Model Answer
0 min readIntroduction
Following the decline of the Mauryan Empire around 200 BCE, Indian art and craftsmanship witnessed a significant shift, moving from the imperial patronage of the Mauryas to a more diversified regional development. The Post-Mauryan period (c. 200 BCE - 300 CE), characterized by various regional powers like the Shungas, Satavahanas, and Kushanas, saw a proliferation of artistic expressions, including a flourishing terracotta tradition. Terracotta, or "baked earth," became a widely used medium for artistic and utilitarian objects, reflecting the evolving social, religious, and cultural milieu of the time. These crafts were often produced in urban centers, which served as hubs for both domestic consumption and trade.
Prominent Terracotta Craft Centre: Chandraketugarh
One of the most significant terracotta craft centres of the Post-Mauryan period in eastern India was Chandraketugarh, located in the present-day North 24 Parganas district of West Bengal. This ancient urban settlement, situated near the Bidyadhari River, was a bustling port city and a vibrant hub for various crafts, including terracotta.
Characteristics and Significance of Chandraketugarh Terracotta
- Geographical Location: Chandraketugarh's strategic position near the Bay of Bengal, connected by riverine routes, facilitated trade and cultural exchange, influencing its artistic output.
- Artistic Evolution: After the collapse of the Mauryan Empire, many craftsmen from centres like Pataliputra are believed to have migrated to Chandraketugarh. This led to a continuation of some Mauryan artistic elements, yet also fostered a distinct regional style. While Mauryan terracotta often featured a glossy surface (akin to Northern Black Polished Ware), Post-Mauryan terracotta, particularly from Chandraketugarh, displayed a greater variety in form, technique, and subject matter.
- Variety of Artifacts: Excavations at Chandraketugarh have yielded an extensive array of terracotta objects, including:
- Figurines: Exquisite human figurines, often female, adorned with elaborate hairstyles, costumes, and ornaments. These often depict Yakshis, Mother Goddesses, and other folk deities, sometimes with sensuous and detailed features.
- Plaques: Decorative plaques depicting mythological scenes, daily life, animal motifs, and sometimes even humorous or satirical figures. A prominent example is the figural plaque found at Tamluk, another important riverine port near Chandraketugarh.
- Animal Figures: Terracotta animal figures, including horses, elephants, and mythical creatures, reflecting both religious beliefs and everyday observations.
- Utilitarian Objects: Pottery, seals, and other objects for daily use, showcasing the functional aspect of terracotta craftsmanship.
- Production Techniques: Post-Mauryan terracotta from Chandraketugarh often employed moulding techniques, sometimes using double moulds for intricate details, leading to a degree of mass production catering to a wider clientele, including the urban elite.
Other Notable Post-Mauryan Terracotta Centres
While Chandraketugarh was a significant centre, other regions also contributed to the flourishing terracotta tradition:
- Pataliputra (Bihar): Although its terracotta artistry declined in artistic skill after the Mauryan period, sites like Kumrahar in Pataliputra continued to yield terracotta objects, including toy animals with movable heads and depictions of Hindu and Buddhist deities.
- Mathura (Uttar Pradesh): Mathura emerged as a vibrant artistic centre during the Kushana period. While famous for its red sandstone sculptures, terracotta also played a role, with figures representing a blend of indigenous and foreign influences.
- Deccan (Satavahana period): Sites like Yelleshwaram and Kondapur (Telangana) were known for mass-produced terracotta figurines and moulds during the Satavahana period, indicating organized production.
Transition in Terracotta Artistry
The Post-Mauryan period marked a shift from the highly polished, somewhat rigid imperial style of Mauryan art to a more localized, diverse, and often spontaneous form of expression in terracotta. The themes became more varied, encompassing secular subjects alongside religious ones, reflecting a broader social base of patronage.
Conclusion
The Post-Mauryan period was a transformative era for Indian art, with terracotta emerging as a powerful medium for artistic expression. Centres like Chandraketugarh exemplify this transition, demonstrating a rich tradition of craftsmanship characterized by intricate figurines, plaques, and diverse motifs. The extensive finds from these sites provide invaluable insights into the daily life, religious beliefs, and artistic sensibilities of the people during this crucial historical phase, highlighting the widespread appeal and regional variations of terracotta art across the Indian subcontinent.
Answer Length
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