Terracotta

In the 19th century the possibilities of terracotta decoration of buildings were again appreciated by architects, often using thicker pieces of terracotta, and surfaces that are not flat.

As compared to bronze sculpture, terracotta uses a far simpler and quicker process for creating the finished work with much lower material costs. The easier task of modeling, typically with a limited range of knives and wooden shaping tools, but mainly using the fingers, allow the artist to take a more free and flexible approach. Small details that might be impractical to carv in stone, of hair or costume of example, can easily be accomplished in terracotta, and drapery can sometime be made up of thin sheets of clay that make it much easier to achieve a realistic effect. Terracotta statues of unsupported standing figures are limited to well under life -size unless extra structural support is added. This is also because large figures are extremely difficult to fire, and surviving examples often show sagging or cracks. The yixian figures were fired in several pieces, and have iron rods inside to hold the structure together.

Terracotta was made by the ancient Greek, Babylonian, ancient Egyptians, Romans, Chinese, and the Indus River Valley and Native American cultures. It was used for roof tiles, medallions, statues capitals and other small architectural details.

Terracotta is made of a clay or silt matrix, a fluxinh agent, and grog or bits of previously fired clay. Clays are remnants of weathered rock that are smaller than 2 microns. They are composed of silica alumina, kaolinite halloysite, montmorilonite, illite and mica are all good type of clays for Ceramic production.

In the 19th century the possibilities of terracotta decoration of building were again appreciated by architects, often using thicker pieces of terracotta, and surfaces that are not flat. Terra Cotta was marketed as a miracle material, largely impervious to the elements. Terracotta however can indeed be damaged by water penetration or exposure or fail through faulty design or installation.

In India, traditional terracotta sculptures, mainly religious, continue to be made. The demand for this craft is seasonal, mostly when new pottery and votive idol are required during harvest festival. During the rest of the year, the craftsmen take to agiculture or some other means of income. The designs have become redundant when the same kind of relief and same techniques are used for the different subjects. The subjects and the uses are suggested by the client. This craft requires a strong understanding of composition and subject matter as well as a skill to be able to give rach plaque its distinct character with patience. West Bengal has a rich terracotta of art and craft and terracotta art is one of them. In factb, rural areas of the state are a treasure trove of finely crafted terracotta pots, figurines

including those of beautiful horses and other, items, small and large, of practical use as well as decorative. Some of the well known towns for Terracotta art form are Murshidabad, Jessore, Birbhaum, Digha and Hooghly.

Since time immemorial India has been famous for celebrating the five mystical elements of nature fire, air, water, earth and earth. And whenever these five elements combine, they are said to bring life. Terracotta, too, is said to be a combination of the five mystical elements and hence, has been a past of indian history since the Indus valley civilization. In the literal sense, Terracotta means “baked earth “, in Latin, and is a sort of clay based earthenware. Due to its extensive background, it’s no wonder India has some prominence when itcomes to terracotta. Most famously, the target terracotta sculpture ever made was the Ayanaar horse created in Timil Nadu.

Today, terracotta is still used in pottery and art for the home and beyond. Areas such as Rajasthan and Gujarat are famous for their white painted terracotta jars, while Madhya Pradesh is known for embellished terracotta rooftop.