CHAPTER- VIII-A -By plotting the sites of each pottery complex one can roughly define the boundaries of their geographical distribution*. (Mellaart, 1965» 236). 237

PRE-HARAPPAN MOTIFS FROM THE SARASVATI-DRISHADVATI VALLEYS : THEIR DESCRIPTION AND COMPARISON

Three memorable works exist on the comparative study of Indian pre-historic pottery motifs. "Indus Valley Painted Pottery" by Richard F. Starr (1941), "Indian Art And The West From Protohistoric To Early Buddhist Times" by Irene N« Gajjar (1966), and Omi Manchandas "Study of Harappan Pottery In Comparison With Pre-Harappan and Post- Harappan Protohistoric Ceramic Industries". This chapter owes its orientation to these works to some degree as far as ceramic motifs from the Sarasvati Valley are concerned. The treatment is brief and to the point but very important as far as this thesis is concerned. Each motif is describ­ ed and then stated to have occurred at pre-historic sites outside or/and at Harappan and Chalcolithic sites within the country. No random implications or hypothesis have been made.

It has been suggested that Indian artistic or "symbolic parallels were perhaps the off-springs of motifs conceived many cultural generations earlier in a focal region West which gradually diffused to India. The apparent chronological priority of the West Asian examples indicates that the direction of diffusion probably was from the West to India rather than vice-versa. Moreover, motifs may have refrained in a ceramic tradition pending expression for 238

several periods and when they ultimately appeared or dis­ appeared they could no longer be considered foreign" (Gajjar, 1966: 71). This is very true of the Sarasvati-Drishadvati Valleys, where schematizations of animal forms or elabora­ tions of simple geometric designs "may be described as related to but not immediately borrowed from motifs in foreign artistic traditions'*.

Sometimes, even if certain proto-types of designs are found outside India, the parentage is still of a doubt­ ful nature simply because closely allied or identical ceramic motifs cannot be interpreted or said to be the same in different geographic regions. Coincidences may occur due to trade or transformation of ideas, and even if one can suggest a relationship on the strength of chronological priority it will not be a final criterion for determining the parent motif from its offspring.

Gajjar (1966: 12) is of the opinion that an "artistic tradition may exist in a culture long before it is expressed and what material ultimately reaches the archaeologists is only a sampling. There is always a chance that new excavations will upset the chronological scheme". This is very true as far as I ceramic motifs are concerned. Without doubt the comparisons of motifs in this chapter shows that they have counterparts in Western Asia, and that what we have in the Sarasvati-Drishadvati Valleys is a product of that very continuity. It is difficult to find out the extent of tradi­ tional symbols with regard to the values that they have retained to the present day in the motifs discussed under­ neath. They highlight the aesthetic feeling, traditional concepts and the urge for survival of the culture in vhich they lived.

Wenty-five motifs, ranging from the simplest to the most naturalistic have been discussed according to their occurrence and extent. The concluding remarks are given at the end of this chapter. Comparisons have been made with 1 site in Turkey, 1 site in Syria, 9 sites in Mesopotamia, 16 sites in Iran, 1 site in , 32 sites in , 1 site in Raj asthan, 5 sites in Punjab, 2 in U.P., 2 sites in M.P., 7 sites in Gujarat and 5 sites in Maharahstra.

(A) A BRIEF COMPARISON OF HARAPPAN POTTERY MOTIFS WITH THOSE OF KALIBANGAN I AND

The most outstanding feature of the pre-Harappan culture found at Kalibangan was its painted pottery. It is the finest collection of its kind to be found in the region of North Raj asthan. No other allied site has yielded half its designs. No early Indian site except Navdatoli can rival it in its profusion of designs* Due to the unavail­ ability of other finds, we can guage the high extent of 240

the evolution of human consciousness displayed by these earlier people of Kalibangan from their art alone* This is mostly of a stylized convention and one in which the absence of man is a remarkable point. The most Important faunal motif consists of that of the bull, which is at times reduced to a formal, abstract, dominant motif reminiscent of Halaf. On Kalibangan pottery naturalistic and stylistic motif mix with an ease rarely met with on other pre-hlstoric Indian wares, and these are a direct contradiction to the tired, monotonously oft repeated Harappan motifs met with in Raj as than. As regards the Harappan ware from the major sites of the Punjab and Sind , it must be admitted that their superiority far outweighs any of its relations found in North .

Black on red ware pottery from Sothi, Kalibangan I, Kot-Diji and 3 share the same hurried brush strokes technique with Periano Ghundai black-on-red ware (Falrservis, 1959: 336a, Cj 402.' 194). The brush, often contains too much pigment which results in uneven lines, this is especially noticeable on the interiors of rims (Rao, 1963.' XXIX«* E). The start and finish of a horizontal brush stroke is easily discernible, probably because the vessel was painted on the wheel.

Sothi pottery was mainly self-slipped whilst that of Kalibangan I was self-slipped as well as decorated in red, plum, purple, red and grey. At Mohenjo-daro, 241

Harappa and Chanhu-daro the slips range from cream, pink, red and chocolate to purple. No dark chocolate slip was found on the other prehistoric sherds found although tan and light brown slips were common at Berore and Binjor 3.

Monochrome pottery from the culture sites of the Punjab and Sind bore certain popular motifs which were used in various ways on jars, their monotony being relieved to some extent by several new designs from Chanhu- daro. A brief comparison between the Harappan motifs and the pre-historic pottery of Kalibangan I would not be out of place here. The Harappan black on red ware was mainly decorated by very narrow borders on the top of jars or below the rims, the design often consisting of a single motif framed between two or more horizontal lines (Mackay, 1938, II: LXVIII: 3; LXIX: 18). Some Kalibangan I sherds are also decorated from rim to neck or girth by thick black bands or a series of thin lines (Fig. 115; IAR. 1962-63: Fig. 5: 1-3, 6-8). Single motifs framed between bands are also found (Fig. 115; IAJI, 1962-63: Fig. 5: A-E).

On Harappan pottery the decoration below the neck is often divided into panels or registers by broad bands to or trees and plants which are madeAserve as vertical borders (Mackay, 1938, II: LXVIIi: 24). Similar cases occur in Kalibangan I where we have the stalk design serving as a divider (Fig. 112; IAR. 1962-63: Fig. 2'. Y) or wavy lines 242

which form panels (Fig. 115; IAR, 1962-63: Fig. 5: H). How far this Is a general trend one cannot say due to the paucity of published material. On most Harappan pots the lower part is undecorated. The same can be said of the vessels of Kalibangan I,

Plant motifs are the commonest and most popular devices of the Harappan painters. Various trees, plants and shrubs and weeds are depicted on the pots; bananas, nim, pipal, accacia, mimosa and euphorbiacae berries are common representations. Here it is necessary to mention that the plant described as a banana tree by Mackay (1933: II: LXIX: 19; LXX, 18) is identically represented on a sherd

from Kalibangan I where it is seen to be growing in p pot with a bird facing it (Fig. 115; IAR. 1962-63: Fig. 5; a). The pipal leaf is found at Kalibangan (Fig. 114; IA&., 1962-63: Fig. 4: A, J, K.) and so is a stalk which appears in conjunction with bull horns (Fig. 112; IAR. 1962-63: Fig. 2: Y). This stalk appears on Harappan pottery also where it is described as a tuft (Mackay, 1938: 112 LXIX: 19).

Insects are only to be found at Chanhu-daro on Harappan pottery* One sherd depicts a water boatman with a curved leg or filament on each side. A possible spiders web is depicted on a sherd from Mohenjo-daro (Mackay, 1938, Ii: LXX*. 39). A spider occurs on Kalibangan I ware(Fig.H4; IAR. 1962-631 Fig. 4: T) and so does a scorpion (Fig. 114; IAR. 1962-63: Fig. 4: F). 243

Birds are most popular at Chanhu-daro on Harappan ware, the peacock being the most popular of the lot (Mackay, 1943: XXXII: 34; . XXXIII: 2-12; XXXV: 1; XXXVI: 4,12,16,22). The ostrich (ibid.. XXXII : 7), the water hen (ibid., XXXIII: 3) and the coot (lbiq.. XXXIII: 7) are are also represented. Only one bird illustration has been found at Kalibangan I (Fig. 115? IAR. 1962-63: Fig. 5: Q).

The larger types of animals found at Chanhu-daro and Mohenjo-daro are the ibex, wild goat and antelope. At Chanhu-daro one finds the squirrel (Mackay, 1943.' XXXVI: 23), the hare (ibid.. XXXVI: 19) and serpent associated with cone-like objects (ibid.. XXX.' 15; XXXVI: 14, 32; XXXVII: 30, 35, 36).

A fish is found on a single polychrome sherd from Mohenjo-daro (Mackay, 1938, II.* LXXI 10). A Chanhu- daro sherd shows fish nibbling water weeds (Mackay, 1943: XXXVi: 17, 21). Four fish are also to be seen arranged around the mouth of a kohl container (ibid.. XXXIII: 4). At Kalibangan I a fish hatched with diagonal lines was found in the interior of a dish (Fig. 118; IAR. 1962-63.* Fig. 8: A). (B)

PRE-HARAPPAN MOTIFS AMD TBEIR COMPARISON WITH MOTIFS FROM OTHER SITES

Method : First and foremost the site at which the motif is 244

found is mentioned, after which it is compared with the excavated and contemporary sites of Amri, Kot-Diji, Harappa and other explored Sarasvati sites and then with those of the Harappa Culture within and without India.

Whenever necessary, similar motifs occuring in Western Asia and at the later cultural sites of Madhya Pradesh and the Deccan in India, are also used for compara­ tive dating purposes.

1. STRAIGHT LIMES AMD BANDS

Groups of horizontal lines and broad bands extend­ ing up to neck, shoulder or girth comprise the common decora­ tive treatment at Sothi (Fig. 8115), the pre-defence pottery of Harappa Cut XXX (Wheeler, 1947: Fig. 8: 2b, 2c, 2d, 3, 14a-e, 15, 16; Fig. 9: 1, 7, 32a and 33), the pre-Harappan wares of Kot-Diji (Khan, 1957-58: Fig. 13: 3,4), Kalibangan (Fig. 113; JAjJL, 1962-63: Fig. 3: 1-10, 12, 20, 21; Fig. 114; Fig. 4:3; Fig. 115; Fig. 5:1-3, 5-10; Fig. 118; Fig. 8:1, 4-9, 12, 13, 17), Berore (Fig. 44: II-IIIa; Fig. 45: VHIb), Binjor 3 (Fig. 61: la, Ic, lib; Fig. 62: I, Ilb-III; Fig.63: I-III; Fig. 64: I-IIc and III-IV; Fig. 65: VIII-XII and XHIa-XV; Fig. 66: XVII, XVIId; Fig. 67: XYIIIa, XIX and XXI; Fig. 81: I), RD 89 (Fig. 72: I-IVe; Fig. 73: IV-IVb, V-Va; Fig. 74: VII, VIII, IX; Fig. 77*. XXI-XXIc), and Tarkhanewaladehra (Fig. 30: V; Fig. 31: VI).

In the west, the pre-historlc site of Kudish Saghir 245

yielded Halafian vessels mainly decorated by painted bands (Starr, 1937, III 47:A).

2. KMI.I4NES

Wavy lines, singly and in between horizontal straight lines are very common at Sothi where they are found on vases (Fig. 81:5). They are found on Kallbangan I ware (Fig. 115; iAjl, 1962-63: Fig. 5: 18), Binjor 3 (Fig. 81: 1) and Kot- Diji (Khan, 1965: XIX; . XX). Such lines are also found on a sherd from the earliest Harappan level of Rupar (Exhibit SN 14. PRP 2. XXX-XXXII, 24), from C.A.A.M.? New Delhi.

In the west, this simple motif is scarce and occurs on the pre-historic ware of Kudish Saghlr (Starr, 1937: 47: K, V) and on burial pottery from Khurab (Stein, 1937: XV: Khur, D. 249). Potsherds from Zhob sites of Periano Ghundai, Sur Jangal (Fairservis, 1959: 408: 255, 258; 403.* 203, 205 and 206) Moghul Ghundal and Rana Ghundal (Stein, 1929.' XI' MMN 13 and 42; XIII.* R 624) also portray it.

3. MULTIPLE DIAGONAL LINES OR ZIGZAGS

Groups of diagonal or zigzag lines occur on Sothi sherds (Ghosh's Collection, Trench C, Layer 1; C.A.A.M., New Delhi) , Kallbangan I (Fig. 81: 3 ; |AJ^, 1961-62: Fig. 14:14)

* C.A.A.M. s Central Asian Antiquities Museum. 246

and Chak li (Ghosh's Collection, C. A. A. M., New Delhi). The motif is very popular at Mohenjo-daro (Marshall, 1931, III) where it is used as a divider between metopes. Navdatoll yields this design on the cream slipped ware of Phase I as do

(IAR. 1955-56: Fig. 6:i)ANagda (IAJB., 1955-56: Fig. 6:1), Eran (information from Dr. U. V. Singh), Nevasa (Sankalia, Si ai.., 1962: 14:b) and Jorwe (Gordon, 19581 Fig. llil). Outside India» diagonal lines occur in the oldest period at Tell Halaf (Oppenheim, 1937: LIU 3), Tepe Gawra (Tobler, 1950, II: LXIX." b.5), Samarra and Susa (Starr, 1941: 26, 2, 3), Tump-i-Kalat (Stein, 1937: XX: Kal. 1), Khurab (Stein, 1937: 17; Khur Bii, 178, 212) Ramrud (Stein, 1938: 14: R R III.013), on Bull! bowls (Stein, 1931: XXII: Kul 10) and Quetta ware (Fairservis, 1956: 292.* 242; 292: A). In Sind diagonals are to be seen on the wares of Amri and Pandi Wahi (Majumdar, 1934: XVIIi: 1; XXVIII: 23).

4. 1, 0 0 P S

Loops suspended from horizontal lines occur at Sothi (Fig. 82: 1,2) and Kalibangan, pre-Harappan layers at Kot-Diji (Khan, 1956-57: XIX; XX), Kalibangan (IAR. 1961-62: Fig. 4: 38), Berore (Fig. 40: III), Binjor 3 (Fig. 63.* II-IIa) and RD 89 (Fig. 71: B) and at Mohenjo-daro and fiarujo-dhoro (P.W.M,* Bombay). They are present on the

* P.W.M. * Prince of Wales Museum, Bombay. 247

Chalcolithic black-on-red ware from Bran.

In the west loops occur on the interior of a pot rim level at Tepe Gawra ('l'obler, 1950, II; CXV: 54), on the pre-historic pottery of Yorgan Tepa and Kudlsh Saghir (Starr, 1937: 47: JJ, a) Tepe Giyan (Girshman, 1935: 51: l2a, 13m), Chah. Husaini (Stein, 1937: XlXx Hus 116) and Nundara (Stein, 1931.' XXV: Nun 1,3,7,IV.12). Loops are prominent at the Zhob sites of Periano Ghundai, Moghul Ghundai and Rana Ghundai (Stein, 1929: Vi; P. 89; . XI: MMN 37 end 4; XIII: RG 21; Fairservis, 1956: 282:122) as well as at the early sites of Detarkot (Stein, 1929: XV: DNC 2) and Damb Sadaat III on Quetta ware (Fairservis, 1956: 282: 122). They occur at Kulli and Mehi (Stein, 1931.' XXV: Kulli 1. viii.7; XXVIII: Mehi 1.1.6; XXXIX: Mehi 11.3.1) at the Amri sites of Amri, Chauro, Damb Buthi, Ghazi Shah, Lohri Pir, Pandi Wahl and Tando Rahim Khan (Majumdar, 1934: XXVIII: 3.16,18; XXX.'ll; XXV: 12, 15, 34; XXVII: 10; XXVIII: 13; XXX: 16) and the Amri-cum-tfarappan site of Pai-jo-kotiro (Deva and McCown, 1949: Fig. 2: IV). Plain suspended loops are also present in the Jhukar levels of Chanhu-daro (Mackay, 1943.' XLII: 22).

4a. LATTICED LOOP OR SCALLOPS

The latticed loop or scallop pattern on Fabric E of Kalibangan I AlAR. 1962-63: Fig. 8:D) is met with at Tepe Giyan alone (Ghirshman, 1935: 53: 10a, 11m). 4b. INTERSECTING LOOPS

Intersecting loops are very common at Sothl (Fig. 821 3,5) and occur generally on the Interior of rims belong­ ing to carinated dishes. They are found at Mohenjo-daro (Marshall, 1931, III) and are very popular as an internal decoration motif on censers and bowls in the Harappan sites of Gujarat such as (£&£,, 1958-59: XVII: B), Rojadi (IM.* 1957-58i Fig* 10A: 4, 5? Fig. 1U: 3), , Mora and Adkot (personally explored material in author's possession) and Rangpar (Reo, 1963: Fig. 24: 100; XXIA: 7). This design seems to have survived in the Chalcolithic cultures where we meet it on Navdatoll cream-slipped ware, Phase 111%

4c. FILLEP IN LOOPS

The continuous wavy lines in chocolate-on-buff, forming loops with a dot within each loop were found on Amrian sherds from Bandhnl (Majumdar, 1934: XXIX: 27).

5. MULTjPfcE FESTOONS

Rows of multiple festoons occur at Sothl (Fig.82: 4} Ghosh's collection, C.A.A.M., New Delhi), Kalibangan I ware (IAR. 1961-62.* Fig. 14: 25; Fig. 16: 31), on a tan ware sherd from Nohar (Fi^. 24:G), the Jhukar level of Chanhu- daro (Mackay, 1943: XLVI: 4, 5, 7, 8, 12, 37 and 41) as well

* Information from Deccan College, Poona. 249

as on cream-slipped ware from Phase I at Navdatoli.

In the west) such festoons occur at Tepe Qawra (Tobler, 1960, II* LXVII: a; LXXX: 13, 14); closer home they are found on ware from Awaran (Stein, 1931.* XXIV. Aw:4). In the Zhob valley they are found at Bane Ghurxiai (Fairservls, 1959: 417: 364) and Sur Jangal (Fairservls, 1959: 417). Kulli yielded numerous sherds decorated with this motif (Stein,1931: XXII: Kulli V.1.36) as did the Amri sites of Tando hahim Khan (Majumdar, 1934: XXX:7) and Jare-jo- Kalat (Deva and McCown, 194?: VI: 66).

6. SCALES

The scale motif is present at Sothi (Fig. 13:la) where its transition from the loop pattern is clearly discernible. It is found in the pre-Harappan levels of Kalibangan ^Fig. 82.* 7; Fig. 115; IAR. 1962-63i Fig. 5* C,K) and Kot-Diji (Khan, 1958) and at numerous Harappan sites not cited here as the scale motif is an important character­ istic of the pottery of this culture.

In the West, the scale motif is not very common; it occurs on the Tell Halaf pottery of Arpachiyan (Mallowan 1935, II: Fig. 78: 20) and other sites, at Tepe Giyan (Girshman, 1935: 53) and Slalk Period III (Girshman, 1938: LXXVi: D). It occurs at and at the Zhob sites of Rana Ghundai (Fairservls, 1959: 421: 408) and Sur Jangal (Fairservls, 1956: 277: 61; 281: 115; 1959: 390: 56). 250

6a. FILLED a SflW

Dot filled scales are found on the pre-Harappan ware of Kalibangan (Fig. 82:8; Fig. 115; I Aft. 1962-63.* Fig. 5: B). In the west, they occur at Tell Ualaf (Perkins, 1949: Fig. 29, 32), at Tape Gawra (iobler, 1960, II: LXVII: 9, 4) and the Zhob sites of Rana Ghundai and Sur Jangal (Fairservls, 1959: 421: 508.398.127).

7. HORIZONTAL SEMI-CIRCLES

Horizontal semi-circles with their intervening areas cross-hatched, occur in the early levels at Kalibangan I (IAH, 1961-62: Fig. 9: 10, 6 and 11) and at Damb Sadaat I in Kechi Beg Black-on-Buff slipped ware (Fairservls, 1956: 276.' 52).

8» ROWS OF CIRCLES IN BETWEEN HORIZONTAL LINES

Rows of circles in between horizontal lines are found on sherds in the levels of Kalibangan I (IAR. 1961-62: Fig. 14:30) and on a sherd from Tarkhanewala dehra. Black painted circles on buff **hlto painted bands occur on the body of vases from Binjor 3 (Fig. 63: II-IIa). In the west, this motif is found at Tepe Gawra (Tobler, 1950, II: LXXi: B.4) and at a Kharau site (Stein, 1931:1: T.2-5). The Zhob sites of Periano Ghundai (Fairservls, 1959; 343:a) and Moghul Ghundai (Stein, 1929: Xi: MMN 22) have also yielded a similar motif. 251

9. CROSS-HATCHED TRIANGLES WITH CIRCLES IK BETWEEN

Cross-hatched triangles with circles in the inter­ vening space are to be found at Kallbangan I (IAR. 1961-62: Fig. 13; 4). Hatched triangles without circles are found painted in between groups of straight horizontal lines from the earliest Harappan Levels of (IAR* 1958-59.* LXIV).

In the west, this motif is found on Al-Ubaid ware at Arpachiyah (Mallowan, 1935, II: Fig. 77: 33).

10. ROUNDELS

Rows of roundels occur in between horizontal lines at the sites of Berore and Chak 75 (Ghosh's Collection, C.A.A.M., New Delhi). At Prabhas Patan, the roundel occurs in Period IB between two horizontal lines with the interven­ ing area cross-hatched (IAR, 1956-57: XVII:A). They occur on the Cream Slipped Ware from Navdatoli Phase I.

11. LIMES a PARALLEL FASCES WITH THE POINTS CONVERGING UPWARDS

Lines in parallel fasces with the points converg­ ing upwards were found on sherds from Sothi (Fig. 84: 1,3,4; Ghosh's Collection, C.A.A.M., New Delhi). This important motif occurs at the late Harappan site of Alamgirpur (IAR. 1958-59: LXIV), in the Jhukar levels at Chanhu-daro (Mackay, 19431 XLVI: 18) and surprisingly enough the design occurs 252

in criss-cross hatched fasces at Navdatoli on cream slipped ware Phase I, &nd at Nevasa (Sankalia, et. §1.., I960: 214:a).

We meet it in the earliest red-on-cream ware of Hacillar preceding the painted pottery Chalcolithic period (Mellart, 1961: 48: 16), Arpachiyah in the early period (Mellart, 1961: 48), at Brak in the 'Nuzi' period (Mellowan, 1947: LXXVIII:11), at Tape Giyan from 15 to 16 meters (Girshtnan, 1935:45), Siyalk (Girshman, 1938: XL: Dl, 3, 16), Chah Sardu in Seistan (Stein, 1937: XV: Ch. S. 02). It must be remarked that the Bampur Chalcolithic small jars resemble those from Periano Ghundai. The motif is met with at Bampur (Stein, 1937: XI: Kat. 4), Pir Shah Hasan in Kharan Kalat (Stein, 1931: I: PH 3), Nazarabad in the Makran (Stein, 1931: x: iNaz 10, 15), Gardan Reg (Falrservis, 1961: 110:75), in wavy lines at Mundigak Pd. IV. I, (Casal, 1961, II: Fig. 76: 258), Periano Ghundai in Periano painted (Stein, 1929: VIII: P.S.W., I2j Fairservis, 1959: 343:e).

11a. LINES IN PARALLEL FASCES WITH POINTS

FACING DOWNWARDS

Sothi displays in alternate columns of black and white a very rare design of thin lines in parallel fasces with the points facing downwards on red ware (Fig. 34:2, C.A.A.M., New Delhi, from Ghosh's Excavation at Sothi, Trench C, Layer 4).

This design occurs on the earliest red-on-cream 253

ware of Hacilar from the level preceding the Chalcollthic painted pottery period (Mellart, 1961: 48: 16), from Siyalk period I (Qirshman, 1938: XL: D, 1, 3, 16) Bampur (Stein, 1937: VIIi:C 327), Damin sherd A75 from Damin (Stein, 1937: XI.A75) displays an ibex with frayed horns in conjunction with the downward facing parallel fasces (Stein, 1937; Xi: 475, 464b), Rudbar site Tump-i-Surkh Qalat (Stein, 1937: XX: Kal 7). It occurs on ware (Raikes, 1963: I: 3; 6} 1964.* II: 4) in blchrome ware. lib. A COMBINATION OF THE UPWARD AMD DOWNWARD CONVERGING PARALLEL (LINES ) FASCES

A combination of the upward converging and down­ ward meeting parallel fasces is bound to occur if design 11 is executed in a horizontal row. We have very few such instances in our possession. The example from Chalcollthic Bampur illustrates this point clearly (Stein, 1937: IX:C313). Another combination of these two upside down designs occur at Periano Ghundai, in red, with a stylized black buckraniam motif in between the 2 groups of pa rail el (lines) fasces (Fairservis, 1959: 337: Fig. 42: g) on black-brown and bright red-brown-on-buff slip (Raikes, 1963: II: 10).

In India this type is met with in a fragmentary form at Daimabad and is associated with horizontal lines, scales, and animals (IAR, 1958-59: XXIII: A, 14).

Note : Interesting groups of diagonal lines resembling a combination of the upward and downward converging parallel fasces are found together with the step motif on sherd A 646 from Damin (Stein, 1937: XI: A64b; Starr, 1941: 39r42) 254

12. HATCHED flECTANQfcES

Hatched rectangles with the intervening space decorated by white wavy lines and black filled circles occurs on a Sothi vase (Fig. 81:5).

Such rectangles occur on a vase in Kalibangan Fabric A (Fig. 112| U&i 1962-63: Fig. 2:H) but in a slightly different arrangement. This design is paralleled in the west at Tepe Gawra in its early Chalcolithlc levels (Tobler, 1960, II: CXXV: 147).

13. ROWS OF HATCHED OSMONDS

Rows of hatched diamonds occur at Sothi, and in one case they are associated with white-painted triangles (Fig. 35: 1, 3, Ghosh's Collection, C.A.A.M., New Delhi). A row of hatched diamonds also occurs in conjunction with a row of loops and in between rows of horizontal lines at the Earappan site of Rupar (Fig. 85: 5, C.A.A.M., New Delhi). Two diamonds suspended from horizontal lines, occur at Lothal (IAR. 1954-55: XVII: A) in early Harappan layers. Ihe motif occurs in the cream slipped ware of Navdatoli in Phase II, (IAR. 1958-59: XXXII: A), on black-on-red ware from Prakash (|AR. 1954-55: XX:B), at Eran (IAR, 1962-63: XXXI:B) and at Nevasa (Sankalia, et, §1.., I960: 247: IVd).

This is a popular motif and is found at Arpachiyah where it is well known (Maliowan, 1935: Fig. 66: 71-72, 77), 255

on the pre-historic pottery from the earliest levels at Yorgan Tepe and Kudish Saghlr (Starr, 1937: 47: DD), on a bowl from the oldest levels at Tell Halaf (Oppeinheim, 1931: LIZ.*) | Tepe Gawra (Tobler, 1950, II: LXXLa'.9) , Tepe Giyan (Glrshman, 1935: IX:3), Siyalk Period II (Girshman, 1938: XLIX: C5), Shah-i-Tump (Stein, 1931.' XVIII: Sh. T.vii.l2.a), Moghul Ghundai (Stein, 1929: XI: MME 5, MMN 33) and Hana Ghundai (Stein, 1929: XIIi: 22). It occurs frequently in the earliest levels of Sur Jangal II (Fair- servis, 1969: 367), see Jangal painted Var. 2 (Fairservis, 1959: 396: 118, 119), Quetta Valley (Fairservis, 1956: 255: 256), at Mehi (Stein, 1931: XXIX.* Mehi 11-9-2, 11-1-la, III. 6.12; XXX: Mehi 11.5.3), at Pendi Wahi in Sind (Majumdar, 1934: XXXIX.*6) and in the Jhukar levels at Chanhu-daro (Mackay, 1943: XLVi: 15).

13a. ROW OF DIAMONDS WITH CURVILINEAR SIDES

Diamonds with curvilinear sides occur at Sothi (Fig. 85: 2, Ghosh's Collection, C.A.A.M., New Delhi) and at Rangpur, Pd. Ill (Rao, 1963: Fig. 371 22a). They are found in the earliest pre-historic layers at Yorgan Tepa and Kudish Saghir (Starr, 1937: 47: HH), at Ramrud IX (Stein, 1928: CX III: RRIX. 02), Gardan Reg (Fairservis, 1961: 109: 64), Mundigak Pd. IV 2 (Casal, 1961, II: Fig. 93: 420) and Periano Ghundai (Fairservis, 1959: 341: g).

13b. SMALL DIAMONDS WITH DOTS AS FILLERS

A very interesting design was encountered at Sothi (Fig. 85: 3, Ghosh's Collection, C.A.A.M., New Delhi). It « consists of seven alternate horizontal lines in black and white pigment, the last line suspending a diamond painted in black and further divided into smaller diamonds with a white dot in the centre of each of them. In India it is found on the exterior of a cream slipped sherd from Navdatoli Phase I. Here the diamond design is executed in between two horizontal straight lines one cream-slipped sherd. A large dot filled diamond design was found on a sherd from Rupar (Fig. 85: 4. C.A.A.M., New Delhi).

14. ROWS, QF fcOZENGES

Lozenges in horizontal rows occur at Sothi (Fig. 87: 1,5) and in the pre-Harappan levels of Kalibangan I (Fig. 87:4$ JA£, 1961-62: Fig. 14.'33). In the West, we find them at lepe Gawra (Tobler, 1950, II: LXVII: A.12,13) and Tepe Giyan (Girshman, 1935: 43.' 188,190^ 44; 16a 17;

54; 10a;llm). In the Zhob Valley they occur at Rana Ghundai and Sur Jangal (Fairservis, 1959: 409: 277, 278; 291: 66).

14a. HORIZONTALLY BISECTED ROW OF LOZENGES

Horizontally bisected lozenges in rows also occur at Sothi (Fig. 87; 2, Ghosh's Collection, Trench A, Pit 3 sealed by Layer 2, C.A.A.M., New Delhi). In the west, such lozenges.occur at Tepe Gawra (Tobler, 1960, II: CXXX.* 210) and on the pre-historic ware of Nuzi (Stein, 1937: 48:a); in 257

the Zhob sites of Rana Ghundai (Stein, 1929: XIII: Rb 34) and Sur Jangal (Fairservis, 1959: 395.* 116).

A row of vertical lozenges occur on Kalibangan I ware (Fig. 87: 7? IAR. 1961-62: Fig. 14: 51) and at Rana Ghundai (Fairservis, 1959.* 421: 412).

14C. PAIR OF VERTICALLY BISECTED LOZENGES

A pair of vertically bisected lozenges is met with at Kalibangan I (Fig. 87: 6JAJA£, 1962-63: Fig. 2IR) as well as on one of the Harappan sherds from Lothal (IAR« 1956-57: XIIIA) which also displays two vertically bisected lozenges close together in between horizontal straight lines, the centre design being reminiscent of that from the pre-Harappan sherd from Kalibangan.

15. SlAfcK, mi?*

Ihe stalk or "conifer" motif is found on the pre- Harappan Kalibangan pottery, singly, and in connection with bull horns (Fig. 89:3; Fig. 90:6; Fig. 113; IA£., 1962-63." LXI: A; Fig. 3:3). It is found st Alamgirpur too (Fig.89:6).

Note : a) A coarsely d^awn closely allied motif is met with on the cream slipped ware from Phase II at Navdatoli. *b) The Samarra "twig" or "feather" occurs both at pre-historic Yorgan Tepe and Kudish Saghir as reported by H. W. Eliot (Starr, 1937: 508). The only Harappan site to yield this motif In India Is Lothal (IAR. 1957-58: XV); at Rangpur Pd. IIB, a debased stalk Is painted on the interior of a bowl (Rao, 1963: Fig. 29: 27a).

We see it at Tell Halaf (Oppelnheim, 1931:LIII:2), Tepe Gavra (Tobler, 1950, II: LXIX:b:8) at Tepe Oiyan in association with an animal (Girshman, 1935: 43: 12a, 13m; 51: 12a, 13m), at Brak in incised form associated with 3 snakes and sun with rays (Mallowan, 1947: XXX: 4). Closer home it is found on the burial pottery of Khurab (Stein, 1937: XV: Khur D 250) as well as on the late pre-historic pottery of Wahir and Sorak (Stein, 1931: XXXIII: Wah 3, Sorak 2) • It Is found boldly painted in heavy strokes at Mundigak Pd. IV. I on the interior of a bowl (Casal, 1961, II: Fig. 69: 209), on Quetta ware in the Kalat area at site Ki, Pd. Ci (Fairservis, 1956: 31:N) and at Anjira Pd. IV (de Cardi, 1965: Fig. 17: A 10b), on Quetta ware (Fair­ servis, 1956: 306: 414, 415); it is most popular at Mehl (Stein, 1931: XXIX: Mehl. 11.6.3; XXX. Mehl 111.6.14) where it is found once again in association with the bull (Stein, 1931: XXVIII: Mehl 1.7.2). In Sind it is present at the Amri site of Ghazi Shah (Majumdar, 1934: XXVI: 6,8,11,12) with vertical wavy lines and with the bull. The motif is present at Chanhu-daro on Jhukar ware in Incised form as at Brak (Mackay, 1943: XLVII:4).

16. HORM MOTIF WITH FRAYED ENDS

The horn motif with frayed ends described as "moustache-like* and depicted in between stalks or conifer trees is to be found on the ware of Kalibangan I (Fig. 112? Fig. 90: 6,7; IA£, 1962-63: 20? Fig. 2: Y; LIXIA). A similar horn motif without frayed ends is met with on pre- Harappan pottery from Kot Dlji, Layer 3A (Khan, 1965: Fig.16). A closely allied motif occurs at Lothal (lAfi. 1968-59:XVIII:B) where the beaded curve does not end in a fray but the symoblic horn itself depicts straight lines emerging from its external edge. The same is the case at Prabhas Patan (IAR. 1956-57: XVII: A) where the frayed curve is found in conjunction with a similarly decorated disc. These two sherds are similar to the pre-Harappan motifs from Kalibangan from which plate they have most probably originated (IAR. 1961-62: Fig. 14:36). The late Harappan site of Bara (IAR. 1954-55: XI'.A) also has a somewhat similar motif depicting this stylized horn design? at Rangpur it is met with in Pd. He and III (Rao, 1963: XXI:B). However it occurs in Phase I, on the cream slipped ware of Kavdatoli (JAJB., 1958-59: XXXIV: A).

Mote : A frayed horn design similar to the Prabhas and Lothal specimens was found on sherds recovered from a site in Bampur District (Stein, 1937: XI: Shd 5, Shd 7).

17. ARROW MOTIF

The arrow motif was found on only one sherd from Sothi (Ghosh's Collection, C.A.A.M., New Delhi). It is found on a sherd of the Cemetery H type from the Harappan 260

layers at Rupar (IAR. 1953-84? IV: A) and Bare (IAR. 1954-55: X) and on Cemetery H ware Itself from Harappa (Vats, 1940.* LXII: 4, 10).

In the west, such painted arrows are found at Tepe Gawra in the earliest Halaf Levels (Tobler, 1950: II.'CXIII: 117) on a bowl in Al Ubaid period at T. Mefesh in the Balih Valley (Mallowan, 1946: Fig. 7:4), at Samarra (Herzfield, 1930), at Ubaid (Mallowan 1935: Fig. 77.25), Musyan (Starr, 1941: 47) and from Slalk Period II (Girshman, 1938: ix: 5). * « is- mwam him m>im u EWS

Radiating lines ending in discs occur on the ware of Kalibangan I (Fig. 86:3? |A£, 1961-62: Fig. 14.39). In the Sarasvati Basin, we have this design occuring on a sherd from BGS 3 (Ghosh's Collection, C.A.A.M., New Delhi). This motif occurs in between a horn-like curve on a sherd from the Harappan site of Prabhas Patan, from Period IB (IAJR, 1956-57: XVII: A). It is there in Pd. IIA at Rangpur (Rao, 1963: Fig. 26: A20) and is to be found at Navdatoli (IAR. 1957-58.* XXV).

In the west, multiple radiating lines ending in discs is found on Tell Halaf ware at Arpachiyah (Mallowan, 1935, II: Fig. 77:6). This motif occurs most frequently in between the horns of the bull at Hissar Ic (Schmidt, 1937: PI. VIIi: H4. 383). It is to be found at Nundara (Stein, 1931: XXVII: Nun 1.5), on Kill Ghul Mohammad ware 261

(Fairservis, 1956: 273:18). Anjira in the Kalat area yield­ ed this motif in Pds. I and II or Kill Ghul Mohammad ware (de Cardi, 1965: Fig. 8, 15, 18). Sherds from two Zhob sites, Periano Ghundai and Sur Jangal (Fairservis, 1959: 343:bj 386: 11) also displayed this motif.

19. CRUCIFORM MOTIF

The cruciform motif occurs in the pre-IIarappan or Sothi ware of Kalibangan (Fig. 86: 5,6; IAR. 1961-62: Fig. 14.43). A cruciform design with 2 double crosses each of the four points ending in crosses occurs on the early cream-slipped ware of Mavdatoli (IAR, 1958-59: XXXIV: B).

In the west, it occurs on the funerary pottery of Tell Halaf (Mallowan, 1935: 113, 114, 178), at Tepe Gawra on Obeid ware (lobler, 1950, II: LXVIIra) and on the funerary ware of Susa (PPM. . XIII: XVI-XVIII), on a Susa I funerary bowl (PPM. XIII: • II) and on the funerary ware of Samarra (Mallowan, 1^35: Fig. 126). It occurs at Tepe Giyan in connection with the step motif (Girshman, 1935: 42: 18a, 19m) and is to be found in Seistan at Garden Reg (Fairservis, 1961; 111: 90, 91), Ramrud and Shahr Sokhta (Stein, 1928; 113: RR II. 0.3; SS09)* and at Chah Husaini in the Persian Makran (Stein, 1937: XIX: Hus.461) and on the funerary pottery of Shah-i-Tump providing con­ clusively that the cross was from pre-historic times onwards "a widely used symbol of death, no doubt a magical token arted'1 (Mallowan, 1947: 126). It Is found on Anjira Pd. IV pottery in the Kalat Area (de Cardi, 1965: Fig. 19:25). In SInd the cross is found on Marian Sherds from Ghazi Shah (Majumdar, 1934: XXVIi: 47,52,53).

20 STYLIZED BPCKBAMIAM MOTIF

The stylized buckranian motif consisting of point to point triangles sometimes called butterfly or double axe motif (IAR* 1962-63: 23) occurs on the ware of Kallbangan I (Fig* 113} JAJL, 1962-63: Fig. 13:15) and at Rangpur, Pd. Ill (Rao, 1963: Fig. 37: 17b). This motif is found in between horizontal straight lines at Chalcollthic Navdatoli on cream slipped ware from Phase II.

In the west, we have tills motif occuring on Tell Helaf pottery from Arpachiyah (Mallowan, 1935, II: Fig. 78:7), from Tell Helaf (Oppeinheim, 1931: LII: 2), at Tepe Gawra (Tobler, 1950, II: LXXI: a.20), Tepe Giyan (Girshman, 1935: 63), Sialic Period III (Girshman, 1938: LXII: S150), at the Zhob sites of Perlano Ghundal and Sur Jangal (Fairservis, 1959: 338:g; Fig. 62:117), Rana Ghundal (Rose, 1946*. IX5A; Fig. 4.3D2) as well as on Quetta ware (Fairservis, 1956: 283: 142). It was found at Sadaat, Pd. II (Fairservis, 1956: 303:371-381) and at Hal (Marshall, 1931, III: XCIII: SN).

21 ROSETTES

Four petailed and five petalled rosettes occur 263

on Fabric A in Kalibangan I (Fig. 88; 1,2,3; Fig. 112; iAJl, 1962-631 Fig. 2'.AD) as well as at Kot Dlji where they are white painted on a brown background (Khan, 1958: Fronti­ spiece) . A rosette with a stalk is also found on a Harappan sherd from Lothal (JA^, 1966-67: XIII: A) and closely resembles the motif on a sherd from Kalibangan I (Fig. 114; lAfi. 1962-63: Fig. 4:D.

In the west, they appear in vertical rows at Brak on early Samarra ware (Mallowan, 1947: LXXX:7). Closer home, we find one diagonally hatched flower on the interior of a bowl in period III at Mundigak (Casal, 1961: Fig. 52:46), and on Quetta ware (Fairservis, 1956: 296:296). They are found in Pd. IV at both &iah and Anjira (de Cardi, 1965:156).

22. SUU FLOWER MOTIF

Fabric B of pre-Harappan Kalibangan yields a very unusual motif consisting of 2 stems joined in a V display­ ing circular discs, dotted from within and spiked on their external edges (Fig. 114; JA£, 1962-63: Fig. 4:B; Fig. 91:3). An exactly similar motif is to be seen on a sherd from Cemetery H, (Fig. 9K4). Here instead of the disc being filled with dots it possesses only one central dot (Wheeler's Collection, HP XXXIV-Extended to south - VII-X (2), C.A.A.M., New Delhi). It is met with again in the early Harappan levels of Bupar where the spiked circles are displayed on either side of a thick stem. The circles are white painted 264

(IAR. 1953-54: IV:A; Fig, 91:5) on a reddish brown surface. This sherd is not Harappan but of Cemetery H type (Gordon, 1943: Fig. 10:14). The Amri site of Pandi Wahi too dis­ plays some such motif on a small sherd. Here, two stems are attached to a spiked circle which is filled in by a black pigment (Majumdar, 1934: XXVIIi:26).

Note : Here I find it necessary to draw attention to the fact that the pre-historic, 4th millenium BC, layer at Brak has yielded a sherd bearing a "Huts and Flowers" design. These flowers are circles filled with dots suspended on vertical stems in between conical dotted objects, a similar pattern being found also on Samarra Ware at Arpachiyah (Mallowan, 1935, Hi Fig. 77:17). This design "does not fall within the known Samarran repertoire".

23 mUUkWMM Ik®m

A multi-petalled flower is found on pre-Harappan Fabric E of JUlibangan (Fig. 88: 3j Fig. 118| IAR. 1962-63: Fig. 8: F). It was found within a circle on a Cemetery R37 vase from Harappa (Wheeler, 1947: Fig. 14: IXg), at Chanhu- daro in the Harappan layers (Mackay, 1943: XXXII: 1,4; XXXIII: 1,11,16), on a sherd at Late Harappan Bara (IAR. 1954-55: Xl:A) and on a dark red slipped sherd within a circle at Amri (Majumdar, 1934: XVI: 3) and in Anjlra IV (de Cardi, 1965: Fig. 19:1).

24 OBLIQUE LINES WITH FRONDS

Oblique lines, with fronds, are to be seen on pre-Harappan fahric E from Kalibangan (IART 1962-631 Fig. 8: 14,K; Fig. 89:2) and on RD 89 red ware (Fig. 89il). At Alamgirpur,' this motif is found on a crimson slipped sherd between suspended hatched triangles (Fig. 89:5; IAJL, 1962-63: LXIV) and might possibly be connected vith the Cemetery H type of ware found at Rupar and Bare, while at Kavdatoli, it is painted in between horizontal straight lines on cream slipped ware from Phase I.

In the west, this motif is found at Mundigak, Period IV. 2 (Casal, 1961, Ii: Fig. 93: 4114) and from another unknown site discovered by Stein (1937.* IX: Mau 15). Horn motif and oblique lines with fronds, are found on two sherds from Othmanjo Buthl in Sind (Majumdar, 1934: XXIX:l and 2). Majumdar erroneously described it as a "broad flowing curve and comb shaped branch motif in black on red wash" (Majumdar, 1934: 140).

25. DOGS

A sherd with three stylized dogs (PI. IX.' A) standing in a row in between straight horizontal lines was found at Sothl. This is the only sherd in the collection which has a bright red slip. So far, no such dogs have been found on early Chalcollthic pottery in India, except a crouching animal on a sherd from Eran. Dogs resembling Saluki, on pottery, have been reported from Arpachiyah (Mallowan, 1956:6). CHAPTER- VIII-B A COMPARATIVE STUDY OF INCISED DESIGNS

Until recently it was the opinion of archaeo­ logists that all incised and ridged ware in Pakistan was Islamic in origin (Fairservis, 1956: 391). Therefore, it was a surprise when internally and externally incised and ridged or toothed dishes and troughs turned up in stratified pre-Hereppan layers at Kalibangan 1 and Bin;)or 1.

My explorations further north-east from Sothi yielded an even more interesting assemblage which included painted and incised vases and jars. In order to verify whether or not similar decoration patterns existed on the prehistoric pottery of Baluchistan I went through Sir Aurel Stein's Collection (C.A.A.M., New Delhi) and found a sherd each from and Karchat (Fig. 6.* A,B) with single incised wavy lines on their bodies; the former was painted in the Periano Ghundai, Painted 2 style, whilst the other was buff slipped.

Whilst excavating Sandhanawala-iher on the Hakra, Stein (1943) came across a sherd impressed with flat wavy lines and a deeply incised sherd bearing a herringbone design in Section VIII at a depth of 6 feet (1.8 m) below which at a depth of 10-11 feet (3-4.4 m) were found Amri type sherds. Internally ridged or ribbed ware bases were found in Sections V, VI and VII at varying levels from 4 to 8 feet (1 m to 2.5 m) in depth. In Section IV, the shoulder portion of a large pot with broad internal ribbing was found at a depth of 8-9 feet (2.4-2.7 m). Nowhere was the incised and ridged or ribbed ware mixed together with the Harappan pottery which was found in the higher levels.

In 1949, Deva and McCown published illustrations of sherds from the Amrian sites of Mari Khan, Amri and Pandi Wahi in Sind bearing similar incised decoration (1949: VI: 71j VII: 75,77,80). This evidence was definitely prehistoric in nature and it is probable that it was popular with the people who resided in the Sarasvati and Drlshadvati valleys. My survey shows internally incised or ridged trough fragments turning up at almost all prehistoric sites with the exception of the Indo-Pak Boundary site and Binjor 3.

Sothi having yielded the largest number of such sherds, it is necessary to examine the ware and its types in detail.

(A)

P^SEft MOTIFS FBOM gOTm

I. SINGLE WAVY LINE

At Sothi single wavy incised lines occur mainly on the interior of troughs just below the rim portion (Fi^. 9: X-XI). Outside India single wavy lines are common on Anjira ware from Surab (de Cardi, 1965: Fig. 21) end the sites of Mari Khan, Pandi Wahi, Amrl and Lohri Pir in Sind (Deva & McCown, 1949: VI: 71; VII: 75, 77 and 80).

II* MUJ.TTOE WAV? fclNgS

Multiple incised wavy lines are very common at Sothi (Fig. 5:A; Fig. 7: VI). A small sherd internally incised with wavy lines comes from Berore (Fig. li:B). Similarly internally decorated dishes were found at Kalibangan I (Fig. 116, 117; £A£, 1962-63; Fig. 6:10-12; Fig. 11 14,17). Similar decoration is met with in the early levels of Harappa on the exterior of a vase or jar (Wheeler, 1947: Fig. 10: 34) where the vessel seems to be a definite intrusion from the preceding pre-Harappan levels.

Multiple wavy lines are seen on a Periano Painted 2 sherd from Dabarkot (Fig. 6: A) •

Further west, the closest parallel to this style of decoration occurs on a sturdy buff ware sherd from Chah Husaini in the Helmand Delts in south-eastern Iran (Stein, 1937: XIX: Hus. 17). The execution of multiple parallel wavy lines resembles the execution on the Sothi Jar Type III (Fig. 6: IV) and the vase from the defences at Harappa (Wheeler, 1947: Fig. 10*34). 269

III. MULTIPLE STRAIGHT AND WAVY LIKES

Multiple incised straight and wavy lines occur at Sothi on the exterior of vases (Pi. VIIITA; Fig. 7:iVa) on the exterior of a handle vessel (Fig. 8: IX) and on the Interior of a vase (Fig. 11:C). Similar decoration occurs at Kalibangan I (Fig. 117; IA£ , 1962-63: Fig. 7:H) and on late Harappan pottery from Bara (lAfi. 1954-552 XI:B).

IV. MULTIPLE ZIGZAGS

Multiple zigzags or oblique lines are found incised externally on the handled vessel (Fig. 8: ixa) and internally on a dish (PI. VIIlrB) at Sothi as well as Chak 75 (Ghosh's Collection, C.A.A.M., New Delhi).

V. FESIOOHS

Suspended rows of incised festoons occur on the interior of a single sherd at Sothi (Fig. ll:D).

In the west, the pre-historic Halafian levels of Yorgan Tepa have fielded a similarly decorated pottery fragment (Starr, 1937, II: 44: F).

VI. CHEVRONS

Chevrons occur on the exterior and interior of sherds at Sothi (Fig. 5:E-F). One example is that of pink washed sturdy thick-sectioned fragment with a deeply 370 incised rov of chevrons, vlth horizontal reed-impressed lines and bisected rectangles (Tig, 5:E). The other Sothi sites along the Sarasvati which yielded chevrons on the interior of a vase are Berore (Ghosh'* Collection, C.A.A.M., New Delhi) and Tarkhanewaladehra (Fig. 11:E and F).

The late Harappan sites of Bara (IAft. 1964-55: XI:B) and Katu Palon (Deshpande, 1965: 127) also display chevrons on the surface of vases. At Bargaon, in Saharanpur District, U. P., a terracotta ringstone was found decorated by a row of incised chevron (Deshpande, 1965: 123). In period I at Ahar several sherds with incised chevrons were noticed (Magar, 1966: XL: 3,6), but these are of a much later period, and may have been influenced by the Sarasvati- Ghaggar sites.

In the west, incised chevrons are found on the interior of a base in the Kalafian level of Yorgan Tepa

(Starr, 1939, II: 44:A).

VII. qEfiRINGBONE

An incised herringbone design was found on a very well baked light red sherd at Sothi (Fig. 11: A). The execution of the strokes was neat and orderly because a metal or sharp instrument was used Instead of the usual reed. Incised herringbone designs in the Sarasvati bed 271

were first noticed by Stein on the mounds of Suwaiki and Bhaironpura (Stein, 1941: 179).

The site of Ahar, Pd. I, also yielded incised herringbone design (Nagar, 1966: XXXIX.2). The execution was of an inferior quality and on a coarser fabric than that found at Sothi.

In the west, incised herringbone design is found on several pre-historic sherds from Yorgan Tepe (Starr, 1939, II: . 41.#R).

(B)

INCISED DESIGNS ON FOREIGN POTTERY

Susa and Mari in Iran and Mesopotamian sites such as Khafaje have yielded single and twin grey and green steatite cylindrical vases with flat bases and in­ cised decorations (Delougaz and Lloyd, 1942.* 69; 11). One common motif represented on almost all these vases, Wc.s that of a structure of wicker work in combination with other designs. The structure consisted of a panel formed by triple vertical bands on either side of a triple down- curving band at the top, the bottom decorated like a screen above which vertical bands are prominent. Andrae (1930: 76) suggested that the downcurving bands represent­ ed some pliable material which was bent and inserted between two pots so that they could be held apart. Delougaz 272

maintains that the designs on these vases suggests that they were panelled) portable enclosures around temples as the occurrence of these vases at Khafaja coincide with the erection of the first Temple Oval (Delougaz, 1960).

Aurel Stein found similarly incised alabaster and clay vases at several chalcolithic sites in Persian Baluchistan. The best specimens are from Bampur, Fanuch, Katokan and Khurab (Stein, 1937: . VI). The biggest vase was recovered from Katokan. Its surface is a debased variety of the Khafaja vase although there can be no doubt as to their relationship. The wickerwork panels are separated by poles with horizontal bars in between each other. The diagonally incised triangles which ran vertically up and down the Khafaje vase now run horizont­ ally above and below the separated enclosure panel. The same is the ease with the smaller, squat vase from Bampur. The tall, slim potstone vase from Khurab yields rows of diagonally incised triangles alone. One broken fragment from Bampur (Stein, 1937: VIII: A.142) shows triangles represented vertically, whilst another fragment, the only one of its kind found so far yields two horizontal rows of the enclosure, the panels separated by two horizontally drawn straight lines. The panels have quite lost their former significance for they stand unattached to any poles or other supports. The criss-cross incision in the Khafaje sherd which represented a screen is also to be found all over the surface of this sherd. Piggott's (1950: 117) suggestion that these originated in Baluchi Makran is no more tenable. The incised stone pots "are only very third hand derivatives of the original naturalistic" vessels (Gordon, 1958: 43). These vases from Baluchistan are popularly known as the "Bampur hut-pots". In the Susa twin vase (Zervos, 1915.' . 212), the circular vessel to the left is covered with a woven pattern, whilst the one on the right has "windows" between characteristic panels as on the Khafaje vases. One fragment similar to the left side of this double vase from Susa with woven mat design was found in green steatite by Mackay at Mohenjo-daro (Mackay, 1934: Fig. £.2) and has been dated to 2500-2450 B.C. by Gordon (1958: 48).

From Khurab a red ware pot was found with multiple wavy lines incised on the shoulders (Stein, 1937: XXXIII: 11) whilst at Chalcolithic Chah Husaini closeby, a pale buff sherd with incised decoration of "comb drawn horizontal and wavy lines" was recovered (Stein, 1937: XIX: Hus: 17) by Stein.

At Shah-i-Tump, Stein got a fragment of dark clay or stone depicting incised triangles in between vertical and horizontal lines similar to those on the Khafaje and Bampur pots (Stein, 1931: XIII: Sh. T.iii 9). 274

The Jhukar levels of Chanhu-daro have yielded numerous Incised sherds which could possibly have some connection with the Incised ware of Sothl. The Incised stalk motif Is similar to the one from Brak (Mallowan, 1947: . XXXVIII. 4) which does not antedate the Sargonld period, and belongs to circa 2200 B.C. Astonishingly enough a terracotta cake from Kallbangan 2 has yielded the Incised from a human with a buffalo horned head with an Incised stalk protruding from the centre of the skull in between the horns (IAR. 1963-64: . XXII:B).

From Jhangar, Majumdar recovered a grey ware beaker fragment decorated by a row of Incised triangles with apexes pointing towards the neck (Majumdar, 1934: XXXi: 21). The triangles are filled by lines parallel to one of their sides. The motif is a carry over from those seen on vases at Khafaje (Delougaz, I960: . VI.a), Kotakan and Khurab (Stein, 1937: . VI: Kat. 019; Khur F. 1. 263), Bampur (Stein, 1937: VIIi:A. 142) and Shah-i- Tump (Stein, 1931.* XIIi: Sh. T. ill. 9).

In India, one of the largest collections of in­ cised pottery was made during excavations at the Harappan site of Bara in U.P. by Y. D. Sharma (IAJL, 1954-551 11). No detailed study has been published and one has to rely solely on the single photograph published by the excavator. Wakankar (IAR, 1964-65: 32-33) reports coarsely made 375

incised vases from the earliest period at Kayatha in M.P. No material is available for comparative purposes. The Ahar Period I repertoire is quite large, but very crudely executed and includes chevron and herringbone designs beside the common forms such as hatchuring, crisscross and wavy lines. Two sites Mudiala Kalan and Katu Palon in District Jullunder and Ludhiana respectively have yielded incised ware similar to that from Sothi. Incised decora­ tion consists of wavy lines, horizontal lines cut across by oblique lines and deeply cut chevrons (Deshpande, 1965: 127). Deshpande considers these sites to be of a late-Harappan nature like Bara. He has failed to note that the sites of Eupar, Bara, Alamgirpur have also produced certain Sothi- like as well as Cemetery H type of ware. These sites show the admixture of Sothi and Harappan traits.