Gangzur Village’s Last Potter Preserves Centuries-Old Craft
“Only three artisans in the entire gewog practice the art of making pottery for commercial purposes,” reveals the village’s last surviving potter, 52-year-old Aum Zangmo. Her journey in the world of pottery began under the tutelage of her grandmother and mother, marking a legacy of generational artistry.
Aum Zangmo’s expertise shines through in the diversity of her creations, spanning from tiny teacups designed for incense-burning to towering vessels, some reaching a remarkable three feet in height, intended for brewing ara, the local liquor. “There are five different types, each with its specific utility,” she shares, reflecting on her dedicated service of two to three decades in the craft.
The path to crafting these intricate earthenware pieces is laborious. It starts with the collection of red and yellow sandy clay from the nearby hill, meticulously cleaned and kneaded into a workable dough. Unlike modern workshops, Aum Zangmo’s workspace is devoid of machinery. Her hands, guided by skill honed over the years, gently shape the clay while the other hand manually rotates a small wooden plank, transforming lumps of clay into exquisite pottery. The final step involves firing the pots to ensure durability—a truly mesmerizing skill to behold.
However, the preservation of this ancient craft faces significant challenges. With only a handful of potters in the village, the shortage of skilled artisans is palpable. The younger generation, increasingly drawn to desk jobs that spare them from getting their hands dirty, regards pottery as a diminishing tradition.
“All the children go to school, and no one shows interest in learning the art of pottery making,” Aum Zangmo laments, her eyes brimming with emotion. Nevertheless, her determination remains unshaken. “I won’t quit the art of pottery making until I am unable to work. It’s a tradition passed down through generations, even if my children are not keen on taking up the craft.”
The influx of metallic pots from neighboring countries and the limited market for locally crafted earthenware pose substantial challenges to preserving this traditional craft. However, recent developments in the dzongkhag have brought a glimmer of hope. Travelers and tourists now visit Gangzur to purchase these exquisite products during their tours and visits to religious sites. Aum Zangmo manages to produce around 40 pieces a day, and her products find eager buyers, providing her family with essential income.
The history of pottery in Gangzur may be shrouded in the mists of time, but Aum Zangmo suggests that not too long ago, people from eight gewogs in Lhuentse relied on earthen pots for cooking, brewing ara, and storing water. In the midst of these challenges, the Tarayana Foundation has stepped in to support the preservation of this cherished craft. They are actively encouraging young people and school dropouts in the district to learn the art of pottery manufacturing through training programs.
As the world rushes toward modernity, Gangzur village stands as a testament to the enduring spirit of tradition and craftsmanship, embodied by artisans like Aum Zangmo, who continue to shape and fire the legacy of pottery for generations to come.
By Rinzin Dema
