Like females the males also sometimes sport a headdress, although such occurrences are rare in the assemblage.Įven though cloth, being a perishable material, has left few traces in the imprints of Harappan history, Rita Wright in her book Ancient Indus informs that “weavers worked with animal fibers and plants including cotton, linen, and jute producing basketry, cloth and other woven items”. The male body on the other hand is relatively slender, at times shown with prominent nipples and male genitalia. Courtesy The Harappan female body with conical breasts and curvaceous waist is mostly depicted wearing a triangular/fan shaped headdress, with no garments covering the upper body and multiple strand belts/skirts hiding the pubic area. Female terracotta figurines dominate the assemblage and are clothed and ornamented in opposition to male figurines that are mostly nude.Ī group of terracotta figurines from Harappa. These figurines not only depict the body type of the Indus Valley people but also reveal their fashion in terms of their dress and accessories. More than 10,000 terracotta figurines, unearthed from various sites of the Indus Valley Civilisation were available for Gowariker’s perusal to depict a prototype of the Mohenjo-Daro woman. The Indus Valley Civilisation, known for its standardised weights, distinctive pottery styles, planned cities and extensive public works, has left behind a significant amount of material culture from which to piece its history.

The majority of Indus Valley people were perhaps dark-skinned, especially the Proto Australoid population inhabiting several sites of the civilisation. Chaani, her friends and even the priest king (Kabir Bedi) have pearly-white complexions, which reflects popular cinema’s “fair and lovely' bias and may not correspond to the complexion of the population of the Indus Valley Civilisation.

Chaani is tribal only in her headdress, though: her thigh-high slit skirt ensemble is straight from the red carpet. Feathered headdress is one of the quintessential ways in which Bollywood has for ages depicted tribal/clannish societies because in its Orientalist history, all tribal societies across time and space are the same.

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