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Abstract
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The Harappan Painted Pottery Designs
References

Art, Indus Civilization

Profile image of DilipK ChakrabartiDilipK Chakrabarti

Abstract

[The fact that the Harappan art reflects some of the essentials of the later day Indian artistic tradition is possibly the most important qualitative feature of this art. One finds it incredible that the ëintersecting circle motifí of some Harappan clay tiles found at Ahladino, Balakot and Kalibangan should occur on the top surface of the famous third century BC Bodhi throne of Bodh Gaya. The appearance of the famous ëpriest-kingí head and torso down to its gaze on the tip of his nose and even the way in which he is shown wearing a shawl are quintessentially Indian.]

Figures (82)
Fig. 1. Mehrgarh Pre-Harappan and Early Harappan painted ceramic (after Jarrige 1995). lower part of a seated body with joined legs and feet. Period II has no terracottas, but Period II has two animal figurines of which one is that of a humped bull. Of the two types of female figurines in Period IV, one shows a roughly tubular and broad-bottomed figurine with a pinched nose and folds of cloth wrapped around a torso, and another type of the same phase shows figurines with a tubular head, pinched nose, pendulous breasts, broad hips and joined legs. In Period V, the tubular-headed female figures have curly hair and are shown in the seated posture with joined legs tied by an appliqué rope. Period VI has many female figurines and representations of cattle. The female type which shows better modelling has joined legs, drilled circular eyes, multi-strand necklaces over pendulous breasts and two large pottery obtained from the illegal excavations of Baluchistan Chalcolithic sites is now an item in the illegal trafficking of art objects (for an idea of the beauty of the Baluchistan pottery, Gotz 2000).
Fig. 1. Mehrgarh Pre-Harappan and Early Harappan painted ceramic (after Jarrige 1995). lower part of a seated body with joined legs and feet. Period II has no terracottas, but Period II has two animal figurines of which one is that of a humped bull. Of the two types of female figurines in Period IV, one shows a roughly tubular and broad-bottomed figurine with a pinched nose and folds of cloth wrapped around a torso, and another type of the same phase shows figurines with a tubular head, pinched nose, pendulous breasts, broad hips and joined legs. In Period V, the tubular-headed female figures have curly hair and are shown in the seated posture with joined legs tied by an appliqué rope. Period VI has many female figurines and representations of cattle. The female type which shows better modelling has joined legs, drilled circular eyes, multi-strand necklaces over pendulous breasts and two large pottery obtained from the illegal excavations of Baluchistan Chalcolithic sites is now an item in the illegal trafficking of art objects (for an idea of the beauty of the Baluchistan pottery, Gotz 2000).
Fig. 2. Mehrgarh Pre- Harappan painted ceramic and bull figurine (after Jarrige 1995).
Fig. 2. Mehrgarh Pre- Harappan painted ceramic and bull figurine (after Jarrige 1995).
Fig. 3f. Painted ceramic from Nal (after Possehl 1986).
Fig. 3f. Painted ceramic from Nal (after Possehl 1986).
Fig. 3d. Large painted jars from Nausharo.
Fig. 3d. Large painted jars from Nausharo.
Fig. 3a. Nal painted pottery.
Fig. 3a. Nal painted pottery.
Fig. 3e. Early Harappan Painted ceramic from Kot Diji.
Fig. 3e. Early Harappan Painted ceramic from Kot Diji.
Fig. 3b. Nal painted pottery. Fig. 3c. Nal painted pottery.
Fig. 3b. Nal painted pottery. Fig. 3c. Nal painted pottery.
Fig. 4. Painted vase from Daamb Sadat.
Fig. 4. Painted vase from Daamb Sadat.
Fig. 5. Pottery from Amri (1-18) and Nal (19-27) (after Hargreaves 1929).
Fig. 5. Pottery from Amri (1-18) and Nal (19-27) (after Hargreaves 1929).
Fig. 6. Painted ceramic from Amri.
Fig. 6. Painted ceramic from Amri.
Fig. 7. Painted ceramic from Mundigak Pd.Ill (after Casa 1964).
Fig. 7. Painted ceramic from Mundigak Pd.Ill (after Casa 1964).
Fig. 9. Terracotta figurines from Mehrgarh and Mundigak (after Jarrige 1995)
Fig. 9. Terracotta figurines from Mehrgarh and Mundigak (after Jarrige 1995)
Fig. 10c. Details of female terracotta figurines from Mehrgarh.
Fig. 10c. Details of female terracotta figurines from Mehrgarh.
Fig. 10a. Details of female terracotta figurines from Mehrgarh.
Fig. 10a. Details of female terracotta figurines from Mehrgarh.
Fig. 10d. Details of female terracotta figurines from Mehrgarh.
Fig. 10d. Details of female terracotta figurines from Mehrgarh.
Fig. 10b. Details of female terracotta figurines from Mehrgarh.
Fig. 10b. Details of female terracotta figurines from Mehrgarh.
Fig. 13. Lothal Painted sherds, Pd-A (after Rao 1985).
Fig. 13. Lothal Painted sherds, Pd-A (after Rao 1985).
Fig. 14. Lothal Painted sherds, Pd.B (after Rao 1985).
Fig. 14. Lothal Painted sherds, Pd.B (after Rao 1985).
Fig. 11a. Terracotta bull figurine from Mehgarh (afte: Jarrige 1995).
Fig. 11a. Terracotta bull figurine from Mehgarh (afte: Jarrige 1995).
Fig. 12. Terracotta bird figurines from Mehrgarh (after Jarrige 1995). Fig. 11b. Terracotta bull figurine from Sohr-Domb Nal Pd.lll.
Fig. 12. Terracotta bird figurines from Mehrgarh (after Jarrige 1995). Fig. 11b. Terracotta bull figurine from Sohr-Domb Nal Pd.lll.
Fig. 15a. Lothal: Red Ware jar painted in black. goddess figurine at Kalibangan and there is hardly any Mohenjodaro/Harappa-type mother goddess at Lothal. The number of excavated human figures is only 13 at Lothal, comprising both male and female specimens. Only one female torso shows some sense of modelling; the rest are crude specimens and not even richly
Fig. 15a. Lothal: Red Ware jar painted in black. goddess figurine at Kalibangan and there is hardly any Mohenjodaro/Harappa-type mother goddess at Lothal. The number of excavated human figures is only 13 at Lothal, comprising both male and female specimens. Only one female torso shows some sense of modelling; the rest are crude specimens and not even richly
The Mohenjodaro and Harappa terracottas are mostly of the ageless variety, but a few of them carry a powerful sense of modelling. A powerfully modelled young bull was noted at Mohenjodaro (Marshall 1931, PL XCVII, 23) and commented on by John Marshall and the general type has also been noticed at Lothal and Kalibangan. A Kalibangan human head has some resemblance to the famous limestone priesthead from Mohenjodaro. The maximum length of this terracotta head is a little above 9 cm, but within the limits of this size the impression is given of a powerful personality with half-closed eyes looking down at the tip of his nostrils. The eyebrows, or rather, the line of the eyebrows, is indicated by a broad incised ridge and the upper limit of the flat but arched forehead is shown by contrasting its plane with that of the hair by means of another incision. There is an incision below the nose too. Small incised marks Fig. 15b. Lothal: Painted jar and sherds, Pd.A. incision below the nose too. Small incised marks hair by means of another incision. There is an female torso shows some sense of modelling;
The Mohenjodaro and Harappa terracottas are mostly of the ageless variety, but a few of them carry a powerful sense of modelling. A powerfully modelled young bull was noted at Mohenjodaro (Marshall 1931, PL XCVII, 23) and commented on by John Marshall and the general type has also been noticed at Lothal and Kalibangan. A Kalibangan human head has some resemblance to the famous limestone priesthead from Mohenjodaro. The maximum length of this terracotta head is a little above 9 cm, but within the limits of this size the impression is given of a powerful personality with half-closed eyes looking down at the tip of his nostrils. The eyebrows, or rather, the line of the eyebrows, is indicated by a broad incised ridge and the upper limit of the flat but arched forehead is shown by contrasting its plane with that of the hair by means of another incision. There is an incision below the nose too. Small incised marks Fig. 15b. Lothal: Painted jar and sherds, Pd.A. incision below the nose too. Small incised marks hair by means of another incision. There is an female torso shows some sense of modelling;
Fig. 16a. Female terracotta figurine from Mohenjodaro.
Fig. 16a. Female terracotta figurine from Mohenjodaro.
Fig. 16c. Female terracotta figurine from Harappa.
Fig. 16c. Female terracotta figurine from Harappa.
Fig. 16d. Female terracotta figurine from Harappa.
Fig. 16d. Female terracotta figurine from Harappa.
Fig. 16b. Female terracotta figurine from Mohenjodaro.
Fig. 16b. Female terracotta figurine from Mohenjodaro.
Fig. 17a. Mature Harappan female figurine from Nausharo (after Jarrige 1989).
Fig. 17a. Mature Harappan female figurine from Nausharo (after Jarrige 1989).
Fig. 16e. Early Harappan female figurine from Harappa.
Fig. 16e. Early Harappan female figurine from Harappa.
Fig. 16f. Human terracotta mask from Mohenjodaro.
Fig. 16f. Human terracotta mask from Mohenjodaro.
Fig. 18b. Seated male figurine from Harappa. Fig. 18a. Seated male figurines from Harappa.
Fig. 18b. Seated male figurine from Harappa. Fig. 18a. Seated male figurines from Harappa.
Fig. 18c. Seated male figurine from Harappa.
Fig. 18c. Seated male figurine from Harappa.
Fig. 19b. Terracotta bull figurine from Mohenjodaro. Fig. 19a. A terracotta bullock cart.
Fig. 19b. Terracotta bull figurine from Mohenjodaro. Fig. 19a. A terracotta bullock cart.
Fig. 20a. Monkey from Harappa. Fig. 19f. Terracotta figuine of Zebu from Harappa.
Fig. 20a. Monkey from Harappa. Fig. 19f. Terracotta figuine of Zebu from Harappa.
Fig. 19c. Terracotta bull figurine from Kalibangan.
Fig. 19c. Terracotta bull figurine from Kalibangan.
Fig. 19d. Terracotta wheeled ram from Harappa.
Fig. 19d. Terracotta wheeled ram from Harappa.
Fig. 19e. Terracotta ram from Harappa.
Fig. 19e. Terracotta ram from Harappa.
Fig. 20b. Begging dog from Harappa.
Fig. 20b. Begging dog from Harappa.
Fig. 21b. Terracotta figurine of tiger from Harappa. Fig. 21a. Collared dog from Mohenjodaro.
Fig. 21b. Terracotta figurine of tiger from Harappa. Fig. 21a. Collared dog from Mohenjodaro.
Fig. 21c. Elephant figurine from Harappa.
Fig. 21c. Elephant figurine from Harappa.
Fig. 21d. Bird from Harappa. other objects depicted on the Harappan seals which were generally made of steatite. Their distinct aspect is their realism, sometimes expressed not merely through a sense of the volume but also through a taut rendering of the muscles. John Marshall singles out some representations of bull, buffalo and lion for special attention. The humped bull on seal no. 337 (Pl. CXI in Marshall 1931) was, no doubt, one of the best faithful renderings, but as Marshall wrote about the artist concerned:
Fig. 21d. Bird from Harappa. other objects depicted on the Harappan seals which were generally made of steatite. Their distinct aspect is their realism, sometimes expressed not merely through a sense of the volume but also through a taut rendering of the muscles. John Marshall singles out some representations of bull, buffalo and lion for special attention. The humped bull on seal no. 337 (Pl. CXI in Marshall 1931) was, no doubt, one of the best faithful renderings, but as Marshall wrote about the artist concerned:
Fig. 22c. Bison depiction on a seal.
Fig. 22c. Bison depiction on a seal.
Fig. 22d. Elephant depiction on a seal.
Fig. 22d. Elephant depiction on a seal.
Fig. 22a. Bull depiction on a seal.
Fig. 22a. Bull depiction on a seal.
Fig. 22b. Large unicorn seal.
Fig. 22b. Large unicorn seal.
Fig. 22g. Seated man and tiger, seal from Kalibangan.
Fig. 22g. Seated man and tiger, seal from Kalibangan.
Fig. 23. Plano-convex moulded tablet: A female deity bathing two tigers, standing on elephant indu.
Fig. 23. Plano-convex moulded tablet: A female deity bathing two tigers, standing on elephant indu.
Fig. 22i. Multiple animal seal from Mohenjodaro.
Fig. 22i. Multiple animal seal from Mohenjodaro.
Fig. 24b. Dancing girl like engraving on a potsherd from Bhirana. Fig. 24a. Mohenjodaro dancing female bronze figurine.
Fig. 24b. Dancing girl like engraving on a potsherd from Bhirana. Fig. 24a. Mohenjodaro dancing female bronze figurine.
Fig. 25a. Bronze bull figurine from Kalibangan.
Fig. 25a. Bronze bull figurine from Kalibangan.
Fig. 25b. Composite bronze figurine of three monkeys from Mohenjodaro.
Fig. 25b. Composite bronze figurine of three monkeys from Mohenjodaro.
Fig. 26b. Gray stone dancing figure from Harappa. Fig. 26a. Dancing stone statue from Harappa.
Fig. 26b. Gray stone dancing figure from Harappa. Fig. 26a. Dancing stone statue from Harappa.
Fig. 26c. Gray dancing figure (reconstruction by Marshall).
Fig. 26c. Gray dancing figure (reconstruction by Marshall).
Fig. 27. Nude stone torso from Harappa.
Fig. 27. Nude stone torso from Harappa.
Fig. 29b. Back view.
Fig. 29b. Back view.
Fig. 29a. Male stone statue from Mohenjodaro.
Fig. 29a. Male stone statue from Mohenjodaro.
Fig. 28a. Priest from Mohenjodaro.
Fig. 28a. Priest from Mohenjodaro.
Fig. 28b. Priest (back view).
Fig. 28b. Priest (back view).
Fig. 30. Harappan priest reconstruction combining the priest head and the headless stiing figures.
Fig. 30. Harappan priest reconstruction combining the priest head and the headless stiing figures.
Fig. 31a. Male head from Mohenjodaro. couchant animal with ram’s horns and body, and
Fig. 31a. Male head from Mohenjodaro. couchant animal with ram’s horns and body, and
Fig. 31b. Back of male head.
Fig. 31b. Back of male head.
Fig. 32. Limestone sculpture from Mohenjodaro.
Fig. 32. Limestone sculpture from Mohenjodaro.
Fig. 33. Male stone statue from Harappa.
Fig. 33. Male stone statue from Harappa.
Fig. 34a. Animal statue from Mohenjodaro. To the same group. belongs the inprovenanced figure of a ram in limestone Gee ae UT Re ee ee ee: Ee ee: Oe) ae ec ee eS Mae Soe a long appendage from the head representing the trunk of an elephant with its transverse creases. The animal reclined on a plinth (8 inches long, 6.2 inches wide and 4.25 inches high) According to Ardeleanu-Jansen (1984) the fact that these are small representations of a single animal-type, that two of them are shown with < pedestal and that there are numerous amule copies of them ‘suggests an ideologica significance’ for these recumbent anima portrayals. She further drew attention to a steatite sculptural fragment of an animal figure from Mohenjodaro. Its maximum present height, with two hind legs broken, is 4.5 cm and it is carvec out of an almost plain white steatite stone.
Fig. 34a. Animal statue from Mohenjodaro. To the same group. belongs the inprovenanced figure of a ram in limestone Gee ae UT Re ee ee ee: Ee ee: Oe) ae ec ee eS Mae Soe a long appendage from the head representing the trunk of an elephant with its transverse creases. The animal reclined on a plinth (8 inches long, 6.2 inches wide and 4.25 inches high) According to Ardeleanu-Jansen (1984) the fact that these are small representations of a single animal-type, that two of them are shown with < pedestal and that there are numerous amule copies of them ‘suggests an ideologica significance’ for these recumbent anima portrayals. She further drew attention to a steatite sculptural fragment of an animal figure from Mohenjodaro. Its maximum present height, with two hind legs broken, is 4.5 cm and it is carvec out of an almost plain white steatite stone.
Fig. 34b. Back of the statue. F.R. Allchin (1992). The specimen was reported from a London art-dealer’s collection, but in all likelihood, this came from a site of the Harappan Civilisation. The free-standing specimen—49 cm long, 27 cm high and 21 cm wide—is in pale cream, fine-grained metamorphosed limestone. Except the underside, the surface bears a light polish. This shows a recumbent ram with hind and front legs flexed and resting on the ground, and with the body inclined to the right. The weight of the body is shown by the bulge where the flank meets the ground. The head and the muzzle are sensitively carved. The eyes are hollowed out and were originally inlaid. The eyebrows are sensitive and the curved horns are in aperfect condition, except a scar on one side. It has a short and stumpy tail. Two low ridges run around the neck and across the shoulders. This seems to suggest the presence of a kind of mane—an impression heightened by a
Fig. 34b. Back of the statue. F.R. Allchin (1992). The specimen was reported from a London art-dealer’s collection, but in all likelihood, this came from a site of the Harappan Civilisation. The free-standing specimen—49 cm long, 27 cm high and 21 cm wide—is in pale cream, fine-grained metamorphosed limestone. Except the underside, the surface bears a light polish. This shows a recumbent ram with hind and front legs flexed and resting on the ground, and with the body inclined to the right. The weight of the body is shown by the bulge where the flank meets the ground. The head and the muzzle are sensitively carved. The eyes are hollowed out and were originally inlaid. The eyebrows are sensitive and the curved horns are in aperfect condition, except a scar on one side. It has a short and stumpy tail. Two low ridges run around the neck and across the shoulders. This seems to suggest the presence of a kind of mane—an impression heightened by a
Fig. 35a. Bull statue from Mohenjodaro. The distribution of specimens is remarkably uneven, with Mohenjodaro occupying the centre stage, followed by Harappa. There is no positive explanation except the inference that the cultural ethos of these centres, despite a remarkable impression of uniformity, admitted of variations from place to place. The indisputably uneven distribution of art objects— even down to the level of the terracotta—at the Harappan sites seems to argue in favour of the opinion that their belief system, as expressed through the emphasis on different categories of
Fig. 35a. Bull statue from Mohenjodaro. The distribution of specimens is remarkably uneven, with Mohenjodaro occupying the centre stage, followed by Harappa. There is no positive explanation except the inference that the cultural ethos of these centres, despite a remarkable impression of uniformity, admitted of variations from place to place. The indisputably uneven distribution of art objects— even down to the level of the terracotta—at the Harappan sites seems to argue in favour of the opinion that their belief system, as expressed through the emphasis on different categories of
Fig. 35b. Back of bull statue.
Fig. 35b. Back of bull statue.
Fig. 36. A broken stone statue of animal.
Fig. 36. A broken stone statue of animal.
Fig. 37. Single piece terracotta Sivalinga from Kalibangan. themselves—at least the classical ones of Sramana and the two specimens from Harappa—are typical Indian examples of denoting strength which comes from within by highlighting mass and volume. The Sramana figure is an embodiment of yogic stance, wrapped in its own thoughts. The red sandstone male torso from Harappa is so evocative of the much later Kushan period torsos that at one point it was doubted if this was really Harappan or dated from the historic period. The Nataraja specimen from Harappa also remains archetypal Indian. The very fact that this dancing posture is associated with the god Siva who occurs in his phallic and Pasupati forms in the Harappan Civilisation makes it extremely unlikely that the figure represented a female. Even the Bronze image manufacturing tradition that we have observed in the Mohenjodaro bronze dancing figurine and various animal figures represents a craft which followed the lost wax method, a widely prevalent copper-bronze method in the village level of modern India. On the whole, it is not wrong to claim that the Harappan art
Fig. 37. Single piece terracotta Sivalinga from Kalibangan. themselves—at least the classical ones of Sramana and the two specimens from Harappa—are typical Indian examples of denoting strength which comes from within by highlighting mass and volume. The Sramana figure is an embodiment of yogic stance, wrapped in its own thoughts. The red sandstone male torso from Harappa is so evocative of the much later Kushan period torsos that at one point it was doubted if this was really Harappan or dated from the historic period. The Nataraja specimen from Harappa also remains archetypal Indian. The very fact that this dancing posture is associated with the god Siva who occurs in his phallic and Pasupati forms in the Harappan Civilisation makes it extremely unlikely that the figure represented a female. Even the Bronze image manufacturing tradition that we have observed in the Mohenjodaro bronze dancing figurine and various animal figures represents a craft which followed the lost wax method, a widely prevalent copper-bronze method in the village level of modern India. On the whole, it is not wrong to claim that the Harappan art

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Hieroglyphs on pictorial motifs of two Rakhigarhi seals, Seals 1 and 2: 1. Young bull खोंड khōṇḍa 'A young bull, a bullcalf'; rebus kundaṇa, 'fine gold' (Kannada); Rebus: kō̃da कोँद 'furnace for smelting': payĕn-kō̃da पयन्-कोँद । परिपाककन्दुः f. a kiln (a potter's, a lime-kiln, and brick-kiln, or the like); a furnace (for smelting). -thöji - or -thöjü -; । परिपाक-(द्रावण-)मूषाf. a crucible, a melting-pot. -ʦañĕ -। परिपाकोपयोगिशान्ताङ्गारसमूहः f.pl. a special kind of charcoal (made from deodar and similar wood) used in smelting furnaces. -wôlu -वोलु&below; । धात्वादिद्रावण-इष्टिकादिपरिपाकशिल्पी m. a metal-smelter; a brick-baker. -wān -वान् । द्रावणचुल्ली m. a smelting furnace. 2. Standard device of two joined parts सांगड sāṅgaḍa 'joined parts' (the parts joined are: lathe PLUS portable furnace): sangaḍa 'lathe' PLUS kammata 'portable furnace' rebus: sangarh 'fortification' PLUS kammata 'mint, coiner, coinage'. (Variant rebus readings reinforcing the nature of the trade transaction recorded on the inscription: jangad ''goods invoiced on approval basis'; jangadiyo 'military guard accompanying treasure into the treasury';samgraha, 'catalogue' of shipment products.) Hypertext on text of inscription: Seal 1: Sign 397 dhāī ''a strand (Sindhi) Rebus: dhatu 'mineral ore' dhāī f. ʻ wisp of fibres added from time to time to a rope that is being twisted ʼ, L. dhāī˜; B. Throw of dice: dāˊtu n. ʻ share ʼ RV. [Cf. śatádātu -- , sahásradātu -- ʻ hun- dredfold, thousandfold ʼ: Pers. dāv ʻ stroke, move in a game ʼ prob. ← IA. -- √dō] K. dāv m. ʻ turn, opportunity, throw in dice ʼ; S. ḍ̠ã̄u m. ʻ mode ʼ; L. dā m. ʻ direction ʼ, (Ju.) ḍ̠ā, ḍ̠ã̄ m. ʻ way, manner ʼ; P. dāu m. ʻ ambush ʼ; Ku. dã̄w ʻ turn, opportunity, bet, throw in dice ʼ, N. dāu; B. dāu, dã̄u ʻ turn, opportunity ʼ; Or. dāu, dāũ ʻ opportunity, revenge ʼ; Mth. dāu ʻ trick (in wrestling, &c.) ʼ; OAw. dāu m. ʻ opportunity, throw in dice ʼ; H. dāū, dã̄w m. ʻ turn ʼ; G.dāv m. ʻ turn, throw ʼ, ḍāv m. ʻ throw ʼ; M. dāvā m. ʻ revenge ʼ. -- NIA. forms with nasalization (or all NIA. forms) poss. < dāmán -- 2 m. ʻ gift ʼ RV., cf. dāya -- m. ʻ gift ʼ MBh., akṣa -- dāya-- m. ʻ playing of dice ʼ Naiṣ.(CDIAL 6258) தாயம் tāyam, n. < dāya. A fall of the dice; கவறுருட்ட விழும் விருத்தம். முற்பட இடுகின்ற தாயம் (கலித். 136, உரை). 5. Cubical pieces in dice-play; கவறு. (யாழ். அக.) 6. Number one in the game of dice; கவறுருட்ட விழும் ஒன்று என்னும் எண். Colloq. rebus: dhāˊtu n. substance ʼ RV., m. ʻ element ʼ MBh., ʻ metal, mineral, ore (esp. of a red colour) ʼ Mn., ʻ ashes of the dead ʼ lex., Pa. dhātu -- m. ʻ element, ashes of the dead, relic ʼ; KharI. dhatu ʻ relic ʼ; Pk. dhāu -- m. ʻ metal, red chalk ʼ; N. dhāu ʻ ore (esp. of copper) ʼ; Or. ḍhāu ʻ red chalk, red ochre ʼ (whence ḍhāuā ʻ reddish ʼ; M. dhāū, dhāv m.f. ʻ a partic. soft red stone ʼ (CDIAL 6773) Semantic determinative. Sign 162: kolmo 'rice plant' rebus: kolimi 'smithy, forge' Sign 162 Sign 397 and possible cognates of 'strand': Seal, Rakhigarhi (Note: For readings of other Rakhigarhi seals see: http://tinyurl.com/zat4ty2 Two images of a seal remnant at Rakhigarhi. From l. to r. kolom 'three' rebus: kolimi 'smithy, forge'; kuṭilika 'bent, curved' PLUS dula 'pair' rebus: kuṭila, katthīl = bronze (8 parts copper and 2 parts tin) PLUS dul 'metal casting'; (split parenthesis as a circumscript is a break-out of a bun-ingot or lozenge or oval shaped ingot) muh 'ingot' PLUS baṭa 'quail' rebus: bhaṭa 'furnace' PLUS sal 'splinter' rebus: sal 'workshop' bicha 'scorpion' rebus: bicha 'haematite, ferrite ore'; tutta 'goad' rebus: tuttha 'zinc sulphate'; dāṭu 'cross' rebus: dhatu 'mineral' karṇaka 'rim of jar' rebus: karṇī 'supercargo' karṇika 'helmsman, scribe,engraver'. Harappan Civilization: Current Perspective and its Contribution – By Dr. Vasant Shinde by admin | Feb 1, 2016 By Dr. Vasant Shinde Introduction The identification of the Harappan Civilization in the twenties of the twentieth century was considered to be the most significant archaeological discovery in the Indian Subcontinent, not because it was one the earliest civilizations of the world, but because it stretched back the antiquity of the settled life in Indian Subcontinent by two thousand years at one stroke. Vincent Smith (1904), one of the leading historians of the era, had written, in the beginning of the twentieth century, that there was a wide gap (Vedic Night) or a missing link between Stone Age and Early Historic periods in the Indian History and the settled life in this part of the world began only after 6-5 century BCE, probably during the Stupa (Buddhist) period. The discovery of the Harappan Civilization proved him wrong and the Indian Subcontinent brought to light the presence of the first civilization that was contemporary to the Mesopotamian and Egyptian Civilizations. This Civilization was unique compared to the two contemporary civilizations on account of its extent and town planning. Extent-wise it was much bigger in size than the Mesopotamian and the Egyptian Civilizations put together and spread beyond the Subcontinent. Its town planning consisting of citadel and lower town, both fortified and having a checkerboard type planned settlement inside them, was a unique and unparallel in the contemporary world. Intensive and extensive works have brought to light over two thousand sites till date. The distribution pattern suggests that they were not only spread over major parts of western and north-western Indian subcontinent, but its influence is seen beyond, up to the Russian border in the north and the Gulf region in the west. In true sense this was the only civilization in the contemporary world, which was an international in nature. The Indian subcontinent has all the favourable ecological conditions to give birth to the early farming community. The Southwest Asian agro pastoral system with wheat, barley, cattle, sheep and goats had spread through Iran and Afghanistan to Preceramic Mehrgarh in Baluchistan by about 7000 BC. Early Mehrgarh lithics, loaf-shaped mud bricks, female figurines and burial practices all suggest Southwest Asian influence from somewhere in the Levant or Zagros regions. The origins of village life in South Asia were first documented at Kile Ghul Mohammad in the Quetta valley (Fairservis 1956), then at the site of Mehergarh at the foothill of the Bolan pass on the Kacchi Plain on the Indus Valley (Jarrige 1984). Both these sites and numerous other in this region demonstrate cultural development from the seventh millennium BCE to the emergence of the of the Mature Harappan phase in the middle of the third millennium BCE. As far as the climatic conditions during the Early-Harappan and Harappan times are concerned there are two conflicting interpretation. The data for paleoclimate reconstruction were obtained from Rajasthan lakes such as Didwana, Lunkarsar, Sambhar and Pushkar. The studies carried out by Singh et al (1990) have suggested that the mid-Holocene climatic optimum coincides with the mature phase of the Harappan Civilization and its end with a sharp excursion into aridity. Most interesting example cited is the occurrence of Cerealia type pollen and finely comminuted pieces of charcoal found in these lakes at 7000 BP, which has been interpreted as evidence for forest clearance and the beginning of agriculture. On the other hand, the studies carried out by Enzel et al. (1999) show that there is no simple correlation between favourable climate and the archaeological data. They have suggested that the most humid phase at Lunkaransar has been dated to between 6.3-4.8 kys with abrupt drying of the late sometime around 4.8 kys. During the period between 6.3-4.8 kys the lake was freshwater and never dried up. Significant shift in the carbon isotope values are also seen in this period. The most flourishing Harappan phase (Mature) is thus does not correlate to the favourable climate but indicates that it rather developed in a period of deteriorating climatic conditions. They have concluded that the Harappan Civilization was not caused by the presence of favourable environment. More data in this respect needs to be generated in nature future.

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1990. The Decline of the Indus Civilization and the Late Harappan Period in the Indus Valley, Lahore Museum Bulletin (Lahore), Vol. III (2): 1-17.
Mohammad Mughal
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References (13)

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  13. In A. Parpola and Koskikallio (eds.), South Asian Archaeology 1993. Helsinki: Sumomalainen Tiedekamia, pp. 815-831.

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