Gender and the indus age: Through the Human Figurines of Mehrgarh

In the Indus age, the men and women were part of an internally differentiated, structurally specialized social system. Gender played a huge difference in the way they participated in their socio-cultural system. There isn't a lot that is known about this aspect of the Indus age, but there are numerous significant observations that can be made. The figurines and cemetery R-37 at Harappa provided the most crucial information. The magnificent corpus of figurines from Mehrgarh extends time and depth to this study enabling us to transition from the Indus Civilization to the Indus Age.

Fig. 1.1 A group of terracotta figurines. Source: Harappa

At Mehrgarh, figurines can be seen practically as early as the settlement. The study of these things is her area of expertise. The majority of her information is found in the site's many early reports. The Periods I and II figurines lack obvious gender marking and are quite plain. Large buttocks and wide hips have traditionally been used to suggest a voluptuous woman. They generally have joined legs, no arms, and are seated. Adornment is presented in the form of necklaces and belts made of clay strips and little clay pellets affixed to the body. Red ocher, a pigment also employed in some interments in the Mehrgarh graves, has been applied to several of the figurines.

Period III in Mehrgarh (Togau Phase) was a crucial time for craft innovation and some indication of new genes in the human population. There are several bull figures from this time period but no human figurines.

After 4000 B.C., in Period IV, composite figurines first began to appear. They were mostly female, with heads that resemble rods, and were often fairly elongated. The face of the figurines had hollowed eyes and a short, pointed nose. The legs, which were made individually, were joined to the rounded torso, which had prominent hips. Often, the torso was affixed with enormous conical-shaped breasts. These women were equipped with necklaces made of clay strips that were a little bit ornate. A characteristic from Periods I and II that can be observed to have persisted over time are the joined, pointing legs. Although linking the legs is a stylistic choice, it's possible that the makers of the figurines connected the legs together out of practicality to provide them strength because they had a series of bad luck with thin, independent legs breaking. The absence of arms is another characteristic that might be seen as both artistic and functional.

The figurines from Period IV of Mehrgarh have been refined upon in Period V. The figures were manufactured using very fine, carefully prepared clay, and were then baked at high temperatures in an oxidizing environment to achieve a buff-colored final product. The head and body resemble a rod shape, with the shoulders broadened to fit enormous attached breasts and shoulders to carry necklaces. The portrayal of female anatomy was still emphasized by the prominent hips (Fig. 1.2).

Fig. 1.2 Female figurine from Mehrgarh V. Source: Pinterest

The Period V figurines began to have intricate, voluminous hairstyles. The faces too were finished differently. The nose was added, and was often disproportionately large to the face. Two tiny clay pellets were applied, and were punctured to simulate the eyes. Over time, the holes for the eyes became bigger. The women were still seated, their front legs crossed.

In Period VI, figurines became increasingly prevalent and had some quite interesting, detailed, and distinctive hairstyles. They also wore a lot of jewelry and had prominent breasts with nipples. Small cuts identifying different components gave the necklaces some degree of distinctiveness. The anatomy was completed by the appearance of arms, which was occasionally neatly tucked under the breasts (Fig. 1.3).

Fig 1.3 Mehrgarh figurine Period VI. Source: Wikimedia Commons

Period VII shows some hairstyle simplification (c. 2900-2600B.C.). Their hair fell in bouncy curls down the sides of their heads and is braided at the nape of their necks. Some of the figures even gave off the impression of being wig-wearing women. Some of the figurines had their arms in more or less natural positions, were standing, and had modeled knees and feet. Some women were also holding tiny babies modeled in clay. The eyeball with the pellet penetrated by a sharp object is also visible, as is the prominently pinched nose (Fig. 1.4).

Fig 1.4 Mehrgarh female figurines Period VII. Source: Archaic Wonder

The jewelry was also shown in a more elegant manner with more originality. More varieties of necklaces, bangles, diadems, and pendants were available, expanding the range of jewelry. Period VII also includes masculine figures. The one is a standing figure with a turban-like headpiece (Fig. 1.5).

Male hairstyles during the start of the period were braids or knots. Later, they were replaced with a pair of strands that covered some of their necklaces and flowed over the shoulders to the front. Males can be distinguished from females by the presence of male genitalia, the absence of breast markings, and their distinctive jewelry designs, some of which may be regarded as phallic in nature. Male figures from the later Indus period, particularly those from Mohenjo-daro, often have loincloths made of thick slices of clay covering their bodies.

Figure 1.5 Male figurine from Mehrgarh VII. Source: Bart Wille Asian Art

There is an interesting reversal of the proportion of female to male figurines. From Period IV to the beginning of Period VII, the emphasis is on the female features, large and prominent breasts, and broad hips. Male figures begin to be found early in Period VII: Their chests are flat, the genitals are represented, and arms and legs are stiffly held. But, by later in Period VII, the proportion of female to male figurines is reversed, the latter accounting for up to 85 per cent of the human representations.

The concept of a fertility goddess is not unrealistic in a neolithic society where reproduction is of utmost importance. This obsession with fertility is portrayed in the expanded pelvis of the figures, which gives them their recognizable biconic shapes. From Period IV onwards, specific features like wide hips, enormous bosoms, and motherhood are stressed to highlight the concept of fertility.

These figurines could very likely be a reflection of significant alterations in gender roles during the Early Harappan and the Early Harappan-Mature Harappan Transition.