The Nepal Ceramics Co-operative Society was set up in the mid 1990s by a group of ceramists who recognized that by working together they could take better advantage of the capacity building initiated through German government assistance.  One very positive contribution of the project has been the development of earthenware glazes, the benefit tremendous.  Glazed earthenware has made possible the extension of Newari/ Nepali culture into a new realm of decorated, glazed ceramic art and wares, the attributes unique in the South Asia region.

Typical of excellent Nepali tableware, these cups and the plates below, were made by the Maitile Womens Co-op.  First painted with colored clays they were then covered with the clear, fritted glaze of the Co-op.  Thus the terra cotta color is featured.

An understanding of glaze technology and other aspects of technical ceramics also came about in another, very happy way.  A fortuitous side effect of the Ceramic Promotion Project was the publication by the German Appropriate Technology Exchange (GATE) of the four volume, 'Self Reliant Potters Series.' Authored by Danish ceramist, Henrik Norsker, and U.S. ceramist, James Danisch, the series offers the only comprehensive information extant on appropriate ceramic technology. 

Uniquely, on a cultural basis in the South Asia region, these earthenware pieces were made using fritted glazes.  The frit is manufactured by the Nepal Ceramics Co-operative Society, and all glazes used are free of toxic materials such as lead.

The four titles of the series covering:  clay materials,  kilns and refractories, glazes, and forming processes, the information given should be part of the library of any ceramic, or high temperature related project that is being undertaken in the southerly countries.  In these countries having access to this series could be invaluable in helping to make a project work, especially since processed ceramic materials tend not to be available, so ceramists must make their own.  Not overly technical, the style of writing is easily understandable by those for whom English is a second language, at about a senior, secondary school level. 

Shown is the mouth of the furnace. As 'frit' melts, it falls down the sloping surface, spewing out and into a bucket of water.

In aspiring to glazed wares, to start with the German, GTZ team found it impractical to plan for higher fired ceramics.  The fact is that high fire glazes are far easier to formulate than the low fire ones are, but local kilns in Nepal, firing earthenware at 1050^oC cannot support the higher temperatures needed at 1300 C. 

Ironically, local materials could be used to make the 

One of the best options for a flux is feldspar rock, milled to powder, which serves well in reducing melting temperature of silica from 1700C down to about 1300C.  But any attempt to use enough feldspar to further reduce melting temperatures,  nearer to 1050C, would make the amount of silica insufficient, and the subsequent glaze would not be durable.  And aside from feldspar there are no other viable, naturally occurring fluxes, of a type that would enable the low fire, earthenware glazes.

Triaxial blending is a methodology for determining the proper combination of three materials.  The triaxials shown here are for color combinations.  But other triaxials are performed for appropriate combinations of glaze materials: 1.  quartz sand,  2.  kaolin, white clay, and,  3.  the Co-op's frit.

To solve the problem of getting an appropriate flux, and glaze material for the Thimi potters, it was decided to undertake the production of a 'frit.'  As opposed to a naturally occurring material a frit is one that is formulated.  Frit is a glassy material which when added to other glaze constituents allows for a low fire approach.  In the Nepali case the frit comprises inexpensive materials, though several of these are imported:  kaolin (i.e. white clay), silica sand, borax and soda.  Of these materials soda is the most active flux, reducing melting temperature of a glaze, however it cannot be used all but itself because it is water soluble.  If soda were to be used in this way, upon application to a clay piece this would migrate out of the glaze, thus making it ineffective.  But when soda is added to the other constituents, then fired to a frit, the composition is glassified, thus becoming insoluble and appropriate.  In essence here ends the technical matter. 

The production of frit is in itself a fascinating process.  Once the four constituents: the white clay, sand, soda and borax are combined and dry mixed, the composition is poured onto the sloping floor of a hot furnace, the fire playing upon this.  When this material melts it flows down the sloping surface, and out of the furnace, falling into a bucket of water.  What the water does is to aid in beginning the processing of the glassy frit material.  Molten frit, at 800 to 900C, enters the water which is at room temperature.  A sort of thermal shock causes the frit to break apart, into particles no bigger than about 1.0 cm. diameter.  The resultant, particulate frit is then ready for milling to powder.  After frit processing, this material is made available to the members of the cooperative, either as frit powder or further combined with other glaze constituents. 

One technique of decoration that has gained widespread popularity among Nepali ceramists involves the use of 'engobes' as underglaze.  An engobe is a clay composition that is the same as that of the underlying pottery, except that it contains a coloring oxide.  So the engobe fits the piece well in terms of the firing temperature and other variables. Following decoration with engobes a clay piece is subsequently covered with the clear, fritted glaze, a technique that is eminently appropriate, used to good advantage by Nepali ceramists.

Hindu gods and goddesses are prominent, as is the Buddha, and their figurines adorn the Nepali homes of the devotees, the two religions side by side.

Along with material supply, provision of glaze technology has been a major accomplishment of the Co-op, with constant attention to periodic testing.  So goes the old saying, 'many hands make light work.'  Here is a technology that could be replicated in any of dozens of the southerly countries of Asia and Africa, to much the same benefit that Nepalis have received.  Of these other countries precious few are taking advantage of this known technology!

For a visitor to pass through such a gate way as this constitutes a welcome.  The elements of terra cotta building materials give structures a sculptural aspect.

The peaceful coexistence of these two great religions has had a profound, positive impact on the culture of Nepal.  So religious objects are a mainstay in the market of the Thimi Potters.  Buddha figures and Shiva figures and Ganesh figures, and others, are 

As a reflection of religion the ceramists tradition extends beyond the options of everyday objects, into something more permanent, a quite distinctive architecture. For hundreds of years master crafters in pottery and wood have pursued complimentary techniques in the production of the building materials that make Nepali buildings beautiful to behold.  So throughout the Kathmandu Valley, and beyond, contractors who wish to exceed the everyday attributes of functional design are first collecting those building elements of  woodwork and terra cotta which make a structure stand out, attesting to a rich legacy of Nepali architectural tradition.

Mr. Canchha Awal, center, is proprietor of one of the three brick plants in Bhaktapur that specializes in architectural terra cotta.

Half an hours drive from Kathmandu and neighboring Patan, just beyond Thimi is the city of Bhaktapur.  Among other distinctions Bhaktapur is the home of three brick plants that make a specialty of the production of the architectural terra cotta that is so much in demand by savvy builders.  The availability of many varieties of the elements of decorative, architectural terracotta, helps make a joy of the construction of building whose design are based in tradition. 

The new buildings constructed with the terra cotta elements closely follow the best features of the older ones, helping to guarantee a cultural charisma that is quite distinctive.  Thanks to new techniques learned, and adapted to tradition, the potters should continue to to be a vital force in Nepali cultural life and society.