Essay name: Scythian Elements in early Indian Art
Author:
Swati Ray
Affiliation: University of Calcutta / Department of Ancient Indian History and Culture
This essay studies Scythian Elements in early Indian Art鈥攁 topic that has not garnered extensive scholarly attention. Although much research has focused on various aspects of Saka/Scythian culture, such as politics and numismatics, their contribution to Indian art remains underexplored. This essay delves into archaeological evidence, historical texts, and art forms from Eurasian steppes to decipher the Scythian impact.
Chapter 6 - Scythian (Saka) elements in the Later Art of India
18 (of 42)
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Earrings from Chamba region, locally known as Charka Bunda Bali鹿
are similar to the Saka/ Scythian earrings in their technique and form.
Significantly, the lower portion of a silver earring (locally known as Dhedu
Jhumka)2 worn by women of Chamba is similar to the Saka/Scythian
tradition. From the region of Simla Hills, Himachal Pradesh, various
ornaments (used daily) reflect the nomadic tradition. Tiny floral rosettes,鲁
decorating head jewels, reveal the continuation of earlier traditions. A lovely
necklace from the Simla hills, shows trellises of diamond-shaped pieces,
barrel-shaped beads and triangles.4 This popular ornament reveals nomadic
influence. The trefoil pattern, so common in the Saka/ Scythian style revisits
in the modern nose rings5 from Himachal. They are an integral part of the
whole composition. Silver earrings from Himachal Pradesh with numerous
small silver balls hanging from a crescent reflect the Scytho-Siberian form.
The famous Vaikunthan膩tha deity of Himachal Pradesh is wearing the
1 Ind.Jew., Pl. XII, No. 1.
2 Rustam J. Mehta, Handicrafts and Industrial Arts of India, Bombay,1960, Pl. XI,
No. 2.
3 Fol. Tri. Des. Ind., Pl. 59.
4 Ibid., Pl. 59.
,
Ear. Orn. Anc. Ind., p.318, Fig. A 12.51
* Ibid., p. 315, Fig. A 12.42.
7 M. Postel, A.Neven, K.Mankodi, Antiquities of Himachal, 1985, p.99.
