Dr.Arundhati Banerji: Art Expressions in Terracotta
(Emergence, Evolution and Transformation)
Art is a creative process which goes through different stages of evolution and reflects the type of society and its culture. The technique of art has thus also a continuity which though common may manifest differently through examples varying from time to time and place to place.
Terracotta or baked clay serve as an important material which has been in use since time immemorial for giving manifold expression to creativity. These are helpful in reconstructing various aspects about the socio-economic condition, religious rites and ritual of a society besides their folk tradition. Terracotta tradition in its wide variety, has formed one of the most significant means of expression and is inextricably connected with the village life since the introduction of settled life in Indian sub-continent. Terracotta art thrived chiefly because of easy availability and softness of clay provided quick modeling and preparation of figurines in desired shape, size and mass production.
The tradition of image making in clay in Indian sub-continent dates back to the Aceramic Neolithic age as is evident from Mehrgarh in Kachi (Baluchistan).The excavations have brought to light numerous examples of unbaked and baked clay figurines demonstrating the emergence to a gradual evolution from the earliest phase of pre-pottery Neolithic culture to the transformation in Harappan period. The early emergence of clay figurines provides a scope for cross dating and showing their origin and stylistic evolution in the Indo-Pakistan sub-continent.
It is, however, interesting to mention here that the beginning of the art of making figurines in clay in this sub-continent in protohistoric period was mainly confined to the western parts, particularly in Baluchistan, Seistan, Makran and Sind. It is, therefore, vital to trace its origin, growth and expansion from its emergence in this part of the sub-continent.
This presentation will try to focus on the art traditions of art in both northern and southern Baluchistan mainly in Zhob and Kulli-Mehi region which revealed the most remarkable collection of terracotta figurines ,distinguished by their peculiar style of head-dress or hair style and pedestal base , besides the bulls with pronounced hump and black paintings all over the body, probably signifying the practice of rituals connected with the principle and symbolism of motherhood prevalent among the agricultural communities of Baluchistan.
The Harappan period witnessed a new stage of modeling marked by a qualitative change and advancement in the material culture. The Harappan figurines illustrate a greater elaboration in head-dresses, hair style and ornaments in case of the human figures. This art form exhibits full body sometimes decked with two or three necklaces, armlets girdles and variety of ear-ornaments.
These examples are depicted with limbs in a variety of poses, either standing or seated. Most importantly female figurines outnumber those of the female forms –which are less stylized and better expressed.
The most commonly represented animal is the bull which are realistically treated. Other animals include monkey, buffalo, tiger, ram, goat, rhino, elephant, pig, hen, dog, hare, cat, wild boar and turtle These art forms are created by the ordinary people which were perhaps used in everyday life expressing the cultural identity of a society, conveying the community values and aesthetics.