3. INDEX
Mohenjo Daro
•Introduction of Mohenjo Daro
•Meaning of Mound of dead men
•Etymology
•Location
Architecture & Urban Infrastructure
•Major Building
•Fortification
Sculptures
•Stone Sculptures
•Bronze Casting
•Terracotta Sculptures
Pottery
SEALAS
•SEALING
Summary
4. MOHENJO-DARO
1. Mohenjo-Daro is also known as ( The Mound Of Dead Men
) it is one of the largest cites of ancient Indus valley
civilization. It is an archeological site in the province of
Sindh , Pakistan built around 2500 B.C.
2. One of the world earliest major cities Contempronises with
the civilization of ancient Egypt.
3. Mesopotamia , Minaon crete and Norte citites Mohenjo-
Daro was abounded in the 19 centaury B.C as the Indus
valley civilization declined and the site was not
rediscovered until the 1920,s signification excavation has
since been conducted at the site of the city which has
degenerated a ( UNESCO world heritage site in 1980).
4. The site is currently threat end by erosion and improper
restoration.
5. Etymology of Mohenjo-Daro
The city s original name is unknown based
analysis of Mohenjo-Daro seal, Cravantham
Mahadevam .speculates that the cities ancient
names should have the kukkutarma of the
cockere. Cock- fighting may have been virtual
and religious significance for the city with
domestic chicken bred .there for sacred purpose
, rather then as a food source Mohenjo-daro the
modern name for the site has been variously
intercreted as the mound of the dead men in
sindhi and as “ Mound of Mohan” where Mohan
in Krishan.
6. LOCATION
Mohenjo-Daro is located west of
the Indus river in Larkana , Sind,
Pakistan in a central position
between the Indus river and
Ghaggar Hakra River.
9. Mohenjo-Daro has a planned layout with recliner
building arranged on a grid plan. Most were built
of fixed and mortared bricks , some incorporate
sun dried , mud bricks and wooden
superstructures . the covered area by Mohenjo-
Daro is estimated at 300 hectors . The sheer size
of the city and it provision of public building and
facilities suggest a high level of social
organization . The city is divided into peats they
so called citadel and brick mound around 12
meters ( 39 ft ) high is known as to have
supported public baths , a large residential
structure designed to house about 5,000 citizens
and two large assembly halls the city had a
Central market place with large Central walls .
10. In 1950 Sir Mortimer wheeler defined one
large building in Mohenjo-Daro as a “great
granary”. Contains walls divides in massive
Wonder superstructure appeared to be
grain storage back complete with air
products to dry the grain. According to the
wheeler ( arts would have brought grain
from the country side and unloaded them
directly into the bag.However Jonathan
noted the complete lack of evidence for
grain at the granary .
Which argued might there for be better termed a “great hall” of
uncertain functions .close to the great granary is large and elaborate
public bath sometimes called “ Great Bath”.
16. Stone Sculptures
•In stone the hut most disserved male figures are- male torso, bearded
Priest.
Male torso- Torso is a real is a real sandstone
figures, which has socket holes in the neck and
shoulder for attachment of head and arms . The
Montale posture of the torso has been
consciously adopted. The shoulders are well
casual and the abdomen cooks highly prominent.
This nude male torso considered to be a
remarkable object that in its balanced lines stands
somewhat equal to the beautiful art of the
Gandhara turn thousand years later.
17. Bearded priest -This steatite fig of the bearded man interpreted as a priest
or priest king is draped in a shawl coming under the right arm and covering
the left shoulder . This shawl is decorated with trefoil pattern . His eyes are
a little elongated and half closed as in meditation .
An armlet is worn on the right hand and hold around the neck indicate a
neck less the shawl on the shoulder off the bear3ded priest indicates
handicraft
Of embroidery was commonly practiced in Indus valley civilization.
Male torso priest or priest king
18. The most discussed exampled of metal sculpture in context
with Indus valley Is the dancing girl . Metal casting walls
populated at all the major centers of the Indus valley
civilization , for example the copper dog and bird of cothal ,
bull from kalibangan and the human figures of copper and
bronze from Harappa & Mohenjo-daro
Terracotta Sculpture-
The Terracotta Sculpture figurines had a universal
popularity in the ancient world and Harappa where was
no expectation to this there are plenty of terracotta
seals and figurines recovered from toys to all object
such as mother goddess to bird and animal including
monkey , dogs sheep, cattle , both lumped and humbles
bulls
19.
20. Two leading US archaeologists examine the pottery from
Mohenjo-daro to probe some of the most valuable clues to the
development of Indus Valley culture.
The pottery of Mohenjo-daro, one of the two major urban centers
of the Indus Valley civilization (2500-2000 B.C.) is described and
documented. The authors survey Harappan ceramic technology
and style, and develop an important and unique approach to
vessel form analysis and terminology. Included is Leslie Alcock's
account of the pottery from the 1950 excavations by Sir Mortimer
Wheeler. The pottery of mohenjo daro one of the two major
centers of the Indus valley civilization (2500-2000 B.C) is
described and documented . The authors survey Harappa
ceramic technology and style and devolved an important and
unique approach to vessels from analysis and terminology
23. Terracotta sealing from Mohenjo-daro depicting a collection of animals and some script symbols.
This sealing may have been used in specific rituals as a narrative token that
tells the story of an important myth.
Square seal depicting a nude male deity with three faces, seated in yogic position on a throne,
wearing bangles on both arms and an elaborate headdress. Five symbols of the
Indus script appear on either side of the headdress which is made of two outward
projecting buffalo style curved horns, with two upward projecting points. A single branch with
three pipal leaves rises from the middle of the headdress.
Seven bangles are depicted on the left arm and six on the right, with the hands resting on the
knees. The heels are pressed together under the groin and the feet project beyond the edge of
the throne. The feet of the throne are carved with the hoof of a bovine as is seen on the bull and
unicorn seals. The seal may not have been fired, but the stone is very hard. A grooved and
perforated boss is present on the back of the seal.
Material: tan steatite
Dimensions: 2.65 x 2.7 cm, 0.83 to 0.86 thickness
Mohenjo-daro, DK 12050
Islamabad Museum, NMP 50.296
Mackay 1938: 335, pl. LXXXVII, 222
25. Long rectangular seals and a terra
cotta sealing (bottom) with Indus script.
The top seal has seven signs of Indus
script. The back of this seal is convex
and it is perforated from the side. The
central sign may represent a house or
temple and is a symbol that is often
repeated on seals with horned deities
seated in yogic position.
26.
27. The name Mohenjo-daro, also
spelled Mohenjodaro or Moenjodaro, group of
mounds and ruins on the right bank of the Indus
River, northern sindh province, southern Pakistan. It
lies on the flat alluvial plain of the Indus, about 50
miles (80 km) southwest of sukkar The site contains
the remnants of one of two main centres of the
ancient Indus civilization (c. 2500–1700 BCE), the
other one being Harappa, some 400 miles (640 km)
to the northwest in Pakistan’s Punjab province.
28. All of these facts prove that Mohenjo-
daro was an amazing city. This
technology impacted the Harappans lives
in a big way. It made their lives easier
with work, bathing, and other necessary
things they had to do. They took a big
step toward making useful inventions
that affect us today.
