Castes and Tribes of Southern India/Kusavan

by Edgar Thurston

Kusavan.— The Kusavans are the Tamil potters."The name," Mr. H. A. Stuart writes,*^[1] "is said to be derived from the Sanskrit word ku signifying earth, the material in which they work, and avan, a personal termination. They wear the sacred thread, and profess both Saivism and Vaishnavism. Their ceremonials are somewhat like those of the Vellālas. The eating of flesh is permitted, but not widow marriage. Some have priests of their own caste, while others employ Brāhmans. Kusavans sometimes officiate as pūjāris in Pidāri temples. Their titles are Udayan and Vēlān. Their stupidity and ignorance are proverbial." At times of census, Kulālan has been returned as a synonym of Kusavan, and Kusavan as an occupational division of Paraiyans. The Kusavans are divided into the territorial sections Chōla, Chēra, and Pāndya, and say that "these are descended from the three sons of their original ancestor Kulālan, who was the son of Brahma. He prayed to Brahma to be allowed, like him, to create and destroy things daily; so Brahma made him a potter." †^[2]

In ancient days, the potters made the large pyriform sepulchral urns, which have, in recent times, been excavated in Tinnevelly, Madura, Malabar, and elsewhere. Dr. G. U. Pope shows ‡^[3] that these urns are mentioned in connection with the burial of heroes and kings as late as the eighth century A.D., and renders one of the Tamil songs bearing on the subject as follows: —

"Oh! potter chief..... what toil hath befallen thee!

The descendant of the Cora kings......

Hath gained the world of gods. And so

Tis thine to shape an urn so vast

That it shall cover the remains of such an one."

The legend concerning the origin of the potter classes is narrated in the article on Kummaras. " It is," Mr. E. Holder writes,*^[4] " supposed by themselves that they are descended from a Brāhmin father and Sūdra mother, for the sacrificial earthen vessels, which are now made by them, were, according to the Vēdas, intended to be made by the priests themselves. Some of the potters still wear the sacred thread, like the Kammālars or artisan class. They are generally illiterate, though some of their class have earned distinction as sound scholars, especially of late years. The women assist the men in their work, chiefly where delicacy of execution is needed. On the whole, the potters are a poor class compared with the Kammālar class, which includes jewellers, metal-workers and wood-workers. Their occupation is, on that account, somewhat despised by others."

The potter's apparatus is described by Monier Williams †^[5] as "a simple circular horizontal well-balanced fly-wheel, generally two or three feet in diameter, which can be made to rotate for two or three minutes by a slight impulse. This the potter loads with clay, and then, with a few easy sweeps and turns of his hands, he moulds his material into beautiful curves and symmetrical shapes, and leaves the products of his skill to bake in the sun." By Mr. Holder the apparatus is described as follows. "The potter's implements are few, and his mode of working is very simple. The wheel, a clumsily constructed and defective apparatus, is composed of several thin pliable pieces of wood or bamboo, bent and tied together in the form of a wheel about 3½ feet in diameter. This is covered over thickly with clay mixed with goat's hair or any fibrous substance. The four spokes and the centre on which the vessel rests are of wood. The pivot is of hard wood or steel. The support for the wheel consists of a rounded mass of clay and goat's hair, in which is imbedded a piece of hard wood or stone, with one or two slight depressions for the axle or pivot to move in. The wheel is set into motion first by the hand, and then spun rapidly by the aid of a long piece of bamboo, one end of which fits into a slight depression in the wheel. The defects in the

apparatus are — firstly its size, which requires the potter to stoop over it in an uneasy attitude; secondly, the irregularity of its speed, with a tendency to come to a standstill, and to wave or wobble in its motion; and thirdly, the time and labour expended in spinning the wheel afresh every time its speed begins to slacken. Notwithstanding, however, the rudeness of this machine, the potters are expert at throwing, and some of their small wares are thin and delicate. The usual manner in which most of the Madras potters bake their wares is as follows. A circular space, about ten feet in diameter, is marked out on the ground in any convenient open spot. Small pieces of wood and dried sticks are spread over this space to a depth of about six inches, and a layer of brattis (dried cow-dung cakes) laid over the sticks. The vessels are then carefully piled on top of this platform of fuel to a height of about five or six feet,

(Upload an image to replace this placeholder.)

and the whole heap is covered over with straw, and plastered over with clay, a few small openings being left here and there to allow the smoke to escape. These arrangements being completed, the fuel at the bottom is fired, and in the course of a few hours the process

of baking is completed."

When travelling in India, Dr. Jagor noticed that the potters of Salem communicated to their ware a kind of polish, exactly like that seen on some of the specimens of antique pottery found in cromlechs. It was ascertained that the Salem potters use a seed for producing the polish, which was determined by Surgeon-General G.Bidie to be the seed of Gyrocarpus Jacquini, which is also used for making rosaries and necklaces. Another method employed for producing a polish is to rub the surface of the baked vessel with the mucilaginous juice of tuthi (Abutilon indicum), and then fire the vessel again.

It is stated, in the Coimbatore Manual, that "the potter never begins his day's work at the wheel without forming into a lingam and saluting the revolving lump of clay, which, with the wheel, bears a strong resemblance to the usual sculptured conjunction" (of lingam and yōni). An old potter woman, whom I examined on this point, explained that the lump represents Ganēsa. In like manner, the pan coolies at the salt factories never scrape salt from the pans without first making a Pillayar (Ganēsa) of a small heap of salt, on the top of which the salt is sometimes piled up.

Painted hollow clay images are made by special families of Kusavans known as pūjāri, who, for the privilege of making them, have to pay an annual fee to the headman, who spends it on a festival at the caste temple. When a married couple are anxious to have female offspring, they take a vow to offer figures of the seven virgins, who are represented all seated in a row. If a male or female recovers from cholera, small-pox, or other severe illness, a figure of the corresponding sex is offered. A childless woman makes a vow to offer up the figure of a baby, if she brings forth offspring. Figures of animals — cattle, sheep, horses, etc. — are offered at the temple when they recover from sickness, or are recovered after they have been stolen. The pupils of the eyes of the figures are not painted in till they are taken to the temple, where offerings of fruit, rice, etc., are first made. Even the pupils of a series of these images, which were specially made for me, were not painted at the potter's house, but in the verandah of the traveller's bungalow where I was staying. Horses made of clay, hollow and painted red and other colours, are set up in the fields to drive away demons, or as a thank-offering for recovery from sickness or any piece of good luck. The villagers erect these horses in honour of the popular deity Ayanar, the guardian deity of the fields, who is a renowned huntsman, and is believed, when, with his two wives Purna and Pushkala, he visits the village at night, to mount the horses, and ride down the demons. Ayanar is said to be "the special deity of the caste. Kusavans are generally the pūjāris in his temples, and they make the earthenware (and brick and mortar) horses and images, which are placed before these buildings."*^[6]

For the following note on a ceremony, in which the potters take part, I am indebted to an essay submitted in connection with the M.A. degree of the Madras University. " Brāhmans of Vēdic times ate dogs, horses,

(Upload an image to replace this placeholder.)

bulls, and goals. The fondness for mutton even in a raw state finds its modern counterpart in the bloody hecatombs that disfigure some of their annual sacrifices. In these ceremonies called Pasubandha, Agnishtoma, Vajapeya, Garudachayana, etc., a goat is tied to a post, and, after the usual mantrams (prayers) and the service of frankincense, etc., is ablutioned in water mixed with turmeric and taken to the slaughter-room. And the method of slaughtering is most appalling. Two men appointed for the purpose, invariably men belonging to the pot-making community, rush into the apartment. One catches hold of the fore-quarter of the animal and keeps it from struggling, while the other squeezes the scrotum with so much violence that the animal succumbs in a few minutes, after writhing in the most painful fashion. The man in charge of the fore-quarter puts a handful of salt into the animal's mouth, and holds it tight, lest the animal should bleat, and make the ceremony unsanctimonious. The carcase is now brought to the mailing shed, where, with crude knives and untrained hands, the Brāhmans peel off the skin most savagely. Then they cut open the chest, and it is a common sight to see these Brāhmans, uninitiated in the art of butchery, getting their hands severely poked or lacerated by the cut sharp ends of the ribs. Then portions of flesh are cut off from various portions of the carcase, such as the buccal region, the cardiac region, the scapular region, the renal, the scrotal, the gluteal and gastrocnemial regions. The amount of flesh thus chopped comes to not less than three big potfuls, and they are cooked in water over the slow fire of a primitively constructed oven. No salt is put to season the meat, but the Brāhmans bolt it without any condiment in an awful fashion." The services of the potter are required in connection with the marriage ceremonial of many castes. At some Brāhman marriages, for example, the tāli is tied on the bride's neck in the presence of 33 crores (330 millions) of gods, who are represented by a number of variously

coloured pots, large and small. At a Lingāyat wedding, new pots are brought with much shouting, and deposited in the room in which the household god is kept. An enclosure is made round the bride and bridegroom with cotton thread passed round four pots placed at the four corners of the marriage pandal. Among the Patnūlkārans, on the occasion of a wedding, a number of small pots are set up in a room, and worshipped daily throughout the marriage ceremonies. The ceremonial of breaking a pot containing water at the graveside prevails among many classes, e.g., Oddēs, Toreyas, and Paraiyans.

At the time of the Aruvaththimūvar festival, or festival of the sixty-three saints, at Mylapore in the city of Madras, crowds may be seen returning homeward after attending it, each carrying a new pot (chatty), which they purchase so as not to go home empty-handed. At the festival of Tiruvottiyūr, stalks of Amarantus gangeticus are in like manner purchased.

It is noted, in the Gazetteer of the Madura district, that "a Kusavan can claim the hand of his paternal aunt's daughter. Marriage occurs before puberty. The tāli is tied by the bridegroom's sister, and the usual bride-price is paid. The ceremonies last three days. One of them consists in the bridegroom's sister sowing seeds in a pot, and, on the last day of the wedding, the seedlings which have sprouted are taken with music to a river or tank (pond), and thrown into it. When the bride attains maturity, a ceremony is conducted by the caste priest, and consummation follows on the next auspicious day."

Among the Kusavans, divorce and remarriage are permissible on mutual agreement, on one party paying to the other the expenses of the latter's original marriage (parisam). A case came before the High Court of Madras,*^[7] in which a Kusavan woman in the Tinnevelly district, on the ground of ill-treatment, repaid her husband the parisam, thereby dissolving the marriage, and married another man.

The potters are considered to be adepts in the treatment of cases of fracture. And it is still narrated how one of them successfully set in splints the broken arm of Lord Elphinstone, when Governor of Madras, after the English doctors had given up the job as hope- less. †^[8] " In our village," it is recorded, ‡^[9] " cases of dislocations of bones and fractures, whether simple, compound, comminuted or complicated, are taken in hand by the bone-setters, who are no other than our potters. The village barber and the village potter are our surgeons. While the barber treats cases of boils, wounds, and tumours, the potter confines himself to cases of fracture and dislocations of bones." The amateur treatment by the unqualified potter sometimes gives rise to what is known as potter's gangrene.

For the notes of the following case I am indebted to Captain F. F. Elwes, I. M.S. A bricklayer, about a month and a half or two months prior to admission into hospital, fell from a height, and injured his left arm. He went to a potter, who placed the arm and forearm in a splint, the former in a line with the latter, i.e., fully extended. He kept the splint on for about a month and, when it was removed, found that he was unable to bend the arm at the elbow-joint. When he was examined at the hospital, practically no movement, either active or passive, could be obtained at the elbow-joint. The lower end of the humerus could be felt to be decidedly thickened both anteriorly and posteriorly. There had apparently been a fracture of the lower end of the humerus. Röntgen ray photographs showed an immense mass of callus extending over the anterior surface of the elbow-joint from about two and a half inches above the lower end of the humerus to about an inch below the elbow-joint. There was also some callus on the posterior surface of the lower end of the humerus.

Concerning potter's gangrene, Captain W. J. Niblock, I. M.S., writes as follows.* ^[10]" Cases of gangrene, the result of treatment of fractures by the village potters, used to be frequently met with in the General Hospital, Madras. These were usually brought when the only possible treatment consisted in amputation well above the disease. Two of these cases are indelibly impressed on my mind. Both were cases of gangrene of the leg, the result of tight splinting by potters. The first patient was a boy of thirteen. Whilst a student was removing the dressings on his admission, the foot came off in his hands, leaving two inches of the lower ends of the tibia and fibula exposed, and absolutely devoid of all the soft tissues, not even the periosteum being left. The second case was that of a Hindu man, aged 46.He was taken to the operation theatre at once. Whilst engaged in disinfecting my hands, I heard a dull thud on the floor of the operation theatre, turned round, and found that the gangrenous leg, as the result of a struggle whilst chloroform was being administered, had become separated at the knee-joint, and had fallen on floor; or, to put it tersely, the man had kicked his leg off."

In connection with the Tamil proverb "This is the law of my caste, and this is the law of my belly," the Rev. H. Jensen notes*^[11] that "potters are never Vaishnavas; but potters at Srirangam were compelled by the Vaishnava Brāhmans to put the Vaishnava mark on their foreheads; otherwise the Brāhmans would not buy their pots for the temple. One clever potter, having considered the difficulty, after making the Saivite symbol on his forehead, put a big Vaishnava mark on his stomach. When rebuked for so doing by a Brāhman, he replied as above." The proverb " Does the dog that breaks the pots understand how difficult it is to pile them up? "is said by Jensen to have reference to the pots which are piled up at the potter's house. A variant is " What is many days' work for the potter is but a few moment's work for him who breaks the pots."

In the Madura district, the Kusavans have Vēlan as a title.

The insigne of the Kusavans, recorded at Conjeeveram, is a potter's wheel. †^[12]

1. * Madras Census Report, 1891.
2. † Gazetteer of the Madura district.
3. ‡ Journ. Roy, Asiat. Soc, 1899, 267-8.
4. • Madras Pottery. Journ. Ind. Arts, VII, 1897.
5. † Brāhmanism and Hinduism.
6. * Gazetteer of the Madura district.
7. * Ind. Law Reports, Madras Series, XVII, 1894.
8. † A Native. Pen and ink sketches of Native life in S. India.
9. ‡ Madras Mail.
10. • Trans. S. Ind. branch, Brit. Med. Association, XIV, 1906.
11. • Classified Collection of Tamil Proverbs, 1897.
12. † J. S. F. Mackenzie. Ind. Ant., IV, 1875.