The Terracotta art today is accepted as a major medium of Indian art. Sculptural wealth of India is fabulous. So the majority of the past Art

Chapter-1. Introduction The Terracotta art today is accepted as a major medium of Indian art. Sculptural wealth of India is fabulous. So the majority of the past Art Historians devoted their time to exclusive study of sculptures and also to some extent, the numismatics, epigraphy and painting. Terracotta art remained neglected for long and object found during the excavations (through most of the reports have since been published) were not adequately described by the excavators. The terracotta art in its socioreligious and technical perspective was not properly discussed in the reports. A huge collection of terracotta s in the museums, of many sites in Bihar are yet to be studied. A good numbers of scholars still assign this art a secondary position but their views need revision in the light of the numerous terracottas of various types and subjects unearthed during the past six decades. Terracotta art offer many rare facts to Indian art history. At the same time its study is faced with intricate problems and issues. By and large sculptural art deals with religious subjects. Hence it has scope for adopting secular scenes. Images were made according to the imagination, tradition and later on the basis of prescribed canons. The word terracotta denotes baked clay but the product more frequently relates to human or animal figures or statuettes, which either represents gods or goddesses or ritual objects with mythological themes woven round them or represents dolls or toys and other objects of visual interest. Terracotta art is widely spread in India from the remote past and has continued unabated till today. The study of plastic art, without the study of the terracotta, will therefore, remain incomplete. Beginning from atleat the Neolithic period 1

down to the Pala period, the terracotta art is found spread as rich and significant brocade on the complete textile of India s artistic achievements. Coomarswamy has, therefore, rightly observed that the early Indian terracottas are of great importance not only as documents of religious culture, but as documents of the history of art. Like the sculpture of stone and metal, the artist in clay also produced charming forms, but they relieved themselves from the iconographic injunctions and religious dictates. The terracotta art took its origin from clay, one of the cheapest and easily available materials, and as such, man from the very threshold of civilization started making household utensils, toys and figurines of god and goddess from it. Though other materials like copper, iron, stone etc. were also available, clay was preferred to other materials, being not only cheap and easily available, but also due to its, soft and tractable nature. Terracottas serve to satisfy creative impulse of ordinary man, as much for aesthetic expression as for domestic and ritualistic needs. Even for individual self-expression of the artists, no material affords so much scope as does the terracotta. It is, therefore, an excellent embodiment of their sense of beauty. The terracotta art is of great antiquity. From the earliest times of known human civilization, terracotta figurines have been an important tool of depicting the civilization, culture and socio-economic life. But it is not certain for what purpose these terracotta s were made, whether, they were toys for the children, or art work for the rich or were religious figures. Terracotta s of outside Indian territories at such ancient sites as Mesopotamia and Elam, Crete, Mycenae and Cyprus, show social and religious life of those days. Even Greek and Roman life of the past is abundantly illustrated in terracotta finds of those times. Therefore it has 2

been observed that the archaic terracottas possess great quality. These have been found in great numbers, so much so that in a village, Ajil Irivi 2000 statues and statuettes have been discovered. In India the terracotta finds date back to atleast 5000 B.C. The ancient sites of Mohen-jo-daro and Harappan have yielded a large number of terracotta. These finds serve as documents of religion, society and culture as well as denote the history of art prevalent during the ancient times. The Harappan terracotta s show links with Indo-Sumerian as well as Mesopotamian art. This is an extremely interesting point as they denote a period of migration of different cultures as well as a free access to human movements. Even before the Harappan period terracotta art prevailed in the nomadic tribes living in scattered locality of the desert of Baluchistan and Kohat at Zhob, Periāno-ghundai, Moghalghundai Kaudnī, etc. The earliest example of this art of unbaked clay recorded from Mehrgarh in district Kachi (Baluchistan) period I is assigned by excavator to sixth-fifth millennia B.C., while the evidence of baked clay animals occur for the first time at Mehrgarh in period III. The stylistic evolution of this figurine is particularly marked between period IV & VII. It begins with a stick headed form in period IV and develops through the elaborate coiffure of period VI, that later culminates into the Zhob style of period VII. Majority of these forms represent females although male figurines also appear in the latest level of the site. At Mehrgarh, these stylized figurines are thus, the forerunners of a long sequence of human representations. However, before the Harappan period the terracotta art seems to be confined to small peasant communities in village rather than to developed centre of civilization. In a way it gives us an insight into the human heart and feeling very much alike to the feeling and emotions of the present mankind. If at all any event in the human history can claim to be a link to 3

our past ancestors in 4000 B.C. and before any hutments and primitive dwelling, it is indeed the expressions and the feeling howsoever crude these may be displayed in the terracotta figurine. Terracotta s or clay sculptures occupy an important place in the history of plastic art of India. Bihar is one of the most important states which has yielded various types of terracotta figurines beginning at least as far back as third millennium B.C. down to the late Pāla period and the study of these terracotta s are essential to complete the history of plastic art in India. The most important and prolific centre of terracotta s in Bihar are: Chirāṇḍ, and Manjhi (Saran district), Belwa (Gopalganj district) Balirajgarh (Madhubani district) Katara (Muzaffarpur district) Chechar, Hajipur and Vaiśālī (Vaiśālī district) Antichak, Champa (Bhagalpur district) Lauriya Nandangarh (West Champaran district) Kumrahar, Bulandibagh, Mahabirghat in Patliputra (Patna district) Rajgir and Nalanda (Nalanda district) Tārādih, Bodh Gaya, Sonpur, Dharawat (Gaya district) Chausa and Buxar (Buxar district) and many other sites in Bihar. These terracottas include both surface collection and those discovered during excavation from the stratified layers. Majority of the significant terracotta figures are accidental finds. In fact, no accurate data with regards to the strata of their discoveries are available. So we have to rely upon their style and technique, Coiffure and costumes, physical features, facial expression and the quality of the clay used and by comparative study with the stratified objects found in other sites. And the terracottas from the stratified layers pose no problem with regard to their date. These clay figures and figurines reveal the use of various techniques. As a matter of fact, the technique of making terracottas underwent 4

improvement or changes hence we find that several methods had been used. They are hand modelled as well cast in mould. They were made from single as well as with double moulds. Some of them are coloured also. Clay craftsman were intimately in touch with the life of the people- rural and urban and there is hardly any aspect of life that had not found place in their works. The Neolithic Chirāṇḍ has added a new page in the history of India. The earliest handmade terracottas depicting human, animal and bird figurines were discovered here 1. We have humped bull and dove like bird, all hand-made. We have one hooded snake and a coiled snake. Neolithic terracottas figurine of bull, serpent and crude female figurine provide the earliest material evidence of religious beliefs. The most notable, however, is the archaic female figure of Mother Goddess 2 measuring 5.5 cm. in height. Besides the Neolithic Chirāṇḍ, the site of Tārādih near Bodhgaya temple is another Neolithic site which has yielded terracotta figurines from the Neolithic level 3. Among them the terracotta bull is very important 4. Humped bull terracottas of Neolithic period have also been found at Piklihal, Sangankalu and some other sites. Although the artists of the Neolithic phase have not succeeded in portraying the above mentioned object still they have succeeded in giving them some definite forms. In a way, such representations appear to be of magical character. It has, therefore, rightly been observed by the great art critic Fischer 5 that art in the beginning was a magic tool and had little to do with beauty. The Neolithic culture was followed by the Chalcholithic cultural remains noted at Chirāṇḍ, Sonpur, Oriup, Tārādih, Chechar, Maner, Senuvar and Hajipur. The terracotta art predominates in the subsequent 5

Chalcholithic period. A flourishing Chalcholithic culture was met with at Chirāṇḍ. From period II of this site bull figurines have also been found. They are remarkable for their stricking similarity to their counterparts in the Harappan context. Among them, the bigger one is 4.1 cm. in lengths and its total height is 3.6 cm. It has pointed mouth with its ear and horns broken. There is perforation near its nostrils also. Its hump is very prominent and its tail is also represented prominently. Its pair of legs both front and hind are fused. The bull figurine is very small 6 in size measuring 2.8 cm x 1.9 cm only. Its legs are shown separately but the head is broken. A miniature sarcophagous 7 has also been unearthed from chalcolithic levels at Chirāṇḍ. It is polished red and measures 9.5 cm x 5 cm on its body and outer belly portion bear some line drawing in red ochre and kaolin. Its only leg is extant, which is approximately 2 cm in height. The excavation at Oriup, about 2 kms to the west of Antichak by the Deptt. Of Ancient Indian History and Archaeology, Patna University has revealed a terracotta female figurine, probably a Mother Goddess. The Iron Age in Bihar can be divided into two phases- the Early phase and the Later phase. In the former, the art have survived are in the form of clay figurines which have been found from different sites in Patna such as Bulandibagh, Kumrahar, Mahavirghat and Sadar Gali etc. special mentions may be made of terracottas male figurine from Mahavirghat 8 in which legs are like two vertical lines, and arms are represented without the indication of elbows. The figurine of snake goddesses 9 and Nigamasa 10 from Bulandibagh were essentially cult objects. Among other terracotta animal figurines, the most notable are those of elephant, dog and ram. Among birds, dove and cock are represented which are similar to the Harappan type in technique and style. Four human figurines discovered from the lower level of period I of Patliputra were hand-modelled and 6

evinced poor workmanship 11. Most important among them is a standing male figure with stretched leg held slightly apart. The nostrils have been shown by two holes and mouth by a small horizontal cut near the chin. The right hand is held across the chest and the left arm and leg are completely broken. Fingers of hands and legs have been indicated by notchs and impressed ringlets stand for eyes, nipples and navel portion. The other three are also standing male figurines. Two of the figurines have animal like face 12. The face of another figure is like snout 13. This figure is holding both the arms in his lap. The circlets are representing the eyes, breast and the navel portion. Pataliputra excavations of the years 1955-56 yielded a number of terracotta animal figurines. The animal figurines from period I were handmade and were usually impressed in the circlets and incised lines 14. On the whole, the figurines discovered from the earliest level indicated the archaic style and displayed lack of imagination of the artists in the art of clay modelling. Buxar is another important site which has yielded terracotta figurines of early period. Excavations carried out in 1963-64 at Buxar revealed four phase of cultural deposits. Period I appears to be a pre N.B.P. cultural phase. It was represented by red, black and grey potteries. In this period, the antiquities which came to light were of much interest. The important discovery of this period included six hand-made terracottas 15 of which four were animal figurines and two female figurines. On the body of animal figurines such as elephant, ram and horse, there were three horizontal strokes in yellow colour on the leg, back and tail of the animals 16. Terracottas that have been reported from Hastinapur from pre- N.B.P. level are much more crudely made and have no paintings on them. B.P. Sinha 17 has placed these pre- N.B.P. terracottas figurines from Buxar in 600 B.C. 7

Another notable site of potential significance is Champā situated about two furlong to the north of Nathnagar Railway station. Excavation carried out at this site has yielded terracotta animal figurines such as elephant, bull, dog, Naga and Nagin with human body which is decorated with dots and incised lines. All these figurines from the lowest level are essentially hand-made specimens. But a significant change is noticed in the terracotta figurines unearthed from the upper level of the N.B.P. phase. The figurines comprising both human and animals have been made through moulds in the form of plaques depicting varied figures including Śakti type with weapons. The terracotta figurines of the Mauryan period, generally larger in size, exhibit individuality in character and style. They have been discovered from most of the archaeological sites in Bihar. The terracottas of this period discovered from Patliputra are of special interest. They show great advancement in their technique and style. Some specimens from Pataliputra are considered as outstanding and have been ranked as masterpiece. Some of the terracottas are thematically fascinating, while the rest of the terracottas are either aesthetically pleasing or reflect the attained excellence of technical perfection. The female figurines of this period deserve particular mention. Some of them, with bare breast and dancing poses, are dynamic in character. They wear skirt like dress. The facial expression of these delicately modelled figurines in interesting and their forehead are exceedingly high with head something surmounted by headgear rising in two lateral zones or sides. Another interesting specimen of this type has been found from regular excavation at Sonpur in Gaya district. The N.B.P. phase associated with Iron Age culture at Sonpur has yielded a few terracotta human figurines which could be assigned to the 8

Mauryan period in terms of the cognate evidence of terracotta figurines as noted elsewhere in the N.B.P. phase. Among the terracotta figurines, the most notable is the female dancing figure wearing undergarment and flouncing skirt 18. Its slender body with broad hips and breast exposed not only add to the beauty and charms of the figure but also reflects the delicate taste and fine skill of the artist of this period. The Sonpur dancing figure also shares some of the stylistic elements of the terracotta female dancing figure from Bulandibagh (Pataliputra) which is assigned to the Mauryan period. Besides the above terracotta figures the two famous terracotta heads from Bulandibagh also throw considerable light on the social life of the Mauryan people. The one is that of a laughing boy 19 and the other is of smiling girl 20. Those two heads have their own significance. They show in a very realistic manner the inherent simplicity of juvenile mind. The smiling boy has two cornered head-dress covered by a cloth and fastened at the back. The hem of the cloth shows its wavy edge around the back of the head. We notice another variety of head-dress in the head of smiling girl. Here the headgear has two lateral horns rising from the board and high carved of the coiffure and is probably covered with cloth which appears to have been separately affixed. It may be mentioned that these two heads referred to above are the finest specimens of Indian terracotta art. In fact numerous such terracotta male and female figurines have been recovered from the ancient city of Patliputra which suggests that they are the products of one workshop whose artists were expert in making terracotta objects. A terracotta female figurine from Golakpur, Patna 21 is remarkable because of her close resemblance with the Didarganj Yakshani. She wears a Sārī lower garment which is held by a girdle consisting of five strings and a neatly pleated scarf. One end of the scarf comes down to the waist while 9

the other ends with three tassels are represented near the thigh. It rests on the left shoulder. She wears necklace and a decorated band near the abdomen. Hands are missing but the trace of fly- whisk or chauri can be noticed on the right shoulder. In 1971 excavations in Chirāṇḍ in a strata corresponding to the Mauryan period associated with fine N.B.P. shirds was found a double faced terracotta mask 22. It must have been used in some festive gathering. The discovery of this object in the period 4 th -3 rd century B.C. is significant and provides archaeological proof of dramatic performance at so early period. It is 35 cm in length and its breadth is 35.5 cm. Female part of the face is broken. The male face is dreadful. A crescent shaped ridge is made for hairs. Eyes are shown by bulging knob in a circle under the ridge-brows. Nose is abnormally large and so are the holes for nostrils. Once the mask is put-on, everything can be seen through these nostril-holes. Ears are large and cup shaped. Lips are shown open and apart and the teeth are shown protruding. Scorpion sting like moustaches are shown. Chin is also protruding. As a whole, the expression of the male face is ferocious. From no other site, such mask has been reported. Various types of unique head-dress are noticed from the Buxar terracotta female figurines of the Mauryan period. A large number of terracotta heads have been represented with a flat and broad loop on the top, hollow in the middle with vertical lines impressed 23. As a matter of fact Buxar terracottas of this period represent a special class. The figures are much better modelled, the head-dress and other decorations are much more prominent and numerous. They are entirely different from those that are commonly associated with the Mauryan period. In this connection, terracotta figurine sitting on stool is worth mentioning. Besides, the figurines of elephants, horses, dogs and rams and birds have also been found exhibiting better workmanship than earlier examples. 10

Some of the terracotta s are thematically fascinating, while the rest of the terracotta s are either aesthetically pleasing or reflect the attained excellence of technical perfection. The female figurines of this period deserve particular mention. Some of them with bare breasts and dancing poses are dynamic in character. They wear skirt like dress. The facial expression of these delicately modeled figurines is interesting and their foreheads are exceedingly high with head sometimes surrounded by headgear rising in two lateral zones of sides. During the Śunga and Kanva period there was a spectacular growth in the production of terracottas. They are not only greater in number but finer in artistic quality and varied in taste and temperament. The adoption of mould also affected the art of the terracotta. Figures in the round are absent. The round figures of the Mauryan period gave place to composition in flat reliefs. The human figurines, sensitively modelled, are better regulated on more disciplined lines. Heavy coiffures, elaborates jewellery and dress on these figurines are more Indianized in character. The different limbs are well fashioned and bone joints have been indicated. The terracottas of this period i.e. of the second and first centuries B.C., represent a wide variety of religious and secular themes. The figure of Sūrya 24 depicted on terracotta plaques make it obvious that religious terracottas were fashioned in more developed style. The plaque depicting the figure of Sūrya is round shape. The deity is standing in the chariot drawn by four horses. This figure is very similar to the figure of Śunga period depicted on the Bodh-Gaya railing pillar 25, showing the God driven by four horses. One of the most unique and distinguished types surviving at Laurya Nandangarh from the Śunga period is that representing a winged male figure 26, wearing a headgear, heavy garland, ear ornaments etc. Similar 11

figures both male and female appear to be quite common in the Śunga period which is also noticed at Vaiśālī and Balirajgarh. The Kuṣana terracottas have also been found from Kumrahar, Vaiśālī, Chirāṇḍ, Sonpur, Hajipur and Belwa. The Kuṣana terracotta shown that the clay modellers produced two types of figurines big and small. The artist did not use the mould which was so commonly employed by the Śunga artist. It seems that the mould was occasionally used, particularly for producing large figurines of which the busts were hand- modelled and the heads pressed out of mould and provided with tenons. The tenon in these heads is provided for inserting into the mortise hole of the body which was always produced separately. The method of preparing clay sculptures during the Kuṣana period can clearly be seen in a number of terracottas from Belwa and other sites of Bihar. Majority of the terracotta figurines of the period from Bihar under review exhibit a crude workmanship chiefly because of sand particle and chipped husk which are mixed with clay as the tempering materials. Belwa has yielded a number of Kuṣana terracotta figurines which are now preserved in the Patna Museum, Patna. The three terracotta heads from Belwa are very interesting as they wear conical head-dress 27. A head has typical foreign face with moustaches 28. Another figure is shown in European fashion with pendent legs and wearing a skirt clinging to the body 29. Another is a female figurine 30 with high and small breast holding child (damaged) against her breast. Large cup-shaped depression for naval is clearly visible. She is seated on a cylindrical stool. Religious figurines at Belwa are very few. The best and important specimen is a rectangular slab with seven figures 31 which is definitely the earliest representation of Saptamātrikās or seven mothers representing the 12

Śaktis or the endowed energies of the important familiar deities viz. Brahmānī, Maheśwari, Kaumārī, Vaiṣṇavī, Vārāhī, Indrānī and Chāmuṇḍā. It has no distinguishing symbols or vehicles, but on the basis of style it may be dated in the Kuṣana period and not in the Gupta period as mentioned in the Patna Museum catalogue of Antiquities 32. The clay modeller s art attained its acme of excellence in the Gupta period. Like the contemporary sculptures, the terracotta modellers with their long experience understanding and obviously with deep insight handled the clay figurines with great excellence. The complex technique of the earlier phase gave way to completely moulded one in the Gupta period. They are less sophisticated but more human. The Gupta terracottas are found to have been prepared mostly from the moulds, but traditional type also continued. The Gupta figures are delicate and beautiful. Another characteristic feature of the Gupta terracotta figures is the wig-like hair on the head of some male figures. The modes of dressing the hair in the female figures are more varied. The ponderous ornaments of the Śunga Kuṣana figurines became lean and delicate in the hands of the clay sculptors of the Gupta period. They reveal a high standard of skill and efficiency of baking and burning. The terracotta art of the period have been reported from Kumrahar (Patliputra), Buxar, Vaiśālī, Belwa and BodhGaya. One of the finest and most artistic terracottas found from Kumrahar is the bust of a male figure having broad forehead with ribbon going round and hair above the head rose upwards and matted in several groups. The eye-brows, eyes, nose and ears are prominently shown. The head is slightly bent to the left and the facial expression shown gravity. 13

From Chausa a terracotta plaque depicting the Ramayana scene has been found which is preserved in the Patna Museum 33. Recent excavation at Chausa has also brought out several brick like plaque. 34 Mention may be made of a head from Belwa which may be dated in 5 th -6 th century A.D. in the Patna Museum Catalogue. 35 It is mentioned as male head but on close examination of the head it appears to be female head. The physiognomy which is characterised by a snub nose and thick lips, suggests that she is of Negroid origin. M.K. Dhavalikar is of the opinion that she may be a slave girl who may have been brought to India by some Iranian merchant or a dignitary in his retinue 36. The last group consists of the Pala terracottas which have been found mainly from Antichak, Dharawat, Bodh Gaya, Nalanda and Bakraur. The archaeological excavations conducted at Antichak have brought to light sufficiently large number of stone sculptures, terracotta plaques 37, few bronze statues and a few stucco figurines. Terracottas of two distinct types have been obtained from the excavations of the site-terracotta figurines and terracotta plaques. Antichak is mainly the site of a Buddhist establishment hence it is but natural to find that most of the plaques representing religious figures should have depicted Buddha, Bodhisattva and other minor Buddhist divinities in various postures and displaying various attitude. The plaques about 35-40 cms in height and about 25cm in width are arranged in a continuous row around the stupa shrine. Buddha in one of the plaques, has been represented as seated in Vajrāsana in bhumisparśa - mudrā. A circular hollow behind his head is clearly noticeable 38. Scenes connected with the life of the Buddha have also been depicted in three terracotta plaque. Mention may be made of a plaques representing the taming the mad elephant Nalagiri by the Buddha 39. The 14

Buddha is shown standing turned three-fourth to the left with the miniature figure of an elephant near his feet. The animal adores the Master, who has placed his right palm a little above the head of the animal in a way as if he is blessing in turn. Devadatta, the cousin of the Buddha is also shown on the other side of the plaque. The plaques also depict Bodhisattva Avalokiteśwara 40 and Mañjuśrī 41 and future Buddha Maitreya and Buddhist god of wealth Jaṁbhala. Padmapāni Avalokiteśvara has been represented in three plaques. One of the plaques exhibits Lokeśvara seated in Vajrāsana, holding bowl in his right hand and a lotus by its stalk in the left. There is a interesting image of Mañjuśrī in the earth touching attitude by the left and the Vyākhyāna mudrā by the right hand. His special symbol, the book is placed on a lotus flower to his proper right. The figure is a very beautifully depicted. Among the Buddhist goddess, Tārā 42 and Mārīchī have been found represented on the terracotta plaques from Antichak. There are also several female figures depicted on the terracotta plaques from Antichak, some of them having been shown in the act of dancing and playing on musical instruments. One of the plaques is of considerable interest. It depicts a lady seated gracefully, the right leg placed on the left leg, with double bend in her body. Holding a mirror in her hand, she is looking at it appreciatively, while she is engaged in applying vermilion on the partition of her hair by the fingers of her raised right hand. Roundish innocent face, well formed breasts and thin waist add greatly to the attractiveness of the female form. The beauty of the figure is further enhanced by the adornment of her body with a number of ornaments 43. These terracotta plaques are completely moulded and represented by broad chest, proportionately thin waist, well formed hands and legs, big eyes, broad mouth and broad forehead. A consistent style for the terracotta 15

seems to suggest that they were the work of an established school of workmen, but the style is clearly different from that of stone sculptures which have been found at Antichak being more animated and freely executed. They are the earliest sculptural remains from Antichak. The terracotta art of Dharawat is mainly represented by plaques depicting figures of the Buddha and the Bodhisattvas 44. Some of the plaques also carry inscriptions in Pala characters which further affirm that they belong to Pala period. Several terracotta plaques depicting figures of the Buddha in bhuṁisparśa mudra have been discovered at Bakraur just to the east ward of Bodh Gaya across the Lilajan or Niranjana River. Similar terracotta plaques have been also been found at Nalanda and Bodh Gaya. The aforesaid survey of ancient terracotta in Bihar right from the Neolithic period down to the early medieval period around 11 th -12 th Century A.D. has brought into focus certain features or elements peculiar to the terracotta forms of this region. In fact, Bihar had contributed much in the field of terracotta art and it has led from forefront even in this medium. References:- 1. Journal of Bihar Research Society, Vol. VII LVI, p. 29, Pl. X nos, 1,2,3,5 and 6, Prajña Bhārati, vol. VII, p. 76, pl. before p. 77. 2. Prajña Bhārati, vol. V, Pl. I 3. Prasad, Ajit Kumar, Excavations at Tārādih, Bodh Gaya in Archaeology and Art, ed.by C.P. Sinha, p. 608. 4. Prajña Bhārati, vol. VII, plate facing page 76. 5. Fischer, Ernst, The Necessity of Art, p 35. 6. Prajña Bhārati, vol. V, Pl. I (IV). 7. Ibid 16

8. I. A. AR, 1955-56, pl. XXXII, A 9. Patna Museum Arch. Nos. 4171-74, 9562. 10. Verma, Nisha, The Terracottas of Bihar, pl. XIII, fig. (PM. Arch No. 4332). 11. Narain, L.A. and Sinha, B. P., Pataliputra Excavations, pl. X(4). 12. Narain, L.A. and Sinha, B. P., Pataliputra Excavations, pl. X(1) and (3). 13. Ibid, pl. X (2). 14. Ibid, pl, XV. 15. Sinha, B. P., Archaeology and Art of India-Buxar Terracotta, pl. 38. 16. Sinha, C. P., Excavations at Buxar in the Journal of the Bihar Puravid Parishad, Vol. VII-VIII, p. 215. 17. Sinha, B. P., Recent Enrichment of Art Treasure in Bihar, published in Sanskrit Sangam, July-Dec., 1987, p. 62. 18. Sinha, B. P. and Verma, B. S., Sonpur Excavations, p.9. 19. Patna Museum Arch. Nos. 4226. 20. Patna Museum Arch. Nos. 4178. 21. Sahay, S. N., Indian Costume, Coiffure and Ornament. Fig. 41. 22. Sinha, B. P., Archaeology and Art, figs. 29 and 30. 23. Sahay, S. N., Indian Costume, Coiffure and Ornament. Fig. 27-30. 24. Gupta, P. L., (ed), Patna Museum Catalogue of Antiquities, pp. 209, 246,273. 25. Coomaraswamy, A. K., La Sculpture of Bodh Gaya, pl. LIII-2. 26. Mukhopadhyay, Samir Kumar, Terracotta from Lauriya Nandangarh in the Indian Museum Calcutta.Lalitkala No. 18.p.32. 27. Patna Museum Arch. Nos. 5280, 2891, 2892. 28. Patna Museum Arch. Nos. 2887. 29. Patna Museum Arch. Nos. 2995. 17

30. Patna Museum Arch. Nos. 2941. 31. Gupta, P. L., (ed), Patna Museum Catalogue of Antiquities, pp. 289 (Arch. No. 2869). 32. Gupta, P. L., (ed), Patna Museum Catalogue of Antiquities, pp. 286. 33. Gupta, P. L., (ed), Patna Museum Catalogue of Antiquities, p. 1, Arch. No. 6528. 34. As informed by Dr. Umesh Chandra Dwivedi, the Director Excavation of the site. 35. Ibid., p. 288. (Arch. No. 2870). 36. Dhavalikar, M. K., Masterpieces of Indian Terracottas, p. 61. 37. Journal of Bihar Research Society, Vol. LVII, 1971, pp. 57 ff. 38. Ibid., fig. 2. 39. Ibid., fig. 3. 40. Prasad, Ramchandra, Archaeology of Champā and Vikramshila, fig. 25. 41. Ibid., fig. 26. 42. Ibid., fig. 28. 43. Ibid., p. 76, fig.34, JBRS, LVII, p. 73, fig. 21. 44. Prasad, H. K. Terracotta Sealing s and Stupa from village Dharawat, History and Culture (Dr. B. P. Sinha Felicitation Vol.), pp. 176-180. -----------------------.------------------------- 18