bangles as depicted in the sculptural art of eastern odisha

Bangles as Depicted in the Sculptural Art of Eastern Odisha

Sikhasree Ray 1 1. Archaeological Survey of India, Bhopal Circle, GTB Complex, II Floor, B Block, T.T.

Nagar, Bhopal – 462003, Madhya Pradesh, India (Email: [email protected])

Received: 26 July 2015; Accepted: 03 September 2015; Revised: 01 October 2015 Heritage: Journal of Multidisciplinary Studies in Archaeology 3 (2015): 653‐664

Abstract: Ornaments and ornamentation has a long cultural past which manifests personality, beautification, technological attainment and human appreciation along with a sense of possession. It is used to enhance and also satisfy the natural instinct to look beautiful. Bangle or a bracelet is one of such popular ornament in the Indian subcontinent. In this paper the study of the bangles depicted in the sculptures of eastern Odisha (1st century BC. to 10th century AD) has been carried out. It reflects the different types of bangles, aesthetic sense of the user of the period. It also highlights the contemporary socio‐economic conditions, trade and exchange systems and prevailing social norms and appreciation of a particular period.

Keywords: Bangle, Sculpture, Adornment, Odisha, Gender, Religion, Distribution

Introduction The love for personal ornaments and decoration of the body is common to every state of society. It may have been chastened and modified under particular situations, but it has never and nowhere been altogether suppressed (Mitra 1961). It serves to satisfy the aesthetic needs of the poor and rich alike (Sahaya 1975). In India the excessive love for ornamentation is exemplified by the fact that there is no part of the body for which an appropriate ornament was not designed. Ornaments were not only worn for adornment and their fundamental value but also for certain religious sanctions and superstitious beliefs (Pandey 1998). Bangle or bracelet is one of such ornaments which has remained popular in Indian subcontinent from very remote past. The first evidence of use of bangles as a form of ornament is found from the Neolithic phase of Mehrgarh in the form of circlets of shell. During the Harappan period we see subsequent increase in style and shapes of the bangles along with the materials in which they were made (Kenoyer 1991). Apart from this, a variety of bangles have been found from various archaeological contexts, such as; Megalithic and Early Historic sites. Interestingly, variety of bangles noticed in the monuments of eastern Odisha resemble with those found from the excavations.

ISSN 2347 – 5463 Heritage: Journal of Multidisciplinary Studies in Archaeology 3: 2015

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The present paper is a part of research conducted for PhD by the author, where the focus was to study the major cultural materials depicted on the monuments of Eastern Odisha (Fig. 1) within the time frame of 1st century BC to 10th century AD. The parallels for this research were also drawn from the actual specimens found from the excavation as well as from the ethnic societies. The area was selected because during the mentioned period it was the thriving centre of temple building activities under different dynasties (Chedi, Sailodbhava, Bhaumakara and Somavamsi), who ruled from this region. The area also came under the influence of all three major religions i.e. Brahmanism, Buddhism and Jainism. The data has given a clear vision to study the development, continuity, appearance and disappearance in certain type of bangles.

Figure 1: Map of Eastern Odisha

For this work, sculptures from 67 monuments in different districts of Eastern Odisha have been studied. The analysis and interpretation has been done on dynasty basis. Table 1 mentions name of the monuments, their respective districts, date and ascribed dynasty chronologically.

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Table 1: List of Studied Monuments Sl. No. Name of the

Monument District Period in

Century Dynasty

1 Khandagiri Khurda 1‐3 Chedi 2 Udayagiri Khurda 1‐3 Chedi 3 Viraja Temple Jajpur 5 Gupta 4 Lakshmaneswar Temple Khurda 6 Sailodbhava 5 Satrughneswar Temple Khurda 6 Sailodbhava 6 Bharateswar Temple Khurda 6 Sailodbhava 7 Swarnajaleswar Temple Khurda 7 Sailodbhava 8 Parsurameswar Temple Khurda 650 AD Sailodbhava 9 Ratnagiri Jajpur 7‐14 Bhaumakara 10 Durga Temple Cuttack 8 Bhaumakara 11 Pranayameswar Temple Jajpur 8 Bahumakara 12 Markandeswar Temple Khurda 8 Bhaumakara 13 Taleswar Temple Khurda 8 Bhaumakara 14 Gupteswar Temple Khurda 8 Bhaumakara 15 Mohini Temple Khurda 8 Bhaumakara 16 Uttareswar Temple Khurda 8 Bhaumakara 17 Udayagiri (Buddhist) Jajpur 8 ‐14 Bhaumakara 18 Lalitgiri Jajpur 8‐12 Bhaumakara 19 Someswar Temple Jajpur 8‐9 Bhaumakara 20 Sisireswar Temple Khurda 8 Bhaumakara 21 Garadeswar Temple Jajpur 8‐9 Bhaumakara 22 Sculptures at Subcollector Office Jajpur 8/9‐1/12 Bhaumakara‐

Somavamsi 23 Rameswar Temple Khurda 8 Bhaumakara 24 Gattiswar Temple Khurda 9 Bhaumakara 25 Baneswar Temple Khurda 9 Somavamsi 26 Vaital Temple Khurda 9 Bhaumakara 27 Simhanath Siva Temple Cuttack 9 Bhaumakara 28 Nilamadhaba Temple Cuttack 9 Bhaumakara 29 Somanath Siva Temple Cuttack 9 Bhaumakara 30 Iswardev Temple Puri 9 Bhaumakara 31 Baneswar Temple Balasore 9 Somavamsi 32 Malikeswar Siva Temple Kendrapada 9 Somavamsi 33 Aragadh Temple Puri 9 Somavamsi 34 Kuruma monastery Puri 9‐10 Somavamsi 35 Mukteswar Khurda 970 AD Somavamsi 36 Rajarani Temple Khurda 10 Somavamsi 37 64 Yogini Temple Temple Khurda 10 Somavamsi 38 Gouri Temple Khurda 10 Somavamsi


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Sl. No. Name of the Monument

District Period in Century

Dynasty

39 Akhandachandi Temple Khurda 10 Somavamsi 40 Paramguru Temple Khurda 10 Somavamsi 41 Akhandaleswar Temple Khurda 10 Somavamsi 42 Siddhanath Temple Khurda 10 Somavamsi 43 Angeswar Mahadev Temple Cuttack 10 Somavamsi 44 Panchupandaba temple Cuttack 10 Somavamsi 45 Arjuneswar Temple Puri 10 Somavamsi 46 Balunkeswar Temple Puri 10 Somavamsi 47 Laxminarayan Temple Puri 10 Somavamsi 48 Varahi Temple Puri 10 Somavamsi 49 Vishnu Temple Puri 10 Somavamsi 50 Bhaskareswar Khurda 10‐11 Somavamsi 51 Grameswar Temple Cuttack 10‐11 Somavamsi 52 Uttareswar Temple Cuttack 10‐11 Somavamsi 53 Padmeswar Mahadev Temple Cuttack 10‐11 Somavamsi 54 Tareswar Temple Cuttack 10‐11 Somavamsi 55 Yagneswari Temple Cuttack 10‐11 Somavamsi 56 Saptamatrika Temple Jajpur 10‐11 Somavamsi 57 Sidhha Ganesh Temple Jajpur 10‐11 Somavamsi 58 Ramachandi Temple Puri 10‐11 Somavamsi 59 Kaurnidevi Temple Nayagarh 10‐11 Somavamsi 60 Singheswar Temple Nayagarh 10‐11 Somavamsi 61 Sapneswar Temple Nayagarh 10‐11 Somavamsi 62 Ayodhya Temple Balasore 10‐11 Somavamsi 63 Biswanath Temple Balasore 10‐11 Somavamsi 64 Devamandapakansa Temple Balasore 10‐11 Somavamsi 65 Durga Temple Balasore 10‐11 Somavamsi 66 Gadachandi Temple Balasore 10‐11 Somavamsi 67 Khajureswar Temple Balasore 10‐11 Somavamsi

Bangle Types The different types of bangles noticed on the sculptures of the Eastern Odisha are divided under seven broad classifications.

Type 1‐ Thick/Thin Plain Bangle This type of bangle is simple and plain (Fig. 1). It can be tubular or flattish and thick or thin in cross section. The number of these bangles in each hand could be one, two, three, five, six and eight. In earlier period especially during Chedi dynasty thick bangles seems to be in trend, but in the later on it became thinner. During Chedi period the royals or the higher class of people were seen using 3 bangles. The warriors are

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shown with two bangles and the attendants are shown with a single bangle. Sailodbhava period onwards only one thin type was seen to be worn in each of the hands.

Type 2‐ Beaded Designed Bangle It is the most common type as noticed on the sculptures (Fig. 2). In some cases these types of bangles have beaded design in relief with or without borders at the edges. In other cases the string of beads are also used as bracelet.

Type 3‐ Plain Tubular with a Locket at the Centre This type of bangle/bracelet is very rare (Fig. 3). It is plain tubular bangle having circular or round shaped locket at the centre. In some cases it seems to be made out of thick ribbon like material with a central locket.

Type 4‐ Multi Designed Bangle It is tubular in shape adorned by different designs in relief prominent being gadrooned and amalaka patterns (Fig. 4). In most of the cases only one of this type are worn in each hand. However in fewer cases two bangles of this type are seen to be joined together. This type is seen worn only by women.

Type 5‐ Circular Shape with a Ridge at the Centre These types of bangles are quite simple in design with raised ridge at the centre (Fig. 5). The ridge design may vary from a simple raised line to patterned one like raised circle or rectangles at intervals. Sometimes the ridge is made by circle and rectangle designs being used alternatively. These types of bangles either flat or tubular are found during the Sailodbhava period only.

Type 6‐ Bracelet/Bangle with Open End These types of bangles are observed having two open ends both plain as well as capped by knobs (Fig. 6). This type is more prevalent among the men than women.

Type 7‐ Multiple Bangles In this case a number of thin bangles are found bordered by thick bangle/s either at one end or both (Fig. 7). While in other cases all these bangles are joined together by a rectangular strap/clasp. It is very difficult to assume whether there is a clear distinction between these two sub types as these are not clear in every sculpture. This is typical bangle type depicted for adorning the female sculptures. In the monuments of Eastern Odisha it has been noticed that there are variations among the use of all these type of bangle among people from different community and genders. Again these variations also differ from period to period.

Bangle during Chedi Period During Chedi period (1st century AD) only Type 1 are seen to be used and again it is limited to the male communities only. Again some of the male figures are also seen


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without any kind of bangle. This suggests that the wearing of bangle for the males might not have been necessary. Among the females a few are seen to be using type 2. Again these were specially seen among some of the royal class people. But most of the women of those times were using bangles of type 7.

Figure: Sculpture from Bharateswar Temple

Figure 2: Sculpture from Shatrughneswar temple

Figure 3: Sculpture from Ratnagiri Temple

Figure 4: Sculpture from Chausathi Yogini temple

Figure 5: Sculpture from Ratnagiri Figure 6: Sculpture from Ratnagiri

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Figure 7: Sculpture from Mukteswar Temple

Bangle during Sailodbhava Period Type 1: During Sailodbhava period (6th –last quarter of 8th century AD) both men and women are seen using this type. Among the men, almost all the community except the warrior class was seen using this type. The percentage of the people using it is more among the attendants, common people and dancing figures. Among the females also it is found among all class of populace except the major icons and the musicians. This type is not so commonly seen to be worn by male or female icons. Hence it was probably more common among the poor as well as the middle class people in the then society.

Type 2: During the Sailodbhava period among the male only the major icons and the common people are seen wearing this type of bangle. Among the women, it is found among semi divine figures along with major icons. But this type generally is very rare in its occurrence. So it might be very unusual type of design which was used by both the rich person and the common people. The variation of this type among both the classes could be in the use of material.

Type 4: This type bangle is seen to be used by only one dancing female figure in this period. It seems that it might have been either very expensive or not so popular in comparison to the other types.


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Type 5: Among the male it is found only among the minor icons and common people. The highest percentage of the occurrence of this type of bangle is noticed among the common people. Among the females only some of the minor goddesses and semi divine figures are seen with this type.

Type 6: It is very rare type of bangle and is seen only on the hand of one male icon representation.

Bangle during Bhaumakara Period Type 1: During the Bhaumakara period (Last quarter of 8th – mid 10th century AD) the people of all communities are seen wearing this type of bangle. The percentage is more among the minor icons. Among the females also except the musicians and warriors almost the people from all the community are depicted with bangles of this design. It appears that this type still remained as popular as in the Sailodbhava period.

Type 2: In this period among the male figures it is used in more percentage by the minor icons along with major icons, warriors and common people. Among the female it is depicted among the semi divine figure and the common people in a greater percentage and quite less among the major and minor icons and the royals.

Type 3: Among the male figures, the minor icons and warriors along with the common people are seen to use this type. It can be noted that the percentage in use of this type is more among the common people than the other two communities. Among the female figures it is found only among the attendant figures.

Type 6: During this period, some of the male major icon and minor icons are seen with this type of Bangle. Among the females of this period some of the dancing figures are shown wearing it.

Type 7: This type bangle is seen only among the female figures. The percentage of the use of this type bangle is higher among the minor icons and found to be less in number among the royal figures, dancing figures and the common people.

Bangle during Somavamsi Period Type 1: During the Somavamsi period (Mid 10th ‐ Last 10th century AD) as well, it is seen that almost among all the community ‐ both men and women use this design. In case of male it is predominantly found among the major icons. In most of the cases in the later period, it is observed that most of the people, both male and female use this type in one hand only and other hand is adorned with some other type of bangle.

Type 2: During the Somavamsi period it is used by all the male community though it is not as popular among the attendant figures, royals, warriors, musicians and the common people. The percentage is much greater among minor icons. Among the females it is seen to be used by both major and minor icons and the semi divine figures as well.

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Type 3: During the Somavamsi period only the males are found to be using this type of bangle. Again it was restricted to some of the minor icons and semi divine figures.

Type 4: Only the females of Somavamsi period are seen to use it. Among the female community, only the major and minor icons are seen with this type of bangle.

Type 6: During the Somavamsi period it is restricted to the male major icons only.

Type 7: In the Somavamsi period this type was used quite frequently and became very popular. This is used only by the females. People of almost all the communities are shown with this type bangle though the percentage is more among the semi divine figures.

Distribution of Bangle Types throughout the Period It is equally important to know the first emergence, development, popularity, abandonment of any of type of the bangle in different periods. So the research was done depending on analyzed table and histogram which gave a clear idea about it. It has been noticed that during Chedi period only three types: type 1, 2, 7 was prevalent in the society. The percentage of type 1 was extremely high in comparison to the other period. But it became less prominent during the Somavamsi period. This fact could be due the popularity of other type bangle especially type 7 during this period. Type 2 was found having a gradual development throughout the period. Type 3, 4, 6 were only evidenced from the Bhaumakara period and Somavamsi period. It is completely absent during the two earlier period. Type 5 is seen to be used only in Sailodbhava period but after it seems to be abandoned. Neither was it used in the Chedi period nor it continued during the later period. Type 7 which seems to have been popular in Chedi period, has its gradual development in Bhaumakara and Somavamsi period, but surprisingly it is absent in the Sailodbhava period.

Gender Distribution The data found from the research shows that the use of Type 4 and 6 was limited to the females. Otherwise there was no limitation in using other 5 type bangle and was seen in figures of both the genders. Again among other types, type 1 and 3 seem to be used more by the males. While the use of type 2, 5, 6 was almost equal among the both.

Religious Distribution The data suggests that type 1, 2, 7 were used among all the sects. Type 5 is only found in association with the Brahmanical sect. And the rest types are used both by Buddhist and Brahmanical society populace. Again in Buddhist community Type 2 and 7 seem to be more popular.

Conclusion The above data tells that there is certain social stratification, gender biasness, and religious differences in wearing this particular type ornament. It has been also noticed


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that in the earlier period it was quite simple, but with the progress of time development and modification was introduced. Still certain types of bangles are still continued in each period under study.

Figure 8: Burial from Farmana (Courtesy: Shinde et al. 2010)

Figure 9: Burial from Farmana (Courtesy: Shinde et al. 2010)

Figure 10: Burial from Sanauli (Courtesy: Prabhakar 2013)

As stated earlier these types of bangles discussed above have close resemblance with those that have been found from the excavations of different sites belonging to different period. During the Harappan period, only tubular bangles with open end (type 6) were seen to be in trend. In both of the cases bangles were made out of metals especially copper. These types of bangles were seen in large numbers from Harappa (Vats 1997), Mohenjo‐daro (Mackay 1938; Marshall 1973) and Farmana (Shinde et. al. 2010) (Fig. 8). In most burials multiple bangles in both hands or on one hand (Figs. 9 & 10) are seen (Shinde et. al. 2010; Prabhakar 2013). The same has been noticed in figurines (Fig.11) and seals found from the Harappan period. Again from the Iron Age site of Mahurjhari multi copper bangles are found to be used on one hand (IAR 1961‐

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During the Megalithic period, type 6 bangle (Bangle with open end) (Fig.12) along with type 1 (thick/thin plain tubular bangle) (Fig.13) has been noticed from a number of sites in Vidarbha like Mahurjhari (Deo 1973), Bhagimohari (IAR ‐ 1981‐82: 26‐27), Takalghat and Khapa (Deo 1970: 51‐52), Raipur (Deglurkar & Lad 1992: 25‐26), Junapani (IAR ‐ 1961‐62: 32‐33), Borgaon (IAR ‐ 1980‐81: 40), Khairwada (IAR ‐ 1981– 82: 51 ‐ 52). Here also, these bangles were found to be made out of copper. It is difficult to say what types of materials were used when seen on sculptures. During the early historic period beaded/beaded designed bangle (type 2) along with type 1 and 2 are seen to be in existence. They have been found at a number of sites like Sisupalgarh in Odisha (Fig.14), Bhokardhan (Deo and Gupte 1974), Ter (Chapekar 1969) and Nevasa (Sankalia 1960) in Maharashtra.

When these data are gathered together it gives a smooth and sound development of the style in wearing bangle as an ornament along with social stratification and gender biasness. When these data are compared with the excavation material of different periods it gives a vivid idea about the continuity of certain types, its development, appearance and disappearance. Still there are some types of bangles which are introduced in the early period which are still continued today not only among the ethnic society but also at the urban areas in modern society.

References Chapekar, B.N. 1969. Report on the Excavtions at Ter (1958). Poona: Bharat Ithihas

Samshodhak Mandal. Deglurkar, G.B. and G. Lad. 1992. Megalithic Raipur (1985‐1990). Deccan College, Pune. Deo, S.B, 1970. Excavations at Takalghat and Khapa (1968‐69). Nagpur: Nagpur

University. Deo, S.B. 1973. Mahurjhari Excavation (1970 ‐ 72). Nagpur: Nagpur University. Deo, S.B. and R.S. Gupte, 1974. Bhokardhan Excavation. Nagpur: Nagpur University IAR ‐ Indian Archaeology: A Review. New Delhi: Archaeological Survey of India. Kenoyer, J.M. 1991. Ornament Styles of the Indus Valley Tradition: Evidence From

Recent Excavations at Harappa, Pakistan, Paleorient 17(2): 79‐98. Mackay, E.J.H. 1938. Further Excavations at Mohenjo‐daro Vol 1& II. New Delhi:

Munshiram Manoharlal. Marshall, J. 1973. Mohenjo‐daro and Indus Civilization. Vol. 1. Delhi: Indological Book

House Prabhakar, V. N. 2013. Ceramic Typology of the Late Harappan Cemetery at Sanauli,

Uttar Pradesh. Heritage: Journal of Multidisciplinary Studies in Archaeology 1: 78‐103.

Sankalia, H.D. 1960. From History to Prehistory at Nevasa (1952‐56), Poona. Deccan College.

Shinde, V., T. Osada, A. Uesugi and M. Kumar. 2010. Harappan Necropolis at Farmana in the Ghaggar Basin. New Delhi: Indian Archaeological Society.

Vats, M. S. 1997. Excavations at Harappa. Vol. I & II New Delhi: Munshiram Manoharlal.

bangles as depicted in the sculptural art of eastern odisha

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