We live in times where cutting-edge technologies are making traditional technologies obsolete and traditional cognitive pathways are quickly becoming artefacts. Should this eradication of traditional knowledge be normalized in the name of progress? The Potter’s Paradox lies in the loss of ancestral knowledge while witnessing the robust growth of non-traditional practice. Pottery in India is ancestral and shared by millions of kumbhars throughout the subcontinent. The practice of this ancestral skill is quickly running into a bottleneck and will most likely soon be extinct. On the other side of the ceramic spectrum, we find a growing and dynamic emergence: the studio potters (SPs). This cohort emerged in the 1970s and has flourished over the years with influences from Japan and America. Most studio potters operate in larger urban centres unlike the traditional kumbhar who work in a rural setting. Unlike the traditional kumbhars who have to source clay from fields, ponds and riverbeds, the studio potters often have processed materials that can be ordered online. Is this shift also a symbolic distancing from nature? Are there issues related to sustainability that studio potters need to grapple with? Are there new values that need to be ascribed to the act of making pots that take them beyond the functional and the decorative? To achieve the fusion of these two extremes on the ceramic spectrum, we propose the establishment of an academic programme which will prepare students to be embedded in traditional potters’ (TPs) families as well as with established pottery studios.