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Art of Indus valley Civilization
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by-Dhirendranath Thakur

The Indus Valley Civilization  was a Bronze Age civilization (3300–1300 B.C., mature period 2600–1900 B.C.) which was centred mostly in the western part of the Indian Subcontinent  and which flourished around the Indus River. Primarily centered along the Indus and the Punjab region, The mature phase of this civilization is known as the Harappan Civilization, as the first of its cities to be unearthed was the one at Harappa, excavated in the 1920s in what was at the time the Punjab province of British India (now in Pakistan). A little later, archeological remains of another city, quite related in planning and age, were dug up by Sir Daya Ram Sawhney in Harappa, in the Montgomery district of the Punjab. Sir John Marshall, who was the then chairperson of the Archeology department, agreet his was a thing well worth looking into. Under his supervision, teams of archeologists worked in other areas of the Sindh and Baluchistan provinces of present Pakistan. What they came up with astounded the world. The year was 1922. Initial forays in delving into India’s past began when Dr R D Banerjee found the ancient city of Mohenjodaro.

            Archaeologists studying the emergence of early civilizations often focus on finely crafted art objects in order to understand aspects of economic, socio-political and religious organization. The importance of such objects is increased when studying early societies for which there are no written records, such as the Indus Valley civilization. Although some of the communities living in the Indus cities did use a formal writing system, it has not yet been deciphered and the detailed study of material culture provides one of the few sources of information for determining the nature of the society and for comparing it to other early cultures.

 One category of artifacts that provides an example of how scholars have changed their perspectives and interpretations over time are the intaglio stamp seals of the ancient Indus cities. When they were first discovered in 1873, the exquisite carved steatite seals from Harappa gained world attention because of their unique style and enigmatic script. Essentially they were compared stylistically and linguistically to the cylinder seals of Mesopotamia. These studies revealed that there were in fact many different types of seals, and inscribed objects, some of which were not used for sealing at all. The interpretive implications of these variations were not at first realized, but it was clear that the techniques of manufacture and variations were the result of indigenous cultural developments and not due to diffusion of ideas from other early civilizations.

In the topic of Indus cities shifted to more theoretical issues of social, economic and political organization, the production and use of artistic objects such as seals came to take on a very different light. Questions about the symbolic or socio-political meaning of these seals required more rigorous studies of the production, use and discard of the artifacts. This stimulated new studies and interpretive models that would require totally new methods of data collection and analysis. The seals of the Indus cities were shown to be more than simple art objects, to be compared to seals in other civilizations, but were seen as symbols of power and authority that had been created through complex technologies.

Art and craft of Indus Valley were of astounding utilitarian character with equality of plan and construction. The buildings comprised houses, markets, storerooms, and offices; many of these structures consisted of a brick ground-storey with one or more added floors in wood. The constructions of Mohenjodaro also replicate an urban spirit where this ancient lacks architectural splendor. The baked brick construction is perhaps the feature most suggestive of the building methods of the ancient cities of Mesopotamia, but the bricks of Mohenjodaro and Harappa are fire-baked, and not sun-dried. Several architectural features, such as the use of narrow pointed niches as the only forms of interior  ornamentation along the Indus are indicative of a relationship with the ancient near east. Among the more  attractive structures at  Mohenjodaro were the remains of a great public bath.

The      Indus Valley artists and crafts persons were masters of the miniature. The bronze statuette of the dancing is barely four inches high. And yet it speaks volumes of a metal caster`s superb skills. One of the most remarkable pieces of sculpture found in the excavations of the Indus Valley Civilization is a minute male torso made out of limestone and found at Harappa. Another broken statue from the same place complements this torso in its striking forecast of iconographic and stylistic elements of the historical periods of Indian art. This image is carved in grayish limestone and reflects a dancing male figure with four arms and three heads. It is at times assumed that this statue is a probable prototype for the later Hindu conception of Lord Shiva. On the other hand the copper figure of the dancing girl from Mohenjodaro is prophetic of metal-work of the Chola era. The Indus valley civilisation is considered as one of the most developed and fist urban civilisations famous for its arts and crafts.

Two other statues of Indus Valley Civilisation which commonly catches up the attention are the sculpture of the bearded man made of a soft stone steatite and a little sandstone torso. The styles of the two sculptures differ widely but they are both remarkable in their own way. Seals are another significant aspect of the Indus art and craft. These are engraved in a `pictographic script` often used as amulets, carried as modern day identity cards to the owners, this gives an insight into this system which was an essential part in the social practices. Models of animals were used as pin-heads and beads. Terracotta toys with movable heads were also prevalent. One thing evident from the Indus art and craft in general is that both the women and men wore ornaments. Ornaments of various materials like gold, silver, ivory, bones, shells were common. These archaeological findings help in summarising that these people were also quite fashionable  with diverse hairstyles, beards, cosmetics and so on.
By far the greatest numbers of the Indus Valley seals are carved with figures of bulls, either the zebu or the urus ox, some of them with objects resembling altars or mangers before them. Although the iconography cannot be properly identified, it appears likely that this popular bovine emblem is related to the cult of the bull as a fertility and lunar symbol in ancient Mesopotamia and perhaps as a prototype of Shiva`s attribute the bull Nandi. From the aesthetic point of view the designs of the animal seals of the Indus culture are priceless. They appropriately complement the perfection of the human statuettes from Harappa. In fact these artifacts narrate a lot about the civilisation and its culture. Indus art and culture was very developed and much improved even in those times. The objects tell about the prevalence of art and craft and the imaginative prowess of the natives and the flourishing trade that they had with others.

The Indus Valley craftsmen are known for their expertise. They made beads of carnelian, agate, amethyst, turquoise, lapis lazuli, etc. They manufactured bangles out of shells, glazed faience and terracotta and carved ivory and worked shells into ornaments, bowls and ladles. They cast copper and bronze for weapons, all types of tools, domestic objects and statues; they also worked silver and gold with great skill, especially for ornaments. Of course, they baked pottery in large quantity - to the delight of archaeologists, since the different shapes, styles, and painted motifs are among the best guides in the evolution of any civilisation. The Harappans also excelled at stone-carving, complex weaving and carpet-making, inlaid woodwork and decorative architecture.

Impact of Indus Art on Indian Art and Craft :

Interestingly, Indus art and craft has a deep effect on modern Indian art and crafts as well. In  modern India the use of Collerium and other toiletry items are seen that were also prevalent in the Indus civilisation. The ability to create powerful symbols was something that could only be done by using special technologies and specific raw materials that were not easily accessible to the common people. The new elites and powerful merchants of the state controlled the crafts that became very significant in strengthening social and ritual status. From one generation to the next, through network of kins, the awareness of definite craft technologies were passed on. Faience working and seal carving are the crafts which were indisputably associated with the growth and integration of new social groups which used distinct types of artifacts to demarcate themselves and their ideologies, customs and tradition. There is a very preliminary but stimulating pattern in the predominant location of craft production on the southern half of the city mounds. Else the northern halves of mounds tend to have either private habitations or public buildings. While the Harappan culture has revealed excellence in sculpture and crafts, there are very few remains of paintings. Patterns on pottery are considered as rare exceptions. The pots had beautiful forms finished with a reddish glaze which were decorated with a diversity of geometric designs done in black.

        It is said that the artists of the Indus Valley had a great feel for natural forms and could depict them with marvelous skill. It can well be understood from the power and energy of the bulls and the fierceness of the tigers on the seals. They could model or carve with enormous sensitivity. In the art of Indus Valley the appearance of yogic postures is very fascinating, and also the association of humans with trees. These are motifs which have evolved through centuries enriching the language of Indian art. Thus, Indus art and craft, display some of the most interesting characteristics of rich artistic heritage that existed ages back. These also have an influence on the modern art and craft. The excavated bits and pieces are a source of wide ranging information about their handicrafts, which is really attractive. Indus art and crafts speak a great deal about the civilisation that vanished without a trace.