pottery is an amazing and one of the oldest craft in India, it also a cast / community in India. pottery differs in each every state of India, but with time changing, modernization somewhere we all are lack to protect and flourish our values in Craft.

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Pottery
of
Dharavi

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Copyright @ NID 2018
Digital Publication of student document
For private circulation only
Compiled and edited by
Mahesh K. Kamble
Toy and Game Design, 2016 Batch,
National Institute of Design, India.
Sources: Mentioned under photographs,
All right sreserved under International Copyright
© 2018 convention. No part of this document may
be reproduced or transmitted in any form or by any
means electronic or mechanical, including photography,
recording or any other information storage and retrieval
system, without permission in writing from author and
publisher.

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Pottery
of
Dharavi
CRAFT DOCUMENTATION
By Mahesh K. Kamble,
Toy & Game Design
2016 Batch.
Guided by-
Carmina Fernandes,
Sonal Chauhan,
Amit Sinha.

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CONTENT
1. Introduction
2. Acknowledgement
3. About Dharavi
• History
• Geographical Location
• Communities
• Social Structure
4. Society and Industry
• Kumbharwada
• Leather work
• Zari work
5. Craft: Pottery
• Introduction
• Material
• Pot making process
• Threats
• Opportunity
• Makers
6. Conclusion
7. Bibilography

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INTRODUCTION
This book is about Dharavi, in the city of Mumbai,
in India. In this book, a small glimpse of Dharavi,
it’s people and their life experiences is presented
through visuals and words. The book majorly
focuses on pottery from Dharavi.
The specific type of pottery is practised in an
area called “Kumbharwada”. This book contains
the process and journey of Dharavi pottery.

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ACKNOWLEDGEMENT
The compilation of this craft document would
have been impossible without the help and
constant guidance of the faculties, the mentor,
the potters of Dhawravi. I hereby take the
opportunity to thank them all for their support,
guidance and encouragement towards the
successful completion of this document.
I would like to thank my guide Ms. Carmina
Fernandes, Sonal Chauhan and Amit Sinha
for their invaluable feedback. Also, a special
mention goes to Hasmukhbhai, his family and
Avinash Shrivastav; without their help this
document could not have been possible. Finally,
I extend my gratitude to my parents and friends
who have been a constant motivation.

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History of Dharavi
In the 18th century, Dharavi was an island with
predominantly mangrove swamp. It was a
sparsely populated village before the late 19th
century, inhabited by Koli fishermen. Dharavi
was then referred to as the village of Koliwadas.
Dharavi is a locality in Mumbai, Maharashtra,
India. Its slum is the second-largest slum in the
continent of Asia. The Dharavi slum was founded
in 1883 during the British colonial era, and grew
in part because of an expulsion of factories and
residents from the peninsular city centre by the
colonial government, and from the migration
of poor rural Indians into urban Mumbai (then
called Bombay).

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GEOGRAPHICAL LOCATION
Dharavi is a large area situated between
Mumbai’s two main suburban railway lines, the
Western and Central Railways. To the west of
Dharavi are Mahim and Bandra, and to the north
lies the Mithi River. The Mithi River empties
into the Arabian Sea through the Mahim Creek.
The area of Antop Hill lies to the east while
the locality called Matunga is located in the
South. Due to its location and poor sewage and
drainage systems, Dharavi particularly becomes
vulnerable to floods during the wet season.
Dharavi is considered one of the largest slums in
the world. The low-rise building style and narrow
street structure of the area make Dharavi very
cramped and confined. Like most slums, it is
overpopulated. Despite the expensive Mumbai
lifestyle, Dharavi provides a cheap alternative
where rent is as low as Rs.500 per month
Figure no 3 -A map of Mumbai city, depicting Dharavi.
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COMMUNITIES IN DHARAVI
The demography is mixed ethinicity with 33% of
the population of Dharavi is Muslim, compared
to 13% average population of Muslims in India.
The Christian population is estimated to be
about 6%, while the rest are predominantly
Hindus (60%), with some Buddhists and other
minority religions. Among the Hindus, about
20% work on animal skin production, tanneries
and leather goods.
Other Hindus specialize in pottery work, textile
goodsmanufacturing,retailandtrade,distilleries
and other caste professions. All of these are small
scale household operations. The slum residents
are from all over India, people who migrated
from rural regions of many different states. The
slum has numerous mosques, temples and
churches to serve people of Islam, Hindu and
Christian faiths; with Badi Masjid, a mosque, as
the oldest religious structure in Dharavi.
fig. 4- a Marathi women form Dharavi, fig. 5- Muslim men women in a
open meeting , Fig. 6- Two Muslim boys walking with the Indian flag on
the 90 feet street, Fig. 7- three kids and two old women sitting outside the
house in Dharavi.
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Social Structures
Some of the largest temples were constructed by
marginalised communities which, after moving
to Dharavi, were free to worship in a way that
would have been impossible in their villages.
These communities were among the most proud
and willing to coverse. Another interesting fact
was the concentration of certain sites of worship
in certain areas, which pointed to the way in
whichdifferentethnicitieshadsettledindifferent
areas Koliwada, the largely fisherman area near
Mahim, has a dense population of churches
(in fig. 8- Lord Shiv temple 100 year old from Shankar Kawade
Chawl, in fig. 9- a mosque from Dharavi, in fig. 10- Shree MahaMayee
Mariyamman temple, in fig. 11- a small Church surounded by houses.)
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whereas the area between the 90-feet road and
the Dharavi main road has more mosques. It
also became apparent that people had settled in
the diverse sections at different periods of time,
creating layered accretions of community. In the
Jasmin Mills locality, Ambedkar temples were
most frequently found whereas there are more
shrines dedicated to Sai Baba and Hanuman,
deities who have become more popular in
recent years around the newest built areas.
Many of the religious sites as old as 120 years.
“The oldest temple is the Shri Dhareswara Shiv
Mandir built in 1900 while the oldest idol to be
continually worshiped is called the Vetal Deo
Mandir built in 1750.
(in fig. 12-One of oldest temple in Dharavi, Vetaal Dev Mnadir, in fig.
13-a silver colour wooden pole vertically placed in ground which is called
Khamb dev, in fig. 14-the main entrance of Khambdev temple)
Khambdev is the village deity of the dharavi
Koliwada. He is not to be found in the long
list of generic Hindu god or even in any other
indigenous cultures.
Every Koli village has their Village deity. Generally
this deity is placed at the border of the village. In
Dharavi Koliwada the shrine of Khmbdev was in
between the village and the creek. It is believed
that Khambdev keeps an eye on the entire village
from its outskirt and protect it from all evils.
The popular practice was to pray at Khambdev
before setting out for fishing. But currently the
shrine has come to be in midland surrounded by
buildings and other concrete structure. The city
has grown to swallow the empty land around
Khambdev and thus has destroyed his aura to a
great extent.
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(in fig. 15- an image of potters from Kumbharwda, in Dharavi,
in fig. 16- a old pottery wheel with a pot.)
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KUMBHARWADA IN DHARAVI
The Kumbhars of Mumbai came from Saurashtra
to Bombay in 1877 when their region was
ravaged by drought and set up their kilns in an
area in south Bombay. But as the city grew, and
with it the needs of the elite who lived in the
southern part of the city, the Kumbhars had to
be pushed further north. So they were packed
off to Sion, on the northern edge of the island
city. But once again the land on which they set
up shop was needed for a British army camp.
So they were relocated, this time to the edge of
the island city, close to a swamp that is Dharavi
today. Thus, in fifty years this community has
had to move three times, once from its original
home to Bombay.
Kumbharwada occupies twelve and a half acres
of prime property in Dharavi. It is strategically
located at the point where 90 Feet Road meets
60 Feet Road. Over 250 potters work in this
area but there are many more families living
there. The first Kumbharwada was at Naigaun
in front of Chitra Cinema (in central Bombay).
The government removed them from there to
Sion (north of Dharavi). There a military camp
came up, so they were then removed to Dharavi
in the 1930s. In 1932, there were 319 Kumbhar
families, today there are more than 2,000.
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LEATHER WORK
This is the famous leather street that has made
Dharavi a name even the rich of Mumbai
now know. While the finished goods sit in air-
conditioned splendour, the men who labour over
these products have none of these comforts.
They sit instead in cramped lofts or workrooms
and work in bad light, poor ventilation and in
stifling heat to produce the most beautifully
finished and crafted leather goods.
Officially, all the tanneries of Dharavi have been
relocated to Deonar. In the past, when tanneries
dotted Dharavi’s landscape, the first thing that
hit you was the stench. Ask anyone what they
thought of Dharavi during the 1950s and 1960s
and they will tell you that it stank. There were
parts of the settlement that were covered
with wool fluff from the hides after they were
cleaned. Even today, there are few lanes in
Dharavi that are carpeted with wool from the
sheep and goat skins drying in the sun. A small
breeze can blow the lighter fluff onto the low
rooftops and beyond. Although twenty-seven
out of the thirty-nine tanneries that operated in
Dharavi were given alternative land in Deonar,
only the larger ones shifted.
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(in fig. 17- an image of leather workshop, left person in picture is sewing
small leather parts of wallet, and his father standing next to him, in fig.
18- a worker who cutting the leather parts and giving final finished part,
in fig. 19- a worker cutting a wallet part with scissor, in fig. 20- a picture of
leatther tools, punch hole, 21- a picture of finished part of wallet, ready for
assemble.)
In the old days, those who worked in the
tanneries also lived there. Now that most of the
tanneries have moved out of Dharavi; only the
first stages of treatment are done in Deonar. The
semi-processed hides are shipped off to Chennai
for the final treatment. The processed hides
now come to Dharavi mostly from Chennai and
Kolkatta to be crafted into finished products.
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ZARI work
Zari (or Jari) is an even thread traditionally
made of fine gold or silver used in traditional
Indian, and Pakistani garments, especially as
brocade in saris etc. This thread is woven into
fabrics, primarily made of silk to create intricate
patterns. It is believed this tradition started
during the Mughal era and the Surat pot being
linked to the Haj pilgrims and Indians was a
major factor for introducing this craft in India.
Today, in most fabrics, zari is not made of real
gold and silver, but has cotton or polyester yarn
at its core, wrapped by golden/silver metallic
yarn. Zari is the main material in most silk sarees
and ghagara. It is also used in other garments
made of silk, like skirts.
Though Zari thread is utilised widely in weaving,
it is quite selectively used in embroidery. Zari
Embroidery can be found in different forms
which are as follows:
Kataoki Bel: This process makes use of a border
pattern that is built of stiff canvas. The entire
surface is replete with sequin edging. A variation
of this method could be seen in cases of lace
made on net that’s filled with spangles and zari
stitches.
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(in fig 22- a detail image Zari work,
in fig. 23- an image of finished Zari patterns,
in fig. 24- a person stiching zari with needle and thread,
in fig. 25- a image of small zari workshop.)
Kamdani: This lighter needle work can be seen
on lighter materials such as veils, scarves and
caps. This technique uses ordinary thread and
the stitching presses down the wire giving rise
to a satin-stitch effect. The resultant effect is
stunning and is called by the name of hazara
butti (thousand lights) in local parlance.
Mina Work: This method is akin to enamel work.
However, the embroidery is made in gold.
Makaish: Considered to be one of the oldest
techniques, this is done with badla or silver. The
wire itself does the work of a needle, piercing
the fabric to complete the stitches. A wide range
of designs are made in this fashion.
Tilla or Marori Work: In this process, gold thread
gets stitched on the surface of the material with
the help of a needle.
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Kinari work: Embellishments are done using zari
threads at the borders in the form of tassels.
Gota Work: This technique brings forth a wide
variety of texture in the designs as the gold
border that’s woven is cut into different shapes.
Itisnotonlyleathermanufacturingunits,butalso
zari workers, small-scale apparel manufacturers
and others that are facing the downside of the
downturn. Again, workers in these industries
mainly from Bihar and UP, besides some from
Maharashtra. Here, too, at least a 3/4th of the
workforce has left Dharavi
Mohammad bhai, a zari worker in a small
manufacturing unit in Dharavi, is ready to go
back to his village in Darbhanga district of Bihar.
His employer, who had 20 workers, now has
two. Ahsan, another zari worker who only gave
his first name, has not yet fixed the date when
he will go back, maybe within a week. He said,
“I hardly have any luggage, only a bag, and will
travel in the general compartment as I can’t
pay for the reservation”. Ahsan’s family has 10
members, and his father works as a building
painter. Ahsan is the second earning member.
But he is clueless about how he will sustain his
livelihood back home in Darbhanga. “I may work
in the fields. I don’t know what I will do,” he said.
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(in fig 26- an image of Zari work, which is used on small girls dress,
in fig. 2- an image of some final finish zari pattens.)

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(in fig. 28- a different sizes of pots kept outside of potters house, in fig. 29- a
small clay diyas are kept sunlight to get dry.)
POTTERY in Kumbharwada
Pottery is one of the oldest human inventions,
originating before the Neolithic period. Pottery is
done by forming a ceramic (often clay) body into
objects of a required shape and heating them to
high temperatures in a kiln which removes all the
water from the clay, which induces reactions that
lead to permanent changes including increasing
their strength and hardening and setting their
shape. A clay body can be decorated before
or after firing; however, prior to some shaping
processes, clay must be prepared.
Kumbharwada, where a community of potters
from Gujarat has lived since 1932, has a
distinct personality of its own. All the houses
accommodate the potter’s wheel and a bunch
of houses open out into an open space where
there is a shared kiln for firing the pots. Over
time, the Kumbhars have developed their own
social links and keep to themselves. There are
few cases of inter-marriage between Kumbhars
andothercommunities.Theyhavetheirownway
of settling disputes and only turn to the police
if this does not work. And they have evolved a
cooperative system of buying commonly needed
supplies like cotton waste for lighting their kilns.
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MATERIAL
There are several materials that are referred
to as clay. Clay differs from the inelastic earths
and fine sand because of its ability, when wet
with proper amount of water, to form a cohesive
mass and to retain its shape when molded. This
quality is known as plasticity. When heated
to high temperatures, it also partially melts,
resulting in the tight, hard rock-like substance
known as ceramic. A typical clay body usually
consists of china clay, ball clay (added to increase
workability and plasticity), potash feldspar, silica
and than clay. These are available in the market,
ready to use. The most common types of clay are
earthenware, stoneware and porcelain.
Wedging the clay is the primary and most
important step of pot-making. It is done before
any other activity to help compact the clay and
get air pockets out, ensuring that it is uniform in
stiffness. If the clay body isn’t wedged properly,
the chances are one won’t get the pot right.
Quite interestingly, on the contrary, if the body is
wedged well, throwing will be almost effortless.
The potters use the indigenous red and
grey clay in the manufacturing of their wares.
They still bake in the traditional brick kilns
even though getting the cotton to fuel them is
gbecoming increasingly difficult. However, the
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changing cityscape has affected them, and
they have had to start modernizing or face
extinction. The cotton mills of Mumbai have long
since closed down and waste cotton is a scarce
commodity. The cotton waste has to be shipped
from Gujarat which increased the cost of the
finished product. Due to this difficulty and the
added sanctions on air pollution, the potters are
now looking into gas powered kilns.
The clay they use is no longer found around
Dharavi and is instead shipped to them by the
truckload from across the country, most notably
Rajkot and Ahmadabad. This clay is gathered at
Bhiwandi and Kalyan and then supplied in trucks
to the potters of Khumbarwada.
Most of the potters today have also forsaken
the manually driven potter’s wheel for electric
ones. Since an electric wheel is a one time,
upfront cost which requires little in terms of
maintenance the potters consider it to be a good
investment which makes their life a little easier.
The properties which make them different
include: Plasticity, the malleability of the body;
the extent to which they will absorb water after
firing; and shrinkage, the extent of reduction
in size of a body as water is removed. Different
clay bodies also differ in the way in which they
respond when fired in the kiln.
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(in fig. 30- a ready clay is kept outside which is covered by polythin, in
fig. 31- a man wedging the clay with his feet , in fig. 32- pots are kept in
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POT making Process
Wheelwork can be used to create wares with
radial symmetry on the vertical axis. These can
then be altered by pressing, bulging, carving,
fluting and by other methods making the wares
more visually interesting. Often, thrown pieces
are further modified by making handles, lids,
feet, spouts and other functional aspects are
added using the techniques of hand work.
• Throwing : Placing the ball of clay in the center
of the wheel head (though the word ‘throwing’
is used for pot-making on wheel in general).
• Centering: Pressing the ball of clay downward
and inward into perfect rotational symmetry.
• Opening : Making a hollow in the center of the
solid ball of clay.
• Flooring : Making the flat bottom inside the
pot.
• Pulling : Drawing up and shaping the walls to
an even thickness.
• Shaping : Giving the pot the desired shape
by applying varying pressure on the inside and
outside of the pot.
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Here discussing the Dharavis pottery process
• Developing primary forms - Developing
the clay
• Casting - Their process begins by creating
a cast for the pot using Plaster of Paris (POP).
The POP cast made in to two parts, the upper
part and lower part of the pot. Then they give
shape to the clay with a firm wet hand. Once the
clay pot form is done, it is cut with thread and
put in a POP cast. Later it is pressed and spread
by hand with equal amount force, which helps
clay to get better form. Same method is repeated
for the upper part of pot. Later both parts of the
cast kept on each othe for joining.
• Joining the casts - The joint is done from
inside by using some extra clay which filling it in a
joints gap, thus the pot get its primary stucture,
but it takes a day for drying the pot. Later dry pot
is kept on the spinning wheel to place an opening
on top of the pot which is called “Gaanth”.This is
done by circullar shaped ring attached to on top
of the pot.
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(in fig. 33- a potter throwing clay on wheel, in fig. 34- a potter pulling the
clay upwards and shaping the walls, in fig. 35- a potter shaping the pot
desired shape. in fig. 36- a hollow in the center of solid clay, in fig. 37- top
view of pot process.)

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• Sun drying - After this pot is kept outside
in the sun to dry faster
• refine its shape when it is leather-hard.
This is done by centering the pot on the wheel
or by hand-holdi
• Finishing - Trimming a pot is about
removing excess clay to ng it. Since the rim is
usually well finished during throwing itself, the
base of the pot is worked upon and a foot-ring is
marked for the pot to get a distinct contour.
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(in fig. 38- a two part of pot in plaster of paris cast, in fig. 39 a clay put it
in plaster of paris cast and foming the shape, in fig. 40- in image plaster of
paris cast join together placing one upon other cast and filling clay in gap
from inside, once it got dry. pot is ready for next stage. in fig. 41- a pot is
cleaning with steel blade, in fig. 42- making smooth surface with blade, in
fig, 43- giving final deatiling to pot.)
Trimmings (dry shavings) are wetted and re-
cycled to prepare fresh clay! Engraving, em-
bossing, creating textures on the pot is called
fluting. It also includes attaching handles or
decorating it with hand-built clay pieces. This
is done after trimming, while the pot is leath-
er-hard (neither too wet, nor too dry), after
which it is not possible to do much because
they are too dry and liable to break.
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44 45
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• Coloring - After the pot is finished being
worked upon it is left to dry naturally. There is
shrinkage to which is generally 4% to 10%. Once
pot gets fully dry, its comes to final stage of
colouring. For colour potter used Natural earth
colour “Geru”. It comes in powder or stone form,
and then it has to be mixed with water, so the
colour is ready.
• Baking in Kiln - After this two layers
of colour applied on pot, once the colour is
done these pots are kept neatly stacked one
upon another in the klin to fire it for three
dayscontinue.
The bisque firing is done in kilns that are heat-
ed by burning wood, coal, gas or by electricity.
Modern kilns powered by gas or electricity are
cleaner, more easily controlled and often allow
shorter firing cycles. Bisque firing is the first
time the pots go through high temperature
heating. It is done in order to vitrify the clay
pots enough that they won’t be harmed when
glazes are applied, but not vitrified to such an
extent that the glaze won’t adhere correctly. A
very slow temperature rise is critical. If heated
too quickly, the water will turn into steam while
inside the clay body, causing the clay to burst.
During the beginning of the bisque firing, the
last of the atmospheric water is driven out of
the clay. When the kiln reaches about 350 °C,
the chemically bonded water begins to be driv-
en off. By the time it reaches 500 °C, the clay
becomes completely dehydrated. At this point,
the clay is changed forever (now a ceramic).
The bisque firing continues until the kiln reach-
es about 850-900 °C. At this temperature, the
pots are sintered, made less fragile while still
porous enough to accept the application of
glazes. Once the desired temperature has been
reached, the kiln is turned off and allowed to
cool down.
(in fig. 44- a potter is placing clay opening on top of the pot, in fig. 45- an
image of clay lid, in fig. 46- a pots are placing inside kiln for baking, in fig.
47- a image of natural colour for pot, in fig. 48- a ready coloured pot)
48

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49 50

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PRODUCT RANGE
5251
53 54
in fig. 49- an image of kiln to bake pot, in fig. 50- an image of kiln which is less smoking mordern kiln, in fig. 51- image of diya which is made by grey clay,
in fig. 52- an image of round pots made by grey clay, in fig. 53- a range small red , grey pots kept in kiln, in fig. 54- a designed pot which used garba festival)

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Threat
Changing times have also brought along with
them, a lot of competition for the potters,
specially since they are not willing to increase
their skillset. The traditional potters in the
town have been designing the the same type
earthware, but traders are looking for new,
innovative pottery. “I will want my children to
learn the art of pottery given that it runs in our
veins”. However, I would not want them to take it
up permanently,” says 35 year old Hasmukhbai.
All water pots are replaced by plastic bottles,
pots, cans to fill water, and aquaguard is another
important threat. Middlemen in markets who
pay very small amount to potters and sells at
high prices in bigger market are also hampering
the potter community.
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OPPORTUNITIES
• Selling thorugh e commerce.
• Create more design varities alongwith the
traditional forms.
• Branding the products.
(in fig. 55- a colour and finshed pots are arranged outside of shop to sell, in
fig. 56- another pot shop on 90 feet road, in fig. 57- pots are getting dry out-
side of the house, in fig. 58- a clay bowl arranged at potter shop for selling .)
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Dtails of Potterman
• Name- Kamleshbhai Laxmanbhai Wegal.
Age- 39 year old male,
Status- married, having two kids
• Name- Hasmukhbhai Laxmanbhai Wegal.
Age- 35 year old male,
Status- marreid, having two kids,
Place- Kumbharwada, in Dharavi, 90 feet road,
Sion west, Mumbai
.
Phone No.- 09029829286.
(in fig. 59- Kamleshbhai Wegal
portrait picture,
in fig. 60- Hasmukbhai Wegal
portrait picture.)
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CONCLUSION
After visitng and experiencing the place and
people of Dharavi, it was observed that the
business of Pottery is reducing day by day. Many
potters are gradually moving into other lines of
work for earning their livelihood. This is because
they are unable to make good profits and
demand of the pots decreasing day by day. They
are saying “abhi pehle jesa kuch nahi raha”, so
now potters are looking ahead and discouraging
their kids from learning and carrying forward
this craft. Despite so many challenges faced by
the cheaper industrial alternatives to clay pots
the business will survive due to it’s cultural
significance and demands will periodically sore
around the festival times. Even if the potter
community may disappear over the years the
legacy of craft will still remain in the memory of
Dharavi.
61
62
(in fig. 61- pots are kept in kiln,
in fig. 62- pots are kept outside the house for drying.)

42. 42
Bibilography
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Wikipedia, Dharavi, viewed on 7 february 2018, <https://en.wikipedia.org/wiki/Dharavi
2-Dharavi, google, viewed on 7 February 2018, < https://www.google.co.in/search?q=dharavi&oq=dhara-
vi&aqs=chrome..69i57j69i60j69i65j35i39j0l2.3299j0j8&sourceid=chrome&ie=UTF-8
National Geographic, google, viewed on 8 february 2018,<http://ngm.nationalgeographic.com/2007/05/
dharavi-mumbai-slum/jacobson-text
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HcjyvgT24Y-YCw&q=dharavi+community&oq=dharavi+community&gs_l=psy-ab.1.0.0l3j0i22i30k1l3.20834
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1j0i13k1j0i20i263k1.0.4fMhDr6xj5I
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Google, Dharavi history, <http://www.dharavimarket.com/community/intropage/
Google, Dharavi pottery, <http://www.dharavimarket.com/community/pottery/
Google, Dharavi leather, <http://www.dharavimarket.com/community/LeatherLove/
4-Google, Dharavi temples, viewed on 8 february2018, < https://www.google.co.in/search?q=daharavi+-
temples&oq=daharavi+temples&aqs=chrome..69i57.5016j0j7&sourceid=chrome&ie=UTF-8

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http://epaper.timesofindia.com/Default/Scripting/ArticleWin.asp?From=Archive&-
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Mode=HTML
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gious-sites-dharavi
https://pad.ma/OL/info
http://epaper.timesofindia.com/Default/Scripting/ArticleWin.asp?From=Archive&-
Source=Page&Skin=TOINEW&BaseHref=TOIM/2011/03/27&PageLabel=6&EntityId=Ar00602&View-
Mode=HTML
6- Google, zari process, viewed on 8 february 2018, <https://www.google.co.i
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1l4.20091.20091.0.21966.1.1.0.0.0.0.1605.1605.8-1.1.0....0...1.1.64.psy-ab..0.1.1604....0.Xi-c-TZBb0U
https://en.wikipedia.org/wiki/Zari
https://www.indianholiday.com/gujarat/arts-and-crafts/zari-embroidery.html

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7- Google, pottery process, viewed on 9 february 2018, < http://www.dsource.in/course/clay-pottery/
throwing
http://www.dsource.in/course/clay-pottery/throwing
http://www.dsource.in/course/clay-pottery/trimming-fluting
http://www.dsource.in/course/clay-pottery/bisque-firing
8- Google, tools for pottery, viewed on 9 february 2018, < http://www.belmun.com/leather-goods-manufac-
turer/pottery-in-dharavi/tools-and-materials.htm
Title Bombay Then, Mumbai Now
Authors Jim Masselos, Naresh Fernandes, Pramod Kapoor
Editor Pramod Kapoor
Photographs by Pramod Kapoor
Edition 2, illustrated
Publisher Roli Books, 2009

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