Study of Terracotta Objects from Chandankheda, Maharashtra

Transcription

1 Study of Terracotta Objects from Chandankheda, Maharashtra Mohan S. Pardhi 1, Virag Sontakke 2, Pradip Meshram 1, Anand Bhoyar 3 and Ashok Singh Thakur 4 1. Department of Ancient Indian History, Culture and Archaeology, RTM Nagpur University, Nagpur, Maharashtra, India ( ms.pardhi67@gmail.com) 2. Department of Archaeology and Museum, Nagpur Division, Government of Maharashtra, Maharashtra, India ( viragsontakke@gmail.com) 3. Department of Archaeology and Museum, Nanded Division, Government of Maharashtra Maharashtra, India 4. Indian National Trust for Art and Cultural Heritage, Chandrapur Chapter, Maharashtra, India ( ashoksinght@yahoo.com; ashokchandrapur99@gmail.com) Received: 25September 2017; Revised: 01 November 2017; Accepted: 28November 2017 Heritage: Journal of Multidisciplinary Studies in Archaeology 5 (2017): Abstract: Terracotta antiquities is an important medium of expression abound in archaeological finds. Excavations at Chandankheda too brought to light a large number of terracotta antiquities both from excavated context and surface finds. They have stylistic as well as historical importance. They help us to understand the social, economic and religious life of the ancient people at Chandankheda. The site is an important ancient fortified habitation in Vidarbha region of Maharashtra. It was jointly excavated during by Department of Ancient Indian History Culture and Archaeology, Rashtrasant Tukadoji Maharaj Nagpur University in collaboration with Department of Archaeology and Museums, Nagpur Division of Maharashtra Government and Indian National Trust for Art and Cultural Heritage (INTACH). The present paper deals with the stylistic and typological study of terracotta finds from the aforesaid site. Keywords: Terracotta, Antiquities, Chandankheda, Typological Studies, Historical Importance, Excavation, Classification Introduction Terracotta objects are one of the most important sources which help to understand the ancient past of human history. The art of backed clay is a mirror to show the actual face of the contemporary society of ancient as well as modern culture. Terracotta supplies invariable data for the study of the life and culture of the people (Prakash 1985:19). It is a beautiful evidence of the delightful mode of expression and a powerful source of cultural understanding not only of social values but also of economical and religious values. The innumerable terracotta figurines that were produced in ancient India bear

2 Pardhi et al. 2017: eloquent testimony to not only the skill of the potter artists but also to the great care that was taken in making them (Dhavalikar 1977: 3). Figure 1: Map showing the Location of Chandankheda About Chandankheda Chandankheda (Figure 1) is located on the bank of Irai River in Bhadravati block of Chandrapur district. Site was jointly excavated in by Department of Ancient Indian History Culture and Archaeology, Rashtrasant Tukadoji Maharaj Nagpur University, Department of Archaeology and Museums, Nagpur Division of Government Maharashtra and Indian National Trust for Art and Cultural Heritage (INTACH), Chandrapur under the direction of Dr. PradipMeshram and Co direction of 827

3 ISSN Heritage: Journal of Multidisciplinary Studies in Archaeology 5: 2017 Dr. A. V. Bhoyar and Shri. Ashok Singh Thakur. The excavation revealed five fold cultural sequences; Period I: Early Iron Age, Period II: Pre Satavahana, Period III: Satavahana, Period IV: Vakataka and Period V: Medieval (Meshramet al 2015: , 2014: 5 27). The excavation yielded various terracotta art objects along with other artefacts which are described and classified in following manners. Classification of Terracotta Art Objects Ancient habitation deposit at Chandankheda was disturbed by local villagers for brick manufacturing activity. After collecting soil, brick workers throw pottery and antiquities on surface. At the time of excavation ( ) very little area was available for digging. Therefore many antiquities were collected from surface. Various terracotta objects were also reported from excavation. Due to limited area of excavation, terracotta objects were found less in number as compared to the surface. Apart from terracotta, some kaolin specimens were also found. In general terracotta objects can be classified into seven broad types such as human figurines, animal/bird figurines; ornaments, playing objects, religious objects and miscellaneous objects (Table 1). Table 1: Classification of Terracotta Objects from Chandankheda Sr. No Human Figurines Animal/ Bird Figurines Ornamental Objects Playing Objects Ritualistic Objects Miscellaneo us Objects 1 Female Bull Bead Gamesmen Votive tank Skin rubber 2 Unidentified Horse Bangle Wheel Net sinker 3 Duck Ear stud Hopscotch Head scratcher 4 Unidentified Pendant Sling ball Weight 5 Plaque 6 Unidentified Excavated Terracotta Art Objects As stated earlier the excavated terracotta objects are less in number than surface collections. During the excavations anumber of different types of handmade as well as single and double molded terracotta art objects along with few Kaolin objects were recovered. Among them, except for beads and ear studs, most of the other objects are in fragmented condition. They are mainly human figurines, animal figurines, ornamental objects, gamesmen, hopscotch s, and plaque. The details are as follows; Human Figurines Human figurines include female figurine, unidentified (gender not specified) and plaque. Female figurineis found in the form of two fragments. Among them, one is a 828

4 Pardhi et al. 2017: fragment which seems to be a part of female figure pressed in double mould and made of kaolin. The hair of the figurine is loosely plaited sideways, red in colour and ascribed to Satavahana period (Reg. No. 209). Another terracotta fragment was found which seems to be an ageless star shaped figurine whole left leg and hands are missing. It is handmade, crude in fabric, ill fired, dull red in colour and dateable to Early Satavahana period (Reg. No. 305). A fragment of the left portion of the left wrist and palm has been beautifully pressed in double mould and made of kaolin. It has a dull red colour and can be dated to Satavahanaperiod(Reg. No. 257). Animal Figurines Only three bull figurines belong to this category. All are handmade and are assigned to Medieval period. All bull figurines are fragmented (Figure 2), coarse to medium fabric and are ill fired. Amongst three, one has prominent hump,while the head and both front legs are missing (Reg. No. 39) (Figure 2a). Another bull figurine has pointed stumpy legs; while both horns along with muzzle and half rear body are missing. The hump is achieved through pinching technique (Reg. No. 16) (Figure 2b). Likewise, fragment of muzzle portion of bull with perforated nose and applique circle around the nostril suggests its use as a toy, to be played by knotting the thread (Reg. No. 12). It has a coating of red slip. All bull figurines belong to Medieval period. Figure 2: Excavated Bull Figurines from Chandankheda Ornaments The ornaments (Table 2) are mainly beads, bangles, ear studs and pendants. All are described as following: 829

5 ISSN Heritage: Journal of Multidisciplinary Studies in Archaeology 5: 2017 Sl. No Table 2: Cultural Period wise Distribution of Excavated Ornaments Cultural Sequence Total Number of Objects Bead Bangle Ear Stud Pendant A Period I: Early Iron Age B Period II: Pre Satavahana 6 C Period III: Satavahana D Period IV: Vakataka 6 1 E Period V: Medieval 1 Total Figure 3: Various Types of Excavated Beads from Chandankheda Bead: There are four types of beads (Figure 3) found from various cultural deposits. They can be divided mainly into arecanut, round, rectangular and tubular shape. Among them, areca nut was prominent in number whereas round shapes are few, 830

6 Pardhi et al. 2017: rectangular and tubular are less. A shallow cup like depression near the butt characterizes beads into an arecanut like shape. These are common forms and are reported from several sites in India. Generally they occur in early historical period (Dikshit 1952: 63). At Chandankhedaa number of such type of beads have been reported in excavation as well as in surface. They are generally prepared mostly out of medium fine clay however sometime coarse clay is also used. They are handmade as well as wheel made, because of which parallel striation marks can be seen at close intervals on the exterior surface. Some of beads have slip and wash while many of them are coarse in nature without any treatment. Generally near the butt end and sometimes on the centre of the bead, very deeply incised grooves made by a sharp instrument are noticed (Sankalia and Dikshit 1952: 93). Along with these, three miniature round beads were also found. Theyare black in colour, coarse fabric and medium fired. Single bead have been given a wash. A single tubular bead has been found from early Satavahana period. It is dull red in colour, medium fabric and well fired. Single rectangular shape bead is also notice from similar period which is dull black in colour with wash and all the edges are rubbed and smoothened. All are handmade with coarse fabric and medium fired. Figure 4: Various Types of Excavated Bangles from Chandankheda Bangle: Total nine fragments of bangles (Figure 4) are found in Chandankheda. Bangles are either plain or decorated with shallow grooves. Few of them bear single ridge in the centre and almost all are lime coated on either side. These can broadly be 831

7 ISSN Heritage: Journal of Multidisciplinary Studies in Archaeology 5: 2017 grouped into two types: a) Plano concave or convex in section and b) Square in section. All eight bangle fragments are Plano concave or convex in section and have lime coating. Outer surface of some bangles are decorated with a single shallow groove while others were plain. They are mostly coarse to medium in fabric and well fired. They all belong to Satavahana period. This type of bangles are reported from the excavation of Pauni (Nath 1998: 75) and Bhokardan (Deo and Gupte 1974: 159), whereas from Hamlapuri (Bhaisare 2012; Pardhi 2017: 318) it has been found in explorations (single square shape bangle of type (b)isdull red colour; coarse in fabric and is ill fired; is found from Period IV). Ear Stud: Total two specimens of ear stud were found in excavation belonging to Satavahana period. Both are handmade, cylindrical in shape with concave sides and flat ends. They are black in colour, coarse in fabric and ill fired. A slight wash is also visible in one fragment. Pendant: Two pendants are found from the excavation. One is tapering cylindrical in shape with perforated top and slightly flat base. Another pendant is cylindrical in shape with concave end and flat sides. It has a perforation on both the ends. Both are handmade, black in colour with coarse fabric and ill fired. Both pendants belong to Satavahana period. Play Objects The play objects (Table 3) of Chandankheda include gamesmen and hopscotch s or discs found from excavation. Details of each are as following. Sr. No Table no. 3: Cultural Period wise Distribution of Excavated Play Objects Cultural Sequence Gamesmen Total Numbers Hopscotch A Period I: Early Iron Age B Period II: Pre Satavahana 2 2 C Period III: Satavahana 3 2 D Period IV: Vakataka 1 2 E Period V: Medieval 2 Total 6 8 Gamesmen: There are six gamesmen recovered from the excavation which can be divided into four categories viz. a) tapering cylinders with convex top and flat base, b) straight cylinders with convex top and flat base, c) tapering cylinders with concave top and flat base and d) Tapering cylinders with broken top and flat base. A few of them have a dull red or black wash. The minimum to maximum diameter of the bottom is respectively 0.8 cm and 3.4 cm. It also seems that gamesmen were very popular in social life of ancient people as it was available in early Satavahana, Satavahana and Vakataka. 832

8 Pardhi et al. 2017: Hopscotch: It is an object of recreation and played with by children during ancient time as well as modern time. There are total of eight hopscotches (Figure 5) that were found from excavation. All are made using various waste pieces of potsherds such as red ware, burnished black and red ware, red slipped ware and black slipped ware. They are rounded either by cutting or rubbing these pottery. Their diameter vary between 2 4 cm. Some of them have smooth surface whereas others are coarse. Among all two each are found from Satavahana to Medieval at Chandankheda. Figure 5: Excavated Hopscotches from Chandankheda Miscellaneous Object Plaque: A single fragment of miniature plaque (Figure 6) probably with Mithuna depiction was found at Chandankheda. It depicts a male and female standing side by side. The left leg of the male is bend back below the knee while the right leg is half bent. In front of the male a female is seated with both her legs beautifully bend from knees. Her right leg is in front whereas left leg is in the back. The male is holding 833

9 ISSN Heritage: Journal of Multidisciplinary Studies in Archaeology 5: 2017 something in his left hand. However, plaque is broken from above the chest of male and belly portion of female anklet and toes of left leg of male is missing. Thus the plaque must have probably been circular in shape. It is very thin in size and made of medium fabric and well fired. It was cast in single mould and is dull red in colour. It belongs to Medieval period. 834 Figure 6: Excavated Miniature Plaque from Chandankheda Terracotta Art Objects Found in Exploration Surface explored terracotta art objects are more in number than excavations and they are more diverse, including human and animal figurines, bangles, beads, ear ornaments, gamesmen s, hopscotch s, pendants, plaques, skin rubbers, sling balls, votive tanks, wheels and toy wheels etc. Apart from terracotta figurines, beautiful kaolin objectswerealso found. Kaolin object includes male and female head, fragment of human hand, legs and a fragment of horse body and horse head. The technique used for making terracotta objects are handmade, wheel made, single moulded and double moulded. Details are given following; Human Figurines: Single male and female figurine and six unidentified human fragments (gender not specified) were found (Figure 7). Figurines of kaolin consist of

10 Pardhi et al. 2017: probably a head of a male that was pressed in a double mould; characterised by a chubby smooth facial features. The portion below the chin is missing; both the ears are elongated. The nose is broad and has two nostrils; upper lip is thin whereas lower one is thick; the eyes are broad and indicated by a double incision resulting into spectacles. However, ear ornament is not seen as ear lobes are broken. The whole mass of hair is combed into a top knot on the head and beaded string adorns the bun. Similarly the forehead band made of seven strings is simple and goes horizontally around front half of the forehead. It has small outsize ornamented knob on the right. In the rear side hair rolls are divided into three parts; the hair is shown with oblique incised lines and the centre hair roll appears like a snake skin. On the basis of style and technique this can be dated to Satavahana period (Reg. No: 89) (Figure 7a). Another female head fragment was found. It is also made of kaolin and double mould. The figurine is smooth in treatment; nose is straight and broad with two nostrils, eyes are broad and indicated by a double incision resulting into spectacles. The whole mass of hair is combed into a top knot on the head but unfortunately it is missing but the hair is hanging loosely on left sideways and it is secured by a three strings band around the head. Among three strings last one is beaded one. On the forehead have a jewel in the centre (Reg. No: 21) (Figure 7b). Figure 7: Various Human Figurines Found from Surface, Chandankheda 835

11 ISSN Heritage: Journal of Multidisciplinary Studies in Archaeology 5: 2017 Apart from these, there are six human fragments found, among them one is a lower half part of human figurine made of kaolin and the technique adopted is double mould which is hollow inside. Waist is depicted with cabled girdle (mekhalā) of beads with alternative two vertical lines. Incised folding on legs probably are lower garments reaching up to the anklet. Thick anklet on both legs followed by a flat feet (Figure 7c). Others include two right hands (Figure 7d e), single left hand (Figure 7f) as well as left leg (Figure 7g) and fragment of left side human face with application of red slip (Figure 7h). Bracelet and armlet with pressed in double mould and well fired. There is a clear evidence of ribbon of clay that joined two moulds. The thumb of the left hand has circular ring. 836 Figure 8: Bull Figurines from Chandankheda

12 Pardhi et al. 2017: Animal Figurines The animal figurine includes bull, horse, duck and single unidentified bird figurine found from surface. Details are given as following; Bull: Three handmade bull figurines were found (Figure 8) and all the bull figurines are in broken condition. first specimen head and hump is missing. It is partially red and black in colour; crude in appearance. The only right leg of rear side is broken whereas others are in good condition (Reg. No. 24) (Figure8a). Another fragment of bull s head; both horn and partial muzzle portion are broken. It is red in colour and red slip bearing on a surface. Right eye is completely worn out whereas left eye is present. Ears are broken and above the forehead there is a chain which is decorated with incised lines (Reg. No. 35) (Figure8b). Third one is a bust of a bull figurine with hump. The left horn is partially present whereas right horn completely missing. However, eyes are made of applique round clay form; right eye is almost worn and left is partially worn. It has an applique bridle with incised vertical lines. Applique neck chain with incised line designs is seen. It has a red wash, There is a partially worn out applique chain oer the head. The left ear is broken whereas right ear is partially present. The nose is perforated and holes are shown with finger pinch design (Reg. No. 5) (Figure8c). The fabrics are coarse to medium and ill fired. The third type of bull and its decoration patterns are commonly reported from other sites Paunar (Deo and Dhavalikar 1968: 91), WediRith (Pardhi and Pendam 2015) and RithiVayphal (Pardhi and Vaidya 2016: 51). All are reported from Medieval period. Horse: There are two horse fragments (Figure 9) of double mould made in kaolin and simple clay Out of these one bigger sized head of horse is well decorated. The artist tried to make this object beautifully and to some extend he succeed. However due to the artisan s mistake he failed to properly join both the moulds in the exact proportion. The eyes are elongated and muzzle portion is missing. the ear is circular, small sized and in standing position. The mane is prominently made above the top of the head. There is a decoration of double string going around the face as well as above the eyes and on muzzle portion. And this thread is connected to the circular decorated like medallion design (Reg. No. 24) (Figure 9a). It is an example of caparisoned horse, this type of horse is majestically standing and complete specimens were earlier found in Period IV of Pauni (Nath 1998: 79). Kaolin objects are the speciality of Satavahana periods. Two rear fragments of horse were also found. These are a part of two different moulds, one from right side and another of left side. The left side mould is small in size whereas right is bigger. It is well fired and has a red slip on exterior surface. The exterior surface of the horse decorated with cloth like design which has a doted square design and tied with the double string. The double thread is joined with double circle with a central pellet on both the sides; double thread is passing below the thick tail and joint from one side to another side (Reg. No. 38) (Figure 9b). Similar type of double moulded decorated horses are earlier reported from various Satavahana sites such as Kondapur 837

13 ISSN Heritage: Journal of Multidisciplinary Studies in Archaeology 5: 2017 (Yazdani 1941), Yelleswaram (Khan 1963: 47), Paithan (Dhavalikar : 69; Morwanchikar 1985), Bhokardan (Deo and Gupte 1974), Ter (Deshpande 1999: 477) and Adam (Nath 2016) which throws light on the periodical marker of Satavahana period. Figure 9: Double MouldedHorse Figurinesfrom Chandankheda 838 Figure 10: Duck and Unidentified Bird from Chandankheda

14 Pardhi et al. 2017: Duck and Unidentified Bird: At Chandankheda, figurines of duck and unidentified bird are found (Figure 10). The pedestal and wings of the duck are broken. The pedestal indicates that it was attached with a bigger object and probably served as a knob of a lid. It is red in colour, coarse in fabric and ill fired (Reg. No. 27) (Figure 10a). Another unidentified fragment of a handmade bird figurine (?), dull red in colour; medium fabric. It has a long neck, left eye is completely worn out whereas the right eye is partial. The muzzle is long and shown in incised line on both the sides and front portion of the mouth is damaged (Reg. No. 36) (Figure 10b). Ornamental Objects Category of ornamental objects (Figure 11) consist large number of art objects like beads, ear ornament and pendant, details are given as follows; Figure 11: Beads of Various Shapes from Chandankheda Bead: There are various types of beads found from the surface exploration, these are similar with those found in excavation. Typologically can be categorised under 839

15 ISSN Heritage: Journal of Multidisciplinary Studies in Archaeology 5: 2017 arecanut, round, tubular and round with vertical incised lines etc. Arecanut beads are more in number with shallow cup like depression near the butt or flat surfaces. Most of beads have striation marks on exterior surface which suggest it was made on wheel. A few of them have wash and a few have red slip. Some of them have coarse surfaces and few of them are unfinished. Some of arecanut bead have circular groove around the half portion also noticed. They vary in color like red, dull red, brick red, dull black, black and few are black slip coloured heads. This colour appears due to different firing techniques. 840 Figure 12: Ear Studs from Chandankheda Ear Ornament: There are fourteen ear ornaments (Figure 12) found from the surface, among thirteen are ear stud whereas one is karṇaveṣṭana. These specimens are found thin/short/bigger disc and cylindrical shape with concave side and flat ends. This handmade studs also have horizontal perforation. Few ear studs have wash while coarse surfaces are also noticed. They vary in colour like dull red, black. The minimum and maximum length of the ear stud measures 1.7 cm and 4.5 cm respectively.

16 Pardhi et al. 2017: Karṇaveṣṭana Ear Ornament: One of the important ear ornament found in the surface from Chandankheda which is described and identified with karṇaveṣṭana(figure 13). The reference karṇaveṣṭana was used in Ramayana (Sivaramamurti 1956: 109). It measures such as length: 6.6 cm, width: 4.7 cm and Weight: 33 gm. It appears as clay roll twisted in two trapezoidal parts with shaping into two squares ends. The karṇaveṣṭana have various bass relief depictions which can be divided into two side s right and left and between them a decorated central panel is seen. Right side of the ear ornament on the trapezoidal part there is a depiction of standing male wearing a short dhoti. The dhoti was secured on the waist by a simple girdle (mekhalā); bejewelled by a beaded necklace, small round earrings and coiled bangles or wristlet. His facial details are worn out and are not clearly visible. Left hand is raised above from the elbow and holds a thick shaft in the right hand. His left leg is folded and the right leg is straight. The coiffure style trefoil hair is rendering in the form of two side masses and in the centre a hair bun is seen. Figure 13:Karṇaveṣṭanafrom Chandankheda 841

17 ISSN Heritage: Journal of Multidisciplinary Studies in Archaeology 5: 2017 A lion is depicted on the opposite side of the karṇaveṣṭana. Lion has robust body with shaggy mane; looking towards the front and both the legs stretched forward, and the tail is lifted upward. on the top of the left side there is a square end which consistsofa decoration of lotus flower and the centre of it has a human head, slightly worn out. Likewise, on left side a similar depiction of standing male, lion and lotus with human head is seen on right side but partially chipped off. All the images enclosed with a beaded or dotted line. Between the both sides there is a decorated vertical central panel. A panel depicted a three śrivatsa like symbol and two āmalaka like motifs. After each śrivatsa symbol, a āmalaka motif comes. At the end of the vertical panel has astraight vertical bigger beaded line. It is red in colour; surface is coarse and has some cracks; fabric is coarse to medium and well baked (Reg. No. 32). Figure 14: Pendants from Chandankheda Similar type of karṇaveṣṭanaornament found from Adam in the early and mid level of Period V which is dated to Bhadra Mitra Satavahana (Nath 2016: 454). The depiction of karṇaveṣṭanaof Adam is slight different but typologically it can be comparable with 842

18 Pardhi et al. 2017: Chandankheda specimen. Apart from terracotta this object is also found in lead metal from Adam (Nath 2016: 514). Apart from Vidarbha it is also reported from Kaushambi and Andhra Pradesh in metal form (copper and gold). On the basis of stylistic nature of Chandankhedakarṇaveṣṭana and depiction of human, animal figures on karṇaveṣṭana it can be dated around 2nd c. BCE to 2nd c. CE. Pendant: There are total of five elongated pendants (Figure 14) which have thin top portion and thick bottom. All pendants have flat base and have horizontal perforation at the top and tapering sides. Shallow depression on top and wash was identified on the pendant. They are either dull red colour or black in colour. All pendants are handmade. The fabric is coarse to medium and ill to medium fired. The minimum and maximum length of the pendants is 2.5 cm and 4 cm. Figure 15: Gamesmen from Chandankheda 843

19 ISSN Heritage: Journal of Multidisciplinary Studies in Archaeology 5: 2017 Play Objects Play objects includes gamesmen, wheel, hopscotches and sling ball. Details are given as under: Gamesmen: Total nineteen gamesmen (Figure 15) were found from the surface. On the basis of their style they are divided into five types such as a) Tapering cylinders with convex top and flat base, b) Tapering cylinders with concave top and concave sides, c) Tapering cylinders with concave top and straight sides, flat base, d) Tapering cylinders with concave on both the end and e) Tapering cylinders with deep depressed top face and flat/concave base. All gamesmen are handmade, some of them have tapering sides and few of them bear wash on exterior. The bottom as well as top of some of gamesmen is chipped off. They are either dull red or dull black in colour. A single specimen has black slip. The minimum and maximum length of the gamesmen is 3.1 cm and 5.6 cm. Figure 17: Hopscotches from Chandankheda Wheel: Wheel was one of the important play objects (Figure 16) during ancient time which were used for moving toy. There are total seven wheels found which are typologically divided into three types such as a) wheel with broad circumference, b) single toy hub wheel and c) double toy hub wheel. Wheels are made on wheel and also handmade. Most of the wheels are made upon unused/ broken pot sherd of red ware and single specimen is partially handmade and partially wheel made. All are round and some have red slip on either side or single side whereas others are simple in nature. Few are single hub, double hub and without hub. There is a bigger double hub 844

20 Pardhi et al. 2017: wheel made in double mould technique, two separate moulds joined together. The exterior hub is more projected and half crescent in shape whereas interior hub is flat and less projected. Apart from these few have biconvex sides. The minimum and maximum diameter is 4.2 cm and 8 cm. All have perforation in the centre. Hopscotch: Total six hopscotches are found (Figure 17) on the surface which are made on various wares such as red slipped, coarse red, coarse black and red and red ware. The broken pot sherds are given rough round outline and the edges are made smooth through rubbing. Among all one is partially broken; having coarse surface. The fabric is coarse to medium and medium to fine and ill to medium, medium to well fired. The minimum and maximum diameter is 2.4 cm and 5.4 cm. It is observed that big pots body portion was used for hopscotch. Sling Ball: Total seven sling balls (Figure 18) are found from surface and are round in shape. Few of them have coarse surface and also smooth due to wash. Due to different firing temperature dull black, red and brick red colour can be seen. There minimum and maximum diameter is 1.5 cm and 2.4 cm. Figure 18: Sling Balls from Chandankheda 845

21 ISSN Heritage: Journal of Multidisciplinary Studies in Archaeology 5: 2017 Ritual Objects Votive Tanks: Votive tank is included under the category of ritual object. There are two fragments of votive tanks (Figure 19) found from surface. Both are handmade and big in size. These fragments of votive tanks were probably rectangular in shape; among two, one has a complete angular corner. An actual tank consists of a walled enclosure with lamps at four corners but presently only two sides are remaining. There are five applique steps in the centre of the side wall. At the base of the tank an aquatic animal probably a snake 7.5 cm in length is noticed (Reg. No. 14). Another fragment of votive tank consists of centre portion with three applique steps (Reg. No. 15). Tanks are red in colour and are well fired. 846 Figure 19: Votive tanks from Chandankheda

22 Pardhi et al. 2017: Votive tanks were first introduced during Kuṣāṇa period in India (Dhavalikar 1977: 37). The first evidence of votive tank was found in excavation at Sirkap mound of Taxila and was assigned to 1st c BCE to 3rd c. CE. Initially it was suggested that it had foreign origin and was attributed to the Parthians (Balkiston : 50; Ghosh 1948: 78; Gordon 1937: 74 76; Agrawala 1948: 21). The tank is enclosed walled of all foursideswith lamps at four corners; some time birds also perch on the walls; along with attached applique steps, sometimes mother goddess is kept in the centre or installed under a shrine of tank associated with aquatic animals like crocodile and snake. Sometimes 1 to 3 drummers are also seen inside the tank, whose dress bears similarity with Parthians, thus strengthening their association with Parthian. These are common elements in the representation of votive tanks noticed at most of the Early Historical sites (Dhavalikar 1977: 37; Margabandhu 1985: 95 96; Nagar 2008: ; Nath 1998: 81). Even today in West Bengal similar kind of miniature tanks are dedicated under the name of Yama Pukur Vrataobserved by maidens (Dhavalikar 1977: 37; Margabandhu 1985: 95; Nagar 2008: ; Nath 1998: 81). The Yama is a God of death suggesting a hoary past of the ritual which may be derived from the above inferences that the rituals have an indigenous origin (Nath 2016: 455). Similarly, earlier J. H. Marshall suggested that the votive tanks have been occasionally found together with idols which are of purely Indian type (Margabandhu 1985: 95). When it comes to Deccan in general and Maharashtra in particular the first evidence of votive tank occurred at Nevasa (Sankaliaetal 1960: 381). After that it was reported inother site such as Ter (Chapekar 1969: 82) and Bhokardan (Deo and Gupte 1974: ). In Vidarbha votive tanks are reported in many excavated sites such as Kaundinyapura (Dikshit 1968: 108), Paunar (Deo&Dhavalikar 1968), Adam (Nath 2016: ),Pauni (Nath 1998: 81), Pachkheri (IAR ) and explored sites such as Deulgaon Raja (District Buldhana) (IAR ). All the specimens of Vidarbha are attributed between 1 st c. BCE to 3 rd CE except Paunar specimens which are dated between 4th 3rd c. BCE to c. 1st BCE. On the basis of typological similarity, nature of art the votive tanks of Chandankheda can be dated to 1 st 3 rd CE. Miscellaneous Objects Number of object such as skin rubber, net sinker, head scratcher, weight and some unidentified objects are categorised as miscellaneous objects. Single rectangular concave edged skin rubber (Reg. No. 16), dull red in colour was found at Chandankheda. It is decorated with deep series of half crescent like incised design on all the sides for effective rubbing of skin. It is very big and heavy; medium fired and coarse in fabric. Excavations at Adam (Nath 2016: ), Pauni(Nath 1998: 81); Pachkheri (IAR ) and exploration at Hamlapuri (Bhaisare 2012) yielded skin rubbers. But they are not similar to Chandankheda specimen (Figure 20). A probable fragment of a net sinker, dull red in colour, was collected from Chandankheda. This net sinker is circular in shape and has a big perforation (Reg. No. 54). It is interesting to 847

23 ISSN Heritage: Journal of Multidisciplinary Studies in Archaeology 5: 2017 note that during early historical period terracotta net sinkers are a rare find in Vidarbha region (Figure 21). A broken head scratcher (Reg. No. 6) with boat shaped top was found in exploration at Chandankheda. This hollow fragment consists of small perforation of 2 millimetre. It is red in colour with white coating and is wheel made. This simple object is well fired. The head scratchers are generally found in various shapes like oval, semi circular, domical boat shaped top, hollow inside with convex elliptical base (Margabandhu 1985; 165; Sawant 2008: ). It is classified in the categories of toilet object (Sankalia and Deo1955: ). However, it is also used to remove the dandruff from hair (Dikshit 1955: 100). It is an imitation of half cut mango seed, which was used for same purpose in rural India. Head scratchers are not only found in terracotta but shell and copper also (Margabandhu 1985: 165). The specimens with perforation as well as without perforation and well fired; due to application of slip the outer surface is smooth (Figure 22). Figure 20: Skin Rubber Figure 21: Net Sinker Weight: A square shaped miniature specimens probably used as weighing object (Figure 23) was found in Chandankheda. This 18 gram square shape weight is divided into four quadrants and each side is decorated by incised lines. This incised lines made when it was in leather hard condition. (Reg. No. 29). There are total three excavated sites from Vidarbha region where terracotta weights are reported. The distribution of the weight according to site wise is eight from Adam (Nath 2016: 594, 596, Pl 15.23) and single from Pauni. This are small and rectangular in shaped, sponge tablet showing porous surface, reported from Period IV of Kshatrapa Satavahana level (Nath 1998: 83, Pl. XXVI B (3)). Whereas, Kholapurspecimens are occurred from Period II of Mauryan (4th 3rd c. BCE) (Deotareet al 2012: 50 59) but details and illustration are absent.as far as Chandankheda weight is concern it can be compared to specimens found in Adam. Both the specimens are squarish in shape and have the four compartments divided by horizontal and vertical lines from centre. Both have three horizontal lines in each 848

24 Pardhi et al. 2017: compartment. The Adam tablet weights and 5.57 grams whereas Chandankheda specimen weight 18 grams which is slightly heavy and bigger in shape (Pardhi 2017: 398). Similar type of terracotta weights has been reported from other early historic sites of India (Marshall 1915: 80; Lal 1993: 152; Margabandhu 1976: 15 25; Handa 1970: 82; IAR : 29). Figure 22: Head Scratcher Figure 23: Decorated Weight Plaque: A partially broken miniature plaque (Figure 24) depicting the mithuna or dampati is found in Chandankheda. It is probably circular in shape made by a single mould. A female and male standing on right and left side intribhanga posture. The left hand of male is damaged, while the right hand rest on right shoulder of female. Her right hand is partially upraised to hold his right hand, and her left hand is probably holding his lower garment. Both of them are most likely wearing a diaphanous garment and a particular kind of turban. Right leg of male depicted in such a way as if his garment is covering it. She is wearing a simple domical turban and he is wearing a crown resembling kiritmukuta familiar to the Gupta Vakataka period. Due to the damage of vertical left side of the plaque, his left hand, leg and some portion of the waist are missing. It is dull red in colour; made of medium fabric and is well fired (Reg. No. 40, Length: 5.1 cm, Width: 3.5 cm, Thickness: 0.4 cm, Weight: 7 gm). Though lower leg portion of female is damaged, but it appears that the artist intended to hide her lower part of the left leg by the right one. Both are bejewelled with necklace and big earrings for their left ear, and a griddle ornament (male). The decoration pattern is of embossing style. This type of artistic representation especially the body proportion and curve movement can be compared with the paintings and sculptures at Ajanta and other contemporary Vakataka art expression. Unidentified Objects There are five specimens found from the surface which were kept under the category of unidentified objects (Figure 25). A fragment (Figure 25.1) which has shallow round depression in the middle measuring 2.2 cm diameter and depth of 0.6 cm was found. Within it, a design of eight inscribed lines crossing each other and forming a spoke 849

25 ISSN Heritage: Journal of Multidisciplinary Studies in Archaeology 5: 2017 wheel like motif. Circumference area of this artefact is big and the outline is partially broken. At the top, a circular projected knob is seen. It is medium in fabric, is well fired and bears a wash (Reg. No. 17). Another object (Figure 25.2) appears to be bell shaped in chipped off condition. A shallow round depression in the middle, measuring 2.2 cm in diameter and 5 millimeter in depth, which seems to be intentionally made or was it a discarded faulty piece remains unknown (Reg. No. 18). 850 Figure 24: Miniaturemithuna or dampatiplaque from Chandankheda There are also two (Figure25.3 4) long rectangular fragments one of which is in crescent shape while other is broken. Near the crescent, surface has two incised horizontal parallel lines, and between them are four pinhole dot designs. The large broken portion of backed clay bears a circular device on exterior surface (Figure25.5).

26 Pardhi et al. 2017: Diameter of the central portion is 1.3 cm and has a design of four circles in four directions, and a clay dot in the centre (Reg. No. 19). Figure 25: Unidentified objects from Chandankheda Discussion Chandankheda is one of the important early historic fortified settlements in Vidarbha which was continuously occupied from Early Iron Age to Vakataka period. Various terracotta objects have been recovered from the excavation. In the first phase of occupation at the site, terracotta were all together absent. The terracotta objects make their first appearance during Early Satavahana period in form of few play objects and a single ageless human figurine. They are handmade and are coarse in fabric and are ill 851

27 ISSN Heritage: Journal of Multidisciplinary Studies in Archaeology 5: 2017 fired. Period III of the Satavahana reign was the richest period with regard to terracotta. During c. 1 st BCE to 2 nd 3 rd CE a great variety of double mould human and animal terracotta figurines can be seen besides ornaments, toys and miscellaneous objects. However, most of the Satavahana terracotta are reported from the surface of the habitation site and are stylistically assigned to Satavahana period. From Vakataka period terracotta objects gradually start to decrease. Stylistic variety that one saw in the former period reduces to mainly ornaments and toys and a single plaque. In the Medieval period one notices a huge surge in the number of animal figurines from excavation as well as surface exploration. Other finds from this period include few ornaments and miniature plaque. An insight into the social life of the people of this site can be made on the basis of ornaments, toys and the decorated human figurines. Chandankheda people liked decorating their bodies as is reflected from kaolin human figurines decked with various ornaments. The terracotta served as the preferred medium for the same due to their easy availability and low cost. That s why they were prolifically used in making beads, bangles, ear ornaments and pendants. It is interesting to know that the diameter of the bangles recovered from this site is really small. This can be taken to indicate that these were probably meant for children and not adults. Various modes of entertainment were current at the site. Number of wheels, gamesmen, hopscotches, sling ball and toys attest to the leisurely activities at site. Some of wheels and hopscotches are made from broken pots sherds. It was a good idea to reuse these broken potshards which might have been available in plenty at the site. Various bull and horse figurines are also reported from the site. Two bull figurines bear perforation/holes for inserting string or rope to move them forward. It appears that these were used as toys to be dragged by children. There are some important terracotta artistic specimens reported from surface which can be compared with specimens from other parts of the country. The beautiful karṇaveṣṭanaear ornament of Chandankheda can be typologically similar with Sanchi and Bharhut ear ornaments worn by yaksha and yakshis, kings, noble humans and devotees. Apart from this a miniature plaque of mithuna or dampati reported from surface. This Chandankheda plaque can be stylistically compared with the mithuna or dampati which depicted in the right side dwār shakha of main entrance of cave no. 22 of Ajanta. The facial features of both of them are abraded. In the cave no. 22 of Ajanta the position of the couple is change, hear the male is standing right of female and she is standing left of male. His left hand resting on her left shoulder and she is holding probably his left hand in her left hand. However, right hand of male is folded from elbow and probably giving something to the female whereas right hand of female is holding a scarf of male which are almost common with terracotta plaque couple, only position of side changes. The crown of a male can be compared with that crown of Ajanta couple of cave no. 22. Both have worn a simple type of necklace similar to Chandankheda terracotta plaque couple. 852

28 Pardhi et al. 2017: The terracotta objects from Chandankheda are comparable with those at other sites. The Satavahana double mould terracotta and kaolin objects can be compared with Ter(Chapekar 1969), Paithan (Dhavalikar 1977), Adam (Nath 2016), Bhokardan (Deo and Gupte 1974), Kondapur (Yazdani 1941) and Pauni (Naranje 2013). Terracotta weights, which are reported from a number of early historic sites across the country, are also reported from Chandankheda. Such similarity in antiquities probably indicates connectivity of Chandankheda with other sites via trade. To sum up, after the humble beginnings at the site, the foundation for terracotta object manufacturing were laid during the early Satavahana period. The prolific availability of terracotta objects both from surface and excavated context in Satavahana period attests to the prevalence of a well functioning terracotta industry at the site. The similarity of the finds with those of other Early historic sites of Vidarbha in general and Adam in particular indicates linkage between the contemporary sites. References Agrawala, V. S The Terracottas of Ahichchhatra. Ancient India 4: Balkiston, J. F Explorations at Sirkap, Annual Report Archaeological Survey of India. Bhaisare, K. B The Vakatakas: Cultural Study in Archaeological Perspectives. Unpublished Ph.D Thesis. Pune: Deccan College. Chapekar, B. N Report on The Excavation at Ter(1958), Pune. Deo, S. B and M. K. Dhavalikar PaunarExcavation(1967). Nagpur: Nagpur University. Deo, S. B and R. S. Gupte Excavation at Bhokardan1973. Nagpur: Nagpur and Aurangabad. Deotare, B. C; GurudasShete; ReshmaSawant and Satish Naik Preliminary Report on Excavations at Kholapur, District Amravati, Maharashtra. Man and Environment Vol. 37 (2): Deshpande, M. N Satavahana Terracotta Art: With Special Reference to Ter. The Age of the Satavahanas(Shastri, A. M. Ed.), Vol No. II, pp , New Delhi: Aryan Books International. Dhavalikar, M. K PaithanTerracottas, Journal of the Indian Society of Oriental Art (New Series) Vol. 7: Dhavalikar, M. K Masterpieces of Indian Terracottas, Bombay: Taraporevala Publication. Dikshit, M. G Beads from Ahichchhatra, U.P. Ancient India 8: 33 63, Delhi: Archaeological Survey of India. Dikshit, M. G Excavation at Kaundinyapura ( ).Bombay: The Director of Archives and Archaeology Maharashtra State. Ghosh, A Ancient India No. 4, Bulletin of the Archaeological Survey of India, New Delhi: 78. Gordon, H. D The Mother Goddess of Gandhāra. Antiquity:

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