An Encyclopaedia of Indian Archaeology v1.c16.s15.t2: 11.15.3 The Deccan and s. region

An Encyclopaedia of Indian Archaeology v1.c16.s15.t2

Language: English

11.15.3 The Deccan and s. region

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Fig. 35. Megalithic pottery, central India: 6, 9 red ware; rest, micaceous red ware

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most. The only feature common to all wares and all types of megaliths is the post-firing graffito [20.1] marks.

The Black-and-red Ware forms the major ceramic industry of the culture, excepting in the early chamber tombs of n. Karnataka, where the red ware predominates. The ware has a black interior (sometimes in portions of neck and shoulder as well) and red exterior, which is attributed to inverted firing [though other techniques are likely]. Its fabric varies from medium to fine. The common shapes in this ware including variants comprise several kinds of the dish, bowl, pedestalled bowl, tulip-shaped vase, conical vessel, small jar, carinated pot, funnel-shaped lid, etc. Some bowls have a carinated waist and conical vases have a ledge towards the bottom. A rare form is the legged jar from MASKI.

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A variety of Black-and-red Ware (as also red ware) which goes under the name of the Russet-coated Painted Ware [11.19] initially attributed to the ‘Āndhra’ culture (Wheeler, 1947-8, pp. 236 etc.) is found in numbers in Dts Coimbatore, Madurai and Tirunelveli as also in Kerala. There are straggling finds from PERUMBAIR in Dt Chingleput. The design repertoire comprises parallel wavy lines, horizontal/vertical bands, criss-crosses, triangles, diamonds, intersecting parallel bands, etc. A white-painted variety of the Black-and-red Ware is also reported from HALLUR.

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The red ware is of two varieties: (1) highly polished with bright-red slip, and (2) terracotta-coloured with a pale drab slip or wash. The ware is mostly plain but is occasionally decorated with incised lines and herringbone and pinnate-leaf patterns. Besides urns large storage jars are a predominant form. Other shapes include the legged jar carinated at the shoulder (more frequent in Dts N. Arcot, S. Arcot and Chingleput,) roundbottomed pot, ring-stand of squattish, elongated and hour-glass types, large conical based bowl, small vase with globular body, fusiform and pyriform jar, basin, lid, etc.

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The black ware, compared to the other two, does not seem to have been well-fired. But burnishing is of a very high order, especially in Dts Madurai, Pudukkottai and Tirunelveli. The ware is usually thicker than the Black-and-red Ware but thinner than the red ware. The funnel-slipped lid, tulip vase, lipped bowl, pedestalled cup, ring-stand of different varieties—the smaller ones squattish and the larger ones elongated or hour-glass-shaped—small pot, carinated bowl, etc., are some of the normal shapes. The ring-stand proliferates in the s. parts, particularly in Puddukottai, Madurai and Tirunelveli. Particular mention should be made of the knobbed and animal-topped lid-finial from ADICHCHANALLUR. From the habitations (but not from any graves) at HALLUR comes a variety of this ware bearing paintings in white both on the interior and exterior. The designs are mainly linear—oblique lines, bands and radiating lines at the ends of which are seen several perpendicular strokes. The shapes conform to the general forms in funerary assemblages. The ware is comparable with the corresponding ware of the Banas culture [4.14.1, 11.6.2] as seen at AHAR², GILUND, etc.

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Fig. 36. Megalithic pottery, central India: 1, 5, black-and-red ware: 2-4, 6-10, black wares

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Fig. 37. Megalithic pottery, south India and Deccan black ware

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The presence of mica dust indicates its possible use as *dégraissant* or as having been sprinkled on the surface when the pot was wet. Most of the vessels are decorated, the designs being finger-tip impressions, arches of tiny pin-hole dots, wavy lines, chevrons—plain and intersecting—oblique lines, etc. The common forms are the bowl, ring-stand, *loṭā*, small pot, tall round-bottomed vase, tall cylindrical multiflanged or corrugated vessel, lid either close-fitting or with flange and having human or animal finial, etc. The human form is shown either sitting on horseback or standing and holding a standard

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The pottery from the Nilgiri hills [4.17.9] is unique and forms a class by itself, not conforming to the normal Megalithic pottery, red ware of varying shades, sometimes burnished, being the sole ceramic industry. It is usually thick and not well-fired. Fine sand seems to have been the tempering material. The pottery is partially wheel-turned and partly (at the base) hand-modelled.

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or sword in its hand. The buffalo, cow, sheep, horse, elephant, camel, dog, goat, pig, peacock, fowl, leopard and tiger are some of the represented animals.

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Graffiti scratched on pots with a sharp tool before and rarely after firing are found on all wares and types, usually on the outside and occasionally inside. These are not restricted to any tomb or burial type and even to the Megalithic culture itself [20.1]. What they represent is still enigmatic. They have been variously thought to represent the owner's/potter's mark, signs from which the Brāhmī script was developed, symbols of punch-marked coins [3.1], etc. A comparative study of graffiti of the Chalcolithic and Megalithic cultures reveal that out of 61, 47 are common to both. The usual symbols are simple arrows, chevrons (connected or disconnected), double 'U's, turned 'N's, vertical lines, combinations of vertical and horizontal lines, ladders, door-jambs with lintel, trees, stylized animals, etc.

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Wheeler, R.E.M., 1947-8, in *AI*, 4, (for 'Andhra' ware). For sites see respective entries in vol. II.—K.S. RAMACHANDRAN