by John Keay
According to local tradition, these are the ruins of a town only two hundred years old … This seems not incorrect, because the bricks here found are of the modern type, and there is a total lack of carved terra-cottas amidst the whole ruins.3
Wrong in every detail, this statement must rank amongst archaeology’s greatest gaffes.
Today’s less qualified visitors, though willing to forgive the absence of ‘carved terra-cottas’, tend to bemoan that of more obvious features. For at Mohenjo-daro no pyramids or ziggurats, no sculpted towers or mighty henges frown over the deep and dusty thoroughfares. On first acquaintance it is as if the most extensive of the Harappan sites was never really a city at all, merely the footings and foundations of one.
This, though, is decidedly not the case. Deep in ‘the Mound of the Dead Men’ there was once activity and industry. Behind the extant façades of blank featureless wall families lived, craftsmen plied their trades and vendors sold their wares. If there was an absence of eye-catching memorials it was not, as will appear, through any lack of civic pride or direction. It may tell us something about the nature of authority in the Harappan state and the organisation of its society; more certainly it indicates the limited materials available to the city’s builders.
Four thousand years ago stone was as scarce in the lower Indus region as it is today. Even the local timber, though more plentiful than now, and possibly able to meet the need for roof joists, seems not to have been sufficiently well-grown for major construction purposes. Instead, it was used as fuel to fire brick kilns. The Harappans built almost entirely in brick, both sun-baked and kiln-fired, and the excellence of their firing is well attested by the survival, albeit underground, of so many structures in such a comparatively friable material. In assuming their bricks to be ‘of a modern type’, Bhandarkar was unwittingly paying the Harappan brickmakers a generous compliment.
Brickwork, however, has its limitations, as the Harappans were no doubt aware. Large areas can be easily enclosed and conveniently partitioned; groundplans of some of the Mohenjo-daro houses compare favourably with those of today, while larger individual structures, presumably public buildings, cover areas equivalent to half a football pitch; some walls, obviously for defence, are as thick as thirteen metres. On the other hand bricks, unlike dressed stone, must be kept small for good firing and are therefore less suitable for towering elevations and long-lasting monuments. Sun, salt and wind play havoc with a mortar of mud; weight stresses cause bowing and buckling. Few if any buildings at Mohenjo-daro were of more than two storeys. Even supposing the Harappans had aspired to the monumental extravagances of their Egyptian contemporaries, it is hard to see how they could have achieved them.
Of unremarkable profile, then, the mud-and-rubble mounds of the Harappan cities and settlements nevertheless made an impression on Bhandarkar’s successors in the Archaeological Survey. Happily ignoring his report, R.D. Banerji and Sir John Marshall resumed explorations at Mohenjo-daro in the late 1920s. Ernest Mackay and Sir Mortimer Wheeler continued their work and also re-examined Harappa, a collection of mounds in the Panjab whence in the nineteenth century bricks similar to those at Mohenjo-daro had been removed by the wagonload as ballast for a 160-kilometre section of the Lahore – Multan railway line. After Independence and the Partition of the subcontinent in 1947 B.B. Lal, J.P. Joshi, S.R. Rao, M. Rafique Mughal and a host of others extended operations to numerous other sites with outstanding results. What amazed all these pioneers, and what remains the distinctive characteristic of the several hundred Harappan sites now known, is their apparent similarity: ‘Our overwhelming impression is of cultural uniformity, both throughout the several centuries during which the Harappan civilisation flourished, and over the vast area it occupied.’4
The ubiquitous bricks, for instance, are all of standardised dimensions, just as the stone cubes used by the Harappans to measure weights are also standard and based on a modular system. Road widths conform to a similar module; thus streets are typically twice the width of side lanes, while the main arteries are twice or one and a half times the width of streets. Most of the streets so far excavated are straight and run either north – south or east – west. City plans therefore conform to a regular grid pattern and appear to have retained this layout through several phases of rebuilding. In most cases the ground plan consists of two quite separate settlements, one apparently residential and commercial (‘the lower town’), and the other elevated on a massive brick platform (‘the citadel’) and endowed with more ambitious structures. ‘The citadel’ invariably lay to the west of ‘the lower town’. Clearly Harappan settlements were not just India’s first cities and townships but its first, indeed the world’s first, planned cities and townships. Town-planning not being conspicuous in the subcontinent’s subsequent urban development, they have been hailed as the only such examples until, in the eighteenth century AD, Maharajah Jai Singh decided to lay out his ‘pink city’ of Jaipur in Rajasthan.
Harappan tools, utensils and materials confirm this impression of obsessive uniformity. Unfamiliar with iron – which was nowhere known in the third millennium BC – the Harappans sliced, scraped, bevelled and bored with ‘effortless competence’ using a standardised kit of tools made from chert, a kind of quartz, or from copper and bronze. These last, along with gold and silver, were the only metals available. They were also used for casting vessels and statuettes and for fashioning a variety of knives, fish-hooks, arrowheads, saws, chisels, sickles, pins and bangles. As for the potters’ production of dishes, bowls, jars, flasks and figurines, it was all that one would expect of master brickmakers – well made, competent if restrained as to decoration, and predictably uniform as to design. In short, the uniformity in technology ‘is as strong as in the town-planning, and so marked that it is possible to typify each craft with a single set of examples drawn from one site alone’.5
What made all this consistency even more remarkable was the area throughout which the Harappans sustained it. With Mohenjo-daro and Harappa nearly six hundred kilometres apart, it was immediately obvious that the ‘Indus valley’ civilisation was more extensive than its contemporaries – Egypt’s Old Kingdom and Mesopotamia’s Sumeria. The Indus valley, however, has proved to be only the core area. Subsequent to the discovery of its two principal sites (Mohenjo-daro in Sind and Harappa in the Panjab) the Harappan civilisation has been steadily expanding by more than a province a decade. In Pakistan further sites have been found, not only in Sind and Panjab (where at Fort Derawar on the desert frontier with India a third major city stood), but as far away as the Iranian frontier in Baluchistan and in the North-West Frontier Province. India itself, not to be outdone, now boasts an important cluster of sites in Gujarat, another in Rajasthan, and more scattered settlements in the states of Panjab, Haryana, Uttar Pradesh, and Jammu and Kashmir. Subsequently, hundreds of kilometres away to the north-west, what seems to be a Harappan settlement, or ‘colony’, was identified at Shortughai near the river Oxus (Amu Darya) on Afghanistan’s Russian frontier. From Lothal, a small but important settlement in Gujarat which may have been a port, to Shortughai in the mountains of Badakshan, where the Harappans probably obtained supplies of lapis lazuli, is a distance of over sixteen hundred kilometres; and east – west from Alamgirpur on the upper Ganga to Sutkagen-dor on the Makran coast is hardly less.
Naturally such a bonanza of new sites has prompted some revisionism. The uniformity of Harappan culture, necessarily dented by local adaptations to the desert, upland and maritime extremities of such a vast area, is no longer taken for granted. Theories based upon it about the existence of a strong central authority, a pervasive administration and a heavily regulated and stratified society have also suffered. The easy assumptions made on the basis of a few partially and imperfectly excavated sites are dubbed ‘old platitudes’ as a new generation of scholars and field workers gingerly sifts the incontrovertible from the fanciful.
One mystery has certainly been solved. Pioneers like Marshall were puz
zled how such a sophisticated culture could have sprung up from nowhere. Unaware of any other Bronze Age cultures in the region, not impressed by the Indian characteristics of Harappan architecture and artefacts, and wrongly assuming dates of about 3500–3000 BC, they duly looked to the west for an explanation, and suggested that the Indus valley civilisation must be a colony or offshoot of Mesopotamian or even Mycenaean civilisation. This idea is now quite untenable. At numerous sites to the west of the Indus in Baluchistan and Afghanistan, as well as in the Indus valley itself, sufficient pre-Harappan and Early Harappan settlements have been found to establish a local progression from hunter-gatherer to urban dweller by way of all the various stages of pastoralism, agricultural settlement, technological advance and cultural refinement. No such consensus exists about the Late Harappan and post-Harappan periods, but it is now possible to assign most Chalcolithic (Bronze/Stone) Age sites in the region to one of these categories and to give approximate dates for each.
Designated by their find sites and principally distinguished by their pottery styles, the pre-Harappan peoples of C3000 BC had already progressed to building houses and tilling the land. They had some knowledge of metals and had access, through trading links, to other precious materials and manufactures. Some time around 2600 BC – the dating varies from site to site – the appearance of typically Harappan styles in pottery and tools announces the Early Harappan phase. Brick-built houses assume a regular design with a courtyard and rooms off it. Figurines anticipate later Harappan styles. Towards the end of the millennium, say 2300 BC, this Early Harappan style gives way to the Mature Harappan phase, in which appears the full inventory of Harappan artefacts – standardised bricks and pots; regular streets above a network of well-made sewerage ducts; typical terracottas; a notable production of decorative artefacts including beads, faïence and shell work; more copper and bronze hardware; and a plenitude of the mysterious seals (as well as the impressions made by them) whereon that enigmatic script features prominently. In some cases, to produce the typical grid layout of streets, sites were apparently cleared and then rebuilt. Other sites were briefly deserted before being rebuilt. Still others suggest a continuance of non-Harappan or pre-Harappan styles, particularly in ceramics, side by side with the Mature Harappan. It is thus far from clear what relationships – of tribute, migration, conquest, intermarriage or cultural attraction – underlay the transition to greater standardisation.
Even worse inconsistency characterises the Late Harappan phase. Around 1900 BC Mohenjo-daro was gradually abandoned, possibly because of those floods and the associated salination of the soil. Kalibangan, an important town in Rajasthan, suffered a similar fate, but probably from desertification and the drying-up of the Ghaggar river. Elsewhere there is evidence of declining authority and of population decrease, possibly as a result of migration from the central settlements. Yet in some peripheral areas like Gujarat, Haryana and the Panjab, the decline is less marked and there may even have been an increase in activity and population.
Dispersal or dilution are evident from the prevalence of non-Harappan pottery styles, impoverishment and disruption from the gradual disuse of the script and from the disappearance of the more fanciful manifestations of Harappan culture, including that obsessive standardisation. On the other hand, craft skills and agricultural expertise survived. The spinning and weaving of cotton, for instance, in which the Harappans seem to have been the world’s pioneers, must have been gradually disseminated throughout India, since by the mid-first millennium BC it was commonplace. The finer textiles were by then an important item of trade and would remain so ever after, enticing to India Roman, Arab and eventually European merchants.
A similar case might be made for the ox-drawn wagon, which was as much a cliché of the Harappan world as it is of the Indian subcontinent today. Again, the Harappans may have been the first in the world to use wheeled transport. Numerous toy carts in terracotta and bronze testify to their pride in this technological breakthrough, and the generous street widths of their cities were presumably dictated by the consequent traffic.
Provisioning cities the size of Mohenjo-daro, with its estimated thirty to fifty thousand inhabitants, necessitated not only effective transport, both by river and road, but also a reliable rural surplus, a large labour force, and some means of crop storage. It has been conjectured that the largest structures at Mohenjo-daro, Harappa, Kalibangan and possibly Lothal may have been granaries, although their internal arrangements, consisting of carefully aligned brick plinths, await a satisfactory explanation.
The only public building whose function is beyond dispute is the great bath at Mohenjo-daro. The size of a modest municipal swimming pool, carefully sealed with bitumen, and with steps down at each end, it was clearly designed to hold water and to be used for bathing. Quite probably the ablutions, or immersion, were of some ritual significance. The bath forms the inner sanctum of an elaborate building, although there is no clear evidence that, as with later temple tanks, it was a place of worship. In fact, we have no idea what part religion played in the lives of the Harappan people. No site has certainly been identified as a temple, and most suppositions about sacrificial fires, cult objects and deities rest on doubtful retrospective reference from the Hindu practices of many centuries later. Such inferences may be as futile as, say, looking to Islamic astronomy for an explanation of the orientation of the pyramids. In short, ‘these theories are all fanciful and do not bear scrutiny.’6
A much-cited example, depicted on some of the Harappan seals, is that of a big-nosed gentleman wearing a horned head-dress who sits in the lotus position with an erect penis, an air of abstraction and an audience of animals. He may indeed be an early manifestation of Lord Shiva as Pashupati, ‘Lord of the Beasts’. But myth, as has been noted, is subject to frequent revision. The chances of a deity remaining closely associated with the same specific powers – in this case, fertility, asceticism and familiarity with the animal kingdom – for all of two thousand years must raise serious doubts, especially since, during the interval, there is little evidence for the currency of this myth. Rudra, a Vedic deity later identified with Shiva, is indeed referred to as pasupati because of his association with cattle; but asceticism and meditation were not Rudra’s specialities, nor is he usually credited with an empathy for animals other than kine. More plausibly, it has been suggested that the Harappan figure’s heavily horned headgear bespeaks a bull cult, to which numerous other representations of bulls lend substance.
Similar doubts surround the female terracotta figurines which are often described as mother-goddesses. Pop-eyed, bat-eared, belted and sometimes mini-skirted, they are usually of crude workmanship and grotesque mien. Only a dusty-eyed archaeologist could describe them as ‘pleasing little things’.7 The bat-ears, on closer inspection, appear to be elaborate head-dresses or hairstyles. If, as the prominent and clumsily applied breasts suggest, they were fertility symbols, why bother with millinery? Or indeed mini-skirts?
These and other ‘folk’ products, including numerous toys, scarcely merit comparison with the finest of Harappan sculptures. Indeed the latter are so fine and so exquisitely modelled that, ‘for pure simplicity and feeling’ nothing comparable was produced ‘until the great age of Hellas’.8 They are, however, extremely few: Sir Mortimer Wheeler records just eleven ‘more or less fragmentary’ stone statuettes and one bronze figure. They are also extremely small, indeed just a few centimetres high. This combination of rarity and pocket-size invites doubts as to their provenance. They could easily have come from somewhere further afield. Two perfectly modelled miniature torsos were found at Harappa – one decidedly male, the other probably female; both have socket holes by which their missing arms were attached. On this evidence they have been convincingly related to a similar technique used by artists of the contemporary Namazga culture which was discovered by Soviet archaeologists in the Ashkabad region of Turkmenistan. Namazga equivalents have also been cited for the formidable bearded figure in an embroid
ered toga, of which there are two examples, and even for the most famous of all Harappan works of art, the bronze ‘dancing girl’.
Although probably not dancing, the ‘dancing girl’ is unquestionably ‘a pleasing little thing’. Naked save for a chunky necklace and an assortment of bangles, this minuscule statuette is not of the usual Indian sex symbol, full of breast and wide of hip, but of a slender nymphet happily flaunting her puberty with delightful insouciance. Her pose is studiously casual, one spindly arm bent with the hand resting on a déhanché hip, the other dangling so as to brush a slightly raised knee. Slim and attenuated, the legs are slightly parted, and one foot – both are now missing – must have been pointed. She could be absent-mindedly surveying her wardrobe, except that her head is thrown back as if challenging a suitor, and her hair is somehow dressed into a heavy plaited chignon of perilous but intentionally dramatic construction. Decidedly, she wants to be admired; and she might be gratified to know that, four thousand years later, she still is. If there is one piece of Harappan fine art that one is reluctant to yield to the Namazga culture it is the ‘dancing girl’.
Happily her local credentials are not insignificant. For one thing her features, including full lips and broad nose, are distinctly proto-Australoid, a type not usually associated with the Central Asian culture of Namazga. Skeletons unearthed in the Indus valley, however, attest that the Harappan people were of several different racial types, amongst them that, related to Australia’s native people and still represented in parts of India, of proto-Australoid cast. Furthermore, although most of the surviving Harappan stone sculptures were found at Harappa itself, whence contacts with Namazga seem to have been closest, the ‘dancing girl’ was found at Mohenjo-daro, whose external trade was more orientated to the Persian Gulf and Mesopotamia. A better case will need to be made before the Harappans are robbed of their most celebrated representative.