Terra-Cotta from Kaushambi

On account of its extreme cheapness and easy availability clay was used by men from the beginning of civilization. It served not only the purpose of household utensils but also several other purposes Figures of deities in clay were made for worship · Clay also served the purpose of making toys for children and for preparing objects for decorations. The plasticity of clay offered excellent opportunities to the ancient potter for experimenting in a variety of human and animal figurines

The large number of terracotta's found at Kaushambi served both the religious and secular ends of the society.

The technique followed in the making of terracotta figurines roughly falls under the following three divisions -

1) Human and animal figurines are given a shadowy shape in lumps of clay. The limbs are straight and without any movement. The face is pinched and the nose is made out by pressing both sides of the cheeks. The eyes and mouths are either marked by incised lines or are applied ones. In some figurines eyes and mouths are not indicated.

2) In the second stage modelled figurines continue but the faces are still pressed out of moulds. The jewellery and head-dress is elaborate and applied one. The hands and the legs have pointed ends. As usual the breasts are very prominent and the hips wide.

3) In the third stage we find completely moulded pieces. Moulds were used in front and rarely at the back of plaques. The graddtions depended mainly upon the thickness of reliefs. Many graceful figurines bearing heavy jewellery and transparent apparel are found in these plaques. The movements of bodily limbs still continue to be rigid.^[1]

The thematic range of the Kaushambi terra-cotta art is very wide, covering both the secular and religious subjects. Technically as well, it offers many interesting features. No other site of the country can claim to have turned out terracottas in such a great profusion and bewildering variety as Kaushambi. It may be said that Kaushambi was the greatest centre of terracotta industry during the period of our study.

The potter-artist of Kaushambi used the soft reddish clay of the Yamuna bed. This clay is responsible for presenting neat expressions and sharp details in the innumerable terra-cotta figurines. In most cases these were painted red or pink though in one or two pieces, we find traces of black colour as well. When we come down to classify these figurines we find that bunga ana Kushana group is the largest. The Gupta types are in a scanty number. This lends support to the view that the sunga and Kushana periods witnessed a more flourshing creative activity at Kaushambi in the case of terracotta art than the Gupta one.

There are female figurines showing a variety of apparel and jewellery, plaques depicting objects of the animal and the vegetable kingdom, historical episodes from the life of local rulers, men fighting with winged lions, chained elephants: trying to free themselves, scenes of partimes, picnic music and dancing amorous dalliances besides various types of trieyles and toy wheels.

A large variety of female figurines is available at Kaushambi. Such figurines are hand-made having primitive and archaic features. Col. Gordon has termed such figurines as "Sardheri type".^[2] This popularity of female figurines embellished with such profuse ornamentation seems to have continued till the early Kushana period. Kaushambi undoubtedly excelled in this type.

Recent excavations at Kaushambi have yielded two beautiful terracottas representing Hariti and Gajjalakshmi.

Two important busts connected with magic from Kaushambi datable about A.D. 200 require particular mention. One of the busts shows a crude female figurines holding a baby in her left arm. Over her right arm is seen a crawling scorpion. This subject is quite unusual in Indian Iconography.^[3] The second busts shows a female wearing a full sleeved jacket but leaving the breasts bare. She wears circular eartings marked with dots. Above these are placed naga symbols, which again hola on their tops circular plaques marked with cross-designs.

About a dozen terracotta figurines of 'Buxer type'. have also been recovered from the ancient mounds of Kaushambi. These roughly belongs to a period between the 2nd and 1st century B.C. Then comes the group of mother and child types from Kaushambi. It is interesting to note that in cruder technique, there are more mother child types than in plaques. The children in the former groups are represented by mere lumps of clay and without any specific anatomical feature. The second type datable to the 1st century B.C. is seen in the moulded plaques. The third type is seen through moulded specimens falling under certain types of Ahichchhatra and datable to a period between A.D. 550 and 650.

Winged male figurines datable to about 1st century B.C, have also been founded at Kaushambi. The Kaushambi ruins have yielded fragmentary plaques depicting winged male figurines.

The dampati scenes in the terracottas of Kaushambi are quite numerous The most popular type from the Kaushambi site shows in high relief a standing couple. The male puts on a high turban made in two tires and stands on the right side. One of his hands is flung across the neck of the lady. She wears a sari supported by a girdle set on a high pelvis.Such couples are found depicted in several fragmentary pieces.

The Mithuna motif is an important one used in the sculptures and pictoral art of this country from very early times.^[4] The subject received due recognition in the terracotta art as well. In a Kaushambi plaque now in the State Museum Lucknow, a couple is sitting on a couch. The female sits on the lap of the male. She flungs her left hand across the neck of her lover and with the left she holds one of her earrings. The male puts on a turban with a protuberance on the left side resting finally on a globular core. The unsophisticated apparel and jewellery worn by the couple shows that they hail from an aristocratic class.

Jungle scenes have also been found in some plaques They are so roughly made that it is difficult to identify the exact species of vegetation they represent. Thick and busy lotus abound in many plaques. A fragmentary plaques shows a high relief, an elephant moving in a thick jungle full of intertwining creepers. The scene probably reflects part of a vast jungle in the neighbourhood of the Vatsa kingdom. Hsuen-Tsang while going from Prayag to Kaushambi passed through a south -West forest infested with wild animals and furious elephants.^[5]

Kaushambi has yielded a number of sling balls and miniature objects used in chess and other indoor games. Picnic also formed part of their recreation. A picnic party is depicted on the body of a toy chariot. Several fragments of toy chariots have been found at Kaushambi. During the recent excavations several such chariots were discovered.

Animal fighting also formed part of the recreations of the people of Kaushambi. A very interesting wrestling scene is depicted on a terracotta disc discovered at Kaushambi now in the Patna Museum.

It is strange that very few terracotta figurines of the Gupta period have come to light at Kaushambi. The available examples are also much weather worn. We may take that Kaushambi had lost some of its importance during the later Gupta period.

Footnotes and references:

[1]:

Dr. S.C.Kala, Terracotta figurines from Kaushambi,p.4.

[2]:

J.I.S.O.A.,V01.XI, plate VIII, fig. 1.2,3.

[3]:

J.I.S.O.A., Vol.VII, pp. 100-101.

[4]:

A.S.I., A.R. 1913 -14, pl. LXX(c).

[5]:

Watters, Yuan-Chwang, p. 365.