 Terracotta findings go back to the Harappan civilization dominated by
human-female/male, bird, cattle and toy cart figurines. The later terracotta work became
interwoven with architecture with plaques depicting human, animal and divine figures of
Buddhist and Brahmanical deities, dolls, horses and toys depicting Indian fables with
varied themes used to educate children. One of the important factors contributing to the
rapid development of the art is the use of Terracotta sculpture in architectural pieces
and edifices. Bengal has a large array of fine specimens of temple terracotta panels,
plaques, medallions and wall panels which distinguish temple architecture. The themes are
drawn frome the epics and old legends.
 Terracotta art in India always existed on two levels; that which is
seemingly ageless, whose form is archetypal and that which adapts to the artistic trends
that surround it. Terracotta figures are shaped in all forms in the round and in relief
and baked. Terracotta is an art form universal in its scope, yet emblazoned with the
distinct imprint of the native soil. Terracotta artifacts demand a very high degree of
imagination, application and motivation. The polish on the final figure conceals an
enormous volume of tireless work, watchful attention and forbearance.
 The artist, through experience, thoroughly understands clay which
varies from place to place and knows how to mix it for various purposes and proportions.
Hollow terracottas are created by household cylinders and pots of various shapes being
thrown on the wheel and joined together in a particular manner and made into terracotta
figurines. The prominent ears of the clay elephant, for example, are just simple
traditional clay lamps affixed vertically to a head. Solid terracotta figures may consist
of one lump of solid clay or of several solid carefully shaped lumps, joined together.
 These lumps are each formed separately and, after a little drying are
joined. Partly hollow and partly solid is another type. Naturally they are all medium
sized and with hollow torsos. In some cases the legs and neck are also hollow. The art of
joining has played a very important role in terracotta work. The artist has to decide if
the figure has to be solid or hollow or joined or if any lumps have to be added in order
to shape certain parts as desired. Artists have to work out their own methods of joining
the parts of their clay figures while considering how to work easily the shape of the
form, from within and how to allow the air to circulate, so that it can bake well. The
method of joining varies in different areas.The finishing is minimal but elegant.
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