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Artitecture and Artifact Ornamentation on Buddhist Period Sites in Sindh

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Artitecture and Artifact Ornamentation on Buddhist Period Sites in Sindh Ancient Sindh, 13, 2014-15: 111-12985-103 BUKHARI, M.F. & ABRO T.A. ARTITECTURE AND ARTIFACT ORNAMENTATION ON BUDDHIST PERIOD SITES IN SINDH SUMMARY – The German word “ornament” linguistically carries several synonyms like decoration, design, adorn, embellishment motif, pattern, shape etc that are applied to describe beauty of given object(s) and hence take identity as of local, folk or cultural tradition generally known as ‘art’. In this paper, the author has taken Buddhist period sites to describe the cultural tradition(s) of ornamentation and the methods and material used for this purpose. A scared monument called as Stupa carry central importance throughout Buddhist period. A stupa consists of essential parts like drum, dome, capital and umbrella, however, it is not necessary that every stupa must have these forms because it depends upon regional variation; for example, in Sindh, the most stupa has only dome and drum and other remaining parts are absent but decorative elements are present. In the stupas of Sindh, the clay in shape of bricks, pots and votive tablets etc has been utilized for both construction and for decoration. For construction either burnt or unbaked bricks have been used and bricks are also designed into different shapes that it creates a beautiful motif. The major documented motifs are in (i) geometrical, (ii) faunal & (iii) floral shape/pattern. In geometrical motifs chequer pattern, wavy, grooved, incised, vertical and horizontal lines were depicted. A variety of Acanthus, Lotus & Rosette pattern were created as floral decorative element. Similarly, the animals like elephant and lion, & geese bird were also became the part of decoration. These ornamental patterns are documented from all major stupas of Sindh like Kahu-jo- Daro, Sudhern-jo-Daro, Sirni Kot, Jhirak, Thul Mir Rukan and Brahmanabad. Some patterns are documented from pottery collected from sites like Lila-ja -Aatan, Siraj-ji-Takri, Misri Shah, Thari and sites from Nara. It is necessary to mention here, that the stupas recorded in Afghanistan, various parts of India and Pakistan carried different types of decorative and constructive elements made from the material available to them. For example, in Johi Dadu district of Sindh, Yellow clay was used which is typical to the region. It is finalized that the ornamentation of Buddhist period sites in Sindh has not only continuation from Ghandharan art where Buddhism holds its central place but show extent of a tradition with little local and regional variation. INTRODUCTION Decorative motifs are translated from the German word “ornament” (Schmitt:1971:01), Ornamentation done on Art & Architecture in each & every distinctive period is recognized by its typical decoration or design on any art or architecture without any information everyone knows basic information that this structure belongs to which religion for example there is a clear cut differentiation between Muslim -Hindu Art & Department of Archaeology, Shah Abdul Latif University, Khairpur (Sindh-PK). 111 Architecture, Buddhist-Jain Art & Architecture. This difference is understandable because of their degree of format, differentiation and the iconographical context in which they are applied; it can be interpreted as cultural motifs of the representatives architecture. Motifs which according to their formal structure and the context of application, are to be interpreted, as motifs taken over from the local or folk, cultural tradition. In the study of a particular period of art, the importance of analytic method should not be minimized (Brown, 1976). For this purpose a large number of objects are to be studied in detail and their outstanding characteristics analysed. In Sindh, due to the passage of time, the condition of the archaeological sites has worsened and very little research has been made as regards the Buddhist period. The architecture of most of the early historic sites (between Alexander’s invasion and the conquest by Arabs in (711 CE) was based on beam and post system (Khan 1990:37). The stupas, decorated with carved and moulded bricks and figures, became common in northern and central India (Chandra:1950:03) and also some of the most remarkable Stupas are located in Sindh (like Kahu Jo Daro, Mirpur Khas, Sirni Kot, New Jatoi, Thul Mir Rukan, Daulatpur, Dhamrah Jo Daro) and in Devnimori, in northern Gujarat (Mehta and Chowdury:1966:02). This architecture is not strictly confined to India and Sindh, but its distribution extends as far as Afghanistan (Chandra:1950:03). MATERIAL USED FOR ORNAMENTATION IN SINDH FEW VIEWS OF DIFFERENT RENOWNED SCHOLARS,ARCHAEOLOGIST AND HISTORIANS ABOUT THE ORNAMENTATION GIVEN BELOW AS: “The use of clay as a building material has been common since time immemorial in the plains of Sindh. Initially unbaked mud was employed but soon baked stuff was introduced. It was a common and a favourite medium. The Buddhist masons of Sindh also preferred it for secular and religious edifices”. (Khan:2003:38). “Building of the brick Stupas and decorating them with carved and moulded bricks and figures caught their fertile imagination as the new mode of construction was cheaper. These brick Stupas became common in northern and central India but some of the splendid brick Stupas from Sindh prove brick construction as a favourite medium of artistic expression” (Chandra:1950:03). The 5th, 6th and 7th centuries AD witnessed the usage of new material within an old traditional pattern. The stupas from this region (Sindh) are made of backed bricks with mud plaster with very beautiful carvings on terracotta; sometimes with Jataka Tales’ scene carvings with a delicate and sophisticated, cut brick revetment, geometrical and floral patterns m. Make the monument unique in the array of the early specimens of the brick architecture (Khan:2003:49) 112 The brick buildings and terracotta figurines became a new mode of art in the time of the Gupta rulers (Chandra:1950:03). The outstanding art features of terracotta sculptures from Ushkur, Akhnur, and Rang Mahal and moulded carved bricks from Mirpur Khas and Devnimori show a great synthesis of Gandhara and Gupta traditions (Ibid:03). The evidences of Gupta influences in Sindh, represented by many brick stupas, may be attributed to Chandragupta II (375-412 AD.) or his successors “Terracotta appears to have been important artistic medium during the Gupta period (c. 300-600) from Gandhara/Kashmir in the northwest to Brahmanical & Buddhist patrons”. (Pal:2008:55). The architecture of the Buddhist period Stupas of Sindh do not necessarily belong to one single period. Kahu-Jo-Daro stupa is related to the Gupta period by different art historian like J. Williams (1982) and Moti-Chandra (1950). It shows that Gupta artists used locally-available material, and introduced a new art style from “the land of heat and dust” (Sindh, and its deserted areas) but its designs on bricks, friezes, mouldings, panels, moulded blocks, fusion of old and new ideas. The shape of the lotus throne under the Buddha of Kahu-Jo-Daro (Mir Pur Khas) is different (Soon:2002:109). Bricks and clay were not only used in Sindh in the art and architecture of this period, but also in adjacent and bordering areas like Afghanistan. The stupa of Fondukistan (Afghanistan) has Jataka tales and big murals made of clay. Devnimori (Gujarat, India) and Bhitarga on stupas (Brown: 1976:41) were also decorated etc. “These designs and materials continued to be used in the buildings of the Hindu period of Sindh and Hindu Shahi’s of Punjab, in the Salt-Range, Mallot, few temples in Dera Ismail Khan, Chakwal and other areas. This continuity can be observed also in the Islamic architecture of Sindh and Punjab. In the Islamic architecture geometrical and floral motifs are beautifully carved with Kufi inscriptions. Shah Jahani Masjid (Thatta) and the other mausoleums and tombs of Thatta, Bakkar and Aror are beautiful examples of Islamic architecture” (Khan:2003:50). The question that we confront is: whether these similarities are to be interpreted as a continuity of motifs between Gandhara and Sindh art, or whether there is another influence of any other art? This question has been answered by different authors in various ways: For instance in “The Antiquities of Sind”: H. Cousens reports: “A note on the remains of Buddhist ornamental architecture in Sindh in the journal of the Bombay branch of the royal Asiatic society for 1857, is a notice of certain terra cotta that had been sent to the society from Sindh which says among the fragments of terra cotta ornaments mentioned in the presents to the museum are a figure of Buddha in a sitting posture with the legs drawn up, a head with the curled wig, similar to those seen in the caves of elephanta, an elephant head, and figures of the lotus together with fragments of cornice. These figures are from Sudheran-Jo-Daro near Tando Muhammad Khan” (Cousens:1975:81). 113 J.Williams wrote “Mirpur khas in Sindh (Pakistan) can, however, be compared to the earlier remain of Devnimori (Indian Gujarat) in the same general region, and to the brick and terra cotta monument of Bhitargaon (20 km South of Kanpur, India) with which I believe it is contemporary (Williams, 1982:94). Plate. # 1-2: Photograph Courtesy by: J.Williams General Cunningham, in the fifth volume of his reports (Cunningham: 2000:46) Depar Ghanghro, reports that during digging he found several fragments of terracotta ornaments similar to that from Kahu-Jo-Daro and Thul Mir Rukan (Ibid:46). The same moulded, or carved brick, was founded by General Cunningham at Shorkot in the Punjab, and in the Yousufzai remains of Jamal Garhi, near Peshawar. In most cases, the brick ornament was carved in the moist clay with a sharp tool and was not shaped in a mould. The same characteristics recur at Jamal Garhi.
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