Pottery in Manipur

Pottery in Manipur is closely related with social, cultural and religious life. The art of pottery making in Manipur is practised by women without using wheel in a similar fashion as in other north eastern states. In the valley of Manipur, pottery is done only in few villages and Longpi in hill district Ukhurul. It is practised only by women and there is no habit of using potters ‘wheel, the pots are moulded with hand by beating. Four villages are well known for the art of pottery in valley, namely Andro, Thongjao, Chairel and Sugunu. In Sugunu, the use of wheel has been reported. But pottery in Sugunu and Chairel is now left to a very few potters.
Myth about origin of pottery in Manipur: Once upon a time, Manipur was surrounded by seven hillocks and water everywhere. Seven suns burned day and night. Atiya Kuru Shidaba and Ima Leimaran decided to create a world, thus descended from heaven. Atya Kuru Shidaba drained out water through a hole (Cingnungthut) with a trident. Once settled, they had a child to fulfil their wishes. A voce from heaven announced- Dig out some clay and make a pitcher out of it and offer prayers for seven days then your wish will be fulfilled. After seven days of prayer, a male child of golden colour was found by the couple. The child was christened Sanamahi, he later shot down six extra suns by his arrows and created various dwelling in water, in air and on earth. Finally, he created human being. Atiya kuru Shidaba and Ima Leimaran Shidabi disappeared after completing their task. Ima Leimaran took several incarnations to carry out seven different tasks. Panthoibi or Leima Leinaotabi was among them, who created the first earthen-pot. Therefore, in the creation myth of Manipur, the earthen pot becomes the metaphor for the womb.
The Rare Coil pottery of Andro: At a time when king pushed all of Imphal valley to convert to Hinduism from the 1700s onwards, a small group of Meitei’s chose to become social castaways in order to continue practising their indigenous Sanamahi faith. Even smaller group of their descendants live in Andro village today, and still practice their prized heritage craft, the rare pottery form of Charai Taba. Charai Taba potter works without any kind of motor and uses her wheel more for precision sculpting rather than giving the pot form. Interestingly, this is an art form practiced only by married women, and generally passed on to young brides by their mother-in-law. The Charai Taba also translates to looping clay or coil pottery. Charai Taba is a rare coil pottery that uses stacks of coil and slabs to give forms. The distinct look of this pottery is its natural fossil like imprints that imports you to the bygone era. The story of Charai Taba, the last vestige of the oldest matrilineal society in Asia, is a story of resilience and courage. As a part of the Andro tradition, our earthenware line is designed to represent the rich heritage and culture of their forefathers. Quality and authenticity are guaranteed with every piece – that’s Andro earthenware.
Advantages of Andro Pottery are: (i) Eco-Friendly and Natural: It is entirely handmade by local women using locally sourced clay and natural binders, making it environmentally friendly. (ii) Unique Production Method: The pottery does not use a wheel, but rather a “coil pottery” technique where women stack and shape clay loops by hand, often utilizing a special wooden bat. (iii) Health and Cooking Benefits: The pots are particularly suited for cooking on open flames, often used for simmering food over long periods, which preserves flavour and nutrition. (iv) Durability: Made with local Serpentine rock, the pottery is highly durable and heat-resistant. (v) Versatility: These pots are suited for multiple uses, including storing grains, seeds, water, and making the traditional sacred rice beer (vi) Cultural Preservation: It sustains the unique cultural heritage of the Chakpa community in Andro and provides livelihood opportunities, empowering local women who are the traditional masters of this craft. (vii) Shiny Finish: The pots are given a distinctive, natural shine using a decoction made from the bark of a local tree.
Thongjao pottery: The Terracotta pottery of Thongjao is made mostly by women using slabbing and shaping techniques. It is unique in form, artisanship and the creative use of reduction firing that give it distinctive colour. A mortar-pestle is also used in the production. Pointed metals are used to engrave floral and geometrical patterns onto the pots before they are baked. Other Terracotta made in Thongjao are cooking vessels, ritual pots, storage jars and pots lamps, pot rings and lids. Thongjao pottery known for its distinct scarlet tan colour made by women using coiling and hand-moulding techniques. The region is part of a larger traditional craft ecosystem in Manipur’s Chandel and Thoubal districts now in Kakching district. Thongjao pottery, a 500-year-old tradition from Manipur, is renowned for its hand-moulded techniques, high-quality durable red clay (leingang), and superior smoothness compared to neighboring traditions. It is culturally significant for religious ceremonies and wedding rituals, featuring unique, natural, and locally-sourced materials that are both eco-friendly and functional.
Advantages of Thongjao Pottery are (i) Distinctive Quality and Finish: Known for its characteristic red burnished finish, Thongjao pottery often displays superior smoothness over pottery from nearby regions like Nongpok Sekmai. (ii) Hand-moulded Artistry: The pottery is made without a wheel, using traditional hand-moulding (slabbing and shaping) techniques that give it a unique, rustic, and personal touch. (iii) Eco-friendly and Natural: The entire production process is natural, utilizing locally available red (leingang) and grey (leirum) clay and firing them in open kilns with paddy husks. (iv) Cultural Significance: Thongjao pots are highly demanded for traditional Meitei ceremonies, such as marriage rituals, owing to their cultural value and symbolic importance. (v) Durability and Utility: Despite being hand-moulded, the pots are known for their functional, efficiency, serving as reliable vessels for cooking and storage. (vi) Rich Heritage: The craft represents a living indigenous knowledge system, preserved for over 500 years and supporting the local economy by providing a source of livelihood, primarily for women. (vii) Customization and Modernization: While preserving tradition, potters are adapting by introducing new decorative, modern designs and painted pottery, broadening their market appeal beyond regular users.
Black Pottery-Stoneware from Longpi: Commonly known as Black Pottery, the original name is derived from the village of Longpi in Manipur. This is where Ttangkhul Naga tribe, make this beautiful pieces of earth ware. The inhabitants of Ukhurul district of Manipur credit the origins of this craft to Goddess Panthoibi, who is the mother of artefact-making. She represents a process towards our creation. That is why Longpi Pottery is necessarily used in performing rituals on festive occasions like childbirth and marriage. Specially designed for specific purposes, Longpi pottery can be used both for cooking and storing foodstuff.
The advantages of Longpi: Black pottery are: (i) No adverse health effects as there is no use of chemicals, machines or wheel in the making of this pottery. It is known to prevent morning sickness for pregnant women. (ii) 100% natural- made from clay, stone and cane, locally available and natural raw materials are used. (iii) 100% handmade- this generates revenue for the locals in Manipur. (iv) Fire-resistant pottery due to the use of Serpentine rock. (v) Multipurpose- can be used on open flame, in the microwave and is also dishwasher safe. (vi) the pots are good for simmering and slow cooking for hours over a low flame, homogenizing and condensing meat and lentils. The contents continue to sizzle for a long time after it is taken off the heat, ensuring that the food continue to remain hot.
Manipuri pottery is unique in style and technique. The material used is a mixture of clay and powdered stone- Black serpentine stone and weathered rock which are mixed in a three to one ratio. The Strength is provided by serpentine rock and weathered rock acts as a binding agent. The past formed from these is then rolled by hand into desired shapes. The Longpi do not use the potter’s wheel. All shaping is done with the hand and with the help of moulds. The potter then actually moves around the clay, shaping and forming the pot. The pot is supported from the inside with a rounded stone and beaten to the desired shape. Pottery in Manipur is a vital, ancient craft deeply intertwined with the region’s cultural, religious, and socioeconomic life, dating back to the Neolithic period. Primarily practiced by women without a wheel, it features distinct styles like the scarlet-toned Thongjao and the black stone-based Longpi serving crucial domestic and ceremonial purposes. It serves as a primary source of income for villages like Thongjao and Nungbi, maintaining traditional artistry despite the influx of modern metal vessels
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