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Priest-King
Artist
unknown, prehistoric
Year
c. 2000–1900 BCE
Type
fired steatite
Dimensions
17.5 cm × 11 cm (6.9 in × 4.3 in )
Location
National Museum of Pakistan, Karachi
Priest-King (sculpture)

The Priest-King, in Pakistan sometimes King-Priest,[1] is a small male figure sculpted in steatite and excavated in Mohenjo-daro, a ruined Bronze Age city in Sindh, now in Pakistan, in 1925–26. It is "the most famous stone sculpture of the Indus valley," and excepting possibly the Pashupati Seal, "nothing has come to symbolize the Indus Civilization better."[2] The sculpture is incomplete, broken off at the bottom, and possibly unfinished. Originally it was presumably larger and probably was a full-length seated or kneeling figure.[3] As it is now, it is 17.5 centimetres (6.9 in) high, and is dated to around 2000–1900 BCE, in Mohenjo-daro's Late Period.[4] The Priest-King is now in the collection of the National Museum of Pakistan, Karachi, catalogued as NMP 50-852. It is widely admired, as "the sculptor combined naturalistic detail with stylized forms to create a powerful image that appears much bigger than it actually is."[5]

The statuette is carved in the soft mineral of steatite, and (despite being apparently unfinished) has been fired or baked at over 1000 °C to harden it. The long crack running down the right hand side of the face, already present when it was excavated, may have been caused by this, or by a later shock. There is an uneven break at the bottom of the piece, with the patterned robe continuing further down at the back than the front. The nose is also damaged at the tip, but many other areas are in good condition. It has been compared to other IVC male figures, more fully complete, which show a seated position, with in some cases one raised knee and the other leg tucked beneath the body. The Priest-King may have originally had this shape.[10] Some archaeologists, including Jonathan Mark Kenoyer, believe that this and other statues were "broken and defaced" deliberately, as their subjects lost their prestige.[11]

The eyes are wide but narrow, apparently half-closed; there were probably inlaid pieces of shell or stone representing the pupils.[12] The ears are very simply shaped, as on some other stone heads from the site. The back of the top of the head is flat, probably so that something now missing could be attached, and there are various theories as whether it was a carved "bun" or a more elaborate headdress, perhaps in other materials and only worn at times. Two holes below the ears may have been for attaching this, or perhaps a necklace. Mackay suggested the flattening was because the head was damaged, which few later writers agree with. Another possibility is that it was designed to fit into a niche with a sloping top.[13]

The figure wears a toga-like outer garment that only covers one shoulder. The interiors of the raised trefoil and other shapes on this were originally filled with a red material, probably some type of paste. The interiors of the shapes were left rough, to help this adhere. The space around the shapes showed traces, at the time of the original excavation, of a material which by then was "blackish" but may originally have given a green or blue background to the relief shapes.[14]

Marshall's first thoughts on the IVC had been that the links with Mesopotamia had been very close, and his preliminary reports, up to 1926, called it the "Indo-Sumerian Civilization". He then realized this was wrong, and started to use "Indus Civilization".[15] There has been much discussion of the possible relationship between the Priest-King and somewhat similar Mesopotamian figures. The art historian Benjamin Rowland concluded that "the plastic conception of the head in hard, mask-like planes and certain other technical details are fairly close, and yet not close enough to prove a real relationship".[16]

According to Gregory Possehl, it is the treatment of the facial hair in particular that suggests the figure was not fully finished. While the main beard is carefully worked with parallel lines, the upper lip is also raised above the level of the surrounding flesh, but no lines have been added to show moustache hair; it is simply smooth. On the cheeks the lines for the beard continue more faintly onto the cheek, which in a finished piece would probably have been smoothed away.[8]

Possible support for interpreting the figure as a religious person are the apparent representation of the eyes as fixed on the tip of his nose, a practice in yoga, and the similarity of the robe worn over one shoulder to later garments, including the Buddhist saṃghāti.[16] The focus on the tip of the nose was noticed by one of Marshall's Indian assistants, and Marshall saw the same feature in the Pashupati seal.[17]

(Source: Wikipedia)

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