An Encyclopaedia of Indian Archaeology v1.c9.s14.t2: 4.14.8 Lower Deccan
An Encyclopaedia of Indian Archaeology v1.c9.s14.t2
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4.14.8 Lower Deccan
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The Chalcolithic phase in Karnataka is an intrusion into the Neolithic [14.6.9], especially in its upper phase. This is manifest in the ceramic traditions, in the lithic blade industry and to some extent in other traits, discernible at all the excavated sites, viz. MASKI, PIKLIHAL, BRAHMAGIRI, SANGANAKALLU, TEKKALAKOTTA and HALLUR in the hilly tracts and T. NARSIPUR and HEMMIGE in the plains. Besides, explorations in the upper Krishna plains have brought to light several sites with ceramics of Chalcolithic affinities.
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In ceramics four traditions, viz. (1) dull grey pottery, (2) greyish-buff pottery, (3) a kind of red-and-grey pottery known as Savalda Ware [11.3], and (4) blackslipped ware, have been observed. Besides, the whitepainted black-and-red ware [11.6] and a black-painted red ware are found sporadically at certain sites. The dull grey ware is fashioned out of micaceous clay and has a coarse gritty core. Most of the vessels are wheelthrown, partly wheel-thrown and partly handmade specimens occurring less frequently. The surface of the vessels is plain, slipped and burnished. Some have a roughened or rusticated undersurface. The decorations consist of both incised and painted designs, the latter both post- and pre-firing. The designs are simple linear and rarely a fish motif, the pigments being white in the pre-firing and red ochre in the post-firing paintings. The shapes in this ware are mostly utilitarian; channelspouts, lug-handles and dishes-on-stand are specialized pot forms. The type site for this ware is MASKI. The second, greyish-buff ware, ranges from medium to fine in fabric with a brick-red or greyish core and from medium to thick in section. The surface treatment consists of fine burnishing and in some a cream or buff slip. The ware is devoid of painted or incised designs. The third ceramic—the Savalda Ware—named after the type site in the Tapti valley—is red and grey. The fabric is coarse to medium with a brick red core of even thickness. The whole range of the pottery is wheel-thrown and is well-burnt. Paintings, done regularly and in neat brush, are in black and violet executed on rims, shoulders and even interiors of the vessels. The design repertoire is varied, comprising linear, geometric, plant and animal motifs, among which the fish, peacock and harpoon are the most common. However on grey wares the designs are simple linear patterns in jet black or white. The ware also bears bichrome patterns in red and black, parallel lines being mostly in red pigment. The surface treatment consists of slip only. The pot forms are the vase with a collared or thickened rim or externally out-turned rim, coarse thick slipped/unslipped beaker, high-necked jar, conical lid, dish-on-stand, etc., the last being popular in grey ware. The fourth variety—the black-slipped pottery—is medium to thin in section and has a fine reddish-pink core. Its frequency is very low. The surface treatment comprises burnishing and black slip. The painted designs are in red and comprise stars and horizontal and vertical lines. This ware recalls similar ceramics from the earlier levels of KAYATHA [11.7].
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Besides these four, two others, a white-painted black-and-red [11.6] and a black-on-red ware, the latter simulating the Jorwe Ware [11.11], and with definite Chalcolithic affinities are found sporadically at SANGANAKALLU, T. NARSIPUR, HEMMIGE, etc. The white-painted black-and-red ware, with designs both inside and outside, is characteristic of AHAR² and GILUND [11.6.2] and extends further s., as evidenced at PRAKASH, BAHAL, etc. In Karnataka it has been noticed at MASKI, HALLUR, TEKKALAKOTTA and SANGANAKALLU, where it is found in the overlap phase between the upper Neolithic and early Iron Age [4.17.8-11] associated with burials. The ware having a burnished surface is turned out of fine paste and is thin in section. The paintings in white mostly show linear designs, viz. groups of vertical or oblique strokes. The shapes are varieties of the bowl, carinated vessel, tulip vase, etc.
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The absence of exclusive Chalcolithic levels in this area is a hurdle towards assessing the food habits of the people, but it would not be wrong to assume that diet of the Chalcolithic people continued to be the same as in the upper Neolithic.
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Unlike the true Chalcolithic residences in the areas adjoining Karnataka no mud structures are available. From the meagre remains, viz., post-holes, floors, etc., we may imagine that a circular hut, with perhaps a conical roof of perishable material supported on wooden or bamboo posts, was the norm. The walls were of mud-plastered woven split-bamboo screens. The floors were made of mud or lime plaster. The prototype of this kind of residence is noticed in comparable Chalcolithic levels of Maharashtra [4.14.6].
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The proliferation of microliths—blades and fashioned blade blanks—is another evidence of the Chalcolithic intrusion. The raw materials are chert (more at MASKI), agate, carnelian, jasper, crystal, opal, etc. The tools are asymmetrical flakes, several varieties of blades including parallel-sided and backed-serrated types, lunates, trapezes, points, etc., of which blades predominate. Most of the tools exhibit secondary working or marks of use. They were used either singly or as composite tools. Blade blanks were removed from the core by the crested guiding ridge technique [16.15.2].
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A miniature double axe [6.2] from HALLUR, flat axes from BRAHMAGIRI and TEKKALAKOTTA, a chisel from PIKLIHAL—all of copper—and a bronze pin from BRAHMAGIRI may be cited as examples of copper/bronze objects. The copper double axes from HALLUR seem to be more a cult object than a functional axe. [See also BHAGRA PIR]. The flat copper axes are reminiscent of those from JORWE. Knowledge of gold-working for making ornaments found at sites of Karnataka decidedly warrants a high degree of proficiency of the craft. Stone beads, particularly steatite disc beads, recall their prototypes of the Harappa culture [4.9].
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The dead were buried either under the floor or in the immediate vicinity of residences. Single or multiple urns for children, multiple urns for adults, extended inhumation of adults in pits with attendant furnishings are the usual kind of disposal of the dead [12.4]. A double burial at TEKKALAKOTTA recalls that of LOTHAL.
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The technological advancement in the manufacture of pottery, particularly the use of the fast wheel, the knowledge of metal-working—copper, bronze and gold—steatite disc beads, the blade industry of siliceous materials, the construction of round huts and certain traits in the burial customs do indicate the impact of the Chalcolithic people in the immediate and distant neighbourhood. In ceramics too certain decorative elements of incised patterns, viz., herring-bones, short strokes, dashes, large dot-like impressions, finger-nail impressions, zigzags, etc., have Chalcolithic parallels elsewhere. The technique of blade removal from the core by crested guiding ridge technique is also a Harappan and Chalcolithic trait.
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For sites see respective entries in vol. II.—K.S. RAMCHANDRAN