What's new

8 cultural practices of Harappan Era that has still been continued till today

Kashmiri Pandit

SENIOR MEMBER
Joined
Oct 12, 2015
Messages
3,023
Reaction score
-2
Country
India
Location
India
harappan-civilization-findings.jpg


Harappan or Sarasvati-Sindhu Valley civilization dates to at-least 5000 years. While almost all the ancient civilization has totally disappeared and it’s rare to even find a trace of them. It may come as a shock to see that there are many Indian cultures that are a continuity of this age-old Harappan era. It certainly makes India one of the oldest survivor of ancient civilization and here are 8 of its examples.

1. Tilaka
tilaka.jpg




A Tilaka is an auspicious decorative jewelry worn by young girls and women in India. Especially worn by Hindu women, they wear it on their forehead. The origin of Tikka can be found in ancient times but has lost this significance in modern life and is mostly worn all over the world as an accessory. However, it is surprising to know that it has its origins in Harappan civilization.

Today, we can still find many Harappan terracotta figures wearing a turban-like headdress and tilaka on the forehead, which can be found from the book ‘Mohenjo-Daro and the Indus Civilization’. Furthermore, sculptures of a woman from Bharhut stupa which dated to 200-100 BCE wearing tilaka on the forehead and similar headdress are also seen. Similarly, modern Hindu women from north-western states are also famously wearing similar Tilaka as a local fashion.

2. Bangles
harappan-bangles.jpg


Bangles which is also known as Kangan, are an important ornament for all married as well as unmarried women in India. Since ancient times, there is a tradition of making bangles, from various metals, glass, conch, sealing-wax, and ivory.



The culture of wearing bangles, especially wearing them all over the arms by women can be traced to the Harappan culture. It is a common practice to wear Harappan bangles by the Harappan ‘dancing girl’ is widely found in sculptures. Also, Mauryan Didarganj Yakshini is also seen wearing the same sort of bangles on her arm. As a result, modern woman from North-West India wearing same bangles on her hand.


3. Waist chain
waist-chain.jpg


Waist chain or belly chain is commonly known as Kamarband or Udhyanam or Odyanam. It is normally just a simple chain or crafted jewelry worn around the waist. It is believed that woman used to decorate their hip by wearing ornamental jewelry ever since thousands of years or more. As seen in sculptures and paintings from the time dating back to the ancient civilization, waist chains worn by Hindu women can be traced to the Harappan tradition.

Some examples of it can be seen in the Harappan terracotta figure who is seen wearing waist chain, that is taken from the book ‘Excavations at Harappa’. Sculpture of a female from Mathura dated to 100-200 CE can also be seen wearing same waist chain as seen in the other Harappan figure. Due to which, its a definite result of the follow up of the ancient Indian tradition that different Modern waist chains are worn by Indian women.

4. Anklets
Anklets.jpg


Anklets are anything worn around the ankle as a fetter, ornament, or a support. They are also known as ankle bracelets and foot bangles which have been worn by women throughout the history. Aside from functioning as foot adornments, they have been a part of the tradition of Indian women.



Special sort of Anklets can be traced back to the Harappan culture which Hindu women can be seen wearing even today. Its examples can be taken from the book, ‘The Lost River: On The Trail of the Sarasvati’. Furthermore, the sculpture of a woman from Mathura which dated to 100-200 CE can also be seen wearing similar anklets. Hence, modern Rajasthani women are found wearing same anklets.

5. Swastikas
swastika.jpg


Although, a reverse swastika is a symbol used by of one of the most hated men on Earth. The real Swastika has been an important symbol for the Hindus for thousands of years. Even to this day, the symbol can still be seen in abundance – on Hindu temples, on the cover of ancient books and in fact almost everywhere such as buses and taxis.


The mysterious symbol is a widespread ancient icon all over the world, but particularly in India, it was a common symbol which still remains a sacred symbol since the ancient era of Harappan civilization. Thus we can even see Swastikas, in the book ‘Mohenjo-Daro and the Indus Civilization’.



6. Bathing platforms
Great-Bath-Mohenjo-Daro-e1505824480887.jpg

source

Bathing is an everyday need. Even if not every day, everybody bathes. While some bathes under a simple tap, some prefer some bathing platforms. Even today, especially in villages and communities, people have platforms or tanks that can be seen in many Hindu temples as well. We can trace the origins of this tradition to the Harappan civilization, where bathing platforms like the famous ‘Great Bath’ have been found. The Great Bath of Mohenjo Daro has been famously mentioned in ‘Mohenjo-Daro and the Indus Civilization’ and many other books. A similar tank from Nagarjunakonda site also dates to 200-300 CE. Such platforms are found in many modern Hindu temples as well.

7. Yogic practices
namaste-harappan.jpg

source

Yoga is an age-old wisdom tradition that helps us move from constriction to expansion, from fear to love, and from separation to unity. At its core, yoga means union, the union of body, mind, and soul; the union of the ego and the spirit; the union of the mundane and the divine.

It is so obvious that there are ancient roots of Yoga. However, it may come as a surprise to see most of the basic Yogic meditative postures mentioned in Harappan civilization. An example of it is a terracotta figurine with folded hands in ‘Namaste’ posture which can be seen in the book, ‘Excavations at Harappa’.



8. Fire altars
Fire-altar.jpg


Fire, also known as Agni, is celebrated in the Vedic hymns and kindled upon earth to carry prayers and offerings to the highest heavens. Great rituals, such as Yagnas, often involve several fire rituals.


Even common domestic rituals of the householder such as daily rites, marriage rites, and funeral rites took place at the fire altar. Laying and ritually kindling the fire altar was the job of Brahmin priests.

However, bricks were made for fire altars are found in Harappan sites which clearly indicates the presence of Vedic rituals in Harappan civilization. This is another continuity from the Harappan era where no Vedic ritual was possible without making use of fire altar. Hence we can see fire altar at the Kalibangan site of Harappan civilization and also fire altar from Lothal site of Harappan civilization which is taken from the book ‘The Lost River: On The Trail of the Sarasvati’.

Therefore, it is our duty to protect and safeguard the ancient traditions passed down from an ancient civilization. Many of the modern Hindu or Indian traditions can be dated back to thousands of years, ever since the mighty and legendary Harappan era.




https://detechter.com/8-cultural-pr...ued-till-today/amp/?__twitter_impression=true

 
.
You forgot other pactices modern Indian share with Harappans -

You breath. They breathed
You shyte. They shyted
You walk. They walked
You dance. They danced
You sing. They sang
You live. They lived
You have sex. They had sex.
You eat food. They ate food.

All these similarities prove no doubt that you share so much with Harappa - even if Harappa is in Pakistan.

Look at this Harappan Tank. Hell it's even got a swastika symbol on it. More shared cultural practices ..

images
 
.
You forgot other pactices modern Indian share with Harappans -

You breath. They breathed
You shyte. They shyted
You walk. They walked
You dance. They danced
You sing. They sang
You live. They lived
You have sex. They had sex.
You eat food. They ate food.

All these similarities prove no doubt that you share so much with Harappa - even if Harappa is in Pakistan.

Look at this Harappan Tank. Hell it's even got a swastika symbol on it. More shared cultural practices ..

images

You definitely are à thick head .
But I worry about the intellectual ßlaves who have liked your post .
 
.
You forgot other pactices modern Indian share with Harappans -

You breath. They breathed
You shyte. They shyted
You walk. They walked
You dance. They danced
You sing. They sang
You live. They lived
You have sex. They had sex.
You eat food. They ate food.

All these similarities prove no doubt that you share so much with Harappa - even if Harappa is in Pakistan.

Look at this Harappan Tank. Hell it's even got a swastika symbol on it. More shared cultural practices ..

images
Actually sir, without trolling..the Harappan and Mohenjo Daro were more advanced than 21st century Gangadesh. Both of the civilisation as part of the great IVC family had covered sewers more than 5000 years ago, water-wells located at every square, paved streets... and arts and skills. Nothing of that exists in modern day India; people defecate openly, sewers are open and constantly flood the streets unpaved streets...
maxresdefault.jpg


Mohenjodaro-Jawad-864x400_c.jpg


Excavated_ruins_of_Mohenjo-daro.jpg

And now India


Really not sharing those gross pics because it is Ramadan.. But it is not so difficult just search India in google and you will find all the pics...

 
. . . . . . . .
images (9).jpeg
images (10).jpeg
images (8).jpeg

Fire altars late Harappan civilization

images (1).jpeg

Protoshiva (pashupati)
images.jpeg

Godess?



images (11).jpeg

Lady with vermilion or tika
 
Last edited:
. . .
Move to bring ‘Dancing Girl’ back from India

57fc009b468e7.jpg

The Dancing Girl


LAHORE: A writ petition filed in the Lahore High Court on Monday has requested that directions be issued to the federal government to bring back from India the ‘Dancing Girl’ bronze statue excavated from Moenjodaro in 1926.

Barrister Javed Iqbal Jaffrey, the petitioner, has asked the LHC to take suo motu notice in this regard. He claims that the statue is the property of the Lahore Museum. It was taken to India around 60 years ago at the request of the National Arts Council, Delhi, and was never brought back.

Mr Jaffrey says the statue has the same historic importance as Leonardo da Vinci’s Mona Lisa in Europe. He calls it a marker of Pakistan’s cultural heritage which needs to be protected.

The statue is 10.5 centimetres tall and nearly 5,000 years old. Some of the most famous archaeologists in the world have described it as one of the most captivating pieces of art from the Indus site.

In a recent statement, Jamal Shah, director general of the Pakistan National Museum of Arts, hinted that the government was considering writing to the United Nations Educational, Scientific and Cultural Organisation to bring the statue back. “This is important if we want to protect our heritage.”

Dancing Girl (sculpture)
From Wikipedia, the free encyclopedia


Jump to navigationJump to search
Dancing Girl (bronze), Mohenjo-daro

Artist unknown, pre-historic
Year c. 2500 BC
Type bronze
Dimensions 10.5 cm × 5 cm (4 1/8 in × 2 in )
Location National Museum, New Delhi, Delhi
Dancing Girl is a prehistoric bronze sculpture made in approximately 2500 BCE in the Indus Valley Civilisation city of Mohenjo-daro (in modern-day Pakistan), which was one of the earliest human cities. The statuette is 10.5 centimetres (4.1 in) tall, and depicts a young woman or girl with stylized proportions standing in a confident, naturalistic pose. Dancing Girl is well-regarded as a work of art, and is a cultural artefact of the Indus Valley Civilisation. The statuette was discovered by British archaeologist Ernest Mackay in 1926, prior to the Partition of India. It is held by the National Museum, New Delhi, and ownership is disputed by Pakistan.
Description[edit]
A bronze statuette DANCING GIRL is 10.5 centimetres (4.1 in) high and about 5,000 years old.[1] It was found in the "HR area" of Mohenjo-daro in 1926 by Ernest Mackay.[1] Although it is in a standing position, it was named "Dancing Girl" with an assumption of her profession. This is one of two bronze art works found at Mohenjo-daro that show more flexible features when compared to other more formal poses. The girl is naked, wears a number of bangles and a necklace and is shown in a natural standing position with one hand on her hip.[2] She wears 24 to 25 bangles on her left arm and 4 bangles on her right arm, and some object was held in her left hand, which is resting on her thigh; both arms are unusually long.[3] One arm completely filled with bangles which is similar to Banjara lady. Her necklace has three big pendants. She has her long hair styled in a big bun that is resting on her shoulder. This statue is a cultural artifact reflecting the aesthetics of a female body as conceptualized during that historical period.[4]

Expert opinions[edit]

Second bronze statuette of a girl c.2500 BC, now displayed at Karachi Museum, Pakistan.
In 1973, British archaeologist Mortimer Wheeler described the item as his favorite statuette:

"She's about fifteen years old I should think, not more, but she stands there with bangles all the way up her arm and nothing else on. A girl perfectly, for the moment, perfectly confident of herself and the world. There's nothing like her, I think, in the world." [5]

John Marshall, another archeologist at Mohenjo-daro, described the figure as "a young girl, her hand on her hip in a half-impudent posture, and legs slightly forward as she beats time to the music with her legs and feet".[6] He is known to reacted with surprise when he saw this statuette. He said "When I first saw them I found it difficult to believe that they were prehistoric." [7] The archaeologist Gregory Possehl described Dancing Girl as "the most captivating piece of art from an Indus site" and qualified the description of her as a dancer by stating that, "We may not be certain that she was a dancer, but she was good at what she did and she knew it."[8]

The statue led to two important discoveries about the civilization: first that they knew metal blending, casting and other sophisticated methods, and secondly that entertainment, especially dance was part of the culture.[1] The bronze girl was made using the lost-wax casting technique and shows the expertise of the people in making bronze works during that time.[2] The statue is displayed at National Museum, New Delhi.[1] A similar bronze statuette was found by Mackay during his final full season of 1930–31 at DK-G area in a house at Mohenjo-daro. The preservation, as well as quality of craftsmanship, is inferior to that of the well known Dancing Girl.[8] This second bronze female figure is displayed at Karachi Museum, Pakistan.[9]

An engraving on a piece of red potsherd, discovered at Bhirrana, India, a Harappan site in Fatehabad district in Haryana, shows an image that is evocative of Dancing Girl. The excavation team leader, L. S. Rao, Superintending Archaeologist, Excavation Branch, ASI, remarked that, “... the delineation [of the lines in the potsherd] is so true to the stance, including the disposition of the hands, of the bronze that it appears that the craftsman of Bhirrana had first-hand knowledge of the former”.[10][11]

Pakistan's demand[edit]
Some Pakistani politicians and experts have demanded that the Dancing Girl be "returned" to Pakistan.[12] In 2016 Pakistani barrister, Javed Iqbal Jaffery, petitioned the Lahore High Court for the return of the statue, claiming that it had been "taken from Pakistan 60 years ago on the request of the National Arts Council in Delhi but never returned." According to him, the Dancing Girl was to Pakistan what Da Vinci's Mona Lisa was to Europe.[13]


Pre-History & Archaeology




Hover over the image to see more details.

Dancing Girl
C. 2500 B.C.

Place of Origin: Mohenjodaro
Materials: Bronze
Dimensions: 10.5 x 5 x 2.5 cm.
Acc. No. 5721/195

One of the rarest artefacts world-over, a unique blend of antiqueness and art indexing the lifestyle, taste and cultural excellence of a people in such remote past as about five millenniums from now, the tiny bronze-cast, the statue of a young lady now unanimously called 'Indus dancing girl', represents a stylistically poised female figure performing a dance. The forward thrust of the left leg and backwards tilted right, the gesture of the hands, demeanour of the face and uplifted head, all speak of absorption in dance, perhaps one of those early styles that combined drama with dance, and dialogue with body-gestures. As was not unusual in the lifestyle of early days, the young lady has been cast as nude. The statue, recovered in excavation from 'HR area' of Mohenjo-Daro, is suggestive of two major breaks-through, one, that the Indus artists knew metal blending and casting and perhaps other technical aspects of metallurgy, and two, that a well developed society Indus people had innovated dance and other performing arts as modes of entertainment.

Large eyes, flat nose, well-fed cheeks, bunched curly hair and broad forehead define the iconography of the lady, while a tall figure with large legs and arms, high neck, subdued belly, moderately sized breasts and sensuously modeled waist-part along vagina, her anatomy. The adornment of her left arm is widely different from the right. While just two, though heavy, rings adorn her right arm, the left is covered in entirety with heavy ringed bangles. Besides, the figure has been cast as wearing on her breasts a necklace with four 'phalis' like shaped pendants. Though a small work of art, it is impressive and surpasses in plasticity and sensuousness the heavily ornate terracotta figurines.
 
.

Latest posts

Pakistan Affairs Latest Posts

Military Forum Latest Posts

Country Latest Posts

Back
Top Bottom