V

CHAPTER III

A. BENGAL TERRACOTTA ART - A FORMAL ANALYSIS

As a medium of creative expression terracotta art was

widespread in ancient Bengal. It was quite a natural phenomenon

because of the easy availability and tractibility of clay, the plastic

material of this art. From its inception and even now terracotta is

essentially the peoples! art and a majority of the surviving specimens

of different periods of our history are untravelled by the idiom of

court art and thus predictably they provide illuminating commentaries

on contemporary people.

Stylistically the terracotta art, like other popular art forms,

moves in a slow pace and the transition of this art from one period

to another is also not always clear. Moreover, the characteristics of

the terracotta art of given time and space, which maypreserve

traditions of a long past, may spell out at the same time an

individual accent which it has evolved, adopting the formulae from

neighbouring regions in a slow manner.

All what has been said above apply to the terracotta art of

Bengal. Chronologically the history ofthis art dates back to the

first-second millennium B.C., as exemplified by the protohistoric

specimens unearthed at Pandu Rajar Dhibi both archaeologically and

aesthetically. A torso (ht. 8 cm.; State Archaeological Gallery, West

Bengal) coming from this site and datable to the period II (about

40
 41

fourth millennium B .C.) depicts a dancing male or a gymnast J Full of

vitality, it reminds us of the lithic figure of the inspired Harappan

dancer and thus suggests a longer tradition of terracotta art.

Among the terracottas of period III (around first millennium

B.C.) of Pandu Rajar Dhibi, the human figures with long nose running

down from the forehead, large applied eyes and protuberant chin are
2
highly interesting. They closely resemble the artistic creations of

the Aegean world and those of the Hittltes, Philistines and Phrygains.

The terracotta heads with pointed helmets and diminishing circles and

witrt hair-do shown by slanting scratches are comparable with some

3
such pieces from Tell-el-Ashdod in Palestine. To the period IV

(representing pre-Mauryai and ' early historic times) belong the

samples, one the beak-headed pgother Goddess with pin-hole

decorations and the other with nubile breasts. The plastic volume

and sensitivity of the figures express the modelling capacity and

sophisticated outlook of their authors. The attitude and feelings of

the age are also reflected • in the lower part of a terracotta with
5
splayed hips encircled by a symbolic girdle. It is presumably a

fertility Goddess and probably belongs to the period III.

1. Das Gupta, P.C., op.cit. , pi.XX.

2. Ibid., pi. XXVI and pi. XXVIII.
3. The Illustrated London News, November 1963, p.906, fig. 13.
4. Das Gupta, P.C., op,cit., pi.XXI.
5. Ibid., pi.XXIII.
 42

Harinarayanpur' (I) is another site which has yielded

specimens of the proto-historic period, and a majority of which are

preserved in the Asutosh Museum. One among them (length 10 cm.)

represents the forepart of a bull with a fan-shaped hump, perforated

nose and cylindrical bases and it recalls the BrahmanI bulls of

Harappan culture. Another example (ht.5 cm.; private collection)

from the same site shows a lady with beaked nose, eyes with

applique* pillets, tapered hands and a leaf-like pointed head dress.

(PLATE : la).

No objects firmly datable to the period extending from the

Harappan culture { including post - Harappan ) and the beginning of

the Maurya period (late fourth century. B.C.) are known. And the

objects to be dealt with now are Maurya in date. During this period

terracotta art made some rapid strides. The rather primitive types of

the earlier period are replaced by new norms almost same as the

terracottas from the Gahga-Yamuna Valley both in expression and

execution. They are impressive and noteworthy on account of their

size, physiognomical features and aesthetic expression.

The major Bengal sites yielding terracotta figurines of this

culture-epoch include Tamluk and Chandraketugarh. A terracotta plaque

(ht. 8.9 cm.; Archaeological Survey of India, Eastern Circle) from

6. Archaeological discoveries in West Bengal, bulletin of the

Directorate of Archaeology, West Bengal, No.I, Calcutta, 1963.
 43

Tamluk of about the third century B,C. represents a well-clad

t
female of peerless beauty adorned with a typical Maurya headdress
7
with ribbons hanging loose, fillets and discs. Of the same date is

another terracotta (ht. 30 cm., private collection) from Tamluk

showing a Yakshi^with left hand akimbo and the right stretching

curvedly along the side parallel to the drapery that spreads out

from the waist. The appliqud' drapery composed of separate

modelled plaques consists of hooped skirt, tied by a waist band

and a scarf. The lower part of the figure along with the legs are

broken away. The ornaments which are in applique consist of neck-

collar, knobbed ear-tubs and a head-gear (partially preserved) and

bracelets of round discs. The hair parted in the middle above the

forehead is arranged in hoops on the sides. The lesser

ornamentation of the figure enables one to determine its modelling

and composition. The head is delicately modelled and the charming

round face is enhanced by subdued shadows. The bust is perfect in

modelling and the contrast presentation of the primitive technique

of applique' plaque for garments and jewellery adds dignity and

sophistication of an urban culture. This figure bears clear affinity

9
with the standing figurines from Bulandi Bag and Patna.

Terracotta figures bearing trends of the West are not

influenced by the pillar capitals bearing imperial style. A Yaksha

modelled in the round from Tamluk, now in the Asutosh Museum is

7. Biswas,S.S., Terracotta art of Bengal, Calcutta, 1981, pi.III.

8. Ibid., pi.Va
9. Marg, XXHI, 1969, figs.9,10 and 11, p.41.
 44'

of heavy dimension and a reminiscent of its monumental

counterparts from Patna, Parkham and Pawaya. Inspite of the rigidly

frontal treatment the figure is more lively, vivacious and soft in its

rounded pLasticity.

A Tamluk terracotta shows a winsome young Lady with an

interesting side-knot hail—do. Her subdued smile was a deeper

feeling than the laughter of the terracotta boy head from PatnS

which Coomarswamy describes as one of the most sensitive and

10
skilful productions of Indian art in any period.

Another female head (ht.5 cm.; Tamralipta Museum and

Research Centre) from Tamluk, with her nice hair-do, excellent

finish and modelling tends to bring about the form in the round.

The sublimity and the inscrutibility of the expression enhances the

artistic excellence of the Maurya artists.

I

' These typical features are also depicted in some terracottas

from Chandraketugarh. A female torso (ht. 7.6 cm.; Asutosh

Museum) is shown as wearing hooped skirt held by a belt and a

scarf in applique7. The sharp contrast of light and shade made the

figure more Lively. The wind-blown opaqu^ garment indicating her

inherent force and energy traces a sharp comparison with the

wanton sisters of the Hellenic world.

10. Coomaraswamy ,A.K.-, History of Indian and Indonesian Art,

1927, p.21
 45

Besides these, there are a few terracottas of the Maurya

period which display various expressions. In respect of elaborate

coiffure and costume, the head of a female^ (ht.4.5 cm.; Asutosh

Museum) of about the third century B.C. from Chandraketugarh

wearing a Maurya head-dress with the usual discs and the

coquettish countenance adds a charm and individuality to the figure.

Another terracotta female figure (ht. 6 cm.; private collection) from

Chandraketugarh shows the figure with appliqu^ matted hairs at the

back. The arrangement of the long plated hairs at the top, the

appliqud flowers over the shoulders and the necklace place this

figurine among the masterpiecs of Bengal art. (PLATE :1b).

While characteristics of the Maurya terracottas lingered on in

those of the post Maurya epoch, new features were also on view. A

lady standing elegantly with a bird (ht. 14.3 cm.; Asutosh Museum)

hailing from Pokharna of about the early second century B.C. is

moulded in low relief with the lower part broken. Her right hand

lifts a part of her skirt and left holding a pet suka (parrot) is in

akimbo. Her heavy robes and ornaments arranged in two rows and

composed in square units, her round and compact breasts give a

queenly glamour and a sedative grace.Stylistically and technically

this figure may be classed with the evanescent Maurya figures from

Tamluk, but its finishing quality is cruder than those from Tamiuk.
12
The cause of this lacking is perhaps due to extreme corrosion.

But this figure fails to display the two dimensional volume of the
11. Biswas,S.S., op.clt., pl.IVa.
12. Saraswati.S.K., A Survey of Indian Sculpture, Calcutta, 1957,
p.109; also Early Sculpture of Bengal, Calcutta, 1962, p.97.
 46

succeeding age and thus it may be a product of the transitional

style of the Maurya-^unga era. (PLATE : Ic).

Another unique variety of this transitional phase is a Yakshi'

or Lakshmi (?) (ht.8.5 cm.; private collection) from Atghara. The

figure holds a jar or bag of wealth by her right hand and by the

left she holds a mirror. The turban like decoration on the left side

is noteworthy. Stylistically and technically this figure seems to

/

belong to the pre-Sunga-KushSga era.

Of all the centres of terracotta art of Bengal Tamluk,

/
Chandraketugarh and Bangarh are the most prolific centres of Sunga

terracotta figures of finest types.

✓
The Suriga period is an important phase in the evolution of

the history of the terracotta of Bengal. These terracottas are of

fine fabric and are uniformly baked light red_or orange though some

of them have a red slip. The dignity of Maurya art vanishes and a

new ideology and appreciation of physical charm was introduced. An

important change was noticed in the technique of production. The

use of single mould for producing heads which are joined to the

bodies by hand was further developed by the use of a mould for

the entire figure. This advancement produced fine-pieces displaying

refined and sensitive modelling. The experienced artists mastered

the regulation of contours and the linear rhythm became disciplined.

Stylistically Sunga terracottas are related to the plastic tradition of

 47

Mathura only in general manner. The lush sensuality of Mathura was

much subdued and Bengal terracottas expressed refined slender

bodies with pose of elegant ease, graceful relaxation and care free

langour. These qualities exemplified aristocracy and sophistication

of the people.

The finest specimen of this period is a terracotta female

13
figurine (ht. 21 cm.; Ashmolean Museum, Oxford) from Tamluk.
^ ---> 14
Variously identified as Apsara Panchachuda Yakshi of the epic lore
15
or Maya of As'vaghosha's Saundarananda Kavya She has been

portrayed as a young lady with slightly plumped face and a slender

body, but noticeably lavishly ornamented (even her costume is

covered with ornaments). She wearsan extremely elaborate

headdress and her hair is probably enclosed in a close fitting

bonnet with four rows of beads at the ridge which terminated in

two floral tassels. The frontal hair is clearly visible but at the

back the hair seems to be hanging down in a heavy mass reaching

almost to the level of knees. On both sides of the bonnet are two

highly ornate turban - like rolls of cloth bounded with a belt. In

the lateral projection on the left five exquisite pins are struck in.

There are from the bottom the ankusa (goad), the second and the

fourth resembling a triratna (the Buddhist symbol) and the central

one an axe. The one at the top might be a dvaja (flag), or some

kind of chopper. All these are but auspicious symbols frequently

13. 'A terracotta figurine at Oxford' , JISQA. x , 1942, pp.94-102,

pi.IX.
14. Mbh., 13, 3, 11 = 191; 13, 38, 2 = 2203; Holtzamann, Die,
Apsaras nach dem Mbh., ZDMGL. 33, p.637.
15. Tasya_____devi_____nridevasya maya nama tadabhavat/
Vitakrodhatamomaya mayeva divi devata^ II, 49.
 48

referred to In literature. From them are suspended floral garlands.

Between the masses of the turban rises a crown with five rows of star-

shaped ornaments, presumably a jewelled cap containing the hair. The

ears have large cylinders stamped with floral design with a number of

pearl tassels. Round the neck are a torque and a heavy necklace of

numerous beaded strings. The slender waist carries a small but larger

and elaborate girdle made up of rosettes which rests on hips. The

pearl-strings attached to the girdle reaches down the knees which are
V
also embellished with elaborate pattern resembling four paunchy figures,

two shown on each thigh, squatting on haunches and with hands raised
16 -
to the heads. They carry at the lower end some silk tassels below

which are a number of pearl strings. On each hand are four bracelets,

three of which are of bead strings or globules whereas the remaining

one which is highly elaborate consists either of a sleeveless tunic

fastened to the waist by a girdle which reaches down to the knees. The

upper part of the dress indicate a narrow border. The folds are

indicated by close-set shallow lines, apparently made by a comb-like

implement. A broad ribbon passes over the left shoulder and round the

lower hip like a bandolier with four figures probably intended as

amulets, possibly a pair of fish, a bird (with a broken beak), a

sleeping doe and a makara. It is to be noted here that the plastic

diction of this well-known example is articulated in most of the female

figures of the Sunga period.

16. Saraswati, S.K., ESB„ p.90.

 49

A male figure from Chandraketugarh (ht. 14.1 cm., Asutosh

Museum) displays the grace of modulation and a rhythmic vitality. The

movement of legs and the gesture of hands of this figure suggests a

dancing pose. His mode of wearing dhdti and chadar express an; elegant

taste which is familiar in Bengal even today. Whoever may he be - a

mortal or a gandharva, conveys a rare and dignified delight of a

movement.

The terracottas of the second-first century B.C. introduced a new

ethnic variety. They represent a wide variety of secular and religious

/
themes. The Suhga artists spontaneously portrayed the intimate scenes of

their contemporary life. The young and beautiful women in the full-bloom

of their youth are buxom, almost voluptuous, and wearing elaborate

coiffure loaded with jewellery are examples of ideal feminine beauty.

Besides, the various, activities of life viz. dalliance, coquetry, toilet,

dance, music etc. are portrayed nude female figurines with prominent

pudenda coupled with heavy nubile breasts, broad hips and thin waists.

This depicton of genitals is contrast to the total absence of nudity in

the Maurya period.

/
The figures of animals and birds borne by the Suhga terracottas

are noteworthy for their liveliness and vivid naturalism. Narrative

plaques depicting Jataka stories, folk tales and other episodes are

remarkable. Apart from that, floral and geometrical designs and various
r
toy-carts are also nicely represented in Suhga terracottas.
 50

The Kushana rule in the North gave a new mode of expression to

the creative genius of the contemporary artists and the terracottas of

the period are varied in form and content. Stylistically, they fall into

two distinct groups, one refined and the other crude and both of them

have parallels in stone sculptures. The KushSna repertoire have a number

of examples modelled in the round. The use of two pieces of moulded

parts joined together provides a three dimensional effect which marks

an advance in the technique on that of the terracotta pieces of the

earlier epochs.This elevated the art from the low and flat relief of
/
the Maurya and Sunga idioms to the bold and high one of the Kushapa

phase.

As said above the KushSna terracottas are varied, and from the

point of view of their social content they are quite interesting. A

sample from Tamluk, (TSmralipta Museum and Research Centre) depicts a

male with fleshy cheeks, sharp nose, expressive eyes and a helmet of

Scythian inspiration is full of confidence. Its dreamy look may be

classed with the Kushana portraits of Mathura.

The female with supple volumes now speak of the physical grace

of a woman. The wind-blown gossamer-like drapery worn by these ladies

displayed the top fashion of the age. The emphasis on nudity was then

an, accepted impression like its comparable trends of art in the

Hellenistic world. But they are not fertility cult objects. These figures

were characterised by lips drawn either by a hint of a smile or an

animation and their eyes remain open with a deep feeling within.
 51

The Kushana terracottas with religious affiliations are far more

interesting. Gods and Goddesses of different pantheons for the first time

was reproduced in the terracottas of the period. A new ritualistic

object that was introduced in the Kushana age was the votive tank which

is found in terracottas only. Such a unique one was discovered in river

_ 17
erosion on the bank of the Satamukhi Nadi in G. plot of the Sundarbans.

It appears to be a votive offering in the form c£ a tree worship. The

figure consists of a pillar like representation resting on a pedestal.

The design engraved on it is of a sprig. On one of its sides is

depicted an image of a female devotee seated at the foot of the tree in

a peculiar attitude of supplication.

An example of beauty and refinement of the Scytho-Parthian age is

a head (ht. 6.5. cm.; Asutosh Museum) from Tamluk of about the first

century B.C or the early part of the first century A.D. It shows a lady

adorned with a richly fashioned coiffure decked with flower-studs and

bordered with beaded strings. The orderly arrangement of the hair

beneath, the decorative marks above the eye-brows and the beaded
strings fail to escape the attention of the beholder. And further her

smiling face with a quiet and pensive grace leaves a lasting impression

on her.

Assimilating the idiom of the Kushana age, the Gupta period

ushered a brilliant epoch in the area of artistic creativity. Sculptures

17. 'The Antiquities of Sunderbans', VRSM., 5, p. 10.

 52

executed in stone in particular set the norm of plastic art, as it were,

and the terracottas of the period conformed to that norm. The terracotta

art received a fillip by the spurt of monumental constructions in a scale

hitherto unknown in Indian art history. The Gupta artists made the back

of the terracottas flat by means of a sharp tool or a bamboo strip. The

use of a double mould is relatively few in number and either had a

hollow within or are solid. They were often treated with a deep red

slip to cover up defects in surface treatment and also for making the

surface of the figures smooth and glossy.

Artists of the Gupta culture epoch gave equal emphasis on secular

and religious subjects. The Guptas were staunch followers of different

Brahmanical cults and as a result iconography of different divinities was

standardized and cult images began to appear.

The Gupta terracottas exhibit the characteristically refined taste

and charm of the Gupta style. The soft and pliant human figures made

out of clay exhibit a free and easy movement. Though they seem to be

at rest yet like the lithic counterparts at Samath and Mathura they

prove to be infused with an inherent energy. The Gupta artists in order

to emphasize the plastic subjects sensitively reduced all superfluities

viz., elaborate drapery, ornamentation, coiffure etc. thatconceal the

physical beauty. The wet or transparent drapery (magnamsuka) became

the convention which no doubt enhanced the grace of the figure. What

emerged was purely natural, free from over-elaboration.

 53

This delicate quality is reflected in many figures. A torso of a

male (ht. 10 cm.; private collection) from Chandraketugarh shows a

figure with bare upper body wearing an upavita. The dhuti worn on the

lowery part is shown hanging in folds in the middle. The same, wrapping

the waist is also beautiful. The girdle on the waist, the reroiniscentof

the hollow round ear studs are also notable. The figure in tribhanga

pose with katyavalamvita hasta, the deep navel and the physical

structure speaks the excellence of Gupta workmanship ( PLATE : Id).

The lower part of a female figure (ht. 10.4 cm.; Archaeological

Survey of India) from Tamluk is characterized by its fine modelling and

the transparent muslin-like garment. The folds of the drapery are.

indicated by parallel ridges. She wears beaded bangle on her extant

right hand and an anklet of similar design on her right leg. The right

leg is bent a little and raised behind the mutilated left leg. She also

wears a waist-band of small medallions. The portruded abdomen and

charming thighs shown in rounded contours express the lyrical quality

of an UrvasI or any other celestial women of mythology or of a nayika

of the classical romance.

Though rich in craftsmanship the terracotta objects of the Gupta

classical phase, so far discovered in Bengal are relatively few in

comparison with the prolific output of the earlier phases. The cause of

this comparative scarcity is the dwindling of artistic activity in

terracotta or lack of proper exploration of ancient sites. Thus Tamluk

as a centre of terracotta art seems to have declined during this phase

while Rahgamati in the Murshidabad district, the site of Karnasuvarna,

 54

came into prominence. The height of Gupta classicalism dwindled away

and emphasis was led on mannerism and stylization.

The major dynasty after the Imperial Guptas were the P§las who

came to power sometime in the middle of the eighth century. Artists of

this period used the terracotta medium for depicting diverse subjects,

religious as well as secular, and the terracotta plaques coming from the

ateliers imaginably enhanced the beauty of the colossal structures of the

once highly renowned Mahaviharas.

Paharpur, the most prolific centre of this period influenced by

the same idiom of stone sculpture represented a local and indigenous

trend deriving inspiration from the imagination and lore of the village

folk. These terracottas depict the mirth and sorrow of the people and

the natural beauty surrounding them. They depict in a vivid manner the

types and classes of men and women, their dresses, activities,

occupations, social life, religious faiths and beliefs, divine and semi­

divine images, popular tales and other stories current in the society.

The world of flora and fauna was also a familier theme.

The terracotta plaques in majority cases representing religious

figures depict Buddhist Gods and Goddesses - the Buddha, the

Bodhisattvas, Taras and other minor deities. It is but natural that as

Paharpur was a Buddhist site so these terracotta plaques should have

mostly depicted Buddhist divinities . But some of these plaques

represent the Brahmanical divinities who occupied distinctive places in

the scheme of decoration of the Buddhist temples. Vishpu and his avatara
 55

(incarnation), Siva-liriga (sometimes four faced), Ardhanaris'vara, Ganesa,

Surya (?) and Hanuman are among the Brahmanical' Gods. Besides

these,, the legend of Krishna's life and scenes from the Eimayapa testify

their popularity.

There are also several terracotta plaques which depict purely,

non-religious human subjects, both male and female, standing or seated

and in activities of various kinds which indicate that the highest as

well as the lowest profession of men were within the artists purview.

Thus at PShSrpur the struggle between the decadent but still

powerful tradition and the rising tide of . national heritage is clearly

19
visible. Though the plaques are comparatively crude yet they are

the distinctive handiwork of indigenous artists.

The Mainamati sites belonging to the Early-Deva period (eighth

century A.D) represented terracotta art through which the personality of

MainSmatlifinds its finest and fullest expression. These plaques primarily

represent the popular folk. It is an unsophisticated but rigorous style,

and displays no spiritual or intellectual quality nor any refinement of

technique. These reliefs are generally non-religious in character but

often include a Buddha or Bodhisattva. But the representation of the

lotus, the swan and the deer may have a religious connotation.

18. French, J.C. and Sahai Bhagwant, 'The Art of the pala Empire
of Bengal', 1928, p. 24.

19. Dutt, G.S., 'Bengali Terracottas', JISOA., VI, 1938, p. 170.

 56

Mahasthan or Mahasthangarh is undoubtedly the most wellknown

ancient city-site in Bengal. Here a large number of terracotta specimens

of the Pala art have been ■ recovered. Among them terracotta toys and

figurines deserve mention. This tradition of .the intervening two

centuries does not seem to have any influence on Buddhist art of the

later period. It is an extraordinary survival of Gupta tradition in

Bengal.

Thus the art movement in Bengal never lost its integrity and

fundamental characteristics in the course, of its evolution through

different phases of history. This art assimilated the culture of the

foreign nations that came in its way with much harmony and without

losing its own basic character. There is a rare dignity in depiction of

various themes and the spirit of life and movement expressed in them

are praise worthy.

 57

B. TYPOLOGY OF BENGAL TERRACOTTAS

The terracotta art of Bengal may be classified under several heads

viz., plaques, seals, potteries, toy-carts, rattles, etc. These terracotta

specimens heightened the beauty of art as an individual piece of

decoration or as ornamentation in once highly renowned Mahaviharas.

•'The terracotta plaques from ancient Bengal dwell on wide variety

of subjects, both secular and religious. Although numerous moulded

plaques from various old sites of Bengal are known, the number of

actual moulds so far discovered are relatively small. This is also true

of other terracotta yielding sites not only of India, but also of other

parts of the ancient world, such as Mesopotamia. The terracotta plaques

vividly portray the different types and classes of men and women -

their costumes, ornaments,, coiffure, head-dress and foot-wear,

activities, occupation, scenes of social life including the erotic ones,

their sports and pastime, entertainments and amusements, religious faiths

and beliefs, popular tales from the Epics, Jatakas, myths and legends

current among the common people, the architectural motifs, and the

world of flora and fauna. Some of these pieces under review demonstrate

foreign ideas and inspirations.

The terracotta seals and sealings portraying animals and birds as

well as other motifs are equally interesting. Seals coming from the

ancient sites such as Bangarh, Chandraketugarh, Harinarayanpur (I),

Rajbadidanga, Sabhar, Paharpur, Mainamati and Mahasthangarh are

valuable for their archaeological and cultural importance. They provide

 58

us a glimpse into the ancient town-planning, religious settlement,

economic condition, transport fecility and the world of flora and fauca.

Some of these finds though much damaged and defaced due to the saline

action of estuary water can still be considered as a requisite source

material.

The proto-historic sites of Bengal are distinguished by trie

excavated or chance found fragments of vases of both hand-made and

wheel turned ware with black or reddish touch of colour. Some profc-

historic vases from Tamralipta bear archaic incised motifs resembling

boats, the radiating star, fish and stylised flower and trianglas

containing rows of dashes. Potteries from Tilda, and Chandraketugarh

bearing depictions of stories from the Epics and Puranas as well as

potteries from similar old sites like Chandraketugarh, Boral etn.

fashioned In the form of animals like tortoise and deer deserve mentioE.

Literary allusions to clay toys^Mrichohhakatika^as items of game

find material corroboration. Examples of such clay toys have been found

at Atghara, Chandraketugarh, Deulpota etc. and they include among

others carts and the figures of humans, divinities and animals. The

carts have their two wheels put together by an axle; at the back *f

the figures are shown one hole probably for fixing a stick to push the

toy of wheels. Generally animals viz. ram, elephant, horse and bircs

like peacock and owl are used as toy carts. Depictions of miniature

temple and couples riding a tiger with architectural background were

also common while figures of RSkshasa as well as Agni, Surya and Indra

as riding their own mounts were occasionally used as toycarts. But the
 59

most popular animals yoked to these toy carts were elephant and horse.

Children of by-gone days seemingly had some preference for clay

rattles and as such the figures of pot-bellied Kuvera and two grotesque

figures closely embracing each other are nicely represented as terracotta

rattles.

Thus the various types of terracottas from ancient Bengal are a

clear point to the origin of this art from the everyday life of humble

folk and as such are permeated by a sense of spontaneous expression of

the aesthetic impulse of their unpretentious creators. And it is this

aesthetic naturalism which distinguish them from the sophisticated

sculptures executed in media like stone and metal.