The festival is synonymous with the humble clay pot, used to cook sweet rice for the celebration. The earthen vessel represents more than ritual – it carries centuries of cultural memory and culinary know-how.
Beyond tradition, clay pots are valued for their natural heat retention and cooking qualities. In an age dominated by modern cookware, they offer a tactile link to practices slowly fading from everyday life.
For fifth-generation potter Reguraj Devaraj, the contrast between clay pots and modern cookware is unmistakable, both in terms of taste and health benefits.
“The character of the food changes when cooked in modern pots like aluminium. With clay pots, the texture and flavour are superior and it is more nutritious,” the 50-year-old told Bernama at K Devaraj Pottery here.
Asked how one can identify a high-quality pot, he advised: “You should flick it lightly. If it produces a sharp, bell-like sound, it is considered a good-quality pot.”
Making pots runs deep in Reguraj’s family: the business he operates today began more than 120 years ago, making him one of the few remaining traditional craftsmen still practising the trade.
“I am the only one fully active in this business as my children are still studying. I also hope my two siblings will continue this legacy,” he said.
Demand for clay pots peaks in the weeks leading up to Pongal, especially for smaller pots that can cook one to two cups of rice. “We can sell between 10,000 and 25,000 small pots; in certain years, sales have even reached 30,000 units,” he said.
Prices for his earthenware range from RM6 to RM40, depending on the size and type of clay used.
Reguraj further shared on the process of making clay pots, which can take between three and four weeks, depending on weather conditions.
It starts with selecting high-quality clay, which is kneaded seven to eight times before shaping. The pots are then dried for 10-14 days and fired in a kiln at up to 1,100°C.
Sourcing suitable clay remains one of the biggest challenges. “It cannot be just any soil,” he stressed. “I have to select clay that is strong, well-structured and not brittle so that the pot turns out well. Finding such quality clay is not easy.”
Committed to keeping the craft alive, Reguraj also offers workshop and training to young people who are interested in learning traditional pot making.
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