The discovery of etched carnelian beads and non-etched barrel beads in Kish and Ur (modern Iraq), Jalalabad (Afghanistan) and Susa (Iran) attest to the popularity of the Lothal-centric bead industry across West Asia.[27] The lapidaries show a refined taste in selecting stones of variegated colours, producing beads of different shapes and sizes. The methods of Lothal bead-makers were so advanced that no improvements have been noted over 4,000 years—modern makers in the Khambhat area follow the same technique. Double-eye beads of agate and collared or gold-capped beads of jasper and carnelian beads are among those attributed as uniquely from Lothal. It was very famous for micro-cylindrical beads of steatite (chlorite).[26]
Lothal has yielded 213 seals, third in importance amongst all Indus sites, considered masterpieces of glyptic art and calligraphy. Seal-cutters preferred short-horned bulls, mountain goats, tigers and composite animals like the elephant-bull for engravings. There is a short inscription of intaglio in almost every seal. Stamp seals with copper rings inserted in a perforated button were used to sealing cargo, with impressions of packing materials like mats, twisted cloth and cords—a fact verified only at Lothal. Quantitative descriptions, seals of rulers and owners were stamped on goods. A unique seal found here is from Bahrain—circular, with motif of a dragon flanked by jumping gazelles.[28]
Lothal offers two new types of potter work—a convex bowl with or without stud handle, and a small jar with flaring rim, both in the micaceous Red Ware period—not found in contemporary Indus cultures. Lothal artists introduced a new form of painting closely linked to modern realism.[29] Paintings depict animals in their natural surroundings. Indeed, upon one large vessel, the artist depicts birds—with fish in their beaks—resting in a tree, while a fox-like animal stands below. This scene bears resemblance to the story of the crow and cunning fox in Panchatantra.[30] Artistic imagination is also suggested via careful portrayals—for example, several birds with legs aloft in the sky suggest flight, while half-opened wings suggest imminent flight. On a miniature jar, the story of the thirsty crow and deer is depicted—of how the deer could not drink from the narrow-mouth of the jar, while the crow succeeded by dropping stones in the jar. The features of the animals are clear and graceful. Movements and emotions are suggested by the positioning of limbs and facial features—in a 15 × 5 cm (6 × 2 in) jar without overcrowding.[30]
A complete set of terra-cotta gamesmen, comparable to modern chessmen, has been found in Lothal—animal figures, pyramids with ivory handles and castle-like objects (similar to the chess set of Queen Hatshepsut in Egypt).[31] The realistic portrayal of human beings and animals suggests a careful study of anatomical and natural features. The bust of a male with slit eyes, sharp nose and square-cut beard is reminiscent of Sumerian figures, especially stone sculptures from Mari. In images of men and women, muscular and physical features are sharp, prominently marked. Terra-cotta models also identify the differences between species of dogs and bulls, including those of horses. Animal figures with wheels and a movable head were used as toys.
Lothal offers two new types of potter work—a convex bowl with or without stud handle, and a small jar with flaring rim, both in the micaceous Red Ware period—not found in contemporary Indus cultures. Lothal artists introduced a new form of painting closely linked to modern realism.[29] Paintings depict animals in their natural surroundings. Indeed, upon one large vessel, the artist depicts birds—with fish in their beaks—resting in a tree, while a fox-like animal stands below. This scene bears resemblance to the story of the crow and cunning fox in Panchatantra.[30] Artistic imagination is also suggested via careful portrayals—for example, several birds with legs aloft in the sky suggest flight, while half-opened wings suggest imminent flight. On a miniature jar, the story of the thirsty crow and deer is depicted—of how the deer could not drink from the narrow-mouth of the jar, while the crow succeeded by dropping stones in the jar. The features of the animals are clear and graceful. Movements and emotions are suggested by the positioning of limbs and facial features—in a 15 × 5 cm (6 × 2 in) jar without overcrowding.[30]
A complete set of terra-cotta gamesmen, comparable to modern chessmen, has been found in Lothal—animal figures, pyramids with ivory handles and castle-like objects (similar to the chess set of Queen Hatshepsut in Egypt).[31] The realistic portrayal of human beings and animals suggests a careful study of anatomical and natural features. The bust of a male with slit eyes, sharp nose and square-cut beard is reminiscent of Sumerian figures, especially stone sculptures from Mari. In images of men and women, muscular and physical features are sharp, prominently marked. Terra-cotta models also identify the differences between species of dogs and bulls, including those of horses. Animal figures with wheels and a movable head were used as toys.
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