पुरातात्विक महत्व-हनुमानगढ़

Archaeological importance of Hanumangarh

Hanumangarh district of Rajasthan state has a significant archaeological importance. This is that district where excavations revealed that it was the centre of the most ancient River Valley Civilization, which glorifies a thousand  year old rich culture. There are more than a 100 Thehads in this district where the remains of the ancient culture lie buried. The sculptures, coins and other objects found here reveal that this area has been influenced by the cultural and economic and social upheaval of the culture of different periods of time.

Pallu, Dhansia, Karoti, Soti, Pandusar, Sonadi, Thirana, Rawatsar, Ladam, Mandarpura, Jabrasar, Bhomani Dhani, Bhukarka, Birkali, Sirangsar, Khoda, Nyolki, Dhandusar, Bisrasar, Hanumangarh, Munda, Masani, Gangagarh, Gangagarh Makkasar, Sahajipura, Bahlol Nagar, Dulmana, Rangmahal, Baropal, Dablirathan and Kalibanga, etc.. are such villages where the Thehads are built.

The remains found from excavations at Kalibanga reveal that there existed an ancient civilization older than the Nile, Volga and Indus Valley Civilizations. The excavation reveals the Ashtamunikar skeleton, epigraphic articles, coins, seals, mud pots, precious ornaments, beads, statues, toys, wells, bathrooms, fortresses, well-maintained lanes, village squares and drains and many more such things that have been described in Mahabharat.

Pre-Harappa period Kalibanga:

The Harappan Civilization is about 5,000 years old. The objects found in the excavations of Kalibanga and Rakhigarhi clearly prove that three thousand years before the birth of Christ, India was a prosperous, developed country and along with cosmetic items, many other objects too were exported.

Some of the items found during the excavation are listed below:

Terracotta or Earthenware:

In Kalibanga, Pre-Harappan time dinner plates, bowls, cup-style glasses with thin bottoms, small pots, teaspoons and terracotta or earthen storage utensils have also been found. Some articles were plain but some were artistically painted. They can all be classified according to their sizes, paintings and the places where they were found; such as objects to be used in households, in religious matters, meditative objects or objects used for burial. Following are the main characteristics of the utensils of the pre-Harappa period:

• • These utensils seem to have been made carelessly although the potter’s wheel was used to make them. Some utensils show marked improvement yet what is commonly seen in all of them is that they all seem to have deliberately thickened bottoms.
  • On red backgrounds flowers and animals have been depicted with black colour. On many of them images can be found, painted in light, shaded black colour but enhanced with outlines made in white. These shaded black images include semi-circles, lattices, insects, flowers, leaves, trees, etc… as per the preference of the artist.
  • Flowers, fish, duck, animals like tortoise and deer, etc… are depicted on the vessels painted black and red.
  • Some have oblique lines and semicircles painted on them, while most of the utensils are plain and some of them are thick and strong too.
  • Some utensils are smooth and reflect a light blue tinge. Some pots are light in colour and some are brown. Among all the Pre-Harappan period utensils found so far these are by far the most refined ones.

Items made of stone:

Many stone items have been found in these excavations.

• • Pots made of stone on which the figures have been printed.
  • Chess toys namely, pawns
  • Balls, mortars and pestles have also been found.

Weapons:

Copper weapons, axe, chisel, spear, sharp lances, flint knives and sharp pieces of bone have been found.

Terracotta or clay toys and figures:

A number of clay items, strengthened and hardened in fire, are found in Kalibanga.

• • • Animals, humans, statues with poses of Goddesses,
    • The best terracotta statue in Kalibanga is an offensive bull which can be considered a symbol of “the realistic and powerful folk art” of the Harappan era.
    • Toy-carts, wheels and a broken bull give evidence that bullock carts were used for transportation in Kalibanga.

The European view is that wheels with spokes were not used in India. But it would be incorrect to assume that the Harappans did not use such wheels. Our country’s hot and humid climate destroys all organic matter in the course of time. In such a situation it would be too much to expect to find the remains of wooden wheels. On terracotta specimen found in the excavations at Kalibanga and Rakhigarhi, the wheel is characterized by painted lines radiating from the centre to the periphery, while in other findings their protrusion is reduced. This is a technique that is being followed from centuries. These specimen clearly prove that the people of Kalibanga were fully familiar with the spoked wheel.

Weights (measuring unilts):

During the excavation, numerous weight measures have been found.

Ornaments:

During the excavation at Kalibanga, many ornaments made with semi-precious stones have been found.

• • Small leaves made of rhinestone and onyx, some studded and some serrated,
  • Steatite, carnelian, chalcedony, shell, terracotta and copper beads
  • Rings, necklaces and other jewels made of copper, shell, glass, bone and gold
  • Bangles made of terracotta

Several types of bangles have been found here, indicating that the town may have been known for terracotta bangles. Looking at all of this, one can conclude that the people of this place must have had an artistic attitude and they must have been exporting cosmetics and beauty products.

Seal:

Many seals and coins of this period have been found. Notable among these are cylindrical seals with figures that denote the following:

• • A female figure between two men fighting with spears, possibly trying to threaten or maybe make truce between them.
  • Half-human half-bull figures that look like spectators. Somewhere there is one and somewhere there are two figures and most of them are rectangular.
  • The script used is Saindhav which writes from right to left; it is yet to be encrypted.
  • Round, soft stone coins are engraved with figures of tigers or lions.

The Thehads of Rang Mahal

This place was famous for the production of ceramic items which are called Rang Mahal ware culture. These distinct earthen pots are made on a potter’s wheel and are either red or pink in colour. These utensils include jars and pots with raised edges are either circular or oval in shape. The edges of many pots are wavy. The neck of some pots and vases have been polished with black-red colour and then decorated with pictures. The other types of items include spouted utensils, cooking utensils, storage jars, a variety of bowls, lamps, incense-stands, etc. Some carved pots have markings of cloth. Significant in moulded mud vessels are bowls and miniature basins. Cultural assemblages include statues, terracotta animal figurines, carts, wheels, weight measures, balls, meat-weft-stones, dice, potters’ seals, hoe, ear-jewels and beads of coral, lapis and shell, money banks, rotating mills, pestles and also bone and iron articles.

The Thehads of Pallu Village

In the centre of village Pallu in Hanumangarh district is an ancient thehad. In 1917, a Rajasthani philanthropist and archaeologist, Dr. Louis Tassitori of Italy excavated the old thehad of Pallu and found numerous small and big Vastu and sculptural statues. Significant among the find from the Pallu thehad were two 11^th century Jain Saraswati statues which are examples of the exquisite craftsmanship of that era. Because of this uniqueness the Postal Department has issued stamps twice with these figures. Today, one of the statues is adding glory to the National Museum of New Delhi, while the other is on display in the Bikaner Museum. With the findings of these two statues it may be estimated that in the 11^th Century the residents of Pallu were following Jainism.

Saraswati statue at The National Museum, New Delhi

An extremely rare presentation, with a height of 1.48 meters, this  four-armed, divine image of Goddess Saraswati is highly sophisticated and delicately carved in white marble, but its celestial whiteness has become yellow with time. The Jain Period followed a symbolic tradition in their imagery where it was a must to place images of Tirthankaras on top of the heads of the ‘Prabha’ of minor  deities. This four-armed Saraswati stands in an attractive, triangular pose on a fully bloomed lotus flower. In her hands she holds a lotus, tied with a string to left hand is a palm leaf manual,  the lower right hand holds a rosary of beads and an oblong water pot and is in the pose of showering grace. The idol wears a transparent garment. It is adorned with a wide range of ornaments that are commonly found in contemporary paintings, especially the jewels on the arms, the delicate strings on the back of the palms, the jewels defining the roundness of the breasts and the long pointed fingers with sharp nails. It is an extraordinary, extremely attractive, delicately moulded figure.

Near her feet are figures of two female attendants who play small instruments like the Veena and the Ekatara, a donor couple or maybe a king and a queen or a wealthy businessman and his wife.  Apart from this, a damaged image of a celestial Veena can also be seen around the feet of the statue. Looking at its symbolic distinction, it can be asserted with certainty that this statue of the Goddess of Speech is a representation of the Jain period. It is considered a masterpiece of the Chauhan period. Being one-of-its-kind, this rare piece of art is a pride of The National Museum, New Delhi.

Statue of Jain Saraswati (Vagdevi) in ​​Bikaner Museum

A Jain Saraswati Vagdevi, made of white marble, housed in the Bikaner Museum is another statue acquired from the excavations in Pallu village. The main statue bears a close resemblance to the one in the museum of New Delhi. But on the right and left sides, there are female attendants on whom are etched miniature figures, one on each attendant. The statue is adorned on both sides with carved pillars and archways. On the top-most part of the archway are three tiers similar to those found in temples. This statue is very beautiful. Both these Jain Saraswati statues are exquisite creations of the middle period of Rajasthan. The remains of many idols have been discovered here, but both these figures are specimens of excellent craftsmanship.

From an archaeological point of view, Thehads are a heritage, which, if excavated, can reveal a lot of ancient information.  If the items found here are mined and carbon tested to know which age they are from, then they will reveal their exact period and also the rise and fall of this ancient civilization.

Note:

• • Chalcedony: A type of shiny, transparent black stone, also known as rhinestone. This stone is found in many colours, types and sizes.
  • Carnelian: A rhinestone of a colour between red and brown, which is a little hard and dark. It is also called Indragop.
  • Steatite: A soft, heavy, dense alabaster (talc) variety that resembles soap and is used to make stoves, furnaces, table tops and ornaments.

Reference:

• • • Google search
    • wikipedia
    • rajasthan-state-archives-bikaner
    • http://www.nationalmusuemindia.gov.in/prodCollecions
    • https://www.rajasthanhistory.com/blog-detail/?pn=40
    • https://bhatakna.wordpress.com/2014/06/16/kalibangan-harappan-site-in-india/
    • ·Jagdish Maniram Sahu (resident Dhani Chhoolai)

Hanumaanagadh jile ka puraataatvik mahatv

raajasthaan raajy ka hanumaanagadh jile ka puraataatvik drshti se khaasa mahatv hain. hanumaanagadh hee vah jila hai jahaan huee khudaee se ati praacheen nadee ghaatee sabhyata ka kendr hone ka pata chala hain, jo hajaaron saal puraanee samaddh sanskrti ko mahima mandit karatee hain . is jile mein 100 se adhik thehad hain jahaan praacheen sanskrti ke avashesh dabe pade hain. yahaan se praapt moortiyaan sikke tatha any vastuain yah pramaanit karatee hain yah ilaaka vibhin kaalon kee sanskrti ka poshak aur raajanaitik, aarthik evan saamaajik uthal puthal se prabhaavit raha hain.

palloo, dhaanasiya, karoti, sotee, paandoosar, sonadee, thiraana, raavatasar, laadam, mandarapura, jabaraasar, bhomiyon kee dhaanee, bhookaraka, birakaalee, sirangasar, khoda, nyolakee, dhaandhoosar, bisaraasar, hanumaanagadh, munda, masaanee, gangaagadh, rohee, makkaasar, sahajeepura, bahalol nagar, dulamaana, rangamahal, badopal, dabaleeraathaan aur kaaleebanga aadi aise gaanv hai jahaan thehad bane huye hain. kaaleebanga mein khudaee se praapt hue avasheshon se pata chala ki yahaan nil, volga aur sindhu ghaatiyon se bhee praacheen sabhyata thee. mahaabhaarat mein varnit ashthamunikaar maanaveey asthipanjar, agyaatalipi ke lekh, mudraen, mohare, mittee ke bartan, bahumuly gahane, manake, moortiyaan, khilaune, kune, snaanaagaar, kila, suvyavasthit galiyaan, chauraahen va naaliyaan yahaan ke thehadon se se praapt hue.

Poorv-hadappa kaaleen kaaleebanga:

hadappa sabhyata lagabhag 5,000 varsh puraanee hai, kaaleebanga aur raakheegadhee kee khudaee mein mile vastuon ke namoone spasht roop se yah pramaanit karate hain ki eesa ke janm ke teen hajaar varsh poorv bhaarat ek sampann vikasit desh tha aur saaj singaar ke saath anek vastuon ka us samay niryaat hota tha. khudaee ke dauraan milee vastuon mein se kuchh nimn:

 Teraakota ya mittee ke bartan:

kaaleebanga mein poorv-hadappa kaaleen khaane kee thaaleeyaan, kunde, neeche se patale oopar se pyaale numa gilaas, lote, chashak aur sanchayan ke liye teraakota ya mittee ke bartan mile hain. in mittee ke bartanon mein kaee saade aur kuchh chitrakaaree kiye huye hain. in ko aakaar, chitrakaaree aur paaye jaanevaale sthaan ke aadhaar par vargeekrt kiya ja sakata hai, jaise ghareloo, dhaarmik aur samaadhee ya daphanaane ke liye prayog mein aane vaalee vastuen. poorv-hadappa mittee ke bartanon mein kaee saade aur kuchh chitrakaaree kiye huye hain, in bartanon ke vishisht lakshan nimn hain:

• • ye bartan kumhaar ke chaak par bane hone ke baavajood bhee laaparavaahee se bane huye lagate hain. kuchh bartanon mein bahut sudhaar milata hain lekin sabhee paatr aise prateet hote hain jaise ki jaanaboojh kar un ke nichale aadhe bhaag ko mota kar diya gaya ho.
  • laal prshthabhoomi par phool, jaanavaron ko kaale rang mein chitrit kiya gaya hain. in mein se kaee par halke-kaale rang kee aakrtiyaan bhee shaamil hain, jinhen adhik ubhaarane ke liye saphed rekhaon ka prayog kiya gaya hai. aakrtiyon mein ardhavrtt, jaalee, keede, phool, patte, ped ityaadi pasandeeda roopaankan the.
  • kaale aur laal rang ke baratanon par phoolo aur machhalee, battakh, kachhua aur harin aadi jaanavaron kee aakrtiyaan chitrit kee gaee hain.
  •  isamen kuchh par tirachhee rekhaayen ya ardhavrtt chitrit hain, jabaki adhikaansh bartan saade hain aur inamen se kuchh mote aur majaboot bhee hain.
  •  kuchh bartan sughadaee se bane huye, chikane aur halake neele rang kee aabha liye huye hain. kuchh bartan halke rang ke aur kuchh bhoore rang ke hain. ye ab tak ke mile poorv-hadappa kaaleen bartanon mein se sabase achchhe parimaarjit bartan hain.

patthar se banee vastuyen:

• •  khudaee mein pattharo se banee kaee saamagreeyaan milee hain.
  •  pattharo se bane bartan jin par aakrteeyaan utkeern kee huee hain.
  •  shataranj ke khilaune numa pyaade,
  • geden, chakkee aur moosal shaamil hain.

shastr :

taambe ke shastr, kulhaadee, chhainee, bhaala, nonk vaala barachha, chakamak se banee chhureeyaan aur haddee ke nukeele tukade mile hain.

 Teraakota ya mittee ke khilaune aur aakrtiyaan:

• • • kaaleebanga mein mittee kee anek saamagree milee hain, jinhen aag mein paka kar banaaya gaya tha.
    •  pashu, maanav, devee mudra pratimaayen,
    •   kaaleebanga kee sabase achchhee teraakota pratima ek aakramak bail hai jise “hadappa yug kee yathaarthavaadee aur shaktishaalee lok kala” ka prateek maana ja sakata hai.
    •  kaaleebanga mein khilauna-gaadee, pahiya aur toota hua bail; jis se yah jhaat hota hain ki kaaleebanga mein gaadiyaan parivahan ke lie upayog kee jaatee theen.

 yoropiyan mat yah hain ki tillee vaale pahiye ka upayog bhaarat mein nahin hota tha. lekin yah maanana galat hoga ki hadappa vaasiyon ne tillee vaale pahiye ka upayog nahin kiya. desh kee garm aur aardr jalavaayu jo samay ke dauraan sabhee kaarbanik padaarthon ko nasht kar detee hai. aise halaat mein lakadee ke pahiyon ke avasheshon kee apeksha karana bahut adhik hoga. khudaee mein pae gae teraakota namoonon par, pahiye ko kendr se paridhi tak vikiranit chitrit rekhaon dvaara dikhaaya gaya hai, jabaki doosare namoone mein ye kam ubhare huye hain. yah ek takaneek hain jo sadiyon se abhee tak chalee aa rahee hain. namoone spasht roop se yah pramaanit karate hain ki kaaleebanga ke log tillee vaale pahiya se pooree tarah parichit the.

baant:

khudaee ke dauraan kaee vajan maapane ke baant-baantakaree mile hain.

aabhooshan: kaaleebanga mein khudaee ke dauraan anek argh moolyavaan patthar se bane aabhooshan mile hain.

• • sphatik aur gomed se banee chhotee patteeyaan kuchh jadee huee aur kuchh daantedaar,
  • selakhadee, seep, indragop, teraakota aur taambe ke motee
  • taambe, seep,kaanch, haddee,svarn se banee angoothee, maala aur aabhooshan
  • teraakota se banee choodiyaan

yahaan anek prakaar kee choodiyaan milee hain jo yah ingit karatee hain ki yah shahar teraakota choodiyon ke lie jaana jaata hoga. in sabako dekhate huye yah nishkarsh nikalata hain ki yahaan ke logon ka kalaatmak roojhaan raha hoga aur ve shrrngaar ke prasaadhan niryaat bhee karate hogen.

Muhar:

is charan kee kaee muharen, muharabandee, mudra, milee hain. in mein se ullekhaneey ek belanaakaar muharen hai, jin mein aakrti ke dvaara yah darshaaya gaya hai:

• • bhaalo ke saath ladate do purushon ke beech ek mahila aakrti hain jo sambhav hain dhamakee de rahee ho ya samajhauta karava rahee ho.
  • darshak ke roop mein aadhe maanav aadhe bail kee aakrteeyaan banee huee hai. kaheen par ek aur kahee do aakrteeyaan hai aur ye sabhee aayataakaar hain.
  • saindhav lipi mein daahine se baayen likha hain, jise abhee tak padha nahin ja saka hain.
  • gol naram patthar kee mudra par vyaaghr ya sher ka chitr ankit hain.

Rangamahal ke thehad :

yah sthaan theth cheenee mittee (siremik) se banee vaston ke nirmaan ke lie prasiddh tha, jise rang mahal veyar sanskrti kaha jaata hai. yah vishisht mittee ke bartan kumhaar ke chaak par bane, laal ya gulaabee rang ke hain. bartanon mein jaar aur haandee shaamil hain jo golaakaar ya andaakaar hain jinake kinaare uthe huye hain. kaee haandeeyon ke kinaare ko laharadaar oobhaara gaya hain. kuchh haandeeyon aur phooladaan kee gardan ko kaale-laal rang kee polish kar ke sajaavat ke liye chitrit kiya gaya hai. any prakaar kee vaston mein tonteedaar bartan, khaana pakaane ke bartan, bhandaaran jaar, vibhinn kismon ke katore, deepak, dhoop-daan aadi shaamil hain. kuchh nakkaasheedaar haandeeyon par vastr ke nishaan bhee mile hain. dhaala mittee ke bartanon mein katora aur laghu besin pramukh hai. saanskrtik sanyojan mein moortiyaan, teraakota pashu moortiyaan, gaadiyaan, pahiye, baat, genden, maans- maans-ghisane vaala patthar,paasa, putakee tainkon, kumhaar kee moharen, kudaal, kaan ke gahane, moonga, laipees aur seep ke motee, hundee, ghumane vaalee chakkee, moosal aur haddee aur lohe kee vastuen shaamil hain.

Pallu gaanv ke thehad :

hanumaanagadh jile ke gaanv palloo ke beechobeech ek praacheen thehad bana hua hai. san 1917 mein italee ke raajasthaanee bhaashaaviddh aur puraavetta do luee. jee peeo taisseetoree ne palloo gaanv ke puraane thehad kee khudaee karaee aur yahaan ke thehad se anek chhotee-badee vaastu evan shilpakala kee anek moortiyaan milee hain, usamen pramukh hain palloo gaanv ke thehad se praapt 11 veen shataabdee kee do jain sarasvatee moortiyaan, jo shilpakala ka adbhut namoona hain. isaka andaaj isee se lagaaya ja sakata hain ki do baar daak vibhaag dvaara is par staimp jaaree kee gaee. unamen se ek moorti aaj raashtreey sangraahaalay dillee kee shobha badha rahee hai to doosaree beekaaner ke sangraahaalay kee. in jain sarasvatee kee moortiyon se yah anumaan lagaaya jaata hai kee 11 veen shataabdee mein palloo nivaasee jain dharm ko maanane vaale the.

 Raashtreey sangraahaalay naee dillee mein sarasvatee moorti:

shilp kala kee 1.48 meetar oonchaee kee atyant durlabh prastuti, jisamen devee sarasvatee kee chaar-bhuja dhaaree, divy chhavi vaalee pratima atyadhik parishkrt aur naajuk roop se saphed sangamaramar mein ukeree gaee hain, lekin samay kee maar se isakee divy saphedee peelee ho gaee hain. jain kaal mein chhaviyon kee prateekaatmak parampara hai, jisamen vishesh roop se prabha ke sheersh par teerthankar kee pratima adheenasth jain devataon kee chhaviyon par hona anivaary hain. chaar-bhuja dhaaree sarasvatee ek poorn vikasit padam-pushp par aakarshak tribhang mudra mein khadee hai. unake haathon mein kamal, baayen haath mein doree se bandhee huee ek taadapatreey pothee, kamandal aur akshamaala ke saath nichala daahin haath mein varad mudra mein hain. moorti ek paaradarshee vastr dhaaran kiye huye hain. ise aabhooshanon kee ek vistrt shrrnkhala se alankrt kiya gaya hain jo ki aamataur par samakaaleen chitron mein paaye jaate hain, vishesh roop se baahon par ke aabhooshan, hatheliyon ke peechhe kee or ka naajuk taar aur stanon kee golaee ko paribhaashit karate hue aabhooshan, lambee nukeelee ungaliyaan aur nukeele naakhoon ke saath bahut hee aakarshak, asaadhaaran roop se saanche mein dhalee naajuk aakrti hain. pairo ke paas veena aur ekataara jaisa chhota vaady yantr bajaanevaalee parichaarikaayen aur daata dampatti ya to raaja-raanee ya koee dhanee vyaapaaree aur usakee patnee ho sakate hain, unakee aakrti banee huee hain. isake alaava pratima ke pairon ke chaaro or gandharv kee bhoomika vaalee veena kee kshatigst aakrti bhee dikhaee detee hain. isakee prateekaatmak vishishtata ko dekhate huye, nishchit roop se kaha ja sakata hain ki vaagdevee kee yah pratima jain kaal ka pratinidhatv karatee hain. jain baahuly kshetr se praapt yah moorti chauhaan kaal kee ek utkrsht krti maanee jaatee hain.desh ko gauravaanvit karane vaalee durlabh shilp kala naee dillee ke sangrahaalay mein se ek hain.

Beekaner  sangraahaalay mein jain sarasvatee vaagdevee kee moorti

beekaaner sangrahaalay mein bhee palloo gaanv se praapt moorti saphed sangamaramar kee banee jain sarasvatee vaagdevee kee hain. mukhy moorti naee dillee ke sangrahaalay kee moorti se kaaphee samaanata rakhatee hain.kintu daahine aur paarshv bhaag mein parichaarikaon ke oopar ek-ek laghu aakrti banee huee hain. is moorti ke dono or paarshv mein anlakrt santabhon aur toran se sajjit hain. toran ke sheersh bhaag me mandir ke teen aale vane huye hain. yah moorti bahut hee sundar hain. ye dono jain sarasvatee pratimaayen raajasthaan ke maghyakaal kee utakrsht krtiyaan hain. yahaan anek moortiyon ke avashesh praapt huye hain lekin ye dono moortiyaan shilpakala ka adbhut namoona hain. puraataatvik lihaaj se thehad ek dharohar hai jisakee khudaee kee jae to bahut see praacheen jaanakaariyaan upalabdh ho sakatee hain. yadi isake thehadon ka khanan kiya jaen tatha unamen se praapt vastuon kee aayu ka aankalan kiya jaay to thehadon vaale ilaake praacheenata prakat hogee tatha isake kramik utthaan patan ka gyaan ho sakega.

 Note:

• • chaalasedonee: ek prakaar ka chamakeela paaradarshee billaur patthar jise sphatik kaha jaata hain . isamen anek rang, prakaar aur aakaar paaye jaate hain.
  • kaarneeliyan: laal se bhoore ke beech ke varn ka sphatik, jo ki kuchh sakht evan gahara hota hai. jise indragop kahate hain.
  • steetait: ek naram bhaaree saghan silakhadee (tailk) kee kism hai jo ek saabun kee tarah lagata hai aur yah sigadee, bhatthee ghar aur mez ka ooparee bhaag aur gahane banaane ke lie istemaal kiya jaata hain.

Sandarbh:

• • • Google search
    • wikipedia
    • rajasthan-state-archives-bikaner
    • http://www.nationalmusuemindia.gov.in/prodCollecions
    • https://www.rajasthanhistory.com/blog-detail/?pn=40
    • https://bhatakna.wordpress.com/2014/06/16/kalibangan-harappan-site-in-india/
    • Jagdish Maniram Sahu (resident Dhani Chhoolai)