[Pramāṇa](https://indike.org/pramana/) › [Studies](https://indike.org/pramana/ins) › [Reference works](https://indike.org/pramana/ins.reference) › [An Encyclopaedia of Indian Archaeology](https://indike.org/pramana/ins.reference.ghosh-1989) › v1.c16 # An Encyclopaedia of Indian Archaeology v1.c16: 11 Pottery An Encyclopaedia of Indian Archaeology v1.c16 - **Language:** English ## Contents - [v1.c16.s1 11.1 Neolithic](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s1) — 18 parts - [v1.c16.s2 11.2 Pre-Harappa](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s2) — 15 parts - [v1.c16.s3 11.3 Harappa](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s3) — 12 parts - [v1.c16.s4 11.4 Late Harappa](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s4) — 12 parts - [v1.c16.s5 11.5 Ochre-coloured Ware (OCW)](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s5) — 1 part - [v1.c16.s6 11.6 Black-and-Red Ware (Non-Megalithic)](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s6) — 23 parts - [v1.c16.s7 11.7 Kayatha Ware](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s7) — 4 parts - [v1.c16.s8 11.8 Prabhas Ware](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s8) — 4 parts - [v1.c16.s9 11.9 Lustrous Red Ware](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s9) — 2 parts - [v1.c16.s10 11.10 Malwa Ware](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s10) — 5 parts - [v1.c16.s11 11.11 Jorwe Ware](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s11) — 3 parts - [v1.c16.s12 11.12 Savalda Ware](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s12) — 3 parts - [v1.c16.s13 11.13 Black-slipped Ware](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s13) — 8 parts - [v1.c16.s14 11.14 Painted Grey Ware (PGW) and Associated Wares](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s14) — 17 parts - [v1.c16.s15 11.15 Megalithic](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s15) — 11 parts - [v1.c16.s16 11.16 Northern Black Polished Ware (NBPW) and Associated Wares](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s16) — 21 parts - [v1.c16.s17 11.17 Vesiculated Ware](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s17) — 4 parts - [v1.c16.s18 11.18 Megarian Ware](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s18) — 3 parts - [v1.c16.s19 11.19 Amphorae](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s19) — 3 parts - [v1.c16.s20 11.20 Arretine Ware](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s20) — 2 parts - [v1.c16.s21 11.21 Rouletted Ware](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s21) — 2 parts - [v1.c16.s22 11.22 Russet-Coated Painted Ware](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s22) — 6 parts - [v1.c16.s23 11.23 Red Polished Ware](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s23) — 4 parts - [v1.c16.s24 11.24 Rang Mahal Ware](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s24) — 1 part - [v1.c16.s25 11.25 Celadon Ware](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s25) — 6 parts - [v1.c16.s26 11.26 Glazed Ware](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s26) — 3 parts ### 11 Pottery ### 11.1 Neolithic ### [v1.c16.s1.1](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s1.1) \*11.1.1 N.-w. region.\* See 4.6.1, BURZAHOM. ### [v1.c16.s1.2](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s1.2) \*11.1.2 Vindhyan region.\* The Neolithic sites in the Vindhyan region \[4.6.3\] have produced a homogeneous ceramic assemblage, entirely handmade with straw and rice-husks mixed in the clay which is not levigated as is evident by gritty core and porous surface of the pots. The assemblage as a whole is of thick fabric and is ill-fired. It can be divided into three groups, viz. the corded ware, the rusticated ware and the burnished ware, the last further sub-divided into burnished red and burnished black. Most of the pots belong to the corded ware group. ### [v1.c16.s1.3](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s1.3) Typologically the corded and rusticated wares are represented by: the straight-sided, deep and shallow bowl with featureless, everted, thickened or sharpened rim; storage jar; basin; and vase with broad mouth and carinated neck. The burnished red ware consists of the straight-sided deep and shallow bowl; jar; small vase; \*hāṇḍī\*; and basin. The burnished black ware has the bowl alone. The spouted bowl is shared by corded and burnished wares. The pottery is devoid of painting. Decoration is confined to corded patterns and incised and applied designs. The incised motifs consist of criss-cross, zigzag and oblique, horizontal or vertical parallel lines. The thumb impression or criss-cross lines constitute the applied pattern. Decoration by finger-imprints directly on the outer surface of pots has also been found on a few pieces. ### [v1.c16.s1.4](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s1.4) —V.D. MISRA ### [v1.c16.s1.5](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s1.5) \*11.1.3 The middle Ganga region.\* In the middle Ganga valley CHIRAND is the only known site with a Neolithic deposit \[4.6.4\]. The Neolithic pottery of the site has a coarse to medium fabric, the clay mixed with mica and sand. It is generally handmade, specimens made by the turntable method being very rare. It is a predominantly red ware industry, although examples of grey, pale yellow, black and black-and-red wares are not altogether lacking. It is significant that the types in the black-and-red ware are different from their Chalcolithic \[11.6.4\] counterpart. Numerous pots of grey ware show lustrous burnishing on their exterior, but their interior is usually rough and hard-brushed. The variety of types shows a clearly developed stage: for example the vase with broad mouth and narrow neck; the spouted vase; the vase with rusticated base; the bowl, including lipped one; the perforated bowl; the footed bowl; the oval bowl with broad lip; the bowl-with-stand; the 'begging' bowl; the footed cup; the channel spout; the miniature pot; the spoon or ladle; a knobbed sherd (shape unascertainable); the miniature handmade dish in red ware with double perforation at four points representing a toy balance, etc. The neck portion of the vase usually has an applied decoration which conceals the luting of the neck with the body. Specimens with mat impression and post-firing graffiti are also present. Some vessels show applied notch-designs and engravings. Painted specimens and slipped and plain sherds are also not lacking. Post-firing paintings in ochre colour are usually noticed on blackish-grey bowls and a few black-and-red pieces but rarely on red ware specimens. The common painted designs include the cross, concentric semicircles, wavy lines and dots. ### [v1.c16.s1.6](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s1.6) —S.R. ROY ### [v1.c16.s1.7](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s1.7) \*11.1.4 E. region.\* Neolithic pottery has been found at three different sites, viz. DAOJALI HADING in North Cachar Hills and SARUTARU in Dt Kamrup, both in Assam, and SELBALGIRI in Garo Hills, Meghalaya \[4.6.6\]. At all the sites sherds of indeterminate shapes (complete vessels being absent) occur along with smooth and ground stone tools \[4.6.6\] in stratigraphic contexts which are free of metal. The largest quantity of ceramic material is available from DAOJALI HADING (Sharma, 1967, pp. 126-8), where a limited excavation yielded over 600 shapeless sherds. An analysis of the material reveals that a large number of vessels are made of coarse and impure clay, heavily tempered with large quartz and sandstone grits. A small percentage (2%) of plain red ware, made of a well-prepared fine clay and seemingly turned on a mechanical device, appears to be extraneous to the dominant ceramic tradition at the site, about 98% being handmade. In some cases the coil or ring-building method is used for heightening the wall of the pots. The final shape of the pot is given by beating with a beater, generally a slat of wood often wrapped with a string or a cord or made rough by engravings—a device adopted by primitive potters in order to prevent the instrument from sticking to the wet clay, as demonstrated by Wu (1938, pp. 32-3) with reference to the cord-marked pottery in China. Pots made by this process show on the outer surface impressions of string or cord as well as the impressed designs of the grooved beaters, while the inner surface bears marks of the pad, which was used to support the wall of the pot at the time of beating \[cf. potters' dabbers, 16.11\]. The pad may be a pebble wrapped with hide or cloth, but sometimes the potter would use the back of his free hand for this purpose. The cord-marked pottery is predominantly grey in colour. Brown and chocolate brown sherds show evidence of smoothing on the interior surface of the wall. A small percentage (3%) of grey ware has incised herring-bone designs. ### [v1.c16.s1.8](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s1.8) The pottery of SARUTARU also does not show any complete shape. The whole range of pottery is handmade, coarse, gritty and unslipped. Brown pottery predominates, grey one being in a minority. On the exterior the pottery is sometimes decorated with cord-impressed basket designs (Rao, 1973, pp. 4-6). ### [v1.c16.s1.9](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s1.9) The pottery found at SELBALGIRI is handmade, coarse and gritty in fabric and grey, grey-brown or dull brown in colour, with a very rough texture due to the presence of quartz grits in the clay. The pottery is without decoration and impressed designs (IAR 1967-8, p. 8). ### [v1.c16.s1.10](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s1.10) Fig. 24. Daojali Hading: cord-impressed, basket-pattern and beater-impressed pottery ### [v1.c16.s1.11](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s1.11) The distribution and cultural significance of the cordmarked pottery is well known. It occurs as a dominant ceramic ware in association with chipped and ground stone tools including shouldered celts over a wide region in e. Asia comprising China and S.-E. Asia (Cheng Te-k’Un, 1959, p. 80; Chang, 1963, p. 129; Gorman, 1971, p. 303). The cord-marked Neolithic pottery of Assam no doubt belongs to this e. Asian Neolithic tradition. ### [v1.c16.s1.12](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s1.12) Chang, K.C., 1963, \*Arch. of Ancient China\*, New Haven. Cheng Te-k’Un. 1959, \*Arch. in China\*, I, \*Prehistoric China\*, Cambridge. Gorman, C., 1971, in \*World Arch.\*, 2, pp. 300-20 (for early subsistence pattern in S.-E. Asia). Rao, S.N., 1973, in \*Bull. Dept of Anthropology Dibrugarh Univ.\*, 2, pp. 1-9 (for Sarutaru). Sharma, T.C., 1967, in \*Man\*, N.S., 2, pp. 126-8 (for Neolithic pottery of Assam). Wu, G.D., 1938, \*Prehistoric Pottery in China\*, London.—T.C. SHARMA ### [v1.c16.s1.13](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s1.13) \*11.1.5 The Deccan and s. region.\* The distribution of the Neolithic pottery in the Deccan and s. India is naturally conterminous with that of the Neolithic cultures in the regions \[4.6.7-10\] and encompasses large tracts of Karnataka, Andhra Pradesh and Tamil Nadu, with the Bhima and Kaveri forming the n. and s. limits respectively, Dt Dharwar the w. and the Krishna delta the e. Notwithstanding certain minor regional differences, the ceramic industry presents a fairly homogeneous picture Such pottery has also been found as one of the elements of the ceramic industry at several Chalcolithic settlements in Maharashtra \[4.14.6\]. In fact there is a possibility that at sites like DAIMABAD it represents a truly Neolithic phase. The chief excavated Neolithic sites (some of them in reality Neolithic-Chalcolithic) are: KODEKAL, MASKI, PIKLIHAL, TERDAL, TEKKALKOTA, SANGANAKALLU, HALLUR, BRAHMAGIRI, Ț. NARSIPUR, HEMMIGE, UTNUR, SINGANAPALLI, PALAVOY, NAGARJUNAKONDA and PAIYAMPALLI. ### [v1.c16.s1.14](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s1.14) The clay used for this pottery is generally micaceous and mixed with grit or sand. The wall thickness ranges from 0·5 to 2 cm. Almost the whole range is handmade; the turntable and the dabber and anvil are the two main techniques employed. Scraping of the inner surface with a bunch of grass is another technique, more particularly in the black-on-red painted pottery of the A~3~ fabric. In many cases the rim and the base are made separately and luted to the body later on. Secondary devices like the knob, lug, loop-handles, lips, spouts, legged stands and ring bases are made separately and subsequently affixed to the body. The pots are baked in an open kiln at temperatures ranging between 500°C and 800°C. Blotchiness on the surface is a constant feature of this pottery. Grey and buff wares are the two chief fabrics of the industry. Coarse and burnished varieties occur in both these fabrics, burnishing being sometimes done over a thin slip. In some cases the outer surface is intentionally roughened. Black ware is found in small quantities at some sites. Typical white-painted black-and-red ware has been found in Phase II at TEKKALKOTA. ### [v1.c16.s1.15](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s1.15) Apart from these fabrics the industry is characterized by the occurrence of two varieties of painted pottery, viz. the A~3~ and AB wares. The A~3~ ware occurs in small quantities at almost all sites and right from the lowest levels. In certain localities like Dt Kurnool it forms one of the chief fabrics, thereby bespeaking some sort of local specialization. The outer surface is treated with a red, brown or chocolate-coloured dressing and painted in purple or black before firing. The AB ware, also a black-on-red variety closely recalling the Jorwe Ware of Maharashtra \[11.11\], occurs at a few sites in n. Karnataka. In fact, the typical Jorwe Ware is also known from certain sites in Dts Bijapur and Gulbarga. ### [v1.c16.s1.16](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s1.16) The surface decorations consist of (i) paintings, (ii) incised decorations, and (iii) other decorations. The paintings are either post-firing or pre-firing. The former is found on vessels of grey and buff wares and takes the form of red ochre bands applied on the neck and rim. Pre-firing paintings are found on the A~3~ and AB wares. The designs are essentially geometric and consist of vertical, horizontal or oblique lines and criss-cross patterns. Incised decoration is known from practically every Neolithic site, the designs including vertical, horizontal or oblique strokes and lines and herring-bone pattern. Of other decorations mention may be made of applied, finger-tip and combed ones. ### [v1.c16.s1.17](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s1.17) The vessels can be classed into over 60 shapes. The most common are the bowl and basin of various forms and sizes, shallow platter and dish, lipped and channel-spouted bowl, open-mouthed jar, narrow-necked jar, bell-shaped jar and spouted pot. These were put to a wide range of domestic uses—storing and carrying liquids, storing grain, cooking and serving of foods, etc. Mention should also be made of the wide-mouthed jar with rounded base used for burying the dead. Over and above are certain rare types like the legged and pedestalled bowl, perforated bowl and pot with collared neck which were apparently meant for some specialized uses. ### [v1.c16.s1.18](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s1.18) About two dozen available ^14^C dates would place the culture between \*c.\* 2400 and 1000 B C. Two phases can be distinguished within this time-span: a lower phase extending between 2400 and 1800 and an upper phase dating between 1800 and 1000 BC The A~1~ pottery is very typical of the lower phase, while the AB and Jorwe wares and black-and-red ware occur towards the close of the upper phase. The other fabrics are found in both the phases. ### 11.2 Pre-Harappa ### [v1.c16.s2.1](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s2.1) Pre-Harappa \[4.8\] pottery was identified within the limits of India first by Ghosh, 1952, at SOTHI, a small mound located on the ancient bank of the DṚṢADVATĪ, though on this single-culture mound it was not possible to recognize it as pre-Harappan—a fact which was established in the later excavation at KALIBANGAN. Subsequent explorations have found this Sothi/Kalibangan I Ware distributed practically all over the Indo-Ganga divide, its spill-over being located at various sites in Pakistan, such as Bhoot on the Hakra, the continuation of the Ghaggar, Nara, Jalilpur on the Ravi and Gumla on the Gomal. Significantly enough there is hardly any Harappa site in the Indo-Ganga divide from where this ware is not reported. ### [v1.c16.s2.2](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s2.2) Stratigraphically the Sothi Ware is found not only in the pre-Harappa levels but also in the Harappa \[4.9\] levels, at times even in the levels which appear to be late Harappa \[4.10\] and also post-Harappa, as at MITATHAL, Dt Hissar. It therefore covers at least the latter half of the 3rd to the first half of the 2nd millennium B.C. A few uncalibrated ¹⁴C dates place one of its early phases in the middle of the 3rd millennium. Besides KALIBANGAN, the excavated sites which have yielded this ware in the pre-Harappa levels are BANAWALI and SISWAL on the SARASVATĪ. ### [v1.c16.s2.3](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s2.3) The ceramic assemblage is characterized by a bichrome painted ware turned on the wheel. The surface is dull red on which the decoration is done in black and white pigments. The latter is however used mainly as a subsidiary colour for adding dots and dashes or for filling in solid blanks in order to heighten the effect of paintings by bringing them in relief. The painted designs include a large number of geometric patterns, such as horizontal bands (sometimes as thick as the height of the neck), loops, wavy lines, concentric arches and meanders, 'moustache motif', rows of dots, cross-hatched triangles and semicircles, solid opposed triangles or 'butterfly' lenticulars, horizontal and vertical chains, tridents and squares, as well as a dozen faunal and floral motifs, such as the stag, ibex, duck, cock, scorpion, fish, bull-head, pipal leaf, cacti-like plant, flower bunds, tall grass and tree, including the palm. The geometric patterns and floral motifs have often been placed side by side to increase the pictorial effect. As a rule the geometric patterns are arranged in friezes although they frequently occur in panels also. Some pots are decorated with incised patterns like wavy lines and criss-cross designs. By and large the fabric is fine, the firing is good and the section is thin, except in large pots. While some of the medium-sized globular vessels are with high pedestals and ring bases others are characterized by flat bases. ### [v1.c16.s2.4](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s2.4) There are however a number of cognate wares, each distinguished mainly by its characteristic fabric, since in forms and decorations they share each other's repertoire. At KALIBANGAN where the pre-Harappa pottery has been found in large quantities in a well-stratified context the pottery has been grouped into six categories—Fabric A to Fabric F (\*IAR 1962-3\*, p. 20). ### [v1.c16.s2.5](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s2.5) Fabric A includes vessels made on the wheel somewhat carelessly. Comparatively light and thin in section and red to pinkish in colour, the pots—usually the vase and bowl—are painted in black interspersed with white in a somewhat free style. The painted designs are by and large geometric. ### [v1.c16.s2.6](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s2.6) Fabric B includes vessels made carefully, generally on the wheel. Comparatively heavy and thick in section and dull red in colour, the pots—usually the storage jar—are slipped up to the shoulder and rusticated below, i.e., the lower surface is first covered with a clayey solution, often mixed with sand, and, while wet, roughened by horizontal wavy combings or by tortoise-shell or dendritic impression. The pots bear faunal and floral representations. ### [v1.c16.s2.7](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s2.7) Fabric C includes vessels turned on the fast wheel in a very careful manner and betray sophistication. They are made of a very fine clay and slipped smoothly in shades of red and plum or purple-red. The pots—the globular and ovoid vase, straight-sided bowl, dish, and dish-on-stand—are painted essentially in black in designs usually geometric but sometimes combined with naturalistic motifs. ### [v1.c16.s2.8](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s2.8) Fabric D includes vessels, extra thick and sturdy, often partly handmade and partly moulded and wheel-thrown. The pots—the heavy jar, bowl, basin and trough—are dull red and decorated usually with deeply incised patterns executed with a reed, generally wavy lines but sometimes with other patterns also, geometric as well as floral. The pots are painted sparingly, only with horizontal bands and loops. ### [v1.c16.s2.9](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s2.9) Fabric E includes vessels slipped with buff or reddish-buff solution. The texture is medium. The pots—the jar, dish, bowl, dish- and bowl-on-stand, chalice, etc.,—are dull red to pink in colour with paintings executed in black to purple pigment interspersed with white. The designs and motifs are both geometric and naturalistic. ### [v1.c16.s2.10](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s2.10) Fabric F includes grey-coloured pottery of medium fabric. The pots—the basin, dish-on-stand, bowl, vase, etc., as met with in other fabrics also—are found painted in black and white pigments. The decorations include geometric designs. ### [v1.c16.s2.11](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s2.11) It appears that the Sothi Ware in India is not the only one immediately underlying the Harappa. In Punjab its counterpart has been called the BARA Ware, after a site located on the Sutlej. Like the Sothi, the Bara Ware also continued to be in vogue during the Harappa and late Harappa phases at sites like ROPAR, KOTLA NIHANG KHAN, SARANGPUR and SANGHOL. It is also a wheelturned red ware with paintings executed in black, but by and large it is thicker and sturdier and also deeper in colour than the usual Sothi Ware. Decorative motifs are generally geometric but are restricted in variety. It may however be pointed out that the Bara Ware is not likely to have flourished in isolation. On the one hand a few of the decorative motifs show similarity with those found at some of the well-known sites in Baluchistan and Sind, such as Damb Sadaat and Kot Diji, and on the other a few show similarity with those occurring on pots in Fabrics B, D and F of KALIBANGAN. ### [v1.c16.s2.12](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s2.12) \*\*Fig. 25. Kalibangan: painted motifs on pre-Harappan pottery\*\* ### [v1.c16.s2.13](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s2.13) In Gujarat a pre-Harappa ware found at LOTHAL is called the Micaceous Red Ware with simple linear designs in black, executed occasionally on the exterior. At sites like KAYATHA in Malwa some decorative elements resembling the Sothi Ware decorations occur on pots from levels which are likely to have been a late contemporary of the Harappa. In w. Uttar Pradesh also some elements of painted and incised decorations appear to have continued in the OCW \[4.12\] at sites like Lal Qila. ### [v1.c16.s2.14](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s2.14) Fig. 26. Kalibangan: pre-Harappan pottery ### [v1.c16.s2.15](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s2.15) Ghosh, A., 1952, in \*Bull. National Inst. of Sciences in India\*, 1, pp. 37-42. For sites see respective entries in vol. II—S.P. GUPTA ### 11.3 Harappa ### [v1.c16.s3.1](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s3.1) The Harappa Ware \[4.9\] has generally a red surface and is wheel-made, although handmade specimens are also available. The clay is well-levigated. The regular striation marks suggest the use of fast spinning wheel. It has sand or lime or both as \*dégraissant\*, the former often having a substantial quantity of mica. The ware is sturdy and well-fired. Most of the pots, which are utilitarian in character, have flat bases, whereas certain types are peculiar in having pointed bases which require jar-stands. The technique of manufacturing is not very clear, although it is likely that in some cases the neck of the pot was made separately, the joints obliterated inside and outside in final trimming. The slip varies from a thin to thick coating, coloured either red or cream. It is generally the upper part of the pots that is covered with slip, the lower portion being left rough and sometimes decorated with cord impression. A few sherds have graffiti \[20.1\] such as also occur on the seals. ### [v1.c16.s3.2](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s3.2) The main types are: (1) the dish-on-stand or offering stand of varying sizes, which was in common use, falling into three groups, viz. squat-formed, long-plain-stemmed and moulded-stemmed, the first being most common at Mohenjo-daro; (2) the beaker, also a common type, with slightly varying forms; (3) the goblet, characteristically tall and with solid base; (4) the basin, sturdy in appearance, also varying in shape; (5) the jar-cover or lid found in large numbers, falling into two groups, one with a lid-like appearance and other like a dish with a projection in the middle by which they can be lifted; (6) the cylindrical jar with a wide flat base showing string grooves—a rare type; (7) the handled cup, an interesting type; (8) the jar-stand found in large numbers in varying sizes at all levels, also occurring in stone, mostly alabaster; (9) the perforated pot, tall and cylindrical in form, the holes possibly made by the pushing a stick through the damp clay from the outside, so that a blurred edge is left on the inside of the hole, in most cases one or more holes of a large size being punched at the base with a number of smaller holes around it; (10) the storage-jar of two varieties—square with large mouth and tall with narrow mouth, with finger-groove marks inside and painted designs outside (possibly these jars were first built up from a number of strips of clay and then placed on the wheel for a final turning up; and (11) other pots including miniature ones. ### [v1.c16.s3.3](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s3.3) Pots in other wares such as buff, grey and black-and-red \[11.6.1\] are also available. However the last is confined to Kutch and Saurashtra regions. ### [v1.c16.s3.4](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s3.4) The Harappa pottery is characterized by its typical painted designs. Paintings in black pigment are invariably arranged in horizontal registers on a carefully prepared red ground. Pots painted all over are rare, more often only the upper part being painted and lower one decorated with black bands only. The designs are horizontal bands, dots or linear and geometrical patterns, but sometimes realistic figures—human as well as animal—also occur. Realistic motifs consist of curvilinear bracket patterns within the bands of a deeply undulating band, diamond or chess-board checks into a number of compartments in which are depicted human figures, birds, fish, animal and trees. Fish-scales, loops, chain patterns, intersecting circles and predilection for acacia and pīpal leaf are other motifs. Incised decorations are uncommon. Cord impressions are met with on storage jars and basins. ### [v1.c16.s3.5](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s3.5) In Gujarat the Harappa Ware witnessed different developments. At LOTHAL along with the mature Harappa types, such as the goblet, beaker, dish-on-stand, S-shaped vessel, perforated cylindrical jar, basin, etc., a distinctive white-painted black-and-red and a cream-slipped ware are found. Here was developed a new style in painting wherein animals were drawn in a more realistic way and folk-tales such as the story of 'the cunning fox and the crow' formed the subject matter. RANGPUR II A represents the mature stage of the Harappa fabric in Gujarat. The late Harappa phase \[4.10\] represented by LOTHAL II, RANGPUR II B, ROJDI I B and PRABHAS I A is marked by a decline. Apart from the inferiority of the fabric in firing, surface treatment and decoration, the convex-sided bowl of the mature Harappa shows change, whereas the beaker, goblet, small jar and basin gradually disappear and are replaced by the newly evolved forms. ### [v1.c16.s3.6](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s3.6) At SURKOTADA in Kutch is found a reserved slip ware along with a polychrome and polytone cream-slipped ware. In Phase B and Phase C a white-painted black-and-red ware akin to that of AHAR² \[11.6.2\] is also present. At DESALPUR, where the typical shapes are limited, the handled sauce-pan in red ware with a deliberate curved top for a firm grip, starting with the mid-levels of the mature phase, is in profusion in late phase. ### [v1.c16.s3.7](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s3.7) In RANGPUR II C there is no break with the preceding period, though such distinctive forms as the footed goblet, etc., disappear and new painted motifs including antelopes and bulls make their appearance. The phase is also marked by the presence of the fine Lustrous Red Ware \[11.9\]. ### [v1.c16.s3.8](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s3.8) In the peripheral region of the Harappa culture from the Sutlej to the Yamuna, characteristic Harappa forms in red ware like the dish with projected rim and carinated shoulder, the globular vessel with a flange round the neck, the shallow dish with incurved rim, the perforated pot and the jar-stand with a concave profile are noticed but in a limited number, whereas a few new types such as the dish-on-stand with drooping rim, the jar with horizontally splayed-out rim, the medium-sized jar with everted rim, the bowl-like lid with central knob and a few miniature pots with a ring or pedestalled base are in profusion. The type sites are ROPAR and ALAMGIRPUR. In thick grey ware the types are limited. The painted motifs comprise simple bands, triangles, mat designs, rows of hatched diamonds with horizontal bands, chains within bands, leaf patterns and dancing peacocks with hatched body or crane. The incised decorations have parallels at BARA, the position of which is enigmatic. The Harappa pottery of this region has some typological affinities with the OCW \[4.12\] which is circumstantially associated with Copper Hoards \[4.11\]. ### [v1.c16.s3.9](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s3.9) The pre-Harappa cultures \[4.8\] of KALIBANGAN, NOHAR, SOTHI, SISWAL, BANAWALI and MITATHAL co-existed with the Harappa for some time at least in their transitional phase. The Baluchi cultures of Quetta, Zhob, Loralai, Surab and Mashkai valleys never came in contact with the Harappa. After Rana Ghundai III and Sur Jangal III, when the Harappans appeared on the scene all earlier cultures of Baluchistan had probably ceased to exist. Kulli is proto-Harappa but at places it is found with mature Harappa. The Harappa levels at Balakot points to the interaction with non-Harappan people to the w. Here good examples of the Kulli ware accompanied by elaborately painted clay bull figurines in the Kulli style are found intermixed with the mature Harappa pottery. ### [v1.c16.s3.10](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s3.10) \*\*Fig. 27.\*\* Harappan pottery ### [v1.c16.s3.11](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s3.11) Phase I D of Amri heralds the introduction of humped-bull painted motifs in the Indus valley. Pd II of Amri is called an intermediate one because of the appearance of Harappa sherds along with the Amri facies. The Pd could be correlated with Damb Sadaat III, Kot Diji I and post-Cemetery Nal, while Pd III is Harappa. According to one school of thought the Harappa culture is the natural culmination of the pre-Harappa cultures, such as at Amri, Kot Diji and SOTHI. In KALIBANGAN I the pottery \[11.2\] and antiquities used by the pre-Harappans are not basically different from those of the Harappans. Fabric A is non-Harappa but Fabric C and E are quite akin to the Harappa. So is the case with many shapes and typical painted motifs—fish-scale, intersecting circles, \*pipal\*-leaf and banana plant. \[see also 4.9\]. ### [v1.c16.s3.12](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s3.12) Nigam, J.S., 1979, in Agrawal, D.P., & Chakrabarti, D.K., ed., \*Essays in Indian Protohistory\*, Delhi, pp. 135-61. Wheeler, M., 1968, \*Indus Civilization\*, Cambridge (with references). For sites see respective entries in vol. II.—K.N. DIKSHIT ### 11.4 Late Harappa ### [v1.c16.s4.1](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s4.1) The term ‘late Harappa’, in contradistinction to the early and middle stages of the development of the Harappa culture \[4.9\], implies a stage of decline and decay viewed from the cyclic concept of cultural development. Recent investigations have exploded the idea of a uniformity of the culture in time and space and its regional traits are growing apparent. Though present at all the stages of the culture, such traits seem to be more pronounced in the latest stage. The late Harappa pottery is an index to the character of the late Harappa culture \[4.10\]. It comprises the Harappa, degenerate Harappa and non-Harappa elements woven into evolving regional matrices, the first element representing the great tradition—its unifying trends over the extensive area of its spread—and the last two elements reflecting the little traditions having regional moorings, all the three elements together producing varied manifestations depending upon the degree of interaction between the major components of the ceramic cultures. ### [v1.c16.s4.2](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s4.2) The late Harappa pottery can be broadly divided into four regional groups—Sind, Gujarat, Punjab and the Sutlej-Yamuna basin. Of these the first may be left out of account here. ### [v1.c16.s4.3](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s4.3) \[In Gujarat the late Harappa pottery is typified in Pd II B of RANGPUR (Rao, 1963, pp. 22, 86), its features being the indifferent treatment of the surface of the vessels, the coarseness of the fabric and the rarity of the characteristic Indus goblet and beaker, the paintings being generally careless. Many Harappa shapes continue, if in a modified form. See also 4.10.\] ### [v1.c16.s4.4](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s4.4) In n. India the late Harappa pottery comprises of two major strands, viz. the Harappa proper and the SISWAL, both characterized by an evolution in forms and surface decorations. The pottery bearing Harappa traits may be called late Harappa proper, while the types derivable from the Siswal tradition may be termed the degenerate Siswal. The two strands have fused together in different proportions, but their distinctive characters seem to be determined by the associated local ceramic traditions. ### [v1.c16.s4.5](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s4.5) The pottery of the late Harappa proper is of medium fabric, slightly inferior in levigation to that of the classical Harappa. It is predominantly wheel-thrown and a tendency towards thicker and sturdier vessels can be clearly discerned. It is treated with light or dull red slip, the bright red slip of the classical Harappa being absent. The following are the diagnostic types, all derived from the Harappa shapes: (1) the storage jar with wide mouth and thick projected rim; (2) the storage jar with narrow mouth, thick projected rim and tapering shoulder; (3) the storage jar with narrow mouth, beaded or collared rim and globular body; (4) the vase with beaded or beaked rim, high concave neck, globular body and disc base; (5) squat base with splayed-out rim, ribbed shoulder and rusticated bottom; (6) the tall vase with flaring rim and pedestalled foot; (7) the dish-on-stand with projecting rim, carinated shoulder and tall stand flanged at the top; (8) the dish-on-stand with drooping rim and broad squat stand; and (9) the dish-on-stand with deep dish, projected undercut rim and squat stand. Certain classical Harappa shapes such as the beaker, goblet, perforated jar, S-shaped tall vase and pyriform jar fell out of use. ### [v1.c16.s4.6](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s4.6) The degenerate Siswal ware associated with the late Harappa ware is of a slightly better levigated fabric than the earlier Siswal ware. The bulk of the pottery is now turned on the wheel and is better fired. The surface is generally treated with a slip ranging from light red to dull red in colour. Buff and grey wares are extremely rare. The use of the wheel, better fabric and red slip of this pottery of Siswal tradition has blurred its distinctiveness. Handmade vessels are limited in number and mainly comprise the dough plate. Although the bulk of the shapes in the red ware can be derived from Fabric A of the early Siswal (Kalibangan I) ware, the use of white pigment is absent in paintings. On the basis of treatment and surface decoration the red ware broadly simulates Fabrics B, C and D of the early Siswal ware. Buff and grey wares, though rare, attest to the continuity of the early Siswal Fabrics E and F. ### [v1.c16.s4.7](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s4.7) The typical shapes of the ware are the following types: (1) the jar with flanged rim, high neck and globular body; (2) the vase with flaring rim and globular body; (3) the vase with obliquely cut out-turned rim and globular body; (4) the \*loṭā\*-shaped vase; (5) the vase with wide strap handle; (6) the bowl with convex sides; (7) the bowl with everted rim and carinated shoulder; (8) the bowl with flaring rim and ring base; (9) the basin with flaring rim; (10) the basin with undercut rim and pedestal base; (11) the trough with shallow grooves on the interior; and (12) the bowl-like lid. ### [v1.c16.s4.8](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s4.8) The late Harappa pottery is on the whole profusely painted and decorated with incised designs. The painting is generally executed in black over a red slip. Sometimes chocolate pigment has been used over a pinkish-red or buffish background. The use of red colour in addition to black is sometimes noticed on the late Harappa pottery of Gujarat. ### [v1.c16.s4.9](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s4.9) The main designs comprise linear, geometric and naturalistic motifs. The designs are repetitive and less carefully executed. The naturalistic designs are generally stylized. The painting is done in horizontal registers, sometimes subdivided into panels on the upper portions of the vessels. The common linear designs include black bands, horizontal, vertical, obliquely flowing and zigzag lines and loops. The geometric designs comprise hatched triangles, diamonds and rectangles, semicircles, criss-crosses, chevrons, opposed triangles, ladders and Maltese cross. Among the naturalistic motifs may be mentioned branches, hatched leaves, flowers, lotuses with stalk, honeycombs, eye-lid designs, horns, fish, peacocks, cranes, etc. The reserved slip technique is crudely imitated by the scratching of the thick black band on a few sherds from MITATHAL II B. A good number of design elements can be traced to the pre-Harappa tradition. ### [v1.c16.s4.10](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s4.10) The incised designs are drawn both on the interior and exterior of vessels. These are executed with sharp teethed instruments, bamboo chips and finger marks or by impressing cord on the wet surface. Large troughs are incised with shallow grooves on the interior in imitation of Fabric D of the early Siswal. Large storage, water or cooking vessels are rusticated on the exterior and decorated with finger or palm impressions, somewhat comparable with Fabric B of the early Siswal tradition. The most characteristic incised designs on the late Harappa pottery represent vertical, oblique or flowing grooves generally overlapping horizontal grooves at the shoulder of cooking \*hāṇḍīs\* and can be traced back to early Siswal ware from the type site. ### [v1.c16.s4.11](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s4.11) \[For some possible relationship between the late Harappa pottery and OCW, see 4.12 and BAHADRABAD. For an overlap between the former and PGW, \[4.15\], see BHAGWANPURA,² DADHERI and NAGAR.\] ### [v1.c16.s4.12](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s4.12) Rao, S.R., 1963 & 1964, in \*AI\*, 18 & 19. Sharma, Y.D., 1976, in \*Arch. Congress & Seminar 1972\*, Kurukshetra, pp. 5-15. Suraj Bhan, 1964, in \*Vishveshvaranand Indological Jour.\*, 2; 1973, in Agrawal, D.P., & Ghosh, A., ed., \*Radiocarbon & Indian Archaeology\*, Bombay, pp. 253-63; 1973, "Prehistoric \*Arch.\* of the Sarasvati & Drishdvati Valleys", Baroda, unpublished thesis; 1975, \*Excavation at Mitathal (1968) & other Explorations in the Sutlej-Yamuna Divide\*, Kurukshetra. Suraj Bhan & Shaffer, J.G., 1978, in Man & Environment, 2, pp. 59-68. For other sites see respective entries in vol. II.—SURAJ BHAN ### 11.5 Ochre-coloured Ware (OCW) ### [v1.c16.s5.1](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s5.1) See 4.12 ### 11.6 Black-and-Red Ware (Non-Megalithic) ### [v1.c16.s6.1](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s6.1) Whereas in the Megalithic culture of the Deccan and s. India \[4.17.8-11\] the Black-and-red Ware forms a distinctive diagnostic trait \[11.15.3\], its wide spatial and chronological distribution in other cases \[4.13\] discourages any belief in its having been anything more than a pottery-making technique, which produced vessels black in the interior and on the exterior top and red on the exterior body. Experiments with similar ware from Egypt, where it is called the black-topped ware, have shown that the body of the pot was first rubbed with red ochre and then burnished, whereafter the dry pot was placed upside down in the kiln with the top buried in a layer of saw-dust. The portions which did not receive any air in the kiln, i.e. the top and the interior, turned black in the reducing condition of the kiln and the part exposed to air, i.e. the exterior body, turned red in the oxidising condition (Coles, 1973, p. 152). Other techniques however are also possible. ### [v1.c16.s6.2](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s6.2) Following the convention of the ASI, in this work when the ware relates to the Megalithic culture the words begin with capital initials and elsewhere with small ones. ### [v1.c16.s6.3](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s6.3) Coles, J., 1973, \*Archaeology by Experiment\*, London—A. GHOSH ### [v1.c16.s6.4](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s6.4) \*11.6.1 Harappa.\* Limited quantities of the black-and-red ware occur in the \*milieu\* of the Harappa culture \[4.9\] in Gujarat (Rao, 1962 and 3, 1973), the important sites being LOTHAL, RANGPUR, ROJDI, DESALPUR and SURKOTADA. Like the other ceramics of the culture the vessels in this ware are made of well-levigated clay and burnished to produce a smooth surface. The black portion on the upper part of the exterior makes a horizontal line. The convex-sided bowl, similar to that in red ware, is the dominant type. The stud-handled bowl, the bowl with everted rim and convex body often with blunt carination and the simple dish are the other restricted types. The vessels are often painted on the interior black surface with white strokes, wavy and vertical lines in groups, concentric circles, arcs and criss-crosses. ### [v1.c16.s6.5](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s6.5) Rao, \[1962 and 63, p. 64\], claims that the black-and-red ware found with the later Lustrous Red Ware \[11.9\] is devolved from the Harappa, in spite of the types being different. ### [v1.c16.s6.6](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s6.6) Rao, S.R., 1962 & 63, in \*AI\*, 18 & 19; 1973, \*Lothal & the Indus Civilization\*, Bombay. For other sites see respective entries in vol. II.—K.M. SRIVASTAVA ### [v1.c16.s6.7](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s6.7) \*11.6.2 Banas and c. region.\* White-painted black-and-red ware was first discovered in 1952-3 at MAHESHWAR and NAVDATOLI along with the Malwa Ware \[11.10\] in the Chalcolithic levels and subsequently in 1961-2 at AHAR.² Exploration has brought to light about 50 sites, most of them in the Banas valley, but the ware had a far-and-wide distribution with uncertain and doubtful links from zone to zone \[4.13; 11.6\]. In Rajasthan and Madhya Pradesh the following are the important sites: AHAR² and GILUND, Dt Udaipur; NOH, Dt Bharatpur (connection with the Banas ware nebulous); BHAGWANPURA, Dt Chittaurgarh; NAVDATOLI and MAHESHWAR, Dt Nimar; AWRA, Dt Mandsaur; ERAN, Dt Sagar; and KAYATHA, Dt Ujjain. In Gujarat the ware appears in Harappa association \[11.6.1\]. ### [v1.c16.s6.8](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s6.8) The vessels in the concerned region are small, and the absence of medium and large vessels suggests that they were used as table ware. The range of shapes is limited, the most predominant being the bowl, though such forms as the saucer/lid, bowl/dish-on-stand and small globular pot also occur. The bowl has a convex, bulging, bluntly-carinated, concave-carinated or converging side. The lid is shallow and has a flaring side. The bowl/dish-on-stand has a cylindrical stem. ### [v1.c16.s6.9](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s6.9) AHAR², a type site of the Banas culture, provides a number of clues for the understanding of the shaping technique of this ware. The sections are medium to thin and show that well-levigated clay was used. Striation marks indicative of the use of wheel are absent, but instead the inner surface of a number of sherds bear irregular scooping marks. This shows that excess clay was removed to make the vessel thin when it was in leather-hard condition. Another feature is that that the rim was luted when the main body was leather-hard. The uneven, shallow and broad depressions on the inner surface of the base suggest the use of dabber \[16.12\] in shaping them. It is thus evident that the vessels were made entirely by hand. ### [v1.c16.s6.10](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s6.10) The vessels are generally decorated on the outer surface below the rim and sometimes on the inner side as well. The decorations are in the form of white-painted patterns executed before firing. The designs have a very limited range, formed generally by straight lines. wavy lines, zigzags, curved lines and dots. Short lines and dots are used as space-fillers. The designs consist of: diamonds—simple, hatched, latticed, double-lined; hatched triangles; groups of lines—straight, wavy and zigzag, vertical, slanting or horizontal; concentric curved lines; radiating groups of arches; chevrons; circles; and dots. Spirals are drawn individually, connected in a row attached to lines and between the angles of zigzag lines. ### [v1.c16.s6.11](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s6.11) A very small number of sherds bear graffiti \[20.1\] on the inner side of the vessel. The designs are ladder pattern, chevrons and bisected circle. \[For chronology see AHAR ², NAVDATOLI\]. ### [v1.c16.s6.12](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s6.12) Dhavalikar, M.K., 1969, in \*Purātattva\*, 2, pp. 35-40 (for Tekwada). Lucas, A., 1948, \*Ancient Egyptian Materials & Industries\*, London, pp. 432-7. Mujumdar, G.G., 1969, in Narain, A.K., ed., \*Seminar Papers on the Problem of Megaliths in India\*, Varanasi (for technique). Singh, P., 1969, in Sinha, B.P., ed., \*Potteries in Ancient India\*, Patna, pp. 67-74. For sites see respective entries in vol. II.—Z.D. ANSARI ### [v1.c16.s6.13](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s6.13) \*11.6.3 Upper Indo-Ganga region\*. The black-and-red ware occurs in diverse geographical and chronological contexts, and even in the upper Ganga valley in two different phases—A, pre-PGW at ATRANJIKHERA and NOH, and B, with the PGW \[11.14\] at practically all sites associated with the latter, such as AHICCHATRA, ALAMGIRPUR, ALLAHAPUR, ATRANJIKHERA, HASTINĀPURA, NOH, ROPAR and sites in Dt Ganganagar. ### [v1.c16.s6.14](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s6.14) In phase A the bowl dominates the industry, followed by the basin and dish. The bowl is mainly deep with a small flattish base and tapering sides, with an incurved rim and wide mouth, with an ovaloid body and outturned rim, or with bulging sides and out-turned internally sharpened rim and tapering edge. The larger bowl has straight sides and an incipient lip, a variant having a beaded rim. A coarser variety is available at ATRANJIKHERA, the vase being available in this fabric. Some specimens of this type have an out-turned featureless rim with carinated neck, while others have a straight and thick neck; those of a somewhat better quality have concave necks. ### [v1.c16.s6.15](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s6.15) In phase B, contemporary with the PGW, the shapes closely follow those of the latter. The bowl is of different shapes: straight-sided; vertical-sided with a sharpened rim; tapering-sided with an incurved rim; and incurved rimmed with carination or grooves on the body. The hemispherical bowl is a popular shape. The dish with an incurved rim and convex or tapering sides is met with, but the basin and mininature pot are rare. The ware occurs in the NBPW \[11.16\] context as well. ### [v1.c16.s6.16](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s6.16) Gaur, R.C., 1969, in Sinha, B.P., \*Potteries in Ancient India\*, Patna. Tripathi, V., 1976, \*Painted Grey Ware—an Iron Age Culture of n. India\*, Delhi. For sites see respective entries in vol. II.—V. TRIPATHI ### [v1.c16.s6.17](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s6.17) \*11.6.4 Middle Ganga region\*. The black-and-red ware, both plain and painted, makes its appearance at the middle Ganga Chalcolithic \[4.14.3\] sites, such as SONPUR, Dt Gaya, CHIRAND, Dt Saran, and ORIUP, Dt Bhagalpur, just below the stratum associated with the NBPW \[11.16\]. A few sherds of medium-to-coarse fabric have also been found in the non-Chalcolithic but pre-NBPW strata at VAIŚĀLĪ. There are even examples of the survival of the ware in the NBPW levels at sites like RAJGIR, Dt Nalanda. Chechar, Dt Vaisali, and Telhara and Chillorgarh. Dt Gaya, have also yielded this ware as a result of surface exploration. ### [v1.c16.s6.18](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s6.18) The Chalcolithic sherds are usually wheel-turned, but handmade specimens are not altogether wanting. The vessels, both coarse and fine, are made of sandy clay and sometimes of fine husk-mixed clay and have a porous section and thick slip. The early examples from SONPUR are brittle and too small for any shape to be determined. The coarse examples from Sonpur are plain, except for a few incisions and grooves below the rim. The types from CHIRAND include the dish-on-stand, long-necked jar, lipped bowl, basin, ring-based bowl, spouted vessel, perforated pot, sometimes four-legged and with ring-base, lipped jug, trough, dish, bowl, bowl with elongated lip and \*loṭā\* with straight high neck and corrugated shoulder. The specimens from the upper levels of SONPUR are represented by the bowl, dish, vase and basin; they have medium-to-fine fabric and are sometimes treated with a thick slip to hide the coarse texture. ### [v1.c16.s6.19](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s6.19) Fig. 28. Ahar: Black-and red Ware ### [v1.c16.s6.20](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s6.20) Paintings where they occur are generally on the interior. The bowl and dish from CHIRAND show painted designs in groups of wavy or straight lines or dashes executed in white on black surface and the neck and shoulder of vases in creamy white. The examples from SONPUR are represented by two black rims with dark creamy lines and parallel dots. The white-painted channel-spouted bowl from ORIUP also deserves mention. The stem of the dish-on-stand specimens from CHIRAND are both plain and corrugated, while a few sherds from SONPUR show incisions and groovings below the rim. ### [v1.c16.s6.21](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s6.21) Sherds of the black-and-red ware have also been found in the Neolithic level of Chirand \[11.1.3\] but the types are different from their Chalcolithic counterparts. ### [v1.c16.s6.22](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s6.22) For sites see respective entries in vol. II.—S.R. ROY ### 11.6.5 Lower Ganga region ### [v1.c16.s6.t1.1](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s6.t1.1) The black-and-red ware is the characteristic ceramic industry of the Chalcolithic period in the lower Ganga valley \[4.14.4\]. It was first discovered at PANDU RAJAR DHIBI in 1959 and since then intensive fieldwork has brought to light nearly 50 sites in almost all the important river valleys lying to the w. of the Ganga. Its distribution from Dt Birbhum in the n. to the periphery of the coastal region beyond TAMLUK, Dt Midnapur, in the s. suggests a wide diffusion of Chalcolithic settlements located mainly on the flood plains of the older alluvium at a point where it merges with the wide alluvial plains of the Ganga. The following are some of the important sites: Dt Birbhum—BELUTI, DAULI, Ghurisha, Jaker Danga (HARAIPUR), KIRNAHAR, KOTASUR, MAHISDAL, MANDIRA, NANUR, Ranir Dhibi (Jashpur), POTANDA, Sakardihi and SURAT RAJAR DHIBI (Supur); Dt Bankura—CHIADA, Dihar and POKARNA; Dt Purulia—Deultaur; Dt Burdwan—Baneswar Danga, BHARATPUR, Eruar, Ganga Danga, Hazra Danga (Basantapur), MANGALKOT, Rajagram and SANTAL DANGA; Dt Murshidabad—Gitagram; Dt Midnapur—Ichapur, Natshal, SIJUA and TAMLUK. ### [v1.c16.s6.t1.2](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s6.t1.2) The principal types in order of frequency are the medium-sized vase, of which tulip-shaped and flowerpot types are distinctive, bowl, channel-spouted bowl, basin, jar, dish-on-stand and vase-stand. In the early Iron Age occurs a degenerate variety of the ware which contains, besides the common shapes, the miniature \*hāṇḍī\* and dish with incurved rim and convex side. ### [v1.c16.s6.t1.3](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s6.t1.3) The whole range of the industry is turned on the wheel except a few handmade specimens from the earliest level of PANDU RAJAR DHIBI. The fabric is medium, though a coarse variety occurs in the earliest and the degenerate phases. The clay is indifferently levigated and tempered with fine sand. In most pots a slip is applied on both sides except in vases which are treated with slip on the exterior and up to the neck on the interior. Some sherds have achieved a smooth and shining surface due to burnishing. Firing under different conditions has given a few pots a completely black interior and red exterior, while others are partly black and partly red on both sides; the latter occur in larger frequency. ### [v1.c16.s6.t1.4](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s6.t1.4) Some pots are painted on the inner side with a fugitive white pigment which has in most cases disappeared leaving only a faint impression of the design elements. The designs are all of frequently repeated linear patterns. The designs encountered mostly on fragmentary sherds are dots, dashes, obliques, strokes, double arches (flying birds of NAVDATOLI \[11.10\], rows of diamonds, series of hooks (sickle?), small thickened squares and parallel arcs with terminal loops at one end. The channelspouted bowl is occasionally stained with red ochre towards the end of the spouts. Other surface decorations are very rare. Besides grooves around the neck or the rim, occasionally a sherd is found to have on its body either an applied band of cord pattern and incised oblique notches or an incised band with criss-cross pattern. Graffiti are also extremely rare. A sherd bears on the exterior a wedge-shaped design with a vertical line in the middle and on another a motif looks like an unfinished humped bull. ### [v1.c16.s6.t1.6](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s6.t1.6) ¹⁴C dates of the black-and-red ware horizons of three sites are available: MAHISDAL, Chalcolithic, early level, 1380±105 B.C., mid-level, 1085±110, late level, 1085±110; early Iron Age level with a grey ware and coarse pottery, 690±105 B.C.; PANDU RAJAR DHIBI, 1012±120 B.C. (?); and BHARATPUR, 1090±150, 820±140 B.C. ### [v1.c16.s6.t1.7](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s6.t1.7) For sites see respective entries in vol. II —S.K. MUKHERJEE ### 11.7 Kayatha Ware ### [v1.c16.s7.1](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s7.1) This ware is named after KAYATHA in the Chambal valley where it was first found by Wakankar who recognized its distinctive features (Wakankar, 1967). In the same valley this ware has also been found to occur at MEEN, KHACHROD, DHANGAWADA, NEPAWALI, GANGADHAR, MASKI, MANOTI, KANWAN, MANWAR and FUTIPAL. ### [v1.c16.s7.2](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s7.2) The ware is wheel-made, sturdy and of fine fabric. Treated on the outside with a thick slip, mostly from the lip to the shoulder and only occasionally down to the base, which has turned chocolate or brown in colour, it is painted in purple colour with a broad horizontal band on the rim, oblique or vertical strokes, loops and zigzags. It is also in thick fabric but the thin one is in greater proportion. The main types are: the \*loṭā\*-shaped vase with a globular profile, constricted neck and wide flaring mouth; bowl with thickened incurved rim and carinated shoulder; and large jar with heavily beaded rim. The last one shows a significant likeness to the corresponding Harappa form \[11.3\]. Most of the vases have a ring base, a small number being with a disc base. ### [v1.c16.s7.3](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s7.3) In the excavation at KAYATHA this ware has been found in the lowest levels and constitutes one of the three principal ceramics which characterize the culture at this site, the other two being a red-painted buff ware and a combed ware \[which gives it a pre-Harappa, 4.8, 4.14.5, appearance\]. The levels are datable on the basis of ¹⁴C determinations to \*c.\* 2000-1800 B.C ### [v1.c16.s7.4](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s7.4) Ansari, Z.D., & Dhavalikar, M K., 1975, \*Excavations at Kayatha\*, Pune. Wakankar, V.S., 1967, \*Vikram, Jour Vikram Univ Kayatha Excavation No.\*, 1967.—S.A. SALI ### 11.8 Prabhas Ware ### [v1.c16.s8.1](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s8.1) The ware has been named after the type site of PRABHAS PATAN or Somnath Patan, Dt Junagadh, situated on the mouth of the river Hiran near the port town of Veraval. Of the fivefold sequence recently identified at the site the Pds II and III represent the Prabhas culture, ¹⁴C-dated to \*c.\* 1800-1200 B.C. The culture has been divided into Early (\*c.\* 1800-1500 B.C.) and Late (\*c.\* 1500-1200 B.C.). ### [v1.c16.s8.2](https://indike.org/pramana/ins.reference.ghosh-1989.v1.c16.s8.2) The vessels of the Prabhas Ware are of an extremely fine fabric and are treated with a pinkish or orange wash which in several cases has turned grey because of conditions in the kiln. Over this are painted patterns in purple or dark brown. The range of the painted motifs is extremely limited, all being geometric such as groups of vertical and oblique strokes, wavy lines, hatched triangles, lozenges, etc. The design is usually set in panels or registers. The most predominant shape of the vessels is subspherical bowl in all sizes. Another important shape is the globular jar with out-turned rim. Of the forms derived from the Harappa \[11.3\] mention should be made of the stud-handled bowl and the dish-on-stand, the former an invention of the Gujarat Harappa, later copied in the Lustrous Red Ware \[11.9\], as the evidence from RANGPUR bears out. In the Prabhas Ware both the bowl and the dish-on-stand are adorned with painted designs in panels. The dish part of the dish-on-stand is shallow and does not have any cup-like depression in the centre and the stem is usually solid and is painted with linear patterns. _First 92 of 245 passages. 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