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His Troy
His Troy
A Glimpse of Geometric Patterns Observed in Harappan
Town Planning and Pottery Designs
Garima Bharti 1
1 . Department of Ancient Indian History and Archaeology, University of Lucknow,
Lucknow, Uttar Pradesh, India
Received: 15 September 2013; Accepted: 30 September 2013; Revised: 18 October 2013
Heritage: Journal of Multidisciplinary Studies in Archaeology 1 (2013): 466‐474
Abstract: The Harappan Civilization was characterized by a great degree of standardization in its town
planning, craft activities and technology. These high degrees of standardization in the past have led to
scholars greatly debating on the administrative machinery and high levels of centralization. The present
paper here attempts to highlight the knowledge of geometry and their execution by the Harappans which
was perhaps the prime mover for achieving such high degree of standardization.
Introduction
Harappan Civilization is one of the foremost of the world civilizations that thrived
during the Bronze Age. Geographically, at its peak it covered parts of modern
Afghanistan, Pakistan and Western India and may have supported a population of
over five million. The civilization was characterized by its own rhapsody and exhibited
a great degree of standardization in its settlement pattern, town planning, craft
activities and technology. This high degree of standardization observed in their
remains and material relics has often led to questions as to how they were achieved in
a period where the existences of centralization were difficult to imagine. In the light of
the aforesaid background, the present paper attempts to highlight significant patterns
based on basic geometric features that can be observed in the town planning and
designs and motifs that can be observed in pottery traditions of the Harappans.
Geometry and Patterns
The well laid out street plans of the Indus cities and their relatively accurate orientation
along the cardinal directions have been taken as evidence that the Indus people had at
least a working knowledge of geometry (Amma 1979; Parpola 1994). Earlier studies
have suggested that Harappans not only had a practical grasp of measurement but
also they had an understanding of the basic principle of geometry (Kulkarni 1978).The
discovery of scale and instrument for measuring length in different Indus sites
indicate that Harappan knew how‐to make accurate spatial measurements (Vij 1984;
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Balasubramanian and Joshi 2002) for example an ivory scale discovered at Lothal (in
western coast of India) has 27 uniformly spaced lines corresponding to 1.70mm (Rao
1985). The sophistication of the metrology practiced by the Indus people is attested by
the sets of regularly shaped artifacts of various size that have been identified as
constituting a system of standardized weights. There is surprising degree of the
uniformity in the widely dispersed centers of the civilization, indicating an attention
towards achieving a standard system of units for measurements.
However, most of the studies on the subject of Indus geometry have primarily been
concerned with the patterns occurring at macro scale for building plans, street
alignment etc. and geometric patterns observed on seals. Designs and motifs on pottery
however have been seldom studied and incorporation of evidence from all proxies can
lead to a better understanding of the knowledge of geometry known to the Harappans.
Town Planning
The town planning of the Harappans largely depended on the area available and
location of the settlement for occupation. The settlements were based closed to a water
course, either a nullah or river; along trade routes or close to viable agricultural land
and/or to raw material source. The settlements were mostly fortified, usually covering
the whole area under occupation or in some cases with multiple fortifications dividing
the settlement into upper, middle and lower town as seen in Dholavira. The important
roads are laid out along cardinal directions with slight deviations of up to 15 degrees
and cut each other at right angles. Besides wide roads and lanes another significant
feature of Harappan town planning is the creation and maintenance of water bodies for
civil and religious purposes. The Great Bath at Mohenjodaro, drains at Kalibangan,
tanks and dams at Dholavira, a moat at Banawali are significant examples for water
management observed in Harappan cities (Figs. 1‐6). With such elaborate features
visible, one wonders whether the Harappans had a scaled map of their proposed
towns/cities before actually setting up their township. Such systems require more than
elementary knowledge of geometry.
However, no maps have so far been recovered from any of the Harappan sites and thus
it becomes significantly difficult to provide evidence for such practices, although an
examination of town planning of the major Harappan settlements do support such
practices.
Pottery Designs and Motifs
Harappan pottery is one of the finest potteries manufactured in the Indian sub‐
continent. It is made of extremely fine, well levigated clay free from impurities and is
uniformly well fired. The surface is treated with a slip over which designs are executed
in black and sometimes in red. The bulk of Harappan pottery forms are typical and are
confined to Harappan site only. Among these the ‘S’ profile jar which is very lavishly
painted, cylindrical jar, the stemmed goblet, vessels, bowls, beakers are most
prominent pottery forms. The painted patterns are rich in variety and are characterized
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by circular, fish scale, pipal leaf, loops, triangle and zigzag motifs etc (fig. 7). Although
there is a striking uniformity of fabrics in the Harappan region, a few forms were
confined to a particular region, for instance the stud handled bowl which is seen in the
Gujarat region only. This ware has quite an individual appearance, distinct alike in
fabric and form. The set operations that are required to generate the shapes and
designs described above suggest that the people of the Indus Civilization were
reasonably aware with the geometry of circular shapes and techniques of their
execution. A few of the prominent shapes and patterns found on the pottery are
discussed below.
Circle
The first simplest and most perfect figure is the circle (Proclus 1992).The reason for the
primacy of the circle in Indus geometry is probably not hard to understand if we focus
on the technical shapes which are very difficult to execute, without the help of
instruments that aid in drawing lines at right angle to each other. Mackay (1938) who
excavated Mohenjo‐Daro between 1927 and 1937 expressed surprise on finding that
“an instrument” was actually used for this purpose (drawing circle) in the Indus valley
as early as 2500 BC. In this context, it may be noted that later excavations at Lothal
have unearthed thick, ring like shell objects with four slits each in two margins that
could have been used for the same purpose (Rao 1985). The simplest variation of the
basic circular patterns have two layers of such close packed lattices of circle ,with one
layer displaced by a length equal to the radius of a circle.In this context, it is observed
that one of the signs that occur frequently in the Indus seal inscriptions is the form of
two overlapping ellipses. Parpola (1994) suggests an association of this sign with the
Pleiades star system. It is a matter of conjecture whether the design of intersecting
circle found in so many Indus artifacts has any astral significance.
Fish Scale
The next variation seen in the imbricate pattern having regularly arranged overlapping
edges resembles fish scales.
Lines
Horizontal or Oblique lines, where the band is thicker than the line depending upon
the thickness of the latter are sometimes painted in the neck and rim portion of the
pottery.
Zigzag and Wavy Lines
Zigzag and wavy lines found on the pottery may be indicative of a river or a mountain.
Such motifs are useful and probably used for covering large space as fillers and as a
divider of multiple scenes.
Triangle
Triangle is a basic geometric form and their depictions on pottery may represent either
hills or hillocks. Triangles are either in locked hatched or merely in liner positions. It
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was probably used for blocking half of the diagonally listed bisected square or to
generate other motifs by using two or more triangles such as the double –axe or
butterfly motif.
Square
Square is represented as secondary motifs, usually to enclose motifs like sun or floral
designs. They may have served the purpose of space filler.
Diamond
Diamonds or lozenge patterns are depicted either vertically or horizontally. These are
generally used as bands as borders drawn either vertically or horizontally or even as a
series.
Figure 1: Site Plan, Lothal (Courtesy: Rao 1979)
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Figure 2: Site Plan, Kalibangan (Courtesy: Lal 1998)
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Figure 3: Site Plan, Dholavira (Courtesy: Bisht 1989)
Figure 4: Site Plan, Banawali (Courtesy: Bisht 1994)
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Figure 5: Site Plan, Surkotada (Courtesy: Joshi 1990)
Figure 6: Reconstruction of Great Bath (After Wheeler 1966)
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Circle and Line Zig Zag and Line Line Motif Fish Scale Motif
Figure 7:Harappan Pottery Designs and Motifs (Courtesy: National Museum, Delhi)
Conclusion
In a nutshell it is imperative to examine and effectively incorporate these evidences to
better understand the origin and development of the Harappan Civilization. Elements
such as knowledge of geometry and its execution may have had played a significant
contribution in leading to the aesthetic development of Harappan crafts and their town
planning and their standardization. In the light of the above it is possible that these
traditions were known and effectively applied by the Harappans.
Acknowledgement
The author is indebted to Mr. Vrushab Mahesh for carefully going through the
manuscript and valuable corrections.
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