Marking an end to the mauryan period pushyamitra shunga in about 187 be established a new dynasty

called the shunga dynasty. the art world could not remain aloof of this political change. with the drcline
of somewhat centrally controlled authority, art came out of the clutches of the royal court and became a
mass product anf became much more popular. the sculpture of this period was patronized more by the
local masses than the royal court. even the artisans left the imitative tradition and this it gave rise to
new experiments and new themes were brought to the front. another important characteristics of this
period was its descriptive imagery. narratives were presented in its completeness with emphasis on
simplicity which exemplified terracotta icons in this period.

From shung production style, a new chapter of clay art was initiated. Artists of this age made use of
casts profusely. They could produce multiple icons out of a single cast. Actually this technique gave a
natural sophistication and glow to the clay art.

We can call this age the best period for Indian clay art. Out of their inclination to unknown inspirations
artists moved increasingly away from modelling technique. Rather they started using molds. This change
were advantageous for multiple readons- one, scene could be depicted on a smaller surface which was
not possible in modelling technique. Many structures could be prepared out of one mold.

The shung era clay structures in the gurukul jhajjar museum are routed from different parts of the
country. They were constructed in the artistically important towns of kosambi, agroha, ahhichatra,
mathura, rajghat etc. From these centres terracottas were send to different places. This has been
established by the findings of different figurines from a single mold as well as similar terracottas from
different sites. In this period the whole structural formation was done through molding whereas in the
mauryan age only he head was constructed through the mold . In this age we find clay figurines taking
form of na industry own to its great demnad and supply and established a huge market for itself. By
creating the whole structure in a single mold, these figurines acquired popularity and they were now
constructed in huge numbers. Also in this period even though the tendency to show the mother goddess
unnannakrd form was on wane, there was still a tendency to show the sexual organs along with the
clothes. We find an erected turban in male figures. Feminine beauty is one of the biggest contribution of
this age where we find female figures laden with jewellery. This period also see a proliferation of Gemini
and couple figurines. Gemini is known as the ideal male female couple. In such figures women are
placed on the right side and men on the left side, and the corners of such figures often resemble an
asymmetrical line. Gemini figures are embellished much more with jewellery compared to that of couple
figurines.

In the couple figurines at the right side we find the men and women were often placed on the left, is a
characteristic feature of such imagery. Also the background of such figures are studded with doors and
flowers. Though we don't find a lot of jewellery in such figures, and there is also a lack of consummation
reflected in such icons. Never ever, either before the shung period nor after it, we find such lively,
accurate and well shaped women clay figurines. We also find some of the figures wherein there is a hole
at the top of the figures to allow the figure to be attached to the wall as a decorative item. And for this
very purpose their backs were molded flat
Mother goddess

The mother goddess figures that was discovered from agroha, we find the figure with a child in her
hand, with one hand of the child placed on the right breast of the mother and the child is well placed on
her lap. We find bangles on her hand and a necklace on her neck. The neck and portion below the toes is
damaged. Another specimen of mother goddess is found from sign which is studded with large earrings
and a pearl necklace on the neck. The curly hairs are well tied . Both hands are placed in a pose of
veneration. This figure is also damaged.

This figure from sugh belongs to that of ardhanarishwar which is a composite imagery of Shiva and
Parvathy. We don't find any more such figurines in gurukul museum. This icon show Parvathy draped in
a sari and Shiva in a cloth piece. Face is not clear due to being damaged.

This mother goddess has been found from where a mother is carrying a child with her. The child is
placed on he left. This figure is also damaged from the waist above and below the toes. The woman is
wearing a sari and the child's hairs are combed.

In this terracotta figure a child can be seen walking along with his parents, dressed in short dress. The
woman is wearing a sari and is adorned with a pearl jewellery on her waist. Through such figures, the
motherly instincts of women are established.

Shalbhanjika-

In ancient times there was a game prevalent with the name of shalbhanjika, wherein women used to
attempt and lower the branches of the oak tree and pluck it's flowers. We find shalbhanjika images of
this type from naurangabad and agroha, carved on the handle of the flask. Here the right hand is raised
to lower the bramches of the tree and the left hand is carrying a plucked flower. Hands are adorned with
bangles, necklace in neck and dhoti covers the lower part as well as the breasts. The handle were bow
shaped. The plastered figurines from bharhut, sanchi, mathura and sanghol and stamps from sunny
represent shalbhanjika in a ecstatic manner. Some clay figurines show women in a naked form.

Yakshi-

This clay figurine is 4 inches long. Here the artist has presented all organs in such a manner which is a
great specimen of art. Also this figurine reflect a new type of hair dressing style. The hair bun is a bit
damaged from above but is still enough to reflect the completeness of the structure. Two lock of hairs
flow from both sides and on the left at the front there is a smaller mini bun as well. The maiden girl is
adorned with bangles till the elbow. Her right hand is holding a flower and left side is resting on his thigh
perhaps in a playful pose. She is wearing different sets of earrings in both the ears which are huge and
heavy in size. She is wearing a mekhla of three layers and a dhoti- sari which reveals the navel. In this
image the maiden has been represented with all her beauty and physical attributes which reflect the
mastery of the artisan. Cheerful mascot, round face, develop breasts, thin waist, huge buttocks, curvy
thighs are all representative of her oozing sexuality. Her right leg is straight and left leg is half folded in a
proud pose.

This clay figurine has been found in. Adam aged condition from sugh. Only portion below the waist is
remaining which survived till the toes. around the left leg we find series of flowers leaves and creepers.
Sari is transparent enough to reveal the body.

In the other clay figurine only the lower part has survived. Waist is studded with bells and balteus in the
waist. Sari is attached to the legs. The figure is decorated with flowers and leaves motif.

Female figurines-

From sugh we find shung era clay figurines in large number in which female figurines are really
important. One of these figures are that of mother goddess which is there in erected posture. It shows
her full clothed and a long bead necklace hanging from neck to the lower body. In the neck
ornamentation there are some flower like imagery and plus there are earrings in the ear. There is a lot
of ornamentation which have depreciated now. Both the hands are attached to the body. Hairs are well
organized.

From ahhichatra we find a damaged clay figure with a young women with all her curviness. Both her
hands are adorned with heavy bangles, wars are studded with two different types of earrings. Necklace
grace the neck and women gives a proud posture in the figure.

The other image found from ahhichatra is also damaged. Legs and neck are broken. She is wearing a
designed long skirt with fine carvings. Also there is a necklace on the neck. Hands are raiisng the long
skirt slightly in probably a dancing pose.

The female figurines found from sugh are also in a damaged condition. There are huge earrings in her
ears which was a custom in shung era. There is also a necklace on the neck and flower petals adorn the
back of the head. Face is beautifully expressive. Like other figurines from sugh this one also turned black
due to inconsistent baking, and the figure has survived till below the knees only. We can see her linens
in the figure right of which is a girl standing on the right side whose breasts are clearly visible. Maybe
this image reprint a mother goddess and a child.

Figurine from kosambi survive only from waist till the toes in which the left leg is twisted and right leg is
straight. The figure is clothed with ornament adorning the waist. Rigjt hand is pointed towards the left of
the navel. Thus hand is full of bangles. Waist is very slim. Rest of the sculpture is damaged.

In this category there is another sculpture wherein a women is seen playing a dholak with both her
hands hanging from her neck. Waist is very thin and she is wearing a necklace and ornament in the neck
and bangles adorn her hand. Perhaps the dholak is being played in some cultural event. From sugh we
have also got figures of lady in dancing postures.

The other icon from from this category stands in a damaged condition whose right hand rests on her
right thigh and left hand is folded and raised. She is dressed in a dhoti and ornamented with layered
mekhla. Necklace adorn the neck and hand is full of bangles. By showing navel clear in the figure the
artisan has created a lively imagery.

In the other images found from sugh, the female figurines are incredible. In the shung era the clothes
were made so transparent that often the women appeared to be semi nude. Mekhla is tied to the waist
and she is carrying flower in her left hand. There is a cloth hanging at the right side which probably
would have been women's stoll. Beads ornament the abdomen. Above the bust and below the toes, the
sculpture is damaged. The clothes are so transparent that body is visible throughout.

In the figurine the woman is wearing a bun on his head devorated with flower and large earrings in the
ear. Beauty of the image is exemplified using flower and leaves motif.

This figurine is reflective of the modesty and grave of the woman. She is wearing a sari and the right
hand is resting on her waist. Above the neck and below the legs the structure is damaged though the
artistic capability of the sculpture is still recognizable.

In this sculpture the woman is wearing large earrings. Pearl necklace is hanging from both the breasts.
Hairs are spread open. The face is damaged and the hands are hanging downwards.

This figurine has been discovered from sugh in a damged condition with huge earrings. Necklace suits
the figure well decorated with flower. She appears in a contemplative mood.

This structure appears in a damaged condition . Big earrings adorn the ears, necklace that of neck and
balteus appears on the waist. It appears that it reflects the rural life of Haryana and the dressing of
women is represented here.

Here the woman is wearing a sari attached to the body and balteus on the waist. This structure is also
damaged above the waist and below the knees.

Gemini figurines

In the shung era sculptures we find a lot of clay figurines. In Haryana sugh was the biggest centre of art
at that time from where we get many figurines of men and women. In one of the icons found from here,
man and woman are seen together. Men is situated on the left and woman on the right. The man is
wearing a dhoti while the women is wrapped in a sari over her garments. Women's hands are resting on
her waist and both the hands are adorned with teo bangles each. The icon is damaged and perhaps was
made ouvof a mold. Figures like these are known for its relative position of men and women where men
are situated on the left and women on the right in Gemini sculptures while couple figurines have this
position inverted with men on the left and women on the right.

On of the terracotta figurine found from kosambi we find a man and a woman engaged in
sexual intercourse on the bed. The left hand of male is raised and the other hand is resting on
her waist. His left leg is placed on her right leg. Her right leg is hanging on the floor which is
adorned with anklet. Woman is wearing a bun. There is another woman sitting on the left side
of the bed. The other man has placed her right breast in his mouth. Not only the figurine is
damaged but also broken from the middle. The outer side of the icon is well decorated adorned
with bangles.

We have got a lot of Gemini imageries from agroha which was perhaps used as a decorative
piece. There are two holes at the top which were used to hang the imageries on the wall. All the
clay figurines are circular with well decorated edges. We can see men and women here.

King and Queen riding an elephant-

From Naurangabad (Baamla) we have found figure of king and queen riding na elephant
adorned with an ornament on the waist of the elephant. This is the only figurine which is
damaged and worn off.

Warrior on a chariot-

This image found from kosambi is unique wherein four horses are attached to the chariot with
warrior riding it. Horses are well decorated. Horses show the reflection of the sun which
perhaps shows the relation of the warrior with the solar dynasty or he maybe a worshipper of
sun. The decoration is worth looking.

Child writing on a slate

Of all the clay images found from sugh this one is the most unique one. There is one such terracotta in
national museum, new Delhi as well. The figure found from national museum has. A broken face
whereas out of the figures found from gurukul jhajjar museum, two are complete and rest in pieces.
After analyzing these figurines one reaches many important conclusions. For the ease of out study Dr
yoganand shayari divides it into three categories

1. One where we find only vowels written in brahmin script on the slate

2. one with both vowels and consonants

3. Where vowels and consonants are written with spaces in between

One important characteristics of these figures is that these figures show a child in the act of studying
which reflect the outlook and consciousness of people towards education at that time. In the first type
of icons , owing to the age limit of the child and analyzing the figure as a whole, the child is seen
memorizing the vowels on the slate. Resting the slate on his left leg and pointing to the letters using his
fingers he is trying to memorize. Around him we can see toys like elephant to engage his mind perhaps.
There aren't many ornaments on his body which is common for this age. Unlike other images of this type
there aren't any representations of the ink pot which suggest that the child is memorizing the letter
written by some other person and he is perhaps too small to he able to write himself.

In the second type of figurines we find that the image of child writing vowels and consonants is prepared
keeping in mind the age of the child. There is a turban on his head, earrings in the ear and an inkpot is
lying near his feet. Also the child ha slearnt how to stand the slate in an erected posture by cramming it
near his legs. The foot near the slate is slightly raised unlike the two eating feet of the first boy.
According to his age he is seen carrying a writing instrument and he is seen practising writing letters by
immersing the writing tool in the inkpot.

The third type of clay figurine show the child as more active and easy going. Also his sitting posture has
changed a lot and is now a lot more sophisticated and he is seen holding the slate with much more ease.
Here toys have been replaced by fruits, which reflect the observant eyes and delicate handwork of the
artisan who is able to bring subtle nuances in similar images. By studying such images there is a lot of
things that come into light. For example- even 2000 years ago children were provided slates to write like
in present. There is furthermore no difference in the slates used then and now in terms of shape and
size, same structure to pick up the slate, similar hole in the body of the slate and a thread attached to
the slate to carry it easily or for hanging it on the wall or for carrying the slate. All these clay figurines
were also prepared using molds.

Servant carrying food-

There is a clay figurine found from sugh in which a servant is carrying a container of food on his shoulder
consisting of bread, bowls of cooked vegetables, and fruits etc. The servant is wearing long quadrangular
rings in his ears and is also carrying a beautiful circular fan in his hand which was used to spat away the
flies from the food as well for ventilation.

Bull-

We have found two clay figurines from sugh. Both are in damaged condition with bust remaining and
the legs damaged. The hump of the bull is shown outwards and the ears are long. They were probably
used for pulling the Bullock carts. These figures are embellished with creative designs. The horns are not
big enough.

Monkey-

We find representation of different things associated with human life. Elephant, horse, dog etc animals
and many birds are well represented in sites like sugh. In such figures, monkeys are represented sitting
in a human like posture with both hands resting on both legs. We can clearly see a necklace on their
neck and their face represents a complex contemplative expression.
We have found two more monkey clay figures from here which are in a damaged condition but the
upper part (face) is in a good condition. In the first figure webcams ee the eyes, ears, nose, one hand
and the head in a beautiful representation. In the second figure we can see the mouth, eyes, ears and
nose with both hands pointing to something above. Only half of the bust of this image has survived now.

Birds-

There are shung era figurines of birds, without legs. Instead of legs there is a hole in the lower part of
the body which could be attached with wheels and then pulled along. The beak and eyes of these birds
are well sculpted.

Even in this clay figurines there are holes to attach wheels to it. The beak also has a hole which could be
pulled using a rope. The ears in such figurines is a bit raised and even the wings are beautifully carved by
the sculptor.

Sheep-

We have found two clay figurines of sheep, out of which one figure is damaged from the hind legs and
front limbs are in better condition. A hole at the centre of the figure reflect that perhaps they were also
attached with wheels and then pulled long. There is a hole even in the front of mouth which could be
adjoined with a rope and then pulled along. The horn of the sheep were rounded in the front, and hairs
were raised, which reflects it's beauty. The other figure in also damaged with half side of the hind limbs
damaged. This figure show the sheep with long body, big ears and rounded horns. This figure is
comparatively ugly than the first one.

Bullock cart-

From agroha we have found a toy Bullock cart with a hole at the centre, which was then attached with
spokes and wheels from both sides, which could then be pulled using a rope. In the shung period the
wheels were pointed and raised . We have found such wheels from agroha, naurangabad and sugh in
variety of shapes and sizes.

Ink pot-

From sugh we find clay icons of children writing on a slate and there have been representations of ink
pots as well. From sites like Ahhichatra, agroha etc we have found clay ink pots in large number, the
shape and size of which are same as represented in the clay figurines found in sugh.

Yarn roast-

The antique structures found from agroha are filled with hole with circular edges. These were used as
earrings in the dunga period. These could well be used as wrapping the yarn. We also find spinningning
tops here used probably as toys. There are objects with a hole in the middle, which even now is used by
masons for measuring the symmetry of the walls by adjoining a thread to the hole and hanging it to the
upper side of the wall.