur etc.
 According to survey 15% of visitors are belongs to 0-14 years of age group and 35%
of visitors are belongs to 15-24 years of age group. Similarly, 40% of visitors are
belongs to 25-44 years of age group and 10% of visitors are only belongs to 45-64 and

29
 above years of age group. It shows that generally 25-44 years of age group of people
used to visit Bhaktapur Pottery Square.

 It is found that there is lack of awareness about importance of traditional pottery.

Many people there are still unaware about its importance.

 One of the major problem has been lack of financial support from the concerned party
or government. A little help by them could be fruitful in earning immense amount of
revenues.

 There has been lack of interest shown by the young generation towards traditional
pottery. Youths are the pillars of the country, but are un-interested here, toward's the
development of pottery culture in Bhaktapur.

 Proper preservation and conservation has not been done in recent times.

 Systematic management of the pottery culture is one of the things that has been
missing here.

 Published materials such as templates, booklets, magazines, etc has not been properly
used as an advertisement.

 As this industry or culture is sensitive, it needs full support for its better performance
in market, which seems to be insufficient.

 Increase in internal conflict in between Dafa, Bhajan or Guthi and Local people can
be seen here.

The above findings suggests tourism development so far has been good with only minor
negative influences at the movement. It has supported the lives of people positively and also
has helped in universal brotherhood. Tourism has been perceived good for Nepal both by
residents as well as visitors.

30
 CHAPTER: IV

SUMMARY, CONCLUSION AND RECOMMENDATION

5.1 Summary
Nepal, rich in cultural and natural resources, has the optimum possibility of development of
adventure tourism and cultural tourism. With sevearal aspect, Bhaktapur is considered as the
living heritage and cultural tourism can easily be promoted by the presence of abundance of
historic, artistic and uniquely architecture monuments; cultural riches, festivals, dances, music
art, life style with in Bhaktapur city, and beyond has attracted millions of tourists since then.

Pottery making has been a notable traditional craft in Bhaktapur adopting both as a primary
and supplementary occupation of some ethnic group majorly Prajapati. It has been their family
traditional occupation rather than a commercial job. There are also some communities
preserving and adopting their traditional arts and crafts as a subsidiary occupation following
the age-old heritage. Potters all over Nepal work extremely hard for little economic
compensation. Most of the potters in Thimi adhere to the arduous traditional methods in which
every aspect of pottery production is completed manually- from mixing and drying the clay to
powering the wheel. Of the roughly 1,000 workshops in Thimi, only four or five use modern
potting technology such as electrically powered wheels and kerosene-fuelled kilns. Since they
don't have enough land to grow their own food, many potters walk to farms for trading storage
pots for grain when rice and wheat are being harvested,. They make just enough profit to
survive on. “I go to Kathmandu to sell pots when I run out of money,” explains Tulisi Bahadur.
But even that is a challenge today. Few Nepal, rich in cultural and natural resources, has the
optimum possibility of development of adventure tourism and cultural tourism. With sevearal
aspect, Bhaktapur is considered as the living heritage and cultural tourism can easily be
promoted by the presence of abundance of historic, artistic and uniquely architecture
monuments; cultural riches, festivals, dances, music art, life style with in Bhaktapur city, and
beyond has attracted millions of tourists since then.

Pottery making has been a notable traditional craft in Bhaktapur adopting both as a primary
and supplementary occupation of some ethnic group majorly Prajapati. It has been their family
traditional occupation rather than a commercial job. There are also some communities
preserving and adopting their traditional arts and crafts as a subsidiary occupation following
the age-old heritage.

31
Potters all over Nepal work extremely hard for little economic compensation. Most of the
potters in Thimi adhere to the arduous traditional methods in which every aspect of pottery
production is completed manually- from mixing and drying the clay to powering the wheel. Of
the roughly 1,000 workshops in Thimi, only four or five use modern potting technology such
as electrically powered wheels and kerosene-fuelled kilns. Since they don't have enough land
to grow their own food, many potters walk to farms for trading storage pots for grain when rice
and wheat are being harvested. They make just enough profit to survive on. “I go to Kathmandu
to sell pots when I run out of money,” explains Tulisi Bahadur. But even that is a challenge
today. Few reinvigorate Nepal's ceramic work is underway. If nothing else, the Nepal Ceramics
Cooperative society is working to ensure that Kathmandu Valley's pottery tradition won't
decline further.

Bhaktapur is well-known for giving continuity to this age old originality. It has survived
modernization and augments Bhaktapur’s unique identity in preserving our heritage. It’s all
what my project report summarizes and aims to emphasize the traditionally and unique features
of pottery in Bhaktapur, so as it could be taken as the library for the pottery lovers to explore
about the traditional way of pottery.

5.2 Conclusion
For decades, Bhaktapur has remained not-so-secret hub of just culture, with its numerous
temples and various annual religious extravaganzas, but also of arts and crafts. Thimi is a
typical Newari town, a half hour drive east of Kathmandu, on the Bhaktapur road. Pottery in
Bhaktapur is synonymous with Thimi, Talako, Suryamdhi and its people. The skills of these
potters have been passed on from generation to generation. Here, there are entire families that
trace their heritage side by side with the occupation of pottery.

But, even as the world seems to grow increasingly interested in ancient art forms such as
pottery, it is sad that the government and concerned authorities have not realized the magnitude
of pottery as an important cultural product. The reasons for this might be unclear, but that has
not stopped some to actually do something regarding this ancient art form; rather, their ideas
for modernizing it are beginning to take shape. In this course of my study, I met several such
people who came from different walks of life and had somehow managed to converge in pottery
areas and are doing what they can to make a much needed difference.

32
The pottery scene in Nepal suffers from a severe case of repetitiveness. Every year at global
and regional exhibitions, Nepal manages to showcase works. Conventional pattern and
resistance to change by traditional potters is reluctance to promoter has caused pottery to lay
behind. Such indifference could very well result in the loss of a valuable and unique Nepalese
culture. Evolved design is not a loss of the art form, but an improvement on it. The many
attenuated echoes of one much exposed form of the art, showcased time and again, is what may
strangle the life out of the pottery scene. Change is what drives design forward, and is what
needs to be taught to both the potters and their promoters. As such, it is time for bring about
change to the tune of time.

5.3 Recommendation
Residents of Bhaktapur are aware that tourism in Bhaktapur will have economic benefits in
terms of pottery culture promotion, but most of them are not aware or have not thought of
negative impacts of tourism on society and culture.

Thus, the government and the tourism department as well as associated agencies with pottery
culture should play a major role for the sustainable development of tourism in Bhaktapur.
Though the study highlights that in Bhaktapur’s pottery culture, only minor negative influences
are present at the movement. It is the right time to minimize such negative influences for the
sustainability. Besides, government should also control over the unplanned development of
tourist faculties in and around.

The study has highlighted some of the negative influences that are cropping up in the study
area. Thus in order to minimize such negative influences the some of the recommendations are
as:

 Enhancing local people participation in each and every aspect.

 Encouraging local people for preserving and conserving traditional pottery.

 Government and the concern authorities must provide subsidy regarding the imports of
pottery machines and equipment, and create market for the exports of the traditional
pottery wares.

 Government should encourage them for preservation and conservation and promotion.

 Various kinds of fairs and program should be organized frequently.

33
 All the skills, knowledge should be handover to new generation.

 Financial supports should be provided to the Local People.

 Training should be provided to local people along with young people.

 Fusion should be done with respect to modern and classical so as to regain the
importance.

 Publication of various books regarding to the history and the history and the importance
of the pottery.

 Media should highlight the importance of pottery.

 Designing a new concept with new layout will be magnificent to promote and develop
traditional pottery.

 Awareness campaign should be launched.

34
BIBLIOGRAPHY
Chitrakar , M., & Gurung, B. S. (1997). Nepal, A world of its own. Kathmandu: Department of
tourism, Exhibition road, Kathmandu, Nepal.

Dhakal, D. P., Chhetri, D., & Kamsakar, D. S. (1997). Kathmandu Valley. Traveller's Nepal,
13.

Dhakal, P., & Baniya, D. (1999). Pottery Culture in Bhaktapur. Kathmandu: Shree Krishna
Publication pvt. ltd.

Dhoju, R. (2018). Travel Guide Book. Bhaktapur: Shangri-la publication.

Karki, P. K. (2012). Tourism news digest. A national travel trade journal from the publisher
of image nepal, 29.

Magar, D., & Magar, P. S. (2018). Nepal Tourist guide book and yellow page. Kathmandu:
Image Nepal Publication pvt. ltd.

Maharjan, C. B. (2022, February 19). Importance of Pottery. (K. M. Shakya, Interviewer)

Nepal Tourism Board. (2000). A tourism directory of Nepal. Kathmandu: Nepal business link
publishing and advertising pvt. ltd.

Panta, S. K., & Joshi, R. (2020, September 05). Image Nepal. Retrieved from Bhaktapur Durbar
Square: http:/www.imagenepal.com.np

Pradhananga, H. M., & Sthapit, R. B. (2022, February 19). Importance of Pottery. (K. M.
Shakya, & D. Singh, Interviewers)

Prajapati, H. (2022, February 19). Tourism perspective of pottery culture in Bhaktapur. (K. M.
Shakya, Interviewer)

Prajapati, R. B., & Maharjan, C. B. (2005). Historical Bhaktapur. Mero Desh, 20.

Prajapati, S. (2022, February 26). Tourism prospective of pottery culture in Bhaktapur. (K. M.
Shakya, Interviewer)

Prajapati, S. K. (2022, February 26). Tourism perspective of pottery culture in Bhaktapur. (K.
m. Shakya, Interviewer)

Rajupadhyaya, A. (2016, September 26). Wikipedia. Retrieved from Bhaktapur pottery square:
htttp://www.wikipedia.com

35
The Longest way home. (2022, January 2). Retrieved from Guide to pottery square in
Bhaktapur: http://www.thelongestwayhome.com

UNESCO. (2006). Cultural portraits hand book. Lalitpur: Asia Publication, Basundhara,
Kathmandu.

Yeti Travel Pvt. Ltd. (2007, 9 02). Glimpses of Nepal. Bhaktapur, p. 6. Yeti Travel Pvt. Ltd.

36
 APPENDIXCES
Appendix I
Survey Questionnaire for Pottery Culture in Bhaktapur

Dear Sir/ Madam, Namaste!

The present survey is being conducted for preparing a dissertation titled “Tourism
Perspectives of Pottery Culture in Bhaktapur” for the partial fulfillment of the Bachelor in
Travel and Tourism Management program of Public Youth Campus. Your kind response and
valuable feedback would be of great help in getting relevant information not only for my project
report but also for other concerned authorities as well in order to formulate and development
of Pottery as one of major tourism product of the nation.

1) Profile of the Respondents

Name of the visitor:………………………………………………………………..

Nationality:…………………… Occupation/Profession:………………..
Gender: Male Female
Age group: 0-14yrs 15-24yrs 25-44yrs 45-64yrs 65 & above

2) Have you ever heard about Pottery of Bhaktapur?

Yes No

3) Have you ever visited pottery squares of Bhaktapur?

Yes No

4) Do you prefer buying local pottery handicraft and souvenir during your visit?

Yes No

5) Kindly write three things that you likes and dislikes most about pottery of
Bhaktapur during your visit?
37
 Likes Dislikes
a) ………………… a)………………..
b) ………………… b)………………...
c) ………………… c)…………………

6) In your opinion, are there any possibilities of pottery can be one of the tourism
products?

Yes No No idea

7) How you come to know about pottery in Bhaktapur?

Friends and relatives

Television
Internet
Documentary/ Tourism Promotion Film
Travel Agents/ Tour Operator
Travel Guide Books/ Travel Brochure
Any Other

8) Have you found any modernization and/or commercialization on the aspects

Pottery in Bhaktapur?
Yes No
If yes, please specify nature of changes.
…………………………………………………………………………………………
……………………………………………………………………………………
9) Do you think tourism has influenced pottery business?
Yes No

10) Do you have any suggestion for the preservation and conservation of pottery in
Bhaktapur?

38
 …………………………………………………………………………………………
……………………………………………………………………………………

11) What are the objectives of your Organization regarding to Tourism?

a) …………………………………………………………………………
b) …………………………………………………………………………
c) …………………………………………………………………………
d) …………………………………………………………………………
e) …………………………………………………………………………

12) Do you regularly conduct surveys from the visitors regarding the pottery of
Bhaktapur?

Yes No

If yes, could you list the type of surveys conducted?

…………………………………………………………………………………………
…………………………………………………………………………………………
…………………………………………………………………………………………
………………

13) What are the measures problems/issues identified by the research undertaken by
your organization regarding conservation and protection of pottery in
Bhaktapur?
…………………………………………………………………………………………
…………………………………………………………………………………………
…………………………………………………………………………………………
……………

14) Has the organization tried to address such identified issues/problems?

Yes No
If yes, how and which issues are address?

39
 a) ……………………………………………………………………………
b) …………………………………………………………………………….
c) …………………………………………………………………………….

15) What are the majors identified and adopted by your organization in promoting
Bhaktapur as open library for the pottery lovers?

a) …………………………………………………………………………………
b) …………………………………………………………………………………
c) …………………………………………………………………………………

16) Which other organization are involved in conservative and protection of pottery
tradition in Bhaktapur?

a) ……………………………………………………………………………….
b) ……………………………………………………………………………….

……………………………………………………………………………….

Thank you, for your valuable time and kind cooperation.

Krishnaman Shakya

BTTM (Public Youth Campus)

40
 Appendix II
Pictures/ Photographs

Pic 8, Map of Study Area

Pic 9, Photo of Study Area

41
 Pic 10, Photo of Pottery Shop

Pic 11, Visitor’s Observation of Pottery Culture in Bhaktapur Pottery Square

42
Pic 12, Process of Making Pottery

43
Pic 13, Coloring the Pottery Products

44
Pic 14, Tourist participating in my research

45