The Northern Black Polished Ware Culture Of Middle Ganga Plain: Recent Perspective (original) (raw)
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Encyclopedia of Global Archaeology
As NBPW was discovered for the first time from the northern part of India; and due to its black color and polished/glazed appearance it was named as Northern Black Polished Ware. Although the surface color of 90% of NBPW borders around jet black and brownish black, the remaining 10% range between gold, gold-blue, silver, pink, brown black, steel blue, bronze, orange, purple, deep red, violet, etc. Excavations at Kausambi and Rajghat in Uttar Pradesh, Rajgir, Sonepur, Chirand, and Oriup in Bihar, Chandraketugarh, and Mangalkot in Bengal and several other sites yielded such varied NBPW sherds. Similarly the finds of NBPW is neither limited to north India nor the polish and glaze has been consistent throughout. Agrawal (2009) rightly said, NBPW is an enigmatic ceramic and its very name is a bit anachronistic because it is neither northern, nor polished, nor even black! In spite of this fact the frequency of black shade and color is significantly higher than other shades and color, regarding, the term "polished" used in its nomenclature it may be said that irrespective of shades and color its quality is more or less constant wherever it is found.
Northern Black Polished Ware: A Gazetteer
Heritage: Journal of Multidisciplinary Studies in Archaeology 8.1: 208-289, 2020
Archaeology deals with both tangible and intangible elements of culture. The intangible elements such as societal formations and trading relations are reflected and interpreted through tangible elements (cultural assemblage: ceramics, antiquities, and structures). Northern Black Polished Ware (NBPW) denotes a sudden change in ceramic technology and also the societal formation. The changes in societal formation is reflected by the formation of the Solasa Mahajanapadas (16 great Kingdoms) after the Matsyanyaya (big fishes devouring the smaller fishes) and due to fewer and bigger oligarchic polities, standardisation was becoming the norm. The disappearance of NBPW coincides with the disintegration of Mauryan Empire and eventually went out of production in Sunga-Kushana period. The distribution pattern of this 'fossil ware' establishes the fact that it originated in Ganga Yamuna doab and spread to rest of India due to its cultural contacts rather than being produced at various regions. This paper lists and maps all the NBPW finding sites till present in Indian archaeology in an effort to examine the spatiotemporal distribution of the same.
The rich Painted Grey Ware culture is credited with having initiative of extensive agriculture in Upper and Middle Ganga Valley, thereby laying the foundation of historic territorial states. Painted Grey Ware (1200-800B.C.) has demonstrated that significantly large populations continued to occupy Ganga daob region. As the name illustrates PGW were fine wheel well fired grey pottery on which patterns in lines and dots were painted with black pigments before firing. It was made out of well worked high quality clay. The PGW was succeeded by new and striking pottery known as Northern Black Polished Ware (600-100B.C.). This black lustrous pottery was a hallmark of uniform culture extending from Punjab to lower Ganga Valley in east and Vindhyas in south. This culture provided the milieu for early cities of classical India, for establishment of dynasties like Saisunagas, Nandas and Mauryas, for the development of characteristic Indian script Brahmilipi and of Indian coinage. Thus, NBPW was the originator of rich heritage-second Urbanisation in India (6 th century B.C.) that has given a new dimension to Indian History.
The question of provenance has often been a real problem for all those interested in Mohammedan pottery, just as it has been for those interested in other ancient objects. The question, however, is usually a double one: where was the object found and, more basically, where was it made? Though the problem will undoubtedly continue to trouble all collectors and students of this material, we have the satisfaction of knowing that some of the old questions are being answered. Though certain problems still remain unsolved, progress has been made, for instance, in identifying the places of manufacture of lustreware of the ninth to the fourteenth centuries, despite the fact that much of it was exported to Fig. i. Bowl from the region of Sari or Gurgan. x century Rogers Fund, 58.9I far-distant places. The differences between lustreware of Iraq, Egypt, and Iran, the distinctions between the lustre pottery of Kashan and Rayy, and the proper origin of that found at Gurgan, have all been more clearly defined, thanks to the work of Kiihnel, Ettinghausen, Lane, and others. Since the beginning of the excavations at Nishapur by the Persian expedition of The Metropolitan Museum of Art which commenced some twenty-five years ago, a new
The Chronology of Northern Black Polished Ware : Recent Perspectives
The Northern Black Polished Ware culture is an urban Iron Age culture of the Indian Subcontinent. In Indian Archaeology for the first time Northern Black Polished Ware has been reported from Bhita in the year of 1911-12 1 and since then it has been recovered from in different part of India the ware has been reported from since then it has recovered from different parts of India especially from northern India. Because of its initial discovery from the northern part of India; it's black colour; and polished/glazed appearance of the term Northern Black Polished Ware coined for this type of ceramic industry.
Neolithic Pottery of Eastern Himalaya and Northeast India
Development of Neolithic Cultures and Diversity of Pottery, Amsadong Site Research Series, Vol. 3, Seoul, South Korea, 2019
Tools for gathering. Grinding stone. Talingaryn shal (1); Zaraa uul (2, 5); Ergiin khooloi (3); Khoyor khairkhan (6); adze Zaraa uul (4) 그림 6 채집용 도구. 갈돌. Talingaryn shal(1); Zaraa uul(2, 5); Ergiin khooloi(3); Khoyor khairkhan (6); 자귀 Zaraa uul (4) Fig. 7 Semi-subterranean house's plan of Tamsag bulag and Ovoot (a. d); Burial of Tamsagbulag/plan and profile/ (b, c) 그림 7 반수혈 주거지 평면도 Tamsag bulag(a), Ovoot(d); Tamsagbulag 무덤 평면도(b)와 단면도(c)