Scythian elements of Art in the North-Western part of India

[Full title: Scythian (Saka) elements in the Early Art of the North-Western part of India]

The early art of the north-western part of India displays Saka/Scythian elements to a significant extent. The north-western part of the subcontinent, now mainly in Pakistan, and a part of Afghanistan, formed the so-called 'base' 'G. A. Pugachenkova, Drevnosti Miankalya, Tashkent, 1989, p. 149, Fig. 71.

182 of India's contacts with early Central Asia. In this region, Taxila was a major stronghold of Saka occupation.1 The north-western part of the Indian subcontinent mainly embraced the territories of Gandhara, Uddiyana (Swat), Kasmira, Sindhu-Sauvira (mentioned in the Junagadh inscription of Rudra-daman I dated in the year 150 A.D., were situated on the west and east of the lower Indus) and also the areas in between them. Geographically, Gandhara denoted an area which lay on both sides of Indus and contained two great cities viz. Pushkalavati (Charsadda in the Peshwar District) and Takshasila (Taxila in the Rawalpindi District). To the north of Gandhara lay Uddiyana or the Udyana, identifiable with modern Swat (in Northern Pakistan). To the east of Uddiyana lay the country of Chi-pin. The name denoted a large territory in the north-western section of the Indian subcontinent including Kasmira. From the Ch'ien Han-shu² (composed in 54 A.D.), it is evident that Chi-pin was an ideal region for commerce with a variety of merchandise. An important trading centre in the north-western section of the Indian subcontinent was Taxila. The Taxilans might have participated in transit trade, buying only what they actually used and not having there any important distributing center. Thus, it appears that Bactria, Kabul-Begram 1 Taxila, as a Saka site has been discussed in Chapter III above. Pan Ku Ch 96 A, 10 B.

183 region (Paropanisadai), North-western India including Taxila and Chipin, and the lower Indus area etc. formed a commercial zone. The Indo-Greek's were in possession of this zone or parts of it from the middle of the 3 rd century B.C. to late 1 st century B.C. The economic importance of the territory, once ruled by the Indo-Greeks, continued in the ages of the Scytho-Parthians. The same trend continued under the Kushanas. Nomadic art manifests itself on Kushana art, however, nomadic elements in Kushana art are not dealt with in this study. Prior to the coming of the Saka-Pahlavas, Taxila had a rich tradition of art due to the amalgamation of indigenous and foreign art traditions. This was revealed by the excavated stratas at Taxila. The archaeological records show the cultural changes, and also indicate an influx of Saka/Scythian art forms, as apparent from the findings in the early Saka and Saka-Parthian strata at Taxila. Taxila did not have burials. Therefore the utility objects, ornaments, weapons and horse trappings were found from the Saka-Parthian strata. Taxilan potteries from Scytho-Parthian levels have typical Saka/Scythian and Scytho-Siberian motifs of simple parallel bands, chequered triangles, chevrons, loops, quatrefoil crosses, trees and birds, zigzags and wavy lines.¹ OvoidTaxila, Pls. 130, 131.

184 shaped store-jars¹ were also common. Bell-shaped² carinated vessels in bronze and copper have also shown Scythian affinities. Jugs with two handles like the amphoraes were fairly present in the Scytho-Parthian levels. Beakers with deep flared mouths became popular under the Sakas and Parthians. These beakers had the svastika motifs. Usage of deep flared mouths was commonly practised by the Saka/Scythians in their inventory of utility objects. Vessels of copper and bronze with projecting nail heads³ were also common in Taxila. Such nail heads were similarly seen in metal utility vessels of the Scythian barrows in the western section. The Saka-Parthian strata at Taxila also yielded clay vessels with nail head imitations of metal originals. Interestingly, inkpots in the form of small vases with wide mouths, and usually with two lug-ears, 4 have been found. These are reminiscent of the Gaimanova Mogila vessels' lug ears (Plate 8).5 Saka and Parthian influences, yet again, manifest themselves in shapes and decorative motifs on stoppers which were surmounted by grotesque heads of animals, parts of animals, and even by recumbent forms. Some variations were there at Taxila regarding utility objects. There was some sort of mass usage of utility vessels of the Saka/Scythian style. Earlier, from Tillya-tepe and 1 Ibid., Pl. 121, no. 3. 2 Ibid., Pl. 123, no. 6. 3 Ibid., Pl. 174, nos. 255-258. * Ibid., Pl. 125, no. 142. 5 Scythian Art, Pl. 166.

185 other burials of the western section, or for that matter, from the Issyk barrow (where the burials were of chieftains, or of royal personages) there were specific forms of utility vessels. But at Taxila, the Saka/Scythian motifs spread to a wider range of objects of daily use, whatever be their dimensions. Vessels with animal headed handles were also found from the Saka/Parthian strata at Taxila. These vessels are similar to those found from the kurgan of Khokhlach (Plate 166)¹ and Tillya-tepe, both dated in the first century A.D. Such zoomorphic handles are typical of Scytho-Siberian productions from an earlier period and continued in the Saka/Scythian productions in India in the first century A.D. The Taxila vessels² with animal headed handles have several analogies in Scythian vessels (Plates 167,168) belonging to the western section.³ The meaning, form and function of the vessels and the animal motifs and the disposition of the zoomorphic ornaments, must have deep roots in antiquity. They took the utilitarian role of attachments on vessels. Such continuity of form and ornamentation can be explained only by their cultural significance. Similar vessels with zoomorphic handles (Plate 16) have been found from the Amirtyuba burial of Azerbaijan dated in the first century B.C. to 1 The Golden Deer of Eurasia, Pl. 132. 2 Taxila, Pl. 123, no.80. 3 Scythian Art Pls, 102,103,104.

186 first century A.D.¹ Other vessels common to Scythian burials like rhytons and amphorae, have also been found from Sirkap, Taxila. They have typical Saka/Scythian motifs executed in bands. The incised, embossed and applique ware from Sirkap, also shows the Scythian influence. A squat flask of unique shape from Bhir Mound, Taxila shows the decoration of incised chevrons and cross-patterns. Lamps found in the Saka-Parthian strata were made of schist and other soft stones. The commonest shape was a leaf or heart-shaped vessel, sometimes provided with a handle projecting from the back, sometimes with pierced lugs for suspension. In the bowl-shaped lamp of green steatite from the Mahal site in Sirkap,² (dated in the middle or later part of the first century A.D.), the Saka/Scythian nomadic art form seems to have left its mark. The lamp has a spout and three lugs pierced, perhaps, for suspension. Between the lugs are acanthus leaves, and on the spout, an elephant's head is carved in low relief. Elephants are noticed in the Saka art of India. Other lamps found from Taxila similarly attest to the Saka/Scythian influence, as displayed in parts of vessels and attachments. Another utility object common to Scythian burials was the tripod stand. From Sirkap, Taxila has been found an iron tripod stand 'I. Aliev And G.Goshgarli, 'Archaeological Investigations In Azerbaijan (1986-1990)', Ancient Civilizations From Scythia to Siberia, Vol. 1, p. 267, Fig. 3. 2 Taxila, Vol. III, Pl. 146, no. 114.

187 for cauldrons. It consisted of a ring supported on three legs.¹ Iron hinges of double-leaf pattern have also been found from Taxila. Bronze and copper hinges of double-leaf pattern dated in the first century A.D., have also been found. Allied to the leaf motif, but with a variation, was the leaf-and-knob motif. From Sirkap were found copper spoons, dated in the first century A.D., with leaf-and-knob motif attached to the handles.2 Spatulas with heart-shaped blades and some with nandipada handles have also been found from Sirkap.³ Shallow bowls of silver, reminiscent of the Scythian silver bowls, have been found from Taxila.4 Two circular concave lids of silver (Plates 170,171) have been found from Sirkap. In the middle of the concave upper sides are looped handles in the form of fishes soldered to the lids. 5 Both the technique and the motif remind one of the nomadic toreutics. Votive or ritual tanks assignable to the third and second centuries B.C. were found from Taxila in the Bhir and Sirkap sites. These were in the form of round bowls with a number of miniature saucer-shaped lamps around their rims. The later ones found from Sirkap had square forms, and perched midway 2 1 Ibid., Pl. 162 e. Ibid., Vol. II, p. 594. 3 Ibid., Vol. III, Pl. 177. Ibid.,Vol. II, p. 612. ³ Ibid., Vol. III, Pl. 189, nos.20, a,b.

188 between the lamps were birds with outspread wings .1 The later votive tanks are assignable to the first centuries A.D. The inclusion of the birds could be due to the Saka/Scythian influence, as bowls with rams or birds perched on the rims were common in Scythian and Scytho-Siberian utility objects. The base of a bowl from the Dharmarajika stupa is stamped with a medallion of a lion and elephant in relief. A similar medallion is in the Sanchi stupa III railings. Stone trays (Plate 172) found from Taxila are reminiscent of the Saka/Scythian repertoire, especially in the treatment of leogryphys, winged stags, hippocamps and fish-tailed monsters.2 The geometric and floral designs ,and the use of quatrefoil rosette motifs on the stone trays are all very much affiliated to the nomadic tradition. The designs on the stone trays are similar to the floral, geometric, abstract and animal designs on stone discs and ringstones (Plate 173).³ The hippocamps of Taxila remind us of the hippocamps of the Oxus Treasure, and also the gold plaque from Kul-Oba.4 The leogryphs of Taxila are similar to those from the Seven Brothers barrow (Plate 174).5 A hippocampus with a horseman is shown on a steatite toilet disk from I Ibid., Pl. 136, no. 156=u-no. 155 2 Ibid., Pls. 144, 145, no. 81. Ear Ornaments of Ancient India, p. 135, Fig. VI.6; p. 139, Fig. VI.14; p. 139, Fig. VI.16. 3 4 Scythian Art, Pl.207. 5 Ibid., Pl. 76, 77.

189 Garavkala in Tajikistan dated in the first century A.D.' Similar ones are found on stone tablets from Taxila, and on reliefs from Gandhara, as well as on Han mirrors from China. Stone reliquaries from Taxila are similar to those discovered from Airtam, Ushturmulla, and Kara-tepe, 2 the latter on the bank of Amu Darya in present southern Uzbekistan. Terracotta male heads with conical caps (Plate 175)³ from Taxila, strengthen our view of Taxila as a SakaParthian site. The seals and sealings in Sirkap, along with the coins, firmly establish the Saka/Scythian, Saka-Parthian antecedents of Taxila. There were numerous Saka coin types from Taxila, the commonest of Maues' types was his 'Elephant head and Caduceus' coins. Coins of both Azes I and Azes II were prolific at Sirkap. Other than utility objects, the Saka/Scythian elements of art in Taxila were also manifested in horse accoutrements, weapons and jewellery. Jewellery moulds from Ter and dated in the Satavahana period are similar to some Taxila moulds. Rosettes with beaded margins found at Prabhas Patan were actually covered with gold foil (this usage of gold foil was very much prevalent on rosette 1 Cf. M. Y. Treister's article cited in Footnote No.21 above, p.63. 'B.Yu.Stavisky,' A Buddhist cult centre on the right bank of the Oxus, Excavations at Kara-tepe in Termez in 1983-1992', Ancient Civilizations From Scythia to Siberia, Vol. 3, p.292. 3 Taxila, Vol. III, Pl. 134, nos. 51.

190 plaques of the Scythian period). Horse trappings made of iron, copper, bronze and lead have been found from Taxila. The iron bits found at Taxila date from the first century A.D. The S-shaped cheek bars¹ definitely show the nomadic influence. The cheek bars made of bone and ivory with incised parallel lines and chevron motif, recall Scythic types. Copper, bronze and lead buckles and clasps are found from the Saka-Parthian period. Ornamental clasps with dotand-comma cloisons² and bronze ornamental buckles in the form of modified nandipadas with three pear-shaped cloisons (Plate 176) in middle for inlaywork,³ revisit Taxila. In fact, both in Taxilan horse-trappings and jewellery, there is a special feeling of revisiting the Scythian and Scytho-Siberian art. Some of the Taxilan bronze buckles and other horse trappings are similar to the trappings (Plate 82) found from the Suglug-Khem burial. Again, horse trappings from Aldy-bel, Arzhan and even from Tagar are similar to those from Suglug-khem. This is an indication of the eastern origin of Scythian art, and since horses were important, therefore their trappings were to be given priority. Iron horse-bits (Plate 177) from Taxila 5 reveal remarkable similarity with horses 1 Ibid., Vol. II, p. 551. 2 Taxila, Vol. III, Pl. 172, m=no.30. Ibid.,Pl. 172, n-no.31. * V. Semenov,' New Evidence Of The Scythian Type Culture Of Tuva ',Ancient Civilizations From Scythia to Siberia, Vol.2,p.332,Fig. 18. 5 Taxila, Vol. III, Pl. 165, nos. 96-98.

191 bits (Plate 178) found from Filippovka kurgan 6.1 Horse-bit terminals of bone from Taxila are reminiscent of those from the Zhurovka Barrow (Plate 179).2 Buckle-plates are comparable to those from the Otonkon hoard (Plate 180).³ Horse-bits having stylized heads of animals have Taxilan counter-parts. The propeller-type cheek pieces on the bone plates from the Orlatsky barrow in the Samarkand region, of first century A.D. have also been found at Ai-Khanum and in the layer of the first century A.D. in Sirkap. 5 Iron and bronze arrowheads and other weapons from Taxila reveal Saka/Scythian influence. Bone weapon handles found from Scythian sites have similar counter-parts at Taxila. Leaf-shaped spear tips are abundant in the Saka-Parthian strata, at Taxila. Similar leaf-shaped spear tips (Plate 181) were found from the Filippovka kurgan. A kneeling warrior on the pyxis from Kosika³ has distinctive arrowheads with three points belonging to the fork type. The earliest 1 ¹ The Golden Deer of Eurasia, Pls. 118, 119. 2 The Art of The Scythians, Fig. 145. 3 4 N.L.Tchlenova, 'Objects Of The Scythian " Animal Style * From The Taiga Zone Of Siberia', Ancient Civilizations From Scythia to Siberia, Vol. 3, p. 322, Fig. 2. Scythian Art, Pl. 275. 5 O.Guillaume, 'Contribution a l'etude d'un artisant bactrien pre-hellenistique', in: 6 Actes de colloque franco-sovietique 'L'archaeologie de la Bactriane ancienne', Dushanbe, 1982, Figs.7, 8 .cf. also Taxila, Vol. III, Pl. 165, no. 100, a, b. Taxila, Vol. III, Pl. 164, no. 68. 1 The Golden Deer of Eurasia, Pl. 120. 8 Cf. M. Y. Treister's article cited in Footnote No.21 above, p.6.

192 finds of this kind of arrowheads in the adjacent areas are the arrowheads from the complexes of the first century A.D. in Taxila.1 Ornaments like torques, pendants, earrings and necklaces from SakaParthian strata in Taxila, show Saka/Scythian elements but compared to Tillya-tepe there was less use of gold. Necklaces (Plates 182,183) from Bhir mound² were made of beads similar to beads from Tillya-tepe. Necklaces from Taxila (Plates 199,200,201) reveal the beautiful interplay of beads, plaques and pendants. 3 The plaques in the Taxilan necklaces had spaces for encrustations. Similar intermingling of beads, plaques and pendants had been found in a necklace from Karagodeuashkh barrow (Plate 184). In the latter example, 4 dated in the late fourth century B.C., the plaques are filigreed. It is worth noting that the different shapes of the plaques persisted in Saka/Scythian art of later period as found from Taxila, Tillya-tepe and other areas. Even shell ornaments show motifs of heart patterns, chevrons, and conventionalised birdhead patterns. Fragments of shell bangles show incised chevron patterns 5 and 'dot and comma' motifs 6 Beads of Tillya-tepe types continue to be found 1 Taxila, Vol. II, p.560, Vol. III, Pl. 169, 200-202 . 2 Ibid., Vol.III, Pl. 136, f-no. 145, o-nos. 144, 145. 3 Ibid., Vol.III, Pl. 193, nos. 56, 57, 58. A Scythian Art, Pl. 254. s 3 Taxila, Vol. II, Pl. 201, no. 13. 6 Ibid., Vol.III, Pl.201, no. 18.

193 mainly in the Saka-Parthian strata at Taxila. Animal beads were mostly found from Saka-Parthian level in Sirkap. The animals represented are lions, birds, frogs, tortoises, elephants, rams, monkey and bull. The lion, of which five specimens were found from Sirkap, was symbolical of the Buddha, the 'lion of the Sakyas' and likely, therefore, to be popular in a stronghold of Buddhism such as Taxila.¹ Finger-rings with flat almond shaped bezels recall Scythic types with Hellenistic influence. It is evident from the designs themselves that the jewellery found at Taxila, the manner in which the gems are applied, and the style of incrustation which arose at Taxila in the first century A.D. were the direct outcome of the Saka-Parthian occupation .We have already seen that in the Scythian jewellery, incrustation was very much popular. Hairpins from Taxila have bird-on-tree motifs. This bird-on-tree motif has definite Scythian connections. Gold ear-pendants of 'disk-and pendant' types have been found from Saka-Parthian strata in Sirkap, dated in the first century A.D. An interesting gold ear pendant from Taxila² has motifs of rosettes and leaves which were inlaid with turquoise paste. The ornament consists of two pieces joined by a hook. The lower piece consists of an amphora in the centre, and on either side of it is an infant Eros riding on a winged sea-lion. Four plaited chains hang from the latter and end in a pearl and leaf terminal. The motif of 1 Ibid., Vol.II, p. 748. 2 Ibid., Vol.III, Pl. 190 c.

194 Eros on the winged sea-lion is reminiscent of the motif of 'Cupids astride dolphins' as found from Tillya-tepe. Another gold earring from Taxila¹ consists of a six-petalled blossom with a circular centre of applied wire enclosed by granules of regular size. The inner petals ( cut from sheet gold ) are plain and the outer petals ( of stamped sheet gold) are filled with granules of different sizes. Twisted wires are attached to the back and appear as loops from the front, adorned with granulated rosettes. Beneath the blossom is a turquoise vase mounted with granulated sheet gold. Stylised dolphins of sheet gold link the vase and rosette. When viewed aerially, the image occupying the space, i.e., the linking portion, seems like a nandipada. Several Scythian-Siberian-Sakan techniques are manifest in this earring, namely the 1) use of applied wire, 2) use of granulated gold mounts, 3) images worked in the round and subsequently chased (as the dolphins), and 4) use of sheet gold trefoils with applied wire and granulated borders. Also from Sirkap were found gold bracelets with square clasps encrusted with gems. A Taxilan bracelet has much similarity with the Kul-Oba bracelet. Lion-head shaped terminals of gold bracelets (Plate 186) from Taxila² are similar to a pair of identical cast gold bracelets from burial 6, Tillya-tepe.³ 1 ¹ A Golden Treasury, p. 17, Pl. 3. 2 Taxila, Vol. III, Pl. 195, i-nos. 133-136. 3 Bactrian Gold, p.52.

195 Bracelets with hinged joints as found from Taxila were also represented on friezes on the Kosika cup, and on the high relief with horsemen from Khalchayan. Several gold bracelets from Sirkap dating from the first century A.D., having rectangular clasps are similar to the golden bracelets from Olbia (Plate 187). The rectangular clasps, as well as the scheme of decoration put them close to the Olbian ones, although the bracelets from Taxila have hoops made of a single piece. The piece originating from Taxila includes both flat lamellar hoops² and open-worked hoops, decorated with S-shaped figures.³ These bracelets from Taxila are close to the Olbian pieces (given their geometric designs, use of gems and their use of cabochon inlays, in this case, amber, rock crystal, and glass paste). Given their construction, a pair of bracelets from the first century A.D. Sarmatian burial of Sokolova Mogila in the South Bug basin stand close to the pieces from Taxila. A medallion from Taxila depicting Eros and Psyche is very much similar to a medallion decorating a silver cup from the Nogaichik female burial mound, 5 dated in the first century A.D. In the Taxila medallion, the figure of Eros is on the left and he is embracing Psyche with his left arm, and the faces of the figures are depicted strictly en face. The quality of the workmanship and its oversimplification reflects what is 'M.Yu. Treister, Two Golden Bracelets From Olbia In The Walters Art Gallery', Ancient Civilizations From Scythia to Siberia, Vol. 8, p.25, Fig. 9. 2 Taxila, Vol. III, Pl. 196, a, b. 3 Ibid., Pl. 196 c,d,e . * Ibid., Pl. 207, 11. 5 Cf. M. Y. Treister's article cited in Footnote No.26 above p.131.

196 undoubtedly an imitation of a Hellenistic prototype produced by a not particularly competent craftsman. It is, however, worth noting, that the motif of Eros and Psyche was quite widespread, above all in terracottas starting with the Hellenistic era. In a gold repousse plaque dated in the first-second century A.D. and from the Taxila-Punjab area (formerly in the collection of Col. D. H. Gordon) shows Hariti and Panchika ( Kubera ) seated, surrounded by the typical beaded border. The dress of the god reveals nomadic influence.1 The gold protome of a dolphin from the fibula² found from Nogaichik is reminiscent of the dolphin handles from Taxila.³ A Taxilan gold brooch in the form of a repousse figure of winged Aphrodite (Plate 188)4 is similar to the Aphrodite figurine, from Tillya-tepe. Excavations at Shaikhan Dheri, about 22 miles north of Peshawar, have yielded Scytho-Parthian artifacts in phase I (stratgraphically). It is important to note here, that there was no indication at all to distinguish the Scythian period from that of the Parthians. However, the range of the objects are fascinating and they continue to confirm and elaborate the Saka/Scythian elements. The head of a lady, richly decorated and having the triangular headdress with A Golden Treasury, p. 16, Pl. 1. 2 Cf. M. Y. Treister's article cited in Footnote No.26 above, p. 131. 3 Taxila, Vol. III, Pl. 189, nos. 20, a, b. * Ibid., Vol.III, Pl. 191,s-no.96.

197 rosettes at the corners, has been found from Shaikhan Dheri. The lady wears roundels at the ears and has a decorated forehead band, 1 similar to the one from Khokhlach. The emblemata figurines on bowls from Shaikhan Dheri create a distinctive style, as these figurines are embossed on the inside of the bowls by a mould. The technique appears to be peculiar .Out of six such bowls, five came from the late Parthian levels, along with coins of Maues, Azes I, Azilises, and Gondophares.2 The major element in Indo-Parthian numismatic iconography is the central figure in Saka/Scythian costume, holding an object over the head of the elephant rider and probably it was the branch of a tree. This motif was also seen in the Hellenistic art.3 Another feature of the IndoParthian numismatic iconography and also of the Indo-Scythian repertoire, was the equestrian representations of kings holding various symbols of power, among which is a short stick ending in a hook and looking like an ancus, as seen on the coins of Azilises, Azes, Gondophares, and Soter Megas.4 Some coins from Shaikhan Dheri are similar to the motifs on the gem engraving found from Kundzhulitepe in Kashkadarya, southern Sogdiana. The triumph scene on an engraved gem from Kundzhulitepe, excavated in 1988, shows A.H.Dani, 'Shaikhan Dheri Excavation, 1963 - 64, In search of the second city of Pushkalavati', Ancient Pakistan, 1965/66, Vol. II, p. 57. ² Ibid., p. 65. 3 M. Mitchiner, Indo- Greek and Indo- Scythian Coinage, London, 1975, Vol. 1, p. 88. - 'A. K. Srivastava, Catalogue of Saka - Pahlava Coins of North India, Lucknow, 1972, Pl. IV, 1 - 5, 7, 9, 11; Pl. V, 4; Pl. V, 6 - 8 ; Pl. VII, 1 - 4. - -

198 familiarity with Saka-Parthian numismatic iconography. Kundzhulitepe gem¹ is dated in about the first century B.C. to the early part of the second century A.D. i.e., prior to Shaikhan Dheri. Thus, the coin iconography was in transit from Kashkadarya to the North-West India. Male heads with the typical Scythian pointed caps have been found from Shaikhan Dheri. One of the trenches yielded a female head with an elaborate headdress with a tricorn over the head and rosettes at the ears.2 A horse's head from Shaikhan Dheri shows the typical Scythian horse's head collar, chin strap, and face strap with circular eyes.³ Shaikhan Dheri has also yielded gold leaf shaped pendants with soldered loops for suspension. Such pendants have been prolific at Tillya-tepe. Artifacts, therefore, from various regions of North-West India, show the gradual assimilation of Saka/Scythian and Parthian, as well as Hellenistic elements into their traditions. This process was intensified from about the middle of the first century B.C. onwards. A similar assimilation had occurred earlier in South Russia, between the Cimmerians, the Scythians and the Pontic Greek settlers. K. Abdullaev, S. Raimkulov, 'A Triumph Scene On An Engraved Gem From Kundzhulitepe, Kashkadarya', Ancient Civilizations From Scythia to Siberia, Vol. 2, p. 2 A.H. Dani, 'Shaikhan Dheri Excavation 1963/64', Ancient Pakistan, 1965/66,Vol II, p.70. 3 Ibid., p. 85. 4 Ibid., Pl. XLIX.

199 A` The Saka/Scythian elements are also discernible in Gandharan art. A Gandhara panel shows men wearing the Scythian costume. Similarly, one of the reliefs from Buner (Plate 189)¹ shows a series of musicians in Scythian costume. The scale-armoured figure 2 besides Pancika-Kubera from Takal, shows Scythian affiliation. Scale armoured figures have been frequently depicted on friezes of utility objects, and on weapons in Scythian art. The neck ornament of Pancika-Kubera³ reflects nomadic affiliations. The Scythian costume is also seen on reliefs of Sahri-Bahlol, Rokhri, Jamalgarhi, Ranighat, Swat, Khair Khanch and at Hadda and Begram. It is noteworthy, that as found from Timargarha and Gandhara Grave cultures dated sixth century B.C. onwards, the main anthropological element of the population could be linked to those from the Caspian region. It is important to note that the image of a hippocampus with a horseman as shown on a steatite toilet disk from Garavkala in Tajikistan of first century A.D.4 has Indian parallels. The image has also been found on Gandharan reliefs, on stone tablets from Taxila, and also on Han mirrors. The characteristic sculptures of Gandhara during the first three or four centuries A.D. were produced in vast quantities for the Buddhists and their monasteries. The figures of Bodhisattvas are noted for their The Dynastic Arts of the Kushanas, Pl. 58. 2 Ibid.,Pl. 62 a. 3 Ibid.,Pl. 62. 4 Drevnosti Tajikistana (Antiquities of Tajikistan), No. 364. pp. 138 - 9.

200 adornments as they were decked in the finery of local magnates.1 The figures have massive earrings, armlets and torques, often incorporating bird or animal forms. On their diadems and armlets can sometimes be seen the highhaunched animals of the 'animal style' of the Scythians and Sarmatians.2 The techniques of carving stone or moulding terracottas, do not favour the reproduction of lighter, more delicate creations such as have been found in numerous Saka/Scythian artifacts from the north-west. Therefore, the sculptured jewelleries no longer represent the real jewelleries (in use) but have become conventionalized. The Saka/Scythian elements in later Indian art as found in regions east of the north-western part of the subcontinent which had undergone Saka rule, will be discussed in the next chapter. But there were some sites like Mat near Mathura which flourished parallely with Taxila and other north-western sites during the first century A.D. Mat, incidentally, has yielded figures with pointed caps. These pointed caps have been repeatedly identified with Saka/Scythian pointed caps. But the Mat cap is very much similar to the depiction of the coiffure of the Buddha as found from the Kolkhozabad region, again dated in ¹ A Golden Treasury, p. 13. 2 M.I.Rostovtsev, Animal Style in South Russia and China, Princeton, 1929, Pl. XVIII, 5.

201 the first century A.D.1 The large, intricately carved stone plaques, called 'ayagapatas' have been understood as Jain votive tablets of homage, which were produced in Mathura during the first century B.C. and first century A.D. It is interesting that in the symbolic relief carving of the ayagapatas, we see Saka/Scythian elements and Saka/Parthian motifs. These motifs have composite anthropomorphic and theriomorphic features. It seems that Parthian art forms with its Iranian background had well mingled with the Saka/Scythian nomadic animal art. The Saka/Scythian elements in later Indian art, from first century A.D. onwards have been discussed in the next chapter. ¹B. A. Litvinsky, 'Ancient Tajikistan', Ancient Civilizations From Scythia to Siberia, Vol. 1, p.301,Fig.5.

Indus Jhelum 519 41 28 26 24 23 China N Tbot Jamuna 31 37 49 Hamsada Top-4 Mahanad 46 Arabian Sea 6. Amiths ar 1. Tadka 2. Gandhara 27. Kangra 3. Shotorak 20. Sankia 4. Kollava 29. Ahhichhatra 5. Khamargor po. Patna & Kashmir 7. Haryana B. Mathura 9. Quirat 10. Rajasthan 11. Madhya pradesh 12. Tamilnadu 13. Andhrapradesh 14. West Bengal 16. Maharastra 16. Kapka 31. kousambl 32. Tibet, Nepal 33. Punjab 34. Perwar 35. Pession Outf 36. Tillya-lope 37. Narhan EL Raighat 29. Ujjain 10. Vala 1. Ropar 12 Indian Ocean 17. Boatda 42. Nalanda 18. Jalalabad 13. Vita 19. River Indus & Jhalam 44. Ajanda 100 khalon 21. Luristan 22. Ladak [23. chamba 24. Innor 45. Ter 46. Nagafunikonda 47. Chandraktstugamh Ma. Jalalmir 9. Pravos 25. Himachal paradesh 100. Patna 51. Bhokardan 152. Brahmapur 43 38 Kangoo Bhutan Bay of Bengal OF SITES/LOCALITIES MAP I: DISTRIBUTION OF SITE. IN INDIA AS MENTIONED IN THE TEXT.