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CHAPTER III
material of this art. From its inception and even now terracotta is
on contemporary people.
moves in a slow pace and the transition of this art from one period
All what has been said above apply to the terracotta art of
Bengal) coming from this site and datable to the period II (about
40
41
B.C.) of Pandu Rajar Dhibi, the human figures with long nose running
down from the forehead, large applied eyes and protuberant chin are
2
highly interesting. They closely resemble the artistic creations of
the Aegean world and those of the Hittltes, Philistines and Phrygains.
The terracotta heads with pointed helmets and diminishing circles and
decorations and the other with nubile breasts. The plastic volume
the age are also reflected • in the lower part of a terracotta with
5
splayed hips encircled by a symbolic girdle. It is presumably a
from the same site shows a lady with beaked nose, eyes with
(PLATE : la).
the Maurya period (late fourth century. B.C.) are known. And the
objects to be dealt with now are Maurya in date. During this period
terracotta art made some rapid strides. The rather primitive types of
the earlier period are replaced by new norms almost same as the
curvedly along the side parallel to the drapery that spreads out
and a scarf. The lower part of the figure along with the legs are
bracelets of round discs. The hair parted in the middle above the
frontal treatment the figure is more lively, vivacious and soft in its
rounded pLasticity.
feeling than the laughter of the terracotta boy head from PatnS
finish and modelling tends to bring about the form in the round.
scarf in applique7. The sharp contrast of light and shade made the
back. The arrangement of the long plated hairs at the top, the
appliqud flowers over the shoulders and the necklace place this
those of the post Maurya epoch, new features were also on view. A
lady standing elegantly with a bird (ht. 14.3 cm.; Asutosh Museum)
moulded in low relief with the lower part broken. Her right hand
lifts a part of her skirt and left holding a pet suka (parrot) is in
akimbo. Her heavy robes and ornaments arranged in two rows and
this figure may be classed with the evanescent Maurya figures from
Tamluk, but its finishing quality is cruder than those from Tamiuk.
12
The cause of this lacking is perhaps due to extreme corrosion.
But this figure fails to display the two dimensional volume of the
11. Biswas,S.S., op.clt., pl.IVa.
12. Saraswati.S.K., A Survey of Indian Sculpture, Calcutta, 1957,
p.109; also Early Sculpture of Bengal, Calcutta, 1962, p.97.
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figure holds a jar or bag of wealth by her right hand and by the
left she holds a mirror. The turban like decoration on the left side
✓
The Suriga period is an important phase in the evolution of
fine fabric and are uniformly baked light red_or orange though some
of them have a red slip. The dignity of Maurya art vanishes and a
use of single mould for producing heads which are joined to the
bodies with pose of elegant ease, graceful relaxation and care free
of the people.
two floral tassels. The frontal hair is clearly visible but at the
almost to the level of knees. On both sides of the bonnet are two
the lateral projection on the left five exquisite pins are struck in.
There are from the bottom the ankusa (goad), the second and the
one an axe. The one at the top might be a dvaja (flag), or some
Between the masses of the turban rises a crown with five rows of star-
ears have large cylinders stamped with floral design with a number of
pearl tassels. Round the neck are a torque and a heavy necklace of
numerous beaded strings. The slender waist carries a small but larger
pearl-strings attached to the girdle reaches down the knees which are
V
also embellished with elaborate pattern resembling four paunchy figures,
two shown on each thigh, squatting on haunches and with hands raised
16 -
to the heads. They carry at the lower end some silk tassels below
which are a number of pearl strings. On each hand are four bracelets,
fastened to the waist by a girdle which reaches down to the knees. The
upper part of the dress indicate a narrow border. The folds are
implement. A broad ribbon passes over the left shoulder and round the
dancing pose. His mode of wearing dhdti and chadar express an; elegant
movement.
their contemporary life. The young and beautiful women in the full-bloom
dance, music etc. are portrayed nude female figurines with prominent
pudenda coupled with heavy nubile breasts, broad hips and thin waists.
/
The figures of animals and birds borne by the Suhga terracottas
plaques depicting Jataka stories, folk tales and other episodes are
remarkable. Apart from that, floral and geometrical designs and various
r
toy-carts are also nicely represented in Suhga terracottas.
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the period are varied in form and content. Stylistically, they fall into
two distinct groups, one refined and the other crude and both of them
earlier epochs.This elevated the art from the low and flat relief of
/
the Maurya and Sunga idioms to the bold and high one of the Kushapa
phase.
As said above the KushSna terracottas are varied, and from the
male with fleshy cheeks, sharp nose, expressive eyes and a helmet of
The female with supple volumes now speak of the physical grace
displayed the top fashion of the age. The emphasis on nudity was then
Hellenistic world. But they are not fertility cult objects. These figures
animation and their eyes remain open with a deep feeling within.
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object that was introduced in the Kushana age was the votive tank which
a head (ht. 6.5. cm.; Asutosh Museum) from Tamluk of about the first
century B.C or the early part of the first century A.D. It shows a lady
beneath, the decorative marks above the eye-brows and the beaded
strings fail to escape the attention of the beholder. And further her
smiling face with a quiet and pensive grace leaves a lasting impression
on her.
and the terracottas of the period conformed to that norm. The terracotta
hitherto unknown in Indian art history. The Gupta artists made the back
hollow within or are solid. They were often treated with a deep red
slip to cover up defects in surface treatment and also for making the
and charm of the Gupta style. The soft and pliant human figures made
out of clay exhibit a free and easy movement. Though they seem to be
at rest yet like the lithic counterparts at Samath and Mathura they
the convention which no doubt enhanced the grace of the figure. What
figure with bare upper body wearing an upavita. The dhuti worn on the
lowery part is shown hanging in folds in the middle. The same, wrapping
the waist is also beautiful. The girdle on the waist, the reroiniscentof
the hollow round ear studs are also notable. The figure in tribhanga
pose with katyavalamvita hasta, the deep navel and the physical
right hand and an anklet of similar design on her right leg. The right
leg is bent a little and raised behind the mutilated left leg. She also
comparison with the prolific output of the earlier phases. The cause of
The major dynasty after the Imperial Guptas were the P§las who
this period used the terracotta medium for depicting diverse subjects,
religious as well as secular, and the terracotta plaques coming from the
trend deriving inspiration from the imagination and lore of the village
folk. These terracottas depict the mirth and sorrow of the people and
the natural beauty surrounding them. They depict in a vivid manner the
occupations, social life, religious faiths and beliefs, divine and semi
divine images, popular tales and other stories current in the society.
the scheme of decoration of the Buddhist temples. Vishpu and his avatara
55
Surya (?) and Hanuman are among the Brahmanical' Gods. Besides
these,, the legend of Krishna's life and scenes from the Eimayapa testify
their popularity.
well as the lowest profession of men were within the artists purview.
lotus, the swan and the deer may have a religious connotation.
18. French, J.C. and Sahai Bhagwant, 'The Art of the pala Empire
of Bengal', 1928, p. 24.
of the Pala art have been ■ recovered. Among them terracotta toys and
centuries does not seem to have any influence on Buddhist art of the
Bengal.
Thus the art movement in Bengal never lost its integrity and
foreign nations that came in its way with much harmony and without
various themes and the spirit of life and movement expressed in them
plaques from various old sites of Bengal are known, the number of
actual moulds so far discovered are relatively small. This is also true
of other terracotta yielding sites not only of India, but also of other
vividly portray the different types and classes of men and women -
and beliefs, popular tales from the Epics, Jatakas, myths and legends
current among the common people, the architectural motifs, and the
world of flora and fauna. Some of these pieces under review demonstrate
well as other motifs are equally interesting. Seals coming from the
economic condition, transport fecility and the world of flora and fauca.
Some of these finds though much damaged and defaced due to the saline
material.
wheel turned ware with black or reddish touch of colour. Some profc-
boats, the radiating star, fish and stylised flower and trianglas
fashioned In the form of animals like tortoise and deer deserve mentioE.
find material corroboration. Examples of such clay toys have been found
others carts and the figures of humans, divinities and animals. The
carts have their two wheels put together by an axle; at the back *f
the figures are shown one hole probably for fixing a stick to push the
toy of wheels. Generally animals viz. ram, elephant, horse and bircs
like peacock and owl are used as toy carts. Depictions of miniature
also common while figures of RSkshasa as well as Agni, Surya and Indra
as riding their own mounts were occasionally used as toycarts. But the
59
most popular animals yoked to these toy carts were elephant and horse.
rattles and as such the figures of pot-bellied Kuvera and two grotesque
rattles.
clear point to the origin of this art from the everyday life of humble