Abstract
Devi Prasad’s quiet contribution to the nascent Modernist discourse of ceramics in the craft movement in India is known to few. Modernist discourses in Indian art have constructed a paradoxical view of such objects - a ‘double’ discourse, sometimes seeing them as progressive signs, at other times condemning them as conservative, traditional and not sufficiently progressive to shift the craft into the realms of ‘high’ art. In 1872, Caspar Purdon Clarke of South Kensington visited India to collect artefacts for the Museum. Devi Prasad strongly empathised with the Indian traditional potter while understanding the cause of social and political events that lead to the threatened condition of the living craft. The lota has epitomised the refinement and minimal design qualities inherent in Indian aesthetic sensibilities over generations. In the 1970s, Devi Prasad travelled widely and he lectured on Pacifism as well as Indian art and architecture in Latin America and the USA.
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