Fwd: [akandabaratam] Indian Proto-Historic phase:Town planning-Sculpture-Seals -- VH Sonawane

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Thu, Dec 11, 2008 at 6:26 PM[akandabaratam] Indian Proto-Historic phase:Town planning-Sculpture-Seals -- VH Sonawaneakandabaratam

 

 

 

 

 

http://sites.google.com/site/kalyan97/sarasvati-hindu-civilization

 

Indian

Proto-Historic phase: Town planning-Sculpture-Seals

 

V.H. Sonawane (2004)

 

Department of Archaeology and Ancient History

The Maharaja Sayajirao University of Baroda,

Vadodara-390 002

 

Conclusion:

 

From the aforesaid data it is quite obvious that the centralized planning of

the Harappan settlements is one of the distinctive features of this one of the

earliest advanced urban civilizations of the world. Although they were not

strictly laid on chessboard or grid patterns with invariably straight roads,

they do show many signs of careful planning. Sites like Mohenjodaro, Harappa and Kalibangan had low, large eastern sectors and

separately fortified higher but smaller western sectors, known as lower towns

and citadels respectively. There is a clear evidence that the buildings of the

citadel were laid on a high podium fortified with bastions and towers whereas

the eastern one too lay within a fortification though of high magnitude but

less impressive. Though some of the settlements were fortified even during the

Pre/Early Harappan phase, their actual division into separate enclosed units

evidently appear to coincide with the Mature Harappan phase only, obviously

denoting socio-political stratification. On the contrary Surkotada shows no

such divisions but has only a single sector on the model of western sector of

Kalibangan. Though Lothal and Banawali each lay within a single enclosure, the

latter shows distinctly fortified apsidal citadel within a trapezoidal town. Of

the two, Lothal has distinction of having a dockyard. On the other hand,

Rakhigarhi, though not fully exposed show signs of possessing more than two

walled residential sectors. However, Dholavira stands apart and show three

divisions within the general enclosing wall consisting of bipartite citadel

(Castle and Bailey), middle town and lower town, which temptingly sound

analogous respectively to three interesting terms in the Rigveda viz. 'Parama',

'Madhyama' and 'Avam' denoting three different categories of the settlement or

buildings. An open space between the citadel and the middle town served as

stadium. However, most amazing is the layout of gates and provision of large

reservoirs in the drought prone area of Kutch,

integrating the use of two local streams into the overall civic planning.

However, despite variations in details, all settlements were well integrated to

suit into the landscape under one platform. Unlike the haphazard arrangement of

Mesopotamian cities, Harappan settlements followed the same basic plan

everywhere.

 

In terms of quantity or quality the Harappan sculptural remains cannot be

compared with the repertoire of either Mesopotamia or Egypt, neither

we find variety of expressions nor the range of exploitation of media which

both of these cultures witnessed. However, an assortment of Harappan sculptures

reflects on their own developed art concept. Moreover, if we look carefully at

the total assemblage of Harappan sculptures, it reveals that their stylistic

tradition was not homogeneous and uniform. One could see a difference in

composition, form and technique between the 'Priest-King' and 'Dancing girl'

found from Mohenjodaro. On the whole, although, examples of Harappan sculptures

are rare, the art tradition of the later Indian subcontinent apparently owes a

lot to them. This can be inferred precisely from the modelling of the Harappan

torsos, which are reminiscent of the sculptures of the historic period.

 

Apparently, though the Harappans could not produce big works of art on a large

scale, they excelled in those of small compass. Their most notable artistic

achievement was perhaps in their seal engravings, especially the animals, which

they delineated with powerful realism. The cult scenes show a refreshing

originality, but because of subject matter of depiction there was no scope for

detailed artistic expression. Though the meaning and use of inscribed seals are

still shrouded in mystery, partly because the script still remains

undeciphered, but certainly these were used to stamp bales of traded goods and

may be more as token of power and prestige besides amulets.

 

Until recently, it was believed that the Harappan civilization along with its

spectacular achievements, evolved quite mysteriously and then disappeared

suddenly, leaving little or no legacy for later cultures. However, as new sites

have been discovered and previously excavated ones were restudied it became

apparent that it disintegrated gradually, leaving the field open for the

development of subsequent Protohistoric cultures and the second urbanization

during the first millennium B.C. In fact, there are significant continuities in

subsistence activities, art and architecture, technologies, economic set up,

urban organizations and possibly socio-ritual as well as political structures.

Even today in the modern cities, towns and villages of the subcontinent one can

see the legacy of the Harappan culture reflected in traditional arts and crafts

as well as in the layout of houses and settlements (Lal 2002).

 

 

http://iias-2006.blogspot.com/2006/04/proceedings-of-seminar-2004-on.html

Proceedings of the Seminar (2004) On Outlines of Indian Arts: Peaks of

Creativity