The Evolution on the Indus Pottery Style

The Evolution on the Mature Indus Pottery Style in the Light of the Excavations at Nausharo,PakistanAuthor(s): Gonzague QuivronSource: East and West, Vol. 50, No. 1/4 (December 2000), pp. 147-190Published by: Istituto Italiano per l'Africa e l'Oriente (IsIAO)Stable URL: http://www.jstor.org/stable/29757453 .

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The Evolution on the Mature Indus Pottery Style in the Light of the Excavations at Nausharo, Pakistan

by Gonzague Quivron

In old publications, the Mature Indus pottery was often described as uniform.

No major change was noticed in the pottery style of this period which lasted for some 500 years and however was treated as a single unit. The description of the

ceramics was even sometimes omitted because the painted pottery of the Harappan civilization was supposed to be so well known that it needed little comment.

More recently, regional stylistic differences have been recognized but few

indications for changes in the pottery assemblages through time were isolated except in the study of the ceramic variations at the site of Mohenjo Daro (Dales & Kenoyer 1986). Today, more attention is paid to the pottery of this period. New researches are made on the material from previous fieldwork (x) and, in pottery studies from

current excavations such as Dholavira (Bisht 1991), Harappa (Jenkins 1994a-b and

forthcoming) or Nausharo (Quivron 1994), differences within the Mature Indus period were recently identified.

I. The Site of Nausharo during the Mature Indus Period

On the Bolan river, at the point it falls in the piedmont region, the archaeological site of Mehrgarh starts from the pre-pottery Neolithic (Jarrige 1997). This first

occupation period will be succeeded by a series of uninterrupted settlements bringing us right up to the period preceding that of the Indus culture (level VIIC). At the

nearby site of Nausharo, Periods IB and IC represent the final occupation of Mehrgarh. The subsequent period of occupation of the site (Period ID) corresponds to a transitional

stage from the earlier ones towards the Indus civilization. In this paper, we shall deal with Periods II, III and IV which represent the

successive stages of the Mature Indus period.

(*) A monograph on this subject including the complete typology of pottery of periods II, III and IV is in preparation.

(!) Study of the ceramics from Balakot by Dr Ute Frank-Vogt (Inst, f?r Vorderasiatische

Altertumskunde, Berlin) and study of the pottery from Chanhu Daro by Heidi J. Miller (Department of Anthropology, Harvard University).

[1] 147



1.1. Period IL First Stage of the Mature Indus Period

In Period II, Nausharo entered the era of advanced urbanism. The new settlement was planned in the usual Indus style with two distinct parts: the lower city towards

the south of the site and an acropolis with a monumental structure situated atop the remains of the preceding occupation (Fig. 2.C) to gain an eminence over the

lower blocks of houses which were laid on the natural plain and secured by a massive

peripheral wall. Thus, the new planners beside re-appropriating the antecedent

settlement of Period I, extended the city and created a new model of town planning. An opening in the huge surrounding wall provided a gateway with an inner ramp

(Fig. 2.A) leading to blocks of dwelling houses (Fig. 2.B) and workshops (2). Altogether, five rebuilding phases of construction were observed. The houses

adjoin each other and form rows on either sides of lanes and streets. Only mud bricks were used in walls but, during the fifth phase, kiln-fired bricks were also used to edify a monumental drain linked to a water reservoir (Fig. 2.D) and running across the

whole settlement and the southern part of the surrounding wall (3). For some unknown reason, the monumental structure on the acropolis was not

in use any longer by the end of Period II and the whole of the spacious edifice was filled up with large mud bricks laid with great care. A considerable amount of masonry

was used for infilling the complex of rooms to form a new elevated occupational level

for smaller constructions indicating that by the end of the first stage of the Mature

Indus period, the acropolis was covered with blocks of habitations similar to that

excavated in some parts of the walled-in lower city.

Apart from the pottery, items of Mature Indus association were found in great number. Amongst the antiquities, mention may be made of a fragment of a seal in

steatite bearing the head of a unicorn. In this period also, inscriptions with the

characteristic signs of the Indus script were scratched on black-coated jars. Erosion of the mounds that intervened between Period II and Period III has

been noticed in many parts of the excavated areas of the site. The eastern part of

the above-mentioned monumental edifice turned in course of time into a foundation

(2) A potter's workshop from Period II was uncovered on the northern slope of the southern mound

of Nausharo. Part of the structure was used for forming vessels. The workshop was also used to store

the pots after they has been formed and finished. Some 25 unfired clay vases have been found (Mery 1994). A pear-shaped kiln of which the combustion chamber was preserved, was also found in the southern

part of the settlement near the peripheral wall. The base of a pillar which once supported the floor of the firing chamber above was still to be visible.

(3) Part of the paved floor of the drain was made of wedge-shaped bricks. This special form of fired bricks was developed for the construction of the round well shafts similar to that found in great number at Mohenjo Daro. Yet, no wells have been found in the excavated remains of Nausharo.

Water reservoir: apart from the basin of Lothal which, according to the excavator, functioned as

a dockyard, Dholavira is so far the only other example of Indus site which planned a series of water

reservoirs within fortified township.

148 [2]



Fig. 1 - Distribution of major Mature Indus Settlements (grey dots: first stage ? black dots: second

stage of the Mature Indus Period).

[3] 149



NAUSHAftO 1*1

Fig. 2 - Nausharo. General plan of the excavations.

platform, had entirely disappeared and, as well as on parts of the eroded blocks of houses of the lower city, a thick level of debris was placed by the subsequent Period III people to build their own settlement.

150 [4]



1.2. Period III. Second Stage of the Mature Indus Period

The inhabitants of Period III chose to give up the house-alignment of their predecessors and had their own to plan the buildings as if the site was entirely new.

This permitted to clearly separate the ceramic assemblages and other artefacts of one

period from the other. There was no cultural break between Periods II and III but, thanks to the well stratified context of the site, change and evolution are clearly

recognizable in the ceramics. In Period III, the settlement was also erected in the usual Indus town planning

with streets and lanes running at right angles to one another. The system of city blocks was the principle of arrangement (Fig. 2.E and F). There was also a desire for uniformity in the recurrent features in the house units (Jarrige 1994). Water-related structures in fired bricks were commonly used in most of the houses which had their

courtyards, living and storerooms. Another big drain was then constructed through the settlement at the same location to that in used during the previous period, but,

with a slightly different orientation. This drain was probably linked also to a reservoir

for water-supply, part of it was excavated on the northern mound. Successive reconstruction phases were evidenced in the houses. In course of time,

the southern part of some blocks were reused for pottery production (4) (Jarrige,

forthcoming). The cultural repertoire is that of the Mature Indus period type with numerous terracotta figurines, weights and seals.

1.3. Period IV. Third Stage of the Mature Indus Period

Remains of that period were found in several parts of the site but in very badly eroded zones or in areas which have later on been capped by recent graves (Jarrige 1994). Nevertheless, the amount of ceramics was enough to establish a continuity

with the preceding Period III but also a connection with the Kulli cultural complex. Terracotta female figurines in the Kulli-style, similar to examples found at Nindowari, were also uncovered in the remains of Period IV.

II. The Mature Indus Pottery at Nausharo

The corpus of stratified vessels from several Indus sites where excavations are

in progress is growing. Beside new methods of recording and quantitative analyses, the distributional study is now among the procedures being widely used. At Nausharo

also, as a result of the extensive excavations, it has been possible to subdivide the

(4) Superimposed pottery kilns of the double-chamber type, layers of trash containing wasters and unfired or overbaked vessels have been exposed in the area.

[5] 151



Mature Indus occupation into three subperiods named II, III and IV and to establish a catalogue of ceramics with chronological variants and characters proper to each

subperiod (5).

2.1. Methodology

The excavation of the Mature Indus occupational levels at Nausharo yielded a

very large ceramic corpus. Thousands of complete and reconstructable vessels have

been recorded (6). Hundreds of thousands of sherds have been cleaned and classified

according to their attribution to each excavation unit. The main focus was not on

establishing only a sample for rim or base classification but on regarding all the sherds as conjoining elements to reconstruct vessels (7).

Due to the volume of pottery, a large team of trained local assistants were

introduced to mending the pottery under supervision of the author. French team

conservators were in charge of numerous selected ceramics for specific treatment. As a result, a majority of vessel forms were reconstructed, completely or partially from

base to rim. The remaining sherds (mainly the rims) were counted and drawn for

improving quantitative analysis. French team members have been employed in drawing the whole of the painted and unpainted vessels: all decorated pottery and painted sherds were drawn for a study of the stylistic variations, even those showing similar or almost similar painted motifs and shapes.

2.2. The Vessels of the First and Second Stages of the Mature Indus Period

In this chapter, vessels from Period II are compared with specimens from Period

III to identify similarities and differences that have been observed in the pottery assemblages.

If unmarked and mixed together, many unpainted vases cannot be sorted out.

A great number of vessels like the deep sturdy basins with nail headed rim, the

perforated cylindrical jars or the pots with a ridge at their junction with a globular body (Fig. 3.A and B) are similar shapes manufactured by the potters from Periods

(5) Study and comparison of ceramics demonstrated in the subject of this paper are based on forms of vessels and decorative elements. Details of manufacturing techniques and petrographic, mineralogical and chemical analyses are developed in some other articles (Bouquillon et al. 1996).

(6) This paper focuses briefly on the evolution of the pottery style during the Mature Indus period and a few ceramics only were selected among the large corpus of vessels to illustrate this study.

(7) Large-scale excavations are necessary to achieve this purpose. Many vessels were found

abandoned on house floors or courtyards, but the great majority of ceramics had been thrown away by the inhabitants of the settlement in ruined structures or had been spread in layers of trash to level irregular grounds. Frequently, one part of a reconstructable vase was found scattered on a floor and the other

part was uncovered, sometimes far away, in the debris fill of another abandoned room.

152 [6]



II and III. The dishes, the concave necked goblets or the narrow mouthed globular vases (Fig. 3.A and B) are: for example other pot types commonly found among the

vessels from the two periods. On the contrary, many other vessel forms appear to have changed through time

and can be seen to derive from earlier shapes. The flat-bottomed bowls decorated

with concentric impressions for example, appear to show little change in form (Fig. 3.C and D) and an evolution in form is observed for some specimens like the necked

bulbous jars which have slender profiles in Period III context. The centre of gravity of the body form is often higher and the inflexion of the contours is usually different during the second stage of the Mature Indus period. The dish-on-stands with carinated

profiles are also generally more frequent and, in some cases, a bulb is added in Period III at the junction of the high pedestal with the dish (Fig. 3.D).

But, while many previous shapes continue to be fashioned, some representative forms of the first stage disappear in Period III (Fig. 4.A). Many new and interesting additions are then manufactured. Among these, mention may be made of the small dishes in grey ware with a rounded bottom or the various types of painted cup-on stand (Fig. 4.B). The vertical sided vases and the goblets with narrow bases and

curved profiles are also vessel types very useful for identifying the assemblage of the

second stage (Fig. 4.B). In matters of decoration, vessel attributes like design motifs that distinguish

Period II from Period III have been defined. For example, on the highly distinctive storage jars of the first stage, the double bands separating the triangularly arranged dots (Fig. 5.A and Fig. 6.A) or the curious leaf-like motif which might represent water

weeds or seeds, are conspicuous by their absence during the second stage of the Mature

Indus period. These devices have however variant forms on the large jars, sometimes

with moulded bases, of the subsequent subperiod. The continuous series of loops with, or without suspended dots serving as a border right round the jars and the

standing hatched leaves separated by horizontal curved leaves, obviously derive from the above-mentioned motifs of Period II (Fig. 5.B).

Application of designs, sometimes to the extend of overcrowding the surfaces, are a common feature of the two periods. For example, on the pronouncedly flanged rim

jars, the intersecting circle pattern takes a prominent place. This design, which might also be described as made up of a number of linked four-petalled devices, differs according to the subperiod. In Period II, the squarish spaces with a central dot between the leaf

motifs are almost systematically painted in black (Fig. 5.A). In Period III, they are

more frequently unpainted or decorated with irregular small strokes (Fig. 5.B).

Incorporated in the new repertoire of motifs of this period, the borders of triangles with incurved sides and spaces filled in with hatched leaves derive from the intersecting circle pattern (Fig. 6.B and Fig. 16.40). Though continuing to employ previously common elements (8), this design corpus of Period III has also been enriched by the

(8) An evolutional chart of basic painted motifs is illustrated in Figs. 17 and 18 and is briefly described at the end of this paper.

[7] 153



Fig. 3 - A. Nausharo Period II. B. Nausharo Period III. C. Nausharo Period II. D. Nausharo

Period

III.



Fig.

4-A

Nausharo Period II. B. Nausharo Period II. C. Nausharo Period II. D. Nausharo Period III.



Fig. 5 - A. Nausharo Period II. B. Nausharo Period III.

156 [10]



A

B

Fig. 6 - A. Nausharo Period II. B. Nausharo Period III.

[11] 157



addition of new motifs like the chequer board pattern with cross hatched rectangles

alternating with open spaces (Fig. 16.39) or the so-called hide motif (Fig. 16.32).

III. The Chronological Position of some Major Indus Sites

The classification of the ceramic contents of each phase of the Mature Indus

occupation of Nausharo permitted the depiction of change of pottery traits through time. By studying the ceramics, we hoped that it would be possible to set up at

Nausharo a standard for the Mature Indus period style of pottery with which ceramic

material from other sites might be compared. Numerous Mature Indus settlements have been identified within the entire extend

of this civilization. Of these, we have selected some explored or excavated sites

where the proportion of published material was large enough to try determining the

chronological position of the sites during the Mature Indus period (Fig. 1).

3.1. Northern Balochistan

Dabar kot

Special attention was drawn to this area from the beginning of this century onwards and numerous archaeological sites have been discovered. Dabar Kot was

the largest mound Sir Aurel Stein came across on his tour in Balochistan in the 1920s.

In the account of the results of the trial excavations he decided to carry out at

different points of the mound, he briefly refers to painted pottery which show designs of 'a somewhat free treatment' (Stein 1929: pis. XIV.D6, D16, D17, D18 and D19). Those sherds belonging to 4a certain phase in the growth of the mound' are similar to pottery from the first stage of the Mature Indus period style as identified at

Nausharo. Data from Dabar Kot were also accumulated in the 1950s (Fairservis 1959:

figs. 21-23). A quantity of Indus potsherds comparable to Nausharo Periods II and III permits to arrange the collection into a chronological scheme.

Kirta

Not far from Nausharo, in the Bolan pass area, the exploration of the mound

of Kirta was undertaken by R.L. Raikes and the Department of Archaeology of Pakistan in order to investigate possible 'camp-sites' on this natural route (Raikes 1964). The

great variety of prehistoric types of pottery collected was then considered as perplexing in view of the low elevation of the mound, while fragmentary black-on-red sherds

with stylized pipal leaves were attributed to late Harappan types.

158 [12]



The site was first visited by the French team long before the excavation

at Nausharo was undertaken (Enault & Jarrige 1975). Pre-Indus and Indus

ceramics were recognized, plus a characteristic ware related to Kulli pottery and

showing a mixture with Harappan elements. This surface collection of potsherds was expanded in 1997 and allowed us to precisely identify the three subperiods of the Mature Indus phase as evidenced at Nausharo (sherds of the third stage in

Fig. 15.D). Another important unexcavated site, Pathani damb, located at the entrance of

the Mula pass, one of the main routes leading to Kalat, has also the same occupational materials.

Judeirjo Daro

South of the Kachhi plain, Judeirjo Daro was also surveyed by R.L. Raikes who identified this site 'covered with potsherds and other objects of Harappan type' (Raikes 1964). Judeirjo Daro occupies an important position on the way from Balochistan

to the lower Indus basin where a quantity of multiple Mature Indus sites have been

discovered. Our surface-examination of the site in 1997 revealed numerous fragments of plain and painted pottery belonging to the first (Fig. l.K) and the second stage of the Mature Indus period (Fig. 7.L).

3.2. Southern Balochistan

Sutkagen dor

The site of Sutkagen dor, discovered by Major Mockler as far back as 1875, is located along the seacoast in Makran Division (Mockler 1877). The mound was visited

by Sir Aurel Stein and excavated by G. Dales (Dales & Lipo 1992). These last limited test excavations yielded only potsherds. The published selected specimens come from

stratified contexts of two trenches dug inside the huge rectangular stone enclosure

of the site. Despite the rarity of the painted vessels, the lack of characteristic designs from the beginning of the Mature Indus period is striking and many pottery forms

belong rather to the second stage of the period.

Apparently, the soundings were dug down the natural surface in this specific part of the settlement. An earlier Mature Indus occupation might have lain outside the

citadel where Mockler reported several building levels. But, in this area, now severely

damaged by natural erosion, Dales Vent through nothing but sterile silt' as if those

structures had no longer survived.

[13] 159



Sotka Koh

During his exploration on the Makran coast, G. Dales discovered another major

Harappan site, comparable in size to that of Sutkagen dor. No proper investigation was made, but pottery was collected from the surface (Dales & Lipo 1992).

Contrary to Sutkagen dor, painted potsherds were found in plenty. Rather than

the result of a differential preservation of the two sites, as pointed out by G. Dales

in his report, this higher proportion of decorated vessels is due to the presence at Sotka

Koh of pottery from the first stage of the Mature Indus period. Many illustrated

sherds have the elaborate style of this phase (Fig. 13.E). Furthermore, during our

visit to the site in 1996, we observed numerous sherds from the first stage scattered

in specific parts of the site among traces of stonewall foundations as well as, in some

other areas, excellent examples from the second stage (Fig. 13.F).

Miri Qalat

The ruined fort of Miri Qalat (Turbat district) was first visited by Sir Aurel Stein who considered the site as the most interesting among the reported mounds in

the Kech valley. The greatest portion of the Islamic fortress was built on an ancient

debris mound. Evidence of the early occupation of the site, a number of small fragments of pottery of prehistoric type was collected on the eroded slopes (Stein 1931).

The chronological periodization of Miri Qalat has been provided by data from excavations carried out by R. Besenval from 1990 to 1996 (Besenval 1994, 1997a-b). The Harappan presence was limited to the eastern part of the steep mound and a

striking peculiarity of the pottery assemblage was its association with material of

Bampur V-VI tradition. It is not subject to doubt moreover, that the style of the

Indus decorative patterns belongs exclusively to the beginning of the Mature Indus

period (Fig. 13.A and B). The painted decorations have their parallels at Nausharo

Period II, but also at other Harappan sites such as Mohenjo Daro (deep sounding by

Mackay) (Fig. 13.C) or Chanhu Daro (Majumdar excavations in layers below plain level) (Fig. 13.D).

Balakot

In the search of harpoon sites along the coast, the small mound of Balakot located

in Las Bela district, was excavated by G. Dales (Dales 1979). The large collection

of ceramics is undergoing intensive study. So far, the preliminary results (Franke

Vogt 1997) do not distinguish any subperiodization within the Harappan occupation of the site named Period II. Among the available general information, the presence of decorative Kulli elements in the Harappan levels is pointed out.

160 [14]



R?*^ 1? _I [B_

II

E # ^ II

Fig. 1 - A. Amri IIIA. B. Amri HIB. C. Lohunjo Daro (first stage). D. Lohunjo Daro (second or third

stage). E. Ghazi Shah (first stage). F. Ghazi Shah (first stage). G. Karchat (first stage). H. Karchat (second stage). I. Jukhar (first stage). /. Jukhar (second or third stage). K. Judeirjo Daro (first stage).

L. Judeirjo Daro (second stage).



As mentioned before, decorative patterns from the Kulli cultural complex are also

available at Nausharo during Period IV (the third stage of the Mature Indus period). Furthermore, in the limited number of vessels published in previous comprehensive papers on Balakot, typical painted examples from the first stage (Fig. 13.G) and

probably from the second stage (Fig. 13.H) as evidenced at Nausharo, appear among the illustrated specimens.

3.3. Sind

The internal sequence of the Indus civilization is far from being well established

for many sites located in the lower Indus basin. However in the 1960s, J.M. Casal, was the first archaeologist to divide the Harappan occupation of the site of Amri.

Amri

The Mature Indus period of the settlement (Period III) was subdivided into three

phases A, B and C, according to the evolution of some shapes of pottery and of painted decorations (Casal 1964).

The differentiation between Amri III A (Fig. 7.A) and III B (Fig. 7.J3) corresponds exactly to the distinction observed at Nausharo between the pottery of Period II and

that of Period III. On the contrary, the phase III C of Amri differs from the third

subperiod of Nausharo (Period IV) (9). From the ceramic evidence, it seems clear also that most of the Harappan sites

identified by Majumdar during his exploratory survey of Sind (Lohunjo Daro, Ghazi Shah, Karchat and Jukhar) carried out in the 1920s, were occupied also during the

different stages of the Mature Indus periods (Majumdar 1934) (Fig. 7.C to /).

Chanhu Daro

The most interesting site to corroborate the chronological framework of the Mature

Indus period of Nausharo is Chanhu Daro.

The site was discovered and trial-trenched by Majumdar (1934) and was

later selected as the site for the first American archaeological expedition to India

and excavated by E.J.H. Mackay (1943). Below the remains of Jhangar and Jhukar cultures, Mackay found an Harappan settlement he divided into three periods because the different occupations he uncovered were clearly separated from each

(9) The third stage of the Mature Indus period as provided by the Nausharo sequence and its

similarity or not with other Harappan sites will be discussed later in this paper.

162 [16]



other by accumulation of debris, remains of occupational disruption, and because the

orientation of the structures was different.

The subperiods were designated as I, II and III from top downwards, but are

now usually referred to as la (III), lb (II) and Ic (I) from bottom upwards (10). Despite the periodization of the remains, no significant changes were noticed in the description of the pottery of the Harappan culture: 'the differences that it has been possible to

point out, however are too few to allow us to say with certainty at present, that the wares from the lower levels are radically different from those of the upper strata,

though there is no doubt that they are, in the main, superior in finish and painting'. In the light of the typology of Nausharo, the illustrated examples of pottery from the

mounds of Chanhu Daro, were classified according to their similarities in painting

style with the vessels of Nausharo Periods II and III. In the chapters which deal with the pottery, Mackay set out the ceramics in a catalogue with the locus and the level

of each one and, by comparing the selected groups of pottery with these published informations, the result showed clearly that Nausharo and Chanhu Daro parallel each

other in the stratigraphic provenience of their ceramic assemblages. The vessels similar to the pottery from the first stage of the Mature Indus period of Nausharo were

unearthed at Chanhu Daro in the levels of the first Harappan occupation (Fig. 8.A) while the group of pottery close to the typology of the second stage was mainly found

in the structures of the second Harappan occupation (Fig. 8.5). The vases belonging to the beginning of the Indus period were discovered at

Chanhu Daro in the trenches cut in and around Mound II (n) and partly on its north-eastern slopes (the striped areas in Fig. 9) (12). The large storage jars as well as the smaller pieces of pottery were often extensively decorated (Fig. 8.A) and,

although very close to the painting style of Nausharo Period II, the vessels are in the

main superior in quality and patterns (13).

(10) No traces of an earlier occupation other than the Harappan culture have been evidenced at

Chanhu Daro because the high ground water table prevented excavations from reaching the lowest levels

of the site. But, according to Mackay, evidences of an earlier culture 'may come to light at Chanhu

Daro when work is resumed there under more favourable conditions'.

(n) The two decorated storage jars from this period and illustrated in Fig. S.A, left and right, were unearthed by Majumdar in trenches dug in Mound III. The painted vessels were found near a well just below the plain level.

(12) The vessels found below the slopes of Mound II were buried not far from the upper portion of monumental mudbrick structures (in one case, above one of them) described by Mackay as solid platform

expressly constructed by the Harappa II people to raise their building beyond the reach of floods. Without

disproving the purpose of such structures and due to pottery evidence, they may have been more likely remains of the first Harappan settlement filled up afterwards with bricks to be the foundations for houses

of the subsequent occupation.

(13) The importance of the site of Chanhu Daro in the study of the origins and the evolution of the Mature Indus painting style will be discussed at the end of this paper.

[17] 163



Kot Diji

The Kot Diji chronology was based on the evidence of pottery (Khan 1965). The site has acquired a position of outstanding importance in showing for the first time an early developmental stage for the Indus Civilization. The upper layers of its

occupations represent the Mature Indus Culture. The vessels from those levels were

described as typical of the culture with 'well-known Harappan designs' executed in

'conventional style' and so similar to those of the Harappan sites that 'they can hardly claim any special interest'.

The only difference which was made from Harappa and Mohenjo Daro specimens was the brightness of their colour and the well-preserved condition of the collection

'probably because the Kot Diji site is comparatively free from the devasting effect of salt'. In reality, the whole of the pottery assemblage uncovered in the upper strata

of the settlement belongs to the first stage of the Mature Indus period only and has its distinctive superiority in quality (Fig. 8.C). The differences noticed by F.A.

Khan were the result of a comparison, chronologically wrong, with assemblages from

subsequent phases of the period, then chiefly illustrated in the publications of Harappa and Mohenjo Daro.

Mohenjo Daro

The discovery of the Indus Civilization opens with the excavation of Mohenjo Daro. Though its ceramic industry was assigned to several chronologically different

contexts, the vessels were simply described as belonging to the Mature Harappan cultural

style and no attempt was made to divide the collection into stylistic assemblages of assumed chronological significance.

A few pottery types, similar to the vessels of the first stage stratigraphically defined at Nausharo, were illustrated in the reports by Marshall (Area SD) (Marshall 1931) and by Mackay, as collected in the deep sounding he made in the DK area (Mackay 1938) (Fig. 10.B).

Among the painted potsherds published by Wheeler in the 1950s in a photograph in The Illustrated London News (Wheeler 1950), some belong also to the beginning of the Mature Indus periods (Fig. 10.A). This pottery was found in the deep cutting dug in the back filling of the mud brick bound of the podium of the citadel. The results of this excavation were published in detail by Professor Alcock (Dales &

Kenoyer 1986) who subdivided the pottery from four different contexts (contexts A to D). Context B corresponds exactly to the assemblage found at Nausharo in the Period II levels (first stage) and to the pottery extracted in the lower levels of DK

Area (phase A) by G. Dales in the 1960s (Fig. 10.C). One of the objectives of this latter program of excavation (UM excavation) was to obtain a well-defined stratigraphic sequence of pottery types from the uppermost levels of the mound down to as deep as the ground water table would allow (Dales & Kenoyer 1986).

164 [18]



Fig. 8 - A. Chanhu Daro la (first stage). B. Chanhu Daro lb (second stage). C. Kot Diji (first stage).

[19] 165



?^-(0-???o-?^-^

?O-?CD-O-O??-O-^ $-^-* Fig. 9 - Chanhu Daro. Mounds II and III.



b_ d ̂ ^^"^^

c _I [e_

Fig. 10-/4. Mohenjo Daro (Wheeler) (first stage). B. Mohenjo Daro (Mackay) (first stage). C. Mohenjo Daro Phase A (Dales) (first stage). D. Mohenjo Daro (Mackay) (second stage). E. Mohenjo Daro Phase

B (Dales) (second stage). F. Khiplewala (Cholistan) (first stage). G. Cholistan (second stage).



Despite stratigraphic problems introduced by the discovery of a huge mud brick

wall, the subdivision of the ceramics into two phases (A and B) parallels precisely that of Nausharo (Periods II and III) (Phase A, Fig. 10.C and Phase B, Fig. 10.E). The distribution of designs is almost identical and can be added to the corpus of stratified

painted motifs of Nausharo as reliable temporal indicators.

The pottery types unearthed in quantity in the remains of the structures still

visible while visiting the site of Mohenjo Daro, are not from the first stage of the Mature Indus period (14). Only the deep soundings and the filling of the 'podium' of the citadel provided this earlier material coming probably, like at Nausharo or

Chanhu Daro, from a settlement of the very beginning of the urban phase which, at

Mohenjo Daro, might still lie buried beneath the excavated structures of the citadel

and the lower town.

3.4. Cholistan and Punjab _

A number of sites were recorded by Sir Aurel Stein in Cholistan, along the ancient course of the Hakra river. More recently, this area was selected by Dr R. Mughal for an intensive study of its ancient settlements (Mughal 1997). The ceramic collections

from the Mature Harappan sites are described as 'precisely falling within the known

range of vessel shapes, surface treatment, decoration, manufacturing techniques of

the Mature Harappan repertoire'. However, from the illustrations accompanying the listed main types of pottery, vessels and painted potsherds from the first and

the second stage (Fig. 10.G) of the Mature Indus period are recognizable. This is

especially noticeable for a large reconstructed storage jar from the site of Khiplewala, with a bright-red slip and a black decoration with characteristic motifs from the

beginning of the period (Fig. 10.F).

Harappa

Near the dry bed of the Ravi river in Punjab, Harappa is one of the sites where the recent pottery studies led, with the help of up-to-date analytical methods, to the

identification of differences within the Mature Indus period (Jenkins 1994a and b).

(14) The theory of the platform concept suggests that Mohenjo Daro was purposefully planned before construction and that the first thing done was to erect massive mudbrick platforms upon which

the dwelling houses were then built. The identification of a pottery material belonging to the first stage of the urban phase and earlier to the assemblages found for example in the lower city might indicate that the people of Mohenjo Daro extracted primary materials from adjacent zones to fill the gigantic platforms unless the ceramic was part of abandoned older structures filled up afterwards to form a new

occupational level. Only new investigations at the site could answer that question.

168 [22]



Long before, M.S. Vats, one of the first excavators of the site (Vats 1946),

published a few plates of Indus pottery simply entitled 'painted sherds from mounds

typical of household vessels', but showing subperiodized specimens of pottery as known from Nausharo (Fig. ll.C: first stage of the Mature Indus period).

In the same way, the cutting by Sir Mortimer Wheeler through the mud brick defence of the citadel (Wheeler 1947), provided a small collection of pottery with a few painted sherds obviously from the first (Fig. 11.23) and the second stage. The

repertoire of complete vessels also collected by Wheeler in the excavation at the

Cemetery R.37 (Fig. ll.D), has precised parallels with the numerous vases uncovered at Nausharo in the remains of the Period III occupation.

The objectives of the current excavations at Harappa focused on developing a

better understanding of the internal chronology of the site. In the new periodization, Period 3 is represented by the full urban phase of the Indus tradition. The period was divided into three subperiods (a, b and c). The corpus of ceramics collected made it possible to examine the temporal variations of the pottery assemblages. The two

first phase subdivisions converge with our periodization of Nausharo. The decorative

patterns of vessels from Harappa Period 3a (Fig. II.A) replicates Nausharo Period II and the vases from the Harappan phase Cemetery R.37 (Period 3b, also linked to

pottery from habitation areas) corroborate our above-mentioned identification of

published material from previous excavations at Harappa by its precise similarity with the repertoire of Nausharo Period III (15).

The pointed base goblets characteristic of Harappa Period 3c are however absent in the repertoire of our third subperiod (Nausharo Period IV) which widely differs from that of Harappa.

3.5. Hary ana and Rajas than

Banawali

The huge mound of the site of Banawali is located in Haryana, an eastern extension

of the Indus plain. The Mature Indus culture of the settlement is represented by Period II with a pottery corpus of 'classic Indus ceramics' which 'come in all their manifestations' emphasizing the widely used idea that the Indus painting style remained

unchanged throughout the Mature period.

(15) Period 2 is defined at Harappa as a transitional phase preceding the Mature Indus period. Painted fragments of vessels from the end of this period have been recovered in the northwest corner

of Mound E. Some of them have almost the same Nausharo-type of decoration from the first stage of

the Mature period (Nausharo Period II). In the gradual evolution of the Indus style, they might be specimens from the very early stage of the Mature Indus period. This early period pottery seems also

available from other excavated sites of the Harappan culture: in some specific areas of Kot Diji or in

the lowest excavated levels of Chanhu Daro (see in this paper, the chapter devoted to the evolution

of the Mature Indus style).

[23] 169



The published illustrations (Bisht 1993) show however pottery types from different stages of the period. Of particular interest is the splendidly decorated storage jar

with two large sun-burst motifs (Fig. ll.G) which bear a remarkable resemblance to

specimens from Nausharo Period II or from the first Harappan occupation of Chanhu

Daro (Period la). The pottery of Banawali deserves special mention for the pre-Indus ceramic

tradition which survives, in reduced frequency, throughout Period II as a culture

companion while the Indus material is also synthesized with local wares (Bara-type

pottery).

Kalibangan

The pottery repertoire of this site located in Rajastan, is equally significant for

its Mature Indus ceramics adjuncted to local wares. The vessels from the Harappa culture are described only as 'typicaT and simply classified according to their provenience from the lower, middle or upper levels of the Indus occupation of the site (Period

II) (Lai & Thapar 1967). But here also, subperiodization of the Mature phase can be established. The first

stage of the period is obviously represented by ceramics from the lower and middle

levels (Fig. ll.E) and the style of the second stage corresponds to vases found in the

upper levels (Fig. ll.F) (16).

3.6. Gujarat

Dholavira

Dholavira is one of the largest Indus site discovered in district Kutch (Gujarat). The fieldwork is still in progress in the ruins of the settlement excavated in an

exemplary manner by Dr R.S. Bisht (Bisht 1991). The rectangular town-planning of the city was encompassed by huge walls with

gateways and, at its fully developed stage, Dholavira had an acropolis, a middle

and a lower town interlinked within a system of fortifications. The site planned a

series of elaborate water-reservoir and yielded also a large number of burials. The

archaeological deposit of the settlement has been divided into seven stages numbered

I to VII from bottom upwards.

By stage III started a long period of the Mature Indus culture which lasted till the end of stage V, marked by a gradual decline of the city. The pottery corpus from

(16) I thank Dr R.S. Bisht and Mrs Madu Bhala, in charge of the Kalibangan material, for their

help in showing me some examples of ceramics stored in the Purana Qila in Delhi.

170 [24]



Fig. 11 - A. Harappa Ilia (first stage). B. Harappa (Wheeler) (first stage). C. Harappa (Vats) (first stage).

D. Harappa (Wheeler) (second stage). E. Kalibangan (Period II) (first stage). F. Kalibangan (Period II) (second stage). G. Banawali (Period II) (first stage). H. Banawali (Period II) (second stage).



Stage III strongly resembled that from Nausharo Period II. The painted decoration

became a rule and its beautiful style was the distinctive one from the beginning of

the Mature period like, for example, the motif of a bird and some kind of antelope in the midst of trees, painted in black on deep red glossy slip (Fig. 12.A). But, contrary to Nausharo, the wide range of vessels still includes numerous ceramics from

the earlier pre-Indus tradition (Stages I and II) and preserved regional elements like

the reserved slipped ware, sometimes in the form of painted imitations.

Very significant also of the strength of the ancient local traditions at Dholavira

is, in some cases, the use of the white instead of the usual black colour to paint Indus

motifs. The black on red paintings are predominant along with the bichrome and

polychrome earlier traditions, during Stages IV and V. Although slightly different, the pottery style is then close to the repertoire of Nausharo Period III (Fig. 12.B).

Stage IV sees also the arrival of new pottery forms like the stemmed goblet or the bulbed dish-on-stand, traditional shapes of the second stage of the Mature Indus

period (17). The burial pottery from Dholavira shows a range of shapes similar to vessels

uncovered at Nausharo Period III and in the Cemetery R.37 at Harappa. But, an

offering-stand with a long stem crowned by a bowl is unique in being painted with a purple local design (Fig. 12.C).

Surkotada

The site of Surkotada deserves also special mention for its Indus decorated pottery associated with a distinct regional style of ceramics. The entire archaeological deposit was divided into three subperiods IA, IB and IC, the Harappan red ware being 'the only common factor in the pottery of all the subperiods' (Joshi 1990).

The differentiation of the ceramics in term of style is not easy to establish at

Surkotada. In the main, the painting repertoire from the lower levels of Period IA

looks closer to the first stage of the Mature Indus style (Fig. 12.F). Period IB, during which the footed Indus goblet appears for the first time, and the upper levels of Period IA have more connections with the second stage (Fig. 12.G).

Nageshwar

The small settlement of Nageshwar (western Saurashtra) was an industrial

shell-working site. The limited excavations 'has revealed two distinct phases (a and

(17) The reserved slipped ware was still found in plenty in the levels of Stage IV and, element of the local tradition, a fragment of an Indus dish-on-stand was even decorated with the painted imitation

of this technique.

172 [26]



Fig. 12 - A. Dholavira (Stage III) (first stage). B. Dholavira (Stages IV-V) (second stage). C. Dholavira

(burials) (second stage). D. Nageshwar (Phase A) (first stage). E. Nageshwar (Phase B) (second stage). F. Surkotada (Period la) (first stage). G. Surkotada (Periods Ia-Ib) (second stage).

[27] 173



b) of a single period characterized by typical Harappan culture material remains'

(Hedge et al. 1991). There is no stratigraphic breaks between the two phases and the distinction was

mainly based on ceramic evidence obtained from the site. The comparison of the

published pottery catalogue of Nageshwar with the material from Nausharo confirms

the stylistic variations noticed by the excavators. Thus, the painted motifs from Phase a compare exactly with the designs reported from Nausharo Period II (Fig. 12.D). The percentage of decorative motifs becomes progressively less on the vessels from

Phase b and practically no combination of geometric and naturalistic patterns were

encountered in this phase. There is also a difference in the occurrence of certain pottery

shapes and the appearance of new vessel-types typical of the second stage of the

Mature Indus period (Fig. 12.E).

Lothal

The archaeological deposits of Lothal have been divided into two cultural periods A and B 'the former represents the Mature phase of the Harappa culture and the

latter, the late or decadent phase' (Rao 1979, 1985). Period A was subdivided into four structural phases but no major change was

noticed in the Harappan ceramic industries 'except a gradual discurding of certain ceramic type in the late levels of Phase IV. Indigenous vessel-forms and fabric

(micaceous red ware) were observed in the ceramic corpus of Lothal which was

described as owning an original new style of painting earthenwares: 'at the same time, the metropolitan (Indus) style was also in vogue along with a new (provincial) style in the Mature phase of Harappa civilization'.

The published plates of drawings display a repertoire of vessel-forms belonging to the second phase of the Mature period and if, in the new style of painting, the

animal motifs are indeed more realistic than those painted on the Nausharo Period

III pottery, many are depicted with the same distinctive elements of that period

(Fig. 14.A) (for example, the cross hatched pattern decorating the panels or the

body of the birds which appears to be a creation of the second stage of the Mature Indus period).

3.7. North-eastern Afghanistan and Oman Peninsula

Shortugai

The location of a complete Harappan settlement on a tributary of the Amu

Darya in north-eastern Afghanistan was explained as 'an intrusion' from the south

to control resources and trade routes.

174 [28]



B

C

A D

JE IF

G H Fig. 13 - A. Miri Qalat (first stage). B. Miri Qalat (first stage). C. Mohenjo Daro (Mackay) (first stage). D. Chanhu Daro (Majumdar) (first stage). E. Sotka Koh (first stage). F. Sotka Koh (second stage).

G. Balakot (first stage). H. Balakot (second stage).

[ 29] 17 5



The pottery of Periods I and II is 'characteristically Harappan' (Frankfort 1989) and none of the items of the culture is missing, including a stamp seal with a carved

rhinoceros below the inscription. In the published catalogue of pottery, the vessels are not classified after their provenience in the deposits of the site but according to

their shapes. In the same way, the painted specimens are laid out together. As far as the known stylistic variations are concerned, the attributions of the vases to the

specific periods of the settlement are puzzling. Decorated sherds from Period I bear

distinctive motifs of the first stage, but some examples assigned to Period II also

(Fig. 14.D). During this period, they are mixed with many typical decorative patterns and vessel-forms belonging to the second stage of the Mature Indus period (Fig. 14.E).

Despite this visible mixture of different ceramic styles in the publication, it is significant to observe the presence of ceramic material from the beginning of the Mature Indus

period at Shortugai, one of the most remote sites of the Indus domain.

Hili and Ras' al Jins

Omani settlements along the coast as well as in the interior oases like Hili,

incorporated also in their inventory a number of Harappan pottery (Cleuziou 1984). The Indus related assemblage from Hili has decorative patterns very close to the

painting style of the second stage of the Mature Indus period (Fig. 14.C). It is also the case for a flanged rim jar uncovered at the site of Ras' al Jins (18) and decorated

with a combination of motifs which recall examples found at Lothal (Fig. 14.B).

IV. The Period of Expansion of the Indus Culture

The limits of known Indus sites have been defined over a very wide area and an 'Indus empire' was often talked about. But, the early interpretation about an

empire which, after reaching a fully urbanized stage in the Indus river valley, spread in a kind of colonial expansion towards marginal areas, does not seem to be very valid.

The re-examination of the ceramic assemblages of some major Indus settlements in the light of the stratified corpus of pottery produced by the site of Nausharo, suggests the inadequacy of the concept of an expansion under 'Harappan control'.

We have seen that, in the settlements of the so-called marginal areas of Haryana, Rajasthan or Gujarat, the Mature Indus pottery was associated with a variety of local

indigenous, non-Indus ceramics. The idea of conquest is not reflected by the mixing

(18) A fragment of a large decorated storage jar which can be compared to examples from the first stage of the Mature Indus period, was discovered at Ras'al-Hadd, a site located near the Arabia' southeast

cornerpoint. The decoration has almost vanished but the pattern which can be made out seems very similar to motifs painted on storage jars from Nausharo Period II. S. Mery. Personal communication.

176 [30]



of cultures of these sites which, furthermore, are in the periphery of the Indus

valley system, supposed to be the core of the civilization (19). Even closer, in south

Balochistan, the site of Nindowari (Casal 1966) provided also Indus seals and examples of Indus ceramics but however was part of the Kulli culture as signified by the

occurrence of predominant typical Kulli-style pottery. On the contrary, Shortugai, located at the limits of the 'empire' in north-eastern Afghanistan, is purely Harappan and none of the standard attributes of the culture is missing in its archaeological

deposits. Another view of the nature of the Mature Indus culture is beginning to emerge.

This period of expansion indicates more probably a need to explore natural resources

of production resulting in finished products that integrated the different regions of

the Indus domain through trade. Shortugai is located on the Kokcha river banks at

the foot of the rich Badakshah minerary district. Traces of craft specialization such

as carnelian bead cutting or shell working are abundant in sites situated in the Golf

of Kutch (Gujarat) and coastal settlements of southern Balochistan and Sind were also

great centres of shell industry. The interaction system was likely to be the cause of

the broad distribution of common cultural traits reflected in styles of ceramics.

As developed before, almost the whole of the reviewed Harappan sites include

in their occupational levels the material culture of the first stage of the Mature Indus

period, as evidenced at Nausharo Period II. This is another new significant image of the Indus culture characterized by a widespread movement occurring, contrary to

earlier thinking, as early as the beginning of the Mature Indus period, before the stage of development represented at Mohenjo Daro by monumental structures on the citadel

and extensive occupation in the lower city (20).

V. The Gradual Evolution of the Mature Indus Painting Style

In the past, differences within and between sites of the Mature Indus tradition were undermined by an overall view of pottery assemblages which were not ascribed

to any particular phase. More recently, the concept of cultural uniformity through the Mature Indus period has been in a state of collapse and regional culture expressions have been casually noticed in painting styles. But, chronological factors, representing a significant part of style-changes, were more rarely attributed to these variations.

(19) A noteworthy feature of some fortified coastal settlements such as Surkotada or Dholavira,

sometimes described as military outposts to protect the empire (like also Sutkagen dor on the Makrani coast) is the presence of typically Mature Harappan pottery with however a ceramic adjunct which was

that of different types of local ware.

(20) Originally, the term 'Mature' has been used to label this stage of development of Mohenjo Daro

representing the climax period of the civilization. But, the style of ceramics found in the remains of

that period is more recent and belongs to the second and third stages of the Mature Indus phase.

[31] 177



Fig. 14 - A. Lothai (Period A) (second stage). B. Ras' al Jins (second stage). C. Hili (second stage). D. Shortugai (first stage). E. Shortugai (second stage).

In fact, both homogeneity and diversity are correct terms to characterize the Mature pottery tradition which shows a gradual evolution leading, in course of time, to different forms representing regional groupings.

For the sake of clearness and to be more easily used in cross-site comparisons, this gradual evolution has been divided in this paper into three main stages.

5.1. The First Stage (Fig. 16.10-29)

The beginning of the Mature Indus period is the most homogeneous stage in this evolution. This is also the reason why its pottery is more easily recognizable in the

corpus of ceramics of the various Harappan sites. The vessels, particularly the large storage jars, are extensively decorated. Intricate

abstract and naturalistic black motifs are depicted on a red glossy slip. For example, the combinations of peacocks, fishes or antelopes amid trees and undergrowth, radiant

[32]



Fig. 15 - A. Nausharo Period IV (third stage). B. Amri III C (third stage). C. Mohenjo Daro Late Phase

B (third stage). D. Kirta (third stage).

[33] 179



solar motifs and rows of leaf-like objects maybe derived from some kind of water weed, are hall-marks of this first stage (Fig. 16.22-29). It is also the case for the repeated motif of black dots with connecting lines suspended from horizontal bands which underline the decorated panels.

The design repertoire is rather conservative. The static iconography ventures

slight variants especially on small pots and only a few vessels bear unusual patterns. The wares are also superior in painting and finish from those manufactured during the subsequent stages. A considerable care is taken in the execution of the scenes

and, to delineate the motifs, the painter's touch is sure.

5.2. The Second Stage (Fig. 16.30-40)

Changes occur during the second stage of the Mature Indus period. It is the time

when Harappan ceramics are found in Oman with a painting style very similar to that

of Lothal in Gujarat, showing an expansion of the Indus trading network.

During this stage, the previously known decorative tradition appears to continue

but the Indus iconography starts becoming less rigid. The elaborate combinations of

designs are more and more transformed into purely decorative repetitions of one or

two motifs only and are often less carefully executed. The remarkable homogeneity of the previous stage disappear and stylistic regional differences start occurring. For

example, the ceramic collection from Nausharo Period III precisely falls within the

range of vessel shapes and decoration of Harappa Period Illb (Cemetery R.37) but, in the main, the combinations of motifs are not exactly the same at Dholavira (Stages IV-V) or Chanhu Daro (Harappa lb). The link between the sites is however provided by the similar new repertoire of pottery forms manufactured during this phase.

5.3. The Third Stage

The third stage of the Mature Indus period is the time of regional groupings. This final subperiod has a more diversified repertoire of motifs which corresponds to specific regions showing nevertheless, in pottery style, evidence of contacts.

For example, in the Indus valley, the style and the iconography of Mohenjo Daro

(late Phase B) (Fig. 15.C), Amri III C (Fig. 15.B) and Chanhu Daro Ic are indentical. But, at the same period, a different painting style related to the Kulli culture, appears in the piedmont region of Balochistan at Nausharo Period IV (Fig. 15.^4) or Kirta

(Fig. 15.D). (The influence of some Kulli motifs is however quite noticeable on wares

from the later levels at Amri, Chanhu Daro and Mohenjo Daro). A different course

of evolution is also demonstrated by the 'typical' Indus goblet with a pointed base

which begins to appear at Harappa or Amri during this phase. But this pottery shape is absent in the repertoire of Nausharo Period IV.

180 [34]



?7*. ./r>z<fz\n. , CT!\

Fig. 16 - 1-9: motifs from Pre-Indus traditions; 10-21: beginning of the first stage of the Mature Indus Period; 22-29: first stage; 30-40: second stage.



VI. Evolutional Chart of Basic Painted Motifs

Most of the time, a motif is to be found associated to other representations to

form painted scenes. The patterns were arranged upon the painted vessels in diversified

combinations where plant forms predominate. But, different species of animals and

possibly sun and water related symbols were also depicted in the scheme of decoration.

The designs described in this chart are among the most popular motifs that decorated the painted pottery (21).

6.1. The Sun-like Motif"(Fig. 17.1)

This motif which resembles a solar emblem was very popular during the first

stage of the Mature Indus period (Fig. 17.2.5). At the beginning, the centre of the device was a plain circle with a spot in the middle and issuing leaves. In course of

the first stage, the pattern takes various forms and positions on the pottery. Elaborate

renderings of the motif are created and the most prominent examples have a centre

divided into four quarters and rays terminated in leaf-like form.

This combination of plant form and orb totally disappear during the second stage

(Fig. 17.2.C). The rare designs which could derive from the sun-burst motif are

small rays enclosed in a circle or roundels with emanating short rays. Rows of similar

roundels with serrated edges appear more frequently in the decoration of vessels from

the third stage (Fig. 17.l.D) (22).

6.2. The Plant Designs (Fig. 17.2-i)

The plant or tree is another favoured motif. The pipal tree, represented as

growing in the ground, is depicted with only a few short branches during the first part of the first stage. The shape and the venation of the leaves are carefully painted in a natural manner. In the course of the phase, the exuberance of the leaves is

striking (Fig. 17.2.5).

During the second phase (Fig. 17.2.C), a lowered frequency of the occurrence

of pipal tree is observed. The leaves are more conventionally painted and are arranged in a more stylized way.

The motif loses the semblance of a pipal tree in the third stage (Fig. 17.2.D) and is represented by simple superimposed hatched leaves.

(21) In Fig. 17. A and Fig. 18.^4 are illustrated the motifs of earlier painting traditions from which the Indus designs were probably to be derived.

(22) Among the regional groupings, the third stage of the Mature Indus period which is illustrated in this chart of basic painted motifs, is the one seen at Mohenjo Daro late Phase B or Amri IIIC.

182 [36]



The plants with either fringed or broad leaves are motifs commonly used during the entire Mature Indus period. Their usual association with other representations,

chronologically differentiated, helps for their attribution to the first or the second

stage of the period. However, during this latter phase, some obvious differences appear, like the fringed ornament which sometimes tops the trees or also the cross-hatched

pattern used to fill in the leaves (Fig. 17 J.C).

6.3. The Seed or Water Weed-like Motif (Fig. 18.4)

This curious device appears conspicuously on the vessels of the first stage

(Fig. 18.4.jB). It may be intended to represent a bud or seed with a stem. From

superimposition of elements with a dot in the centre, this motif evolved towards more elaborate chains of leaf-like objects either linked together by ribbon loops or with filaments projecting out of one side. They are also sometimes replaced in the

iconography by marks suggesting water.

This pattern which appears so frequently on the wares of the first stage finds no place at all on the pottery of the second and third stage. During the second stage

(Fig. 18.4.C), a common derived pattern is made of partitions formed by vertical

hatched leaves filled in with horizontal curved leaves and wavy lines. The standing

multiple wavy lines with semi-circles with mesh fillings on either side (Fig. 18.4.D) might be the representation of the same motif used during the third stage.

6.4. The Cross-shaped Motif (Fig. 18.5)

This type of ornament occurs mainly in the combinations of motifs from the first

stage and is often composed of four triangles with the corners of their bases touching. Small sun emblems, standing wavy lines or seed-like devices are usually associated to

this cross-shaped motif (Fig. 18.5.B) which is rarely used on the pottery of the second

stage (Fig. 18.5.C).

6.5. The Comb-like Motif (Fig. 18.6)

This motif originally resembles a comb. The design was modified during the first stage by the addition of elements such as hatched leaves and loop pattern with

compartments occupied by solar emblems (Fig. 18.6.B). These superimposition of elements increased during the second stage and only

the curved shape of the original motif was preserved (Fig. 18.6.C). A few examples are however still very close to the initial form but the standing lines were replaced

by a cross-hatched pattern.

[37] 183



MJ BE

30 B m

Fig. 17 - Basic painted motifs. A. Pre-Indus. jB. First stage. C. Second stage. D. Third stage of the

Mature Indus Period.

This motif was also a common feature on the wares of the third stage. These

latter examples are more stylized (Fig. 18.6.D).

184 [38]



6.6. The Bird Motif (Fig. 18.7)

When animal figures are present, the birds are first in order of popularity. At

the beginning of the first stage, the species of birds depicted are uncertain. In course

of the phase, the hatched bodies of the birds become longer and the plumed tails are

painted on more rounded, arched backs. The animals depicted are not definitely identifiable as peacocks but, examples of birds, identical in shape with these, are

shown with a fan-like crest, a trait unique to this peafowl specie. More naturalistic

designs of peacocks with their long sweeping tails are also found during this period

(Fig. 18.7.B).

Although the birds are still sometimes represented with an elongated hatched

body and a conventionally treated outspread tail during the second stage, the cross

hatching of the bodies appears to be the most distinctive feature in the representation of this subperiod (Fig. 18.7.C).

The very thick delineation of the designs, the cross-hatched bodies and the partly open wings of the birds are the characteristics of the third stage (Fig. 18.7.D).

VII. The Origins of the Indus Painting Tradition

The pre-Indus evidence where many prototypes of Harappan motifs occur, suggests that the Mature Indus painting tradition is but a phase in a long development.

The indigenous source of origin was already established for the fish-scale designs, the intersecting circles or the pipal leaves which begin to occur in the context of earlier

traditions at Kot Diji, Harappa or Nausharo where Period ID in particular, witnesses

the appearance of an increasing number of proto-Indus traits (Quivron 1994). But,

many recurrent designs of the Indus painted decoration look radically different from those of the pre-Indus repertoire of motifs. However, when correctly replaced in the

framework of the gradual evolution of the painting style, a group of Indus patterns

(Fig. 16.10-21) emerges from the rest of the elaborately combined motifs of the first

stage of the Mature Indus period (Fig. 16.22-29). They look like the embryonic form of designs which later developed into intricate and conventional patterns and

appear also to connect directly the Indus assemblages with the local earlier cultures

(Fig. 16.1-9). Some painted specimens have been uncovered at Kot Diji in the outer city area

(Fig. 16.22, 14 and 2J). In the provisional conclusions of the excavations, they were

already defined as representing an early stage of the Indus civilization with a more

primitive technique of painting and apparent differences with the 'typical Harappan

style' (Khan 1965). The crudely painted plants and animals show strong similarities

with devices on potsherds reported from the lower levels of Chanhu Daro (Fig. 16.20

and 22). The fish-scale pattern, which becomes comparatively rare after, was then favoured as a decoration on jars bearing also an upper register of painted antelopes,

[39] 185



pipal trees, suns or comb-like motifs quite similar to designs of some differently shaped jars from Nausharo Period ID (Fig. 16.4 and 6).

Other decorated vessels from Chanhu Daro la (Fig. 16.20 and 21), Amri IIIA (Fig. 16.17 and 19), Nausharo II (Fig. 16.13) or Miri Qalat (Fig. 16.18) seem also indicate that the Harappan iconography was created from a selection of pre-existing local motifs (Fig. 16.1-9). The retention and subsequent modification of these

pre-Indus designs and the abandonment of others (23) have led to the appearance of

the distinctive Indus painting tradition which will spread in both small and large settlements, reflecting maybe the widespread acceptance of a new fashion or a new

ideology.

VIII. Chanhu Daro and the Core of the New Style

Remains from the beginning of the Mature Indus period have been excavated in a very limited amount of settlements. Thus, it is impossible to establish where

the new Indus iconography was first organised before spreading on a vast territory

during the first stage of the Mature Indus period. But, so far, the region of Chanhu Daro, Amri and Kot Diji is the best place

to be selected as the core of the new style. Amongst these settlements, particular attention may be drawn to Chanhu Daro which is the only site where the gradual evolution of the Indus painting style is visible even within the first stage of the culture (24). During this period, the potters demonstrated an extraordinary skill in

the quality of their painting technique which will result in the elaborate combinations of motifs underlined by the intersecting circle pattern, a device especially popular at

Chanhu Daro and used to cover large areas of the vessels. Also significant, and so

far unique, for the concept of development of the new Indus iconography, is the

seal-making which was a craft practised at Chanhu Daro as early as the beginning of the Mature period. Finished and unfinished seal-amulets were found in greater number than elsewhere in the levels of this period. They could be additional evidence to the idea that the Indus style might have commenced at Chanhu Daro, or at least

in this area, wherefrom it radiated subsequently in various directions.

(23) At Nausharo, most of the typical Quetta-Sadaat III/Mehrgarh VIIC traditions disappear. The

jars (Period ID) decorated with an iconography of bulls, trees and birds linked to the Kully style of pottery, are absent from the Mature Indus layers until a late reappearance in the later context of Period IV (third

stage of the Mature Indus period).

(24) The evolution of the Indus potter's art is also provided at Chanhu Daro by the pottery figurines. The very distinctive hollow female figures with swollen bodies on short legs as known from

Mohenjo Daro and many other Indus sites, are different at Chanhu Daro where they have been uncovered

in the lower levels (where pottery from the first stage was evidenced). They have also a fan-like headdress

but, contrary to later representations, the swollen bodies have a flat open base (or very rudimentary legs).

186 [40]



3X8 f till

3S

HI B

llllill

Hiliii HM3

llil

21

n NM

Fig. 18 - Basic painted motifs. A. Pre-Indus. B. First stage. C. Second stage. D. Third stage of the

Mature Indus Period.

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ACKNOWLEDGEMENTS

I would like to thank Dr R.S. Bisht (Archaeological Survey of India-Institute of

Archaeology, New Delhi) for granting me permission to examine ceramics from Dholavira and for allowing me to publish the drawings of some vessels in this paper.

The constructive comments concerning these ceramics and the help rendered by Mr Ashwani Ashtana during my visit to New Delhi are also deeply acknowledged.

Finally, I also express my thanks to Dr J.M. Kenoyer (Department of Anthropology, University of Wisconsin) for kindly providing me with some unpublished drawings of ceramics from Harappa.

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