NCERT Textbook - Arts of the Indus Valley | Fine Art for Class 11 - Humanities/Arts PDF Download

 Page 1


T
HE arts of the Indus Valley Civilisation emerged during
the second half of the third millennium BCE. The forms
of art found from various sites of the civilisation include
sculptures, seals, pottery, jewellery, terracotta figures, etc.
The artists of that time surely had fine artistic sensibilities
and a vivid imagination. Their delineation of human and
animal figures was highly realistic in nature, since the
anatomical details included in them were unique, and, in
the case of terracotta art, the modelling of animal figures
was done in an extremely careful manner.
The two major sites of the Indus Valley Civilisation, along
the Indus river—the cities of Harappa in the north and
Mohenjodaro in the south—showcase one of earliest examples
of civic planning. Other markers were houses, markets,
storage facilities, offices, public baths, etc., arranged in a
grid-like pattern. There was also a highly developed drainage
system. While Harappa and Mohenjodaro are situated in
Pakistan, the important sites excavated in India are Lothal
and Dholavira in Gujarat, Rakhigarhi in Haryana,
Ropar in Punjab, Kalibangan in Rajasthan, etc.
Stone Statues
Statues whether in stone, bronze or terracotta found
in Harappan sites are not abundant, but refined. The
stone statuaries found at Harappa and Mohenjodaro
are excellent examples of handling three-dimensional
volumes. In stone are two male figures—one is a torso
in red sandstone and the other is a bust of a bearded
man in soapstone—which are extensively discussed.
The figure of the bearded man, interpreted as a
priest, is draped in a shawl coming under the right
arm and covering the left shoulder. This shawl is
decorated with trefoil patterns. The eyes are a little
elongated, and half-closed as in meditative
concentration. The nose is well formed and of medium
ARTS OF
THE INDUS VALLEY
Bust of a bearded priest
2
Rationalised 2023-24
Page 2


T
HE arts of the Indus Valley Civilisation emerged during
the second half of the third millennium BCE. The forms
of art found from various sites of the civilisation include
sculptures, seals, pottery, jewellery, terracotta figures, etc.
The artists of that time surely had fine artistic sensibilities
and a vivid imagination. Their delineation of human and
animal figures was highly realistic in nature, since the
anatomical details included in them were unique, and, in
the case of terracotta art, the modelling of animal figures
was done in an extremely careful manner.
The two major sites of the Indus Valley Civilisation, along
the Indus river—the cities of Harappa in the north and
Mohenjodaro in the south—showcase one of earliest examples
of civic planning. Other markers were houses, markets,
storage facilities, offices, public baths, etc., arranged in a
grid-like pattern. There was also a highly developed drainage
system. While Harappa and Mohenjodaro are situated in
Pakistan, the important sites excavated in India are Lothal
and Dholavira in Gujarat, Rakhigarhi in Haryana,
Ropar in Punjab, Kalibangan in Rajasthan, etc.
Stone Statues
Statues whether in stone, bronze or terracotta found
in Harappan sites are not abundant, but refined. The
stone statuaries found at Harappa and Mohenjodaro
are excellent examples of handling three-dimensional
volumes. In stone are two male figures—one is a torso
in red sandstone and the other is a bust of a bearded
man in soapstone—which are extensively discussed.
The figure of the bearded man, interpreted as a
priest, is draped in a shawl coming under the right
arm and covering the left shoulder. This shawl is
decorated with trefoil patterns. The eyes are a little
elongated, and half-closed as in meditative
concentration. The nose is well formed and of medium
ARTS OF
THE INDUS VALLEY
Bust of a bearded priest
2
Rationalised 2023-24
AN INTRODUCTION TO INDIAN ART 10
size; the mouth is of average size with close-cut moustache
and a short beard and whiskers; the ears resemble double
shells with a hole in the middle. The hair is parted in the
middle, and a plain woven fillet is passed round the head.
An armlet is worn on the right hand and holes around the
neck suggest a necklace.
Bronze Casting
The art of bronze-casting was practised on a wide scale by
the Harappans. Their bronze statues were made using the
‘lost wax’ technique in which the wax figures were first
covered with a coating of clay and allowed to dry. Then the
wax was heated and the molten wax was drained out
through a tiny hole made in the clay cover . The hollow
mould thus created was filled with molten metal which
took the original shape of the object. Once the metal cooled,
the clay cover was completely removed. In bronze we find
human as well as animal figures, the best example of the
former being the statue of a girl popularly titled ‘Dancing
Girl’. Amongst animal figures in bronze the buffalo with
its uplifted head, back and sweeping horns and the goat
are of artistic merit. Bronze casting was popular at all the
major centres of the Indus Valley C ivilisation. The copper
dog and bird of Lothal and the bronze figure of a bull from
Kalibangan are in no way inferior to the human figures of
copper and bronze from Harappa and Mohenjodaro. Metal-
casting appears to be a continuous tradition. The late
Harappan and Chalcolithic sites like Daimabad in
Maharashtra yielded excellent examples of metal-cast
Mother goddess, terracotta A terracotta figurine
Bronze casting
techniques of the
same nature are
practised even now
in many parts of the
country, having a
continuous
tradition.
Rationalised 2023-24
Page 3


T
HE arts of the Indus Valley Civilisation emerged during
the second half of the third millennium BCE. The forms
of art found from various sites of the civilisation include
sculptures, seals, pottery, jewellery, terracotta figures, etc.
The artists of that time surely had fine artistic sensibilities
and a vivid imagination. Their delineation of human and
animal figures was highly realistic in nature, since the
anatomical details included in them were unique, and, in
the case of terracotta art, the modelling of animal figures
was done in an extremely careful manner.
The two major sites of the Indus Valley Civilisation, along
the Indus river—the cities of Harappa in the north and
Mohenjodaro in the south—showcase one of earliest examples
of civic planning. Other markers were houses, markets,
storage facilities, offices, public baths, etc., arranged in a
grid-like pattern. There was also a highly developed drainage
system. While Harappa and Mohenjodaro are situated in
Pakistan, the important sites excavated in India are Lothal
and Dholavira in Gujarat, Rakhigarhi in Haryana,
Ropar in Punjab, Kalibangan in Rajasthan, etc.
Stone Statues
Statues whether in stone, bronze or terracotta found
in Harappan sites are not abundant, but refined. The
stone statuaries found at Harappa and Mohenjodaro
are excellent examples of handling three-dimensional
volumes. In stone are two male figures—one is a torso
in red sandstone and the other is a bust of a bearded
man in soapstone—which are extensively discussed.
The figure of the bearded man, interpreted as a
priest, is draped in a shawl coming under the right
arm and covering the left shoulder. This shawl is
decorated with trefoil patterns. The eyes are a little
elongated, and half-closed as in meditative
concentration. The nose is well formed and of medium
ARTS OF
THE INDUS VALLEY
Bust of a bearded priest
2
Rationalised 2023-24
AN INTRODUCTION TO INDIAN ART 10
size; the mouth is of average size with close-cut moustache
and a short beard and whiskers; the ears resemble double
shells with a hole in the middle. The hair is parted in the
middle, and a plain woven fillet is passed round the head.
An armlet is worn on the right hand and holes around the
neck suggest a necklace.
Bronze Casting
The art of bronze-casting was practised on a wide scale by
the Harappans. Their bronze statues were made using the
‘lost wax’ technique in which the wax figures were first
covered with a coating of clay and allowed to dry. Then the
wax was heated and the molten wax was drained out
through a tiny hole made in the clay cover . The hollow
mould thus created was filled with molten metal which
took the original shape of the object. Once the metal cooled,
the clay cover was completely removed. In bronze we find
human as well as animal figures, the best example of the
former being the statue of a girl popularly titled ‘Dancing
Girl’. Amongst animal figures in bronze the buffalo with
its uplifted head, back and sweeping horns and the goat
are of artistic merit. Bronze casting was popular at all the
major centres of the Indus Valley C ivilisation. The copper
dog and bird of Lothal and the bronze figure of a bull from
Kalibangan are in no way inferior to the human figures of
copper and bronze from Harappa and Mohenjodaro. Metal-
casting appears to be a continuous tradition. The late
Harappan and Chalcolithic sites like Daimabad in
Maharashtra yielded excellent examples of metal-cast
Mother goddess, terracotta A terracotta figurine
Bronze casting
techniques of the
same nature are
practised even now
in many parts of the
country, having a
continuous
tradition.
Rationalised 2023-24
ARTS OF THE INDUS VALLEY 11
sculptures. They mainly consist of human and animal
figures. It shows how the tradition of figure sculpture
continued down the ages.
Terracotta
The Indus Valley people made terracotta images also  but
compared to the stone and bronze statues the terracotta
representations of human form are crude in the Indus
Valley. They are more r ealistic in Gujarat sites and
Kalibangan. The most important among the Indus figures
are those representing the mother goddess. In terracotta,
we also find a few figurines of bearded males with coiled
hair, their posture rigidly upright, legs slightly apart, and
the arms parallel to the sides of the body. The repetition of
this figure in exactly the same position would suggest that
he was a deity. A terracotta mask of a horned deity has
also been found. Toy carts with wheels, whistles, rattles,
birds and animals, gamesmen and discs were also rendered
in terracotta.
Seals
Archaeologists have discovered thousands of seals, mostly
made of steatite, and occasionally of agate, chert, copper,
faience and terracotta, with beautiful figures of animals,
such as unicorn bull, rhinoceros, tiger, elephant, bison,
goat, buffalo, etc. The realistic rendering of these animals
in various moods is remarkable. The purpose of producing
seals was mainly commercial. It appears that the seals
were also used as amulets, carried on the persons of their
owners, perhaps as modern-day identity cards. The
standard Harappan seal was a square plaque 2×2 square
inches, made from steatite. Every seal is engraved in a
pictographic script which is yet to be deciphered. Some
seals have also been found in ivory. They all bear a great
variety of motifs, most often of animals including those of
the bull, with or without the hump, the elephant, tiger,
Terracotta
Rationalised 2023-24
Page 4


T
HE arts of the Indus Valley Civilisation emerged during
the second half of the third millennium BCE. The forms
of art found from various sites of the civilisation include
sculptures, seals, pottery, jewellery, terracotta figures, etc.
The artists of that time surely had fine artistic sensibilities
and a vivid imagination. Their delineation of human and
animal figures was highly realistic in nature, since the
anatomical details included in them were unique, and, in
the case of terracotta art, the modelling of animal figures
was done in an extremely careful manner.
The two major sites of the Indus Valley Civilisation, along
the Indus river—the cities of Harappa in the north and
Mohenjodaro in the south—showcase one of earliest examples
of civic planning. Other markers were houses, markets,
storage facilities, offices, public baths, etc., arranged in a
grid-like pattern. There was also a highly developed drainage
system. While Harappa and Mohenjodaro are situated in
Pakistan, the important sites excavated in India are Lothal
and Dholavira in Gujarat, Rakhigarhi in Haryana,
Ropar in Punjab, Kalibangan in Rajasthan, etc.
Stone Statues
Statues whether in stone, bronze or terracotta found
in Harappan sites are not abundant, but refined. The
stone statuaries found at Harappa and Mohenjodaro
are excellent examples of handling three-dimensional
volumes. In stone are two male figures—one is a torso
in red sandstone and the other is a bust of a bearded
man in soapstone—which are extensively discussed.
The figure of the bearded man, interpreted as a
priest, is draped in a shawl coming under the right
arm and covering the left shoulder. This shawl is
decorated with trefoil patterns. The eyes are a little
elongated, and half-closed as in meditative
concentration. The nose is well formed and of medium
ARTS OF
THE INDUS VALLEY
Bust of a bearded priest
2
Rationalised 2023-24
AN INTRODUCTION TO INDIAN ART 10
size; the mouth is of average size with close-cut moustache
and a short beard and whiskers; the ears resemble double
shells with a hole in the middle. The hair is parted in the
middle, and a plain woven fillet is passed round the head.
An armlet is worn on the right hand and holes around the
neck suggest a necklace.
Bronze Casting
The art of bronze-casting was practised on a wide scale by
the Harappans. Their bronze statues were made using the
‘lost wax’ technique in which the wax figures were first
covered with a coating of clay and allowed to dry. Then the
wax was heated and the molten wax was drained out
through a tiny hole made in the clay cover . The hollow
mould thus created was filled with molten metal which
took the original shape of the object. Once the metal cooled,
the clay cover was completely removed. In bronze we find
human as well as animal figures, the best example of the
former being the statue of a girl popularly titled ‘Dancing
Girl’. Amongst animal figures in bronze the buffalo with
its uplifted head, back and sweeping horns and the goat
are of artistic merit. Bronze casting was popular at all the
major centres of the Indus Valley C ivilisation. The copper
dog and bird of Lothal and the bronze figure of a bull from
Kalibangan are in no way inferior to the human figures of
copper and bronze from Harappa and Mohenjodaro. Metal-
casting appears to be a continuous tradition. The late
Harappan and Chalcolithic sites like Daimabad in
Maharashtra yielded excellent examples of metal-cast
Mother goddess, terracotta A terracotta figurine
Bronze casting
techniques of the
same nature are
practised even now
in many parts of the
country, having a
continuous
tradition.
Rationalised 2023-24
ARTS OF THE INDUS VALLEY 11
sculptures. They mainly consist of human and animal
figures. It shows how the tradition of figure sculpture
continued down the ages.
Terracotta
The Indus Valley people made terracotta images also  but
compared to the stone and bronze statues the terracotta
representations of human form are crude in the Indus
Valley. They are more r ealistic in Gujarat sites and
Kalibangan. The most important among the Indus figures
are those representing the mother goddess. In terracotta,
we also find a few figurines of bearded males with coiled
hair, their posture rigidly upright, legs slightly apart, and
the arms parallel to the sides of the body. The repetition of
this figure in exactly the same position would suggest that
he was a deity. A terracotta mask of a horned deity has
also been found. Toy carts with wheels, whistles, rattles,
birds and animals, gamesmen and discs were also rendered
in terracotta.
Seals
Archaeologists have discovered thousands of seals, mostly
made of steatite, and occasionally of agate, chert, copper,
faience and terracotta, with beautiful figures of animals,
such as unicorn bull, rhinoceros, tiger, elephant, bison,
goat, buffalo, etc. The realistic rendering of these animals
in various moods is remarkable. The purpose of producing
seals was mainly commercial. It appears that the seals
were also used as amulets, carried on the persons of their
owners, perhaps as modern-day identity cards. The
standard Harappan seal was a square plaque 2×2 square
inches, made from steatite. Every seal is engraved in a
pictographic script which is yet to be deciphered. Some
seals have also been found in ivory. They all bear a great
variety of motifs, most often of animals including those of
the bull, with or without the hump, the elephant, tiger,
Terracotta
Rationalised 2023-24
AN INTRODUCTION TO INDIAN ART 12
goat and also monsters. Sometimes trees or
human figures were also depicted. The most
remarkable seal is the one depicted with a
figure in the centre and animals around. This
seal is generally identified as the Pashupati
Seal by some scholars whereas some identify
it as the female deity. This seal depicts a
human figure seated cross-legged. An elephant
and a tiger are depicted to the right side of the
seated figure, while on the left a rhinoceros
and a buffalo are seen. In addition to these
animals two antelopes are shown below the
seat. Seals such as these date from between
2500 and 1900 BCE and were found in
considerable numbers in sites such as the
ancient city of Mohenjodaro in the Indus Valley.
Figures and animals are carved in intaglio on
their surfaces.
Square or rectangular copper tablets, with
an animal or a human figure on one side and
an inscription on the other, or an inscription
on both sides have also been found. The figures
and signs are carefully cut with a burin. These
copper tablets appear to have been amulets.
Unlike inscriptions on seals which vary in each
case, inscriptions on the copper tablets seem
to be associated with the animals portrayed
on them.
Pashupati seal/female deity
Unicorn seals
Rationalised 2023-24
Page 5


T
HE arts of the Indus Valley Civilisation emerged during
the second half of the third millennium BCE. The forms
of art found from various sites of the civilisation include
sculptures, seals, pottery, jewellery, terracotta figures, etc.
The artists of that time surely had fine artistic sensibilities
and a vivid imagination. Their delineation of human and
animal figures was highly realistic in nature, since the
anatomical details included in them were unique, and, in
the case of terracotta art, the modelling of animal figures
was done in an extremely careful manner.
The two major sites of the Indus Valley Civilisation, along
the Indus river—the cities of Harappa in the north and
Mohenjodaro in the south—showcase one of earliest examples
of civic planning. Other markers were houses, markets,
storage facilities, offices, public baths, etc., arranged in a
grid-like pattern. There was also a highly developed drainage
system. While Harappa and Mohenjodaro are situated in
Pakistan, the important sites excavated in India are Lothal
and Dholavira in Gujarat, Rakhigarhi in Haryana,
Ropar in Punjab, Kalibangan in Rajasthan, etc.
Stone Statues
Statues whether in stone, bronze or terracotta found
in Harappan sites are not abundant, but refined. The
stone statuaries found at Harappa and Mohenjodaro
are excellent examples of handling three-dimensional
volumes. In stone are two male figures—one is a torso
in red sandstone and the other is a bust of a bearded
man in soapstone—which are extensively discussed.
The figure of the bearded man, interpreted as a
priest, is draped in a shawl coming under the right
arm and covering the left shoulder. This shawl is
decorated with trefoil patterns. The eyes are a little
elongated, and half-closed as in meditative
concentration. The nose is well formed and of medium
ARTS OF
THE INDUS VALLEY
Bust of a bearded priest
2
Rationalised 2023-24
AN INTRODUCTION TO INDIAN ART 10
size; the mouth is of average size with close-cut moustache
and a short beard and whiskers; the ears resemble double
shells with a hole in the middle. The hair is parted in the
middle, and a plain woven fillet is passed round the head.
An armlet is worn on the right hand and holes around the
neck suggest a necklace.
Bronze Casting
The art of bronze-casting was practised on a wide scale by
the Harappans. Their bronze statues were made using the
‘lost wax’ technique in which the wax figures were first
covered with a coating of clay and allowed to dry. Then the
wax was heated and the molten wax was drained out
through a tiny hole made in the clay cover . The hollow
mould thus created was filled with molten metal which
took the original shape of the object. Once the metal cooled,
the clay cover was completely removed. In bronze we find
human as well as animal figures, the best example of the
former being the statue of a girl popularly titled ‘Dancing
Girl’. Amongst animal figures in bronze the buffalo with
its uplifted head, back and sweeping horns and the goat
are of artistic merit. Bronze casting was popular at all the
major centres of the Indus Valley C ivilisation. The copper
dog and bird of Lothal and the bronze figure of a bull from
Kalibangan are in no way inferior to the human figures of
copper and bronze from Harappa and Mohenjodaro. Metal-
casting appears to be a continuous tradition. The late
Harappan and Chalcolithic sites like Daimabad in
Maharashtra yielded excellent examples of metal-cast
Mother goddess, terracotta A terracotta figurine
Bronze casting
techniques of the
same nature are
practised even now
in many parts of the
country, having a
continuous
tradition.
Rationalised 2023-24
ARTS OF THE INDUS VALLEY 11
sculptures. They mainly consist of human and animal
figures. It shows how the tradition of figure sculpture
continued down the ages.
Terracotta
The Indus Valley people made terracotta images also  but
compared to the stone and bronze statues the terracotta
representations of human form are crude in the Indus
Valley. They are more r ealistic in Gujarat sites and
Kalibangan. The most important among the Indus figures
are those representing the mother goddess. In terracotta,
we also find a few figurines of bearded males with coiled
hair, their posture rigidly upright, legs slightly apart, and
the arms parallel to the sides of the body. The repetition of
this figure in exactly the same position would suggest that
he was a deity. A terracotta mask of a horned deity has
also been found. Toy carts with wheels, whistles, rattles,
birds and animals, gamesmen and discs were also rendered
in terracotta.
Seals
Archaeologists have discovered thousands of seals, mostly
made of steatite, and occasionally of agate, chert, copper,
faience and terracotta, with beautiful figures of animals,
such as unicorn bull, rhinoceros, tiger, elephant, bison,
goat, buffalo, etc. The realistic rendering of these animals
in various moods is remarkable. The purpose of producing
seals was mainly commercial. It appears that the seals
were also used as amulets, carried on the persons of their
owners, perhaps as modern-day identity cards. The
standard Harappan seal was a square plaque 2×2 square
inches, made from steatite. Every seal is engraved in a
pictographic script which is yet to be deciphered. Some
seals have also been found in ivory. They all bear a great
variety of motifs, most often of animals including those of
the bull, with or without the hump, the elephant, tiger,
Terracotta
Rationalised 2023-24
AN INTRODUCTION TO INDIAN ART 12
goat and also monsters. Sometimes trees or
human figures were also depicted. The most
remarkable seal is the one depicted with a
figure in the centre and animals around. This
seal is generally identified as the Pashupati
Seal by some scholars whereas some identify
it as the female deity. This seal depicts a
human figure seated cross-legged. An elephant
and a tiger are depicted to the right side of the
seated figure, while on the left a rhinoceros
and a buffalo are seen. In addition to these
animals two antelopes are shown below the
seat. Seals such as these date from between
2500 and 1900 BCE and were found in
considerable numbers in sites such as the
ancient city of Mohenjodaro in the Indus Valley.
Figures and animals are carved in intaglio on
their surfaces.
Square or rectangular copper tablets, with
an animal or a human figure on one side and
an inscription on the other, or an inscription
on both sides have also been found. The figures
and signs are carefully cut with a burin. These
copper tablets appear to have been amulets.
Unlike inscriptions on seals which vary in each
case, inscriptions on the copper tablets seem
to be associated with the animals portrayed
on them.
Pashupati seal/female deity
Unicorn seals
Rationalised 2023-24
ARTS OF THE INDUS VALLEY 13
Pottery
A large quantity of pottery excavated from the sites, enable
us to understand the gradual evolution of various design
motifs as employed in different shapes, and styles. The
Indus Valley pottery consists chiefly of very fine wheel-
made wares, very few being hand-made. Plain pottery is
more common than painted ware. Plain pottery is generally
of red clay, with or without a fine red or grey slip. It includes
knobbed ware,  ornamented with rows of knobs. The black
painted ware has a fine coating of red slip on which
geometric and animal designs are executed in glossy black
paint.
Polychrome pottery is rare and mainly comprises small
vases decorated with geometric patterns in red, black, and
green, rarely white and yellow. Incised ware is also rare
and the incised decoration was confined to the bases of
the pans, always inside and to the dishes of offering stands.
Perforated pottery includes a large hole at the bottom and
small holes all over the wall, and was probably used for
straining beverages. Pottery for household purposes is
found in as many shapes and sizes as could be conceived
of for daily practical use. Straight and angular shapes are
an exception, while graceful curves are the rule. Miniature
vessels, mostly less than half an inch in height are ,
particularly, so marvellously crafted as to evoke admiration.
Beads and Ornaments
The Harappan men and women decorated themselves with
a large variety of ornaments produced from every
conceivable material ranging from precious metals and
gemstones to bone and baked clay. While necklaces, fillets,
armlets and finger -rings were commonly worn by both
Pottery
Perforated pot
Rationalised 2023-24