Sculpture

Of the very small number of pieces of sculpture, in stone or bronze, almost all come from Mohenjo-daro. Apart from the poorly preserved head from the citadel, which is thought to be female, the stone sculptures from Mohenjo-daro depict a male figure. The sculptures are generally incomplete, but when the body survives, it is clad in a robe that covered only the left shoulder, similar to the style of dress adopted by monks, ascetics, and other religious figures in later times. These figures are normally shown squatting on one heel, with the other knee raised and clasped by the corresponding arm, a position that may suggest reverence or supplication before a deity: It is matched by the position adopted by figures shown on seals making offerings. The surviving heads generally have a beard, though some may be clean shaven. The hair may be short and neat, or it may be tied in a bun and held in place by a fillet encircling the head. The fillet was probably of gold since thin gold bands with holes for a thread to fasten them have been found at Mohenjo-daro and elsewhere.

The finest example of this sculptural theme is the torso known as the Priest-king, found at Mohenjo-daro. He is a calm, austere figure, with short, neatly combed hair tied in a headband whose ribbons trail down his back. The back of his head is a flat, angled surface, suggesting that something was affixed to complete the image, perhaps a headdress. He is wearing a robe covered with trefoils that originally held a red paste. The garment this represents was probably of some fine material sewn with appliques. Asko Parpola, who has studied Harappan religious iconography in great detail, believes these trefoils may have had many layers of religious significance: Parallels with Mesopotamian and Central Asian art and with later Indian traditions suggest their identification as stars on a sky-garment; the association of the trefoil at Mohenjo-daro and elsewhere with the color red links it with fire and the

One of the few pieces of stone sculpture known from the Indus civilization, this head was probably part of a larger statue of a seated figure. Though similar in overall design, each figure is different, suggesting that they were portraits of individuals. (J. M. Kenoyer, Courtesy Department of Archaeology and Museums, Government of Pakistan)

Hearth, which also later represents the yoni (vulva or womb), symbolizing rebirth in the heavenly realm. The yoni is the symbol of the goddess Durga and counterpart to the lingam (phallus), symbol of Shiva. In this context, trefoils decorate a finely polished red stone stand from Mohenjo-daro that may originally have supported a lingam. Parpola notes that the trefoil-shaped leaves of the bilva or wood-apple tree (Aegle marmelos) are traditionally used in the worship of the lingam. Similar trefoils decorate a number of (red) carnelian beads. Such speculations suggest valuable avenues for further investigation.

Two small sculptures from Harappa are very different in style. Each depicts a naked male torso; while the legs of both have broken off, dowel holes show that the arms and head were separately attached. One is in a posture that suggests he is dancing, the upper body swinging to one side while the left leg was originally raised in the opposite direction. The other figure, whose attribution to the Harappan period is not certain, also appears to be moving. Both are extremely naturalistic. Marshall compared the dancing figure to later images of Shiva Natraj (Lord of the Dance).

Two bronze figures have been found at Mohenjo-daro. Both depict young women, naked apart from a number of bangles and a necklace, and carrying something, perhaps a small bowl, in one hand. Though one is known as the Dancing-girl, the name refers to an assumption of her profession rather than to her stance since she is shown in a naturalistic, relaxed pose, one hand on her hip. The other figure stands more stiffly. A third bronze, from Chanhu-daro, is incomplete but is thought to depict a man, in the act of throwing something (perhaps a spear) overarm or dancing with a raised arm.