THE BEGINNING OF ART SYMBOL & TECHNOLOGY:
Early
in this cultures had its own distinctive artistic styles. These regional styles
are most clearly observed in various painted designs on pottery, different type
of clay figurines, toys, seals and ornaments. Although, the styles of expression
are different, trade and exchange networks connected the various regions and
allowed for the distribution of raw materials, finished goods, technological
knowledge and food items.
These
items included previous stones, copper, seashells, chart for stone tool and
probably many other commodities such as grain, wool and livestock.
INTERESTING FINDS OF INDUS VALLEY:
a)
Seals:
Fortunately, even the silent language of the seals and other materials
unearthed, enable us to draw fairly accurate picture of the social and religious
of Indus Valley Civilization, which developed almost simultaneously with those
of Nile and Euphrates in the earlier part of 3rd millennium.
Take, for instance, the horned god of seals. Perhaps, the most striking deity of
Harappan Culture, he is depicted on three different specimens. In one of these,
he is seated on the ground. In the other two, he is perched on small stool or
dais. His posture in all three specimens is very similar to holy aesthetes of
later times, legs are drawn up close to the body with two heels touching.
Although depicted as nude, god wears many bangles and necklaces. His headgear
apparently consists of a pair of horns with plant-like object between them. On
the largest specimen, he is shown surrounded by four wild animals, elephant,
rhinoceros, buffalo and tiger. Beneath the small dais, two deer rest, rather
similar to the representations of Buddha, preaching his very first sermon in
Deer-Park at Benares (Varanasi). The depiction of animals, the plant-like growth
from his head and the fact that he is ithyphallic, suggest that this horned god
was in fact fertility symbol or deity, maybe proto-Shiva.
Undoubtedly, this horned god has much in common with Shiva of later Vedic times.
Shiva is sometimes referred to as Pasupati (which means Lord of Beasts) in his
most important aspect, which is that of fertility deity and is often depicted
with three faces.
Several horned goddesses were also portrayed on such seals. One interesting seal
shows a horned goddess in pipal tree, being worshipped by yet another horned
figure. This scene is witnessed by human -headed goat and a row of pigtailed
women, probably priestesses in attendance.
Certain trees were also considered sacred, just as in later day Hinduism. The
pipal in particular was much revered and often appears in seals, thus
establishing a link with Buddhism, in which the pipal held great significance,
since it was under pipal tree that Buddha found enlightenment.
Animals, too, appear to have played significant part in religion. Bull,
particularly, often occurs in contexts, which appear to prove his sacred
position. On many seals, he stands before what is apparently "cult
object", closely resembling table. Close study to seals reveals small lines
emerging from the table, which may represent growing corn, no doubt eaten by
sacred bull, as part of fertility rite.
This sacred bull is often shown with only one horn, which has led some people to
assume that the representation is of a unicorn. In fact, the image is that of a
bull, whose second horn is hidden by the first. Although, many different animals
are to be seen on the seals, surprisingly the cow so revered in later Hinduism
in nowhere depicted.
Phallic worship also appears to have been important element in religious life.
The many large cone-shaped objects have been identified as representations of
the phallus and sizeable ring-type objects as representations of female
generative organs. This pagan form of worship was also popular in the later
Vedic age, as it still is in South India.
Non-Indian influences on religion are also revealed by the seals. A few traces
of Sumerian contact are to be found in the seal depicting a hero grappling with
two tigers, variant of famous Mesopotamian motif. The countenance and the
peculiar hair suggest that he represented the sun and tigers the powers of
darkness.
Equally eloquent is the language of figurines excavated from Moenjodaro. Along
with the seals, they provide the main clues about the religious views and
practices of these people of Indus Valley.
Houses of laborers appear to differ greatly from house of the affluent in size,
plan and location. The concentration of workers' houses in one part of the city
suggests tendency toward social discrimination; and this could well have
resulted eventually in the rigid, class-conscious, tradition-bound "Caste
System".
The unearthing of rough terra-cotta statuettes of women with little or not
clothing indicates yet another link with the later Vedic age. The elaborate
head-dresses, with which these figures are adorned suggest that may have been
icons of Mother Goddess. It may be noted here that the early Vedic Aryans did
not worship any female deity.
Female goddess, Mitra, reappeared only after thousand years and was greatly
revered. The female goddess seems to have been very popular among Harappans.
Numerous statuettes have been found, enough in fact to be kept in nearly every
home! Their crude shape suggests that the goddess was not favored by the upper
classes, who naturally commanded the services of the best craftsmen, but that
her effigies were mass-produced by humble potters to meet popular demand.
Some of the mail figurines are equally interesting. The red sand-stone torso of
male is particularly outstanding for its realism. The modeling of the rather
heavy abdomen appears to belong to later style of sculpture. This seems to
suggest that the figurine was produced later but some accident found its way to
the lower stratum. However, figurine has certain features, notably the strange
indentations on the shoulders.
The discovery of such figures in the more affluent areas of the cities and the
high quality of their sculpture indicate that well-to-do Harappans preferred
male gods. This view has been reinforced by the discovery of many more male
figurines, all of whom may have represented divinities.
These figurines are made of terra-cotta and depict bearded nude men with coiled
hair; their posture is rigidly upright, with the legs slightly apart and arms
held parallel to, but not touching the size of the body, thus closely resembling
the stance, called by Jainas "Kayot Sarga". Meditating teachers were
often portrayed, thus in later Vedic times, and the repetition of this figure
would suggest that he, too, was god.
Buildings and other structures, too, reveal some interesting information, Great
Bath, for instance, with its central tank surrounded by cloister of small for
priests. It also indicates that, like later Hindus, Harappans had strong belief
in pacificator effects of water.
The total area spanned by Indus Valley center is almost 950 miles from North to
South and two major cultural centers are Harappa and Moenjodaro. In spite of
vast extent of its influence, pattern of its civilization was so uniform that
even the bricks used in many structures were usually the same shape and size.
There, also, exists sufficient evidence to indicate that Indus Civilization had
much in common with the later Vedic age, particularly in the religious sphere.
In this sense, it can be claimed that the civilization was never completely
destroyed, but, like the proverbial phoenix, rose from its ashes after thousand
years! Its religious beliefs and practices took route in the imagination of
people of this subcontinent and are still reverently adhered by Hindus today.
Script
on Seals:
Script on seals has yet not been
deciphered. Varied devices worked into the stone, such as trees sometimes
associated with animals and human figures are represented as object of worship.
The beasts most common on the seals are various kinds of bull, the water
buffalo, the rhinoceros and the elephants. One seal discovered at Moen-Jo-Daro
depicts a three-faced male god with arms outstretched, seated on a low platform
in a cross-legged position (like a yoga).
b) Dancing Girl:
The most impressive is the unique
small copper sculpture of a young woman perhaps a dancing girl from Moen-Jo-Daro.
This jewel of realism is completely urban in pose and hauteur. Starveling nude
except for a brief necklace and an arm completely ringed with bangles. Her
relaxed body twisted so that one hand rests on her right hip while the other
hold a small bowl against her left leg.
c) Torso:
We
find a more identifiable dancing figure in an incomplete male TORSO in gray
stone from Harappa. The body is twisted into a pose, which has invented
comparisons with the great olas icons. The figures legs are broken, drilled
socket at the shoulders and neck must originally have been fitted with
separately carved but now arms have been lost.
d) Priest Head:
Seated male
sculpture, or "Priest King" from Moen-jo-daro. Fillet or ribbon
headband with circular inlay ornament on the forehead and similar but smaller
ornament on the right upper arm. The two ends of the fillet fall along the back
and though the hair is carefully combed towards the back of the head, no bun is
present. The flat back of the head may have held a separately carved bun as is
traditional on the other seated figures, or it could have held a more elaborate
horn and plumed headdress.
Two holes
beneath the highly stylized ears suggest that a necklace or other head ornament
was attached to the sculpture. The left shoulder is covered with a cloak
decorated with trefoil, double circle and single circle designs that were
originally filled with red pigment. Drill holes in the center of each circle
indicate they were made with a specialized drill and then touched up with a
chisel. Eyes are deeply incised and may have held inlay. The upper lip is shaved
and a short combed beard frames the face. The large crack in the face is the
result of weathering or it may be due to original firing of this object.
e)
Terra Cotta:
More
engaging are the small terracotta toys motives, animals and figures. The
terracotta includes a great number of “Mother God” images not too different
from those found in other early culture, displaying wide hips and ample breasts
with heavy jewelry.
f) Pottery:
Painted
burial pottery from Harappa. The two largest vessels were found in the same
burial and are described below. The other smaller vessels were found in an
earlier burial and represent an older style of pottery.
Large globular painted pot:
A large globular vessel with lid and ring stand (no. 187) was located at the
head of the same burial. It was made in several stages, beginning with a molded
base and then built up in two or three stages on the wheel. Other unslipped
vessels were associated with these two uniquely treated burial vessels.
With geometric designs arranged in panels, and found in the same burial (148a)
as the tall painted jar (no. 186), this vessel also had a second layer of red
slip that totally obliterated the painted design. The same treatment was done to
the lid and ring stand. This large pot was made on the wheel in several stages
and has a molded base. The lid was made in a mold on the wheel and then the knob
was attached, also on the wheel. The ring stand was thrown on the wheel and then
carved to hollow out the base.
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