CHAPTER-1

Prehistoric Rock Paintings

((UPPER PALEOLITHIC-40,000 YEARS AGO TO MEDIEVAL ERA)

INTRODUCTION:-

Prehistoric rock paintings are artworks created by our ancient ancestors on cave walls
before the invention of paper or writing. These paintings provide insights into their
lives, tools, and culture. Around 25,000 years ago, people lived in caves and jungles,
surviving on fruits, vegetables, and hunted animals.

Prehistoric humans began making art to fulfill their daily needs and to seek protection
from natural disasters and dangerous animals. They believed in the power of magic
and used drawings on cave walls, made with wood, stone, and mud, along with
prayers, to gain strength and appease nature before hunting.

The earliest art, dating back to the Upper Paleolithic period (around 45,000 to 35,000
years ago), consisted of simple lines and grooves made by fingers or tools. These
drawings depicted human figures, daily activities, geometric shapes, and symbols.
This art reveals the early human desire to communicate, express themselves, and
connect with the world around them.
The prehistoric rock art has been broadly
divided into seven periods:
➢ Period I Upper Paleolithic: The

Big drawings of animals like bison,

➢ Period II Mesolithic : More paintings than any
tigers, and rhinos in green and other period. Smaller, stylized figures with lines on
dark red. Some have geometric
their bodies. Animals, humans, and hunting scenes
patterns.
are common. Also shows early love for animals,
.
maybe the start of domestication.
➢ Period III Chalcolithic and

Copper age: Shows cross-hatched

squares and grids, along with pottery

➢ Period IV & V Early historic : Figures are
and metal tools.
painted in red, white, and yellow. Shows

religious symbols, tree gods, and magical sky

➢ Period VI & VII Medieval :
Geometric and rough style paintings chariots with people wearing tunic-like dresses.
from the medieval era.
The first rock cave paintings were discovered in India in 1867-68 by an archaeologist named Archibald Carlleyle,
which was twelve years before the famous Altamira discovery in Spain.
BHIMBETHAKA*
Introduction
The caves of Bhimbethaka were
discovered in 1957-58 by a brave
archaeologist Dr. Vishnu
Wakankar. Bhimbethaka is a
natural art gallery and an
archaeological treasure. Spread in
miles these caves trace the
footsteps of the prehistoric man
from as early as about 15,000
years ago.These magnificent
paintings can be seen even on the
ceilings of rock shelters located at
great heights. These caves
remained covered with dense
forest and vegetation that
protected these rocks painting
from the natural calamities.
Location Material used
The Bhimbethaka caves Long ago, people made paints using stuff from nature, like
rocks and minerals. They used things like manganese,
are close to Bhopal on the
hematite (called geru in India), and wooden coal. Hematite
way to Hoshangabad in made red,while a green stone called chalcedony gave green.
They probably used limestone for white and wooden charcoal
Madhya Pradesh spread
for black.
in an area of ten square To make the paint, they ground up the rocks and minerals into
kilometers. It has about powder. Then they mixed it
with water and some sticky stuff like animal fat or extracts
eight hundred rock
from leaves, gum, or tree resin.
shelters out of which five Brushes were made from plant fibers. It's pretty cool that
these paints have lasted thousands
hundred have paintings.
of years, even with bad weather!
Subject Matter their simplicity and
The paintings in Bhimbetka energy.
caves show scenes from daily
life like hunting, dancing, and
riding animals. They're mostly
red and white but also have
splashes of green, orange, and
other colors. Animals like
tigers, elephants, and
peacocks are drawn, along
with symbols from religion and
rituals.

These paintings are like a

timeline, showing how art
evolved from simple lines
tomore detailed shapes.
They're similar to ones found
in places like Matopos
inZimbabwe, Altamira in Spain,
and Lascaux in France. Modern
artists are inspired by
 PAINTING
Name : WIZARD’S DANCE
Medium : MINERAL COLOUR, STONE
Period : CIRCA 8,000 B.C. (Stone age)
Location : BHIMBETHAKA CAVE 50KM SOUTH OF BHOPAL,M.P.
Collection: NATIONAL MUSEUM, NEW DELHI
SUBJECT MATTER/ THEME: A ceremonial dance of the wizard'-like cave
men to depict some joyful celebration or some ritualistic dance to please a
god.
DESCRIPTION: The Painting is on a cave wall in Bhimbethaka of M.P. This is
perhaps the earliest example of the development of music, dance, theatre and
use of masks. On one side there is a figure standing in a joyful mood with
arms outstretched. There are two more figures in the middle, one seated and
one standing. They are wearing masks on the face and horns on the heads,
Thick black lines are drawn without any filling of color in them, The figures are
simple, elongated, stick-like and curved at places showing movement and high
spirits. They are indulging in some dance ritual of prayer or a magical healing
or pleasing a powerful jungle god.
Overall we can say that this wall painting reminds of tribal dances nowadays
with body paints. From times immemorial Man has been involved in pleasing
gods and nature by ritualistic dance and music.
CHAPTER-2
ART OF INDUS VALLEY CIVILIZATION
(PERIOD - 2500 B.C. TO 1500 B.C.)

INTRODUCTION
Charles Masson, a soldier and explorer from East India Company first discovered
the ruins of Harappa in 1842. Sir Alexander Cunningham who later became the
Director General of Archaeological survey of Northern India published the first seal in
1856. More seals of Harappa were excavated half a century later.

LOCATION AND FAMOUS SITES :

This civilization is called Indus Valley Civilization because it was mostly concentrated
on the banks of the river Indus. The site also takes its name from a modern village
called Harappa located near the former course of the Ravi River. The most important
cities of this culture are Harappa and Mohenjo-daro (meaning Mounds of the dead)
district Larkana which are situated in the present day Pakistan. There are a few
surrounding sites too which are in bordering parts of India. Some of the sites are as
follows:
(1) Mohenjo-daro and Harappa, now in Pakistan; (i) Roopnagar in Punjab; (i) Lothal
in Gujarat; (iv) Kalibangan in Rajasthan; (v) Rangpur, in Gujarat; (vi) Alamgirpur, a
village near Meerut in U.P; (vii) Banawali; it is in Fatehabad, Haryana; (vi) Dholavira,
in Kutch district, Gujarat; (ix) Some places in U.P.

TRACES OF ARTISTIC THINGS:

Ancient civilization had great urban planning, showcased in houses, drainage systems, and
public baths. They crafted Terracotta figures, sculptures, seals, ornaments, and pottery with
intricate designs. Utensils were adorned with gods, goddesses, and geometric patterns.
Beads, decorated birds, and animal skeletons were also discovered. Golden and silver
ornaments, toys, and daily items like combs and buttons were unearthed, revealing their
advanced lifestyle.

BRONZE CASTING:
The Indus Valley Civilization had made great advances in metal sculptures mainly
bronze using a fascinating technique known as the lost wax process. In this process
the sculptures were first made out of wax.
A layer of clay was then put over this wax, and the sculpture was then heated. This
resulted in the melting of wax through a tiny hole made in the clay mould, leaving
behind a hollow mould. Molten metal was then poured into this mould. After cooling
the clay was removed, and a metal sculpture remained. The same technique
mastered over centuries led to the later masterpieces of Chola Bronzes.
SCULPTURES:-
1.
NAME :MOTHER GODDESS
MEDIUM : TERRACOTTA
(BAKED CLAY)
PERIOD : CIRCA 2500 B.C.
LOCATION : MOHENJO-DARO
SIZE : 22 × 8 x 5 cm
COLLECTION:NATIONAL MUSEUM,
NEW DELHI.

THEME / SUBJECT MATTER: A terracotta idol of the fertility goddess.

DESCRIPTION : It is one of the best preserved, large sized terracotta images representing the
Mother Goddess. The significance of the broad, pan like attachments on both sides of the hairdo
of the head of the goddess is quite unique.
The pinched nose and ornamentation are
flatly laid on the body and pressed on to the figure. The general folk art effect in the figure is
most interesting. She is wearing just a loin cloth with a girdle, small breasts uncovered; Eyes are
small balls (pellet) of clay. The sculptor at Mohenjo-daro was skilled in his art and could create
both realistically and stylistically.
This sculpture of Mother Goddess and various other mother goddesses were worshipped as the
bestowers/givers of fertility and prosperity. India is traditionally a country where more than 80
percent of its inhabitants are agriculturists who naturally worship gods and goddesses of fertility
and prosperity. She is perhaps the prototype* of a crude idol of one such goddess.

2.
NAME :DANCING GIRL
MEDIUM :BRONZE
PERIOD : CIRCA 2500 B.C.
LOCATION : MOHENJO-DARO
SIZE : 10.5 × 5 x 2.5 cm (4.1 inches) high
COLLECTION : NATIONAL MUSEUM, NEW DELHI

THEME / SUBJECT MATTER : A small bronze statue of a dancing girl.

DESCRIPTION: This is one of the greatest achievements of the artists of Mohenjo-daro as

the masters of miniature. The bronze statue of the dancing girl is only four inches high. And
yet it speaks volumes of a metal caster's excellent skills. This world-famous figure shows a
female figure standing in a tribhanga pose as if relaxing after a dance number, with her
right hand resting on her hip and the left entirely covered with bangles resting on the left leg
forward. Head is slightly tilted and hair tightened with a ribbon upon shoulder. Eyes are
closed; neck is decorated with a cowry shell necklace. Her arms and legs look
disproportionate may be for the sake of simplicity. The dark medium of bronze is right for
the dark negroid facial features. The features do not actually have resemblance to any
particular female face. The lips and nose are thick and the elongated, half-closed eyes
resemble the Limestone Bust of High priest. The physical details of the body are also very
less except for small breasts, curved waist and bare groin.
The female figures of this civilisation are believed to be devoted to the power of fertility of
women.

3.

NAME :MALE TORSO

MEDIUM :RED LIMESTONE
PERIOD :CIRCA 2500 B.C.
LOCATION :HARAPPA
SIZE : 9.2 × 5.8 x 3 cm
COLLECTION : NATIONAL MUSEUM, NEW DELHI

THEME / SUBJECT MATTER: A realistic Male torso.

DESCRIPTION: Male Torso is an impressive example of stone carving and handling of

three dimensional volumes at Harappa nearly five thousand years ago. It is surprising
that the sculptor of thousands years ago at Harappa could produce a figure as fine as
a Greek artistry from 5th century B.C.
The sculpture shows a muscular and robust male in absolutely realistic human details.
The chest and stomach are given a perfect shape, giving a feeling of prana/breath in
the rounded belly. If it is seen from behind, the roundness of shoulders and hips is
incised by the line of spine in the centre and a deep curve at the waist. There is a hole
at the neck wherein the single head or multiple heads could have been inserted or
attached. The drill circles at the shoulders are unexplained and its arms and legs are
broken. This study of body shows the mastery of the sculptor in using this medium.
There is a theory that the figure may have had several heads and arms, because the
pose of the figure is identical to the pose of Shiva, the Lord of Dance, created several
thousand years later for worship as well as processions.

4.

NAME : BULL SEAL

MEDIUM : WHITE STONE / STEATITE
PERIOD : CIRCA 2500 B.C.
LOCATION : MOHENJO-DARO
SIZE : 2.5 × 2.5 × 1.4 cm
COLLECTION : NATIONAL MUSEUM, NEW DELHI
THEME / SUBJECT MATTER: A low relief square seal of a humped bull with engravings
on top in a pictographic script.

DESCRIPTION :
This Zebu/Humped Bull seal depicts the strength and vigor of the animal through detailed
engraving, likely symbolizing fertility and lunar significance in ancient Mesopotamia. It could
represent leadership or be used for sacrificial purposes by powerful tribes. The bull's
embossed body showcases strong features, including wide curved horns and a prominent
hump, with realistic details like folds of skin. This seal, likely made for commercial use, is
crafted in low relief with sharp horns and hardened hoofs. Similar seals were commonly
used as amulets or identity cards, typically made of steatite with suspension loops.

5.

NAME. : PAINTED EARTHENWARE (JAR)

MEDIUM : TERRACOTTA
PERIOD : CIRCA 2500 B.C.
LOCATION : MOHENJO- DARO
COLLECTION : NATIONAL MUSEUM, NEW DELHI

DESCRIPTION:
In the Indus Valley, most pottery found is plain, but some colorful pieces
exist. This big storage jar from Harappan and Mohenjo-daro periods was
made on a potter's wheel with care. It's painted with geometric patterns,
mostly in black, then smoothed. A transparent coating adds shine.
Despite its age, the pottery's shine remains, a testament to their
craftsmanship.