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| 17-19CE Thanjavur Ganga-Januna Lota michaelbackmanltd.com |
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| Thanjavur Ganga-Jamuna Lota metmuseum.org |
Above images: The lota is made from both brass and copper, creating a two-toned effect that gives it the "Ganga-Jamuna" name. It's typically cast in a baluster form.Thanjavur, in southern India, was a notable center for superior brass production during the 19th century, making these lotas a product of high-quality local artistry. used for holding water in religious ceremonies, sometimes for lustral rites..........
The ‘Ganga–Jumna lota’ from 19th-century Thanjavur represents one of South Asia’s most iconic vessel forms—an object that combines everyday utility with refined craftsmanship and cultural symbolism. The lota, a handheld vessel distinguished by its globular body, constricted neck and sharply flared mouth, has been part of the subcontinent’s material culture for millennia. Its basic form, remarkably consistent through time, has been found in Harappan archaeological sites, including Harappa and Chanhudaro, where similar vessels appear near bathing areas and toilets, suggesting their use in ancient hygiene practices. Their continuity into the present makes the lota one of the oldest surviving design traditions in the world.
In South India, particularly in Tamil Nadu and Kerala, variants of the lota are known as kindi, and the Thanjavur region developed its own distinctive metalwork traditions during the Maratha period (17th–19th century). The Ganga–Jumna style, in which silver or copper inlay is worked onto a brass or bronze base, flourished here. The name refers to the contrasting colours of the rivers Ganga and Yamuna, symbolizing harmony in diversity. A Ganga–Jumna lota from Thanjavur typically features a shiny brass body embellished with silver floral vines, creepers, fish motifs, peacocks and stylized foliage—reflecting the rich visual vocabulary of Thanjavur’s courtly artisans. The bulging mid-section allows ample space for narrative or symbolic ornamentation, while the neck and rims display bands of geometric or vegetal designs.
Beyond craftsmanship, the lota occupies a central place in Hindu, Jain and Buddhist rituals. Used for storing and pouring water during ablutions and for bathing deities, its form parallels the kalasha, a symbol of abundance and purity in temple architecture and iconography. In Thanjavur’s temple culture, especially in the great Brihadeeswarar Temple, such vessels were integral to daily ritual cycles.
The lota’s importance entered modern design discourse when Charles and Ray Eames, after a government-commissioned study in 1958, highlighted it in The India Report as a model of perfect design—an object shaped by collective wisdom, function, and cultural memory. Their recommendations eventually led to the founding of the National Institute of Design (NID) in Ahmedabad in 1961.
Today, while stainless steel and plastic vessels dominate everyday use, traditional brass and Ganga–Jumna lotas continue to be prized for rituals, heritage collections, and museum displays. The Thanjavur example stands as a testament to India’s extraordinary continuity of design—bridging ancient Harappan forms with 19th-century artistic refinement and enduring cultural relevance.
https://www.deccanherald.com/specials/lota-south-asia-s-most-versatile-vessel-3797983
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