dances of Krishna or Rama, and the dances of Gopis of Vrindavana or some
other woman characters. The types of dances in Sattriya were as follows:
    (a) Sutradhari nach
    (b) Gosai-pravesar nach
    (c) Gopi-pravesar nach
    (d) Rasar nach
    (e) Yuddhar nach
    (f) Jhumuras
    (g) Nadu-bhangi
    One of the most characteristic forms of sattriya dance is chali-nach. The
word chali probably echos a Natya term for a kind of foot-work (pada)
known as pada-charika is the movement of the feet, legs (from ankles to the
knees), thighs and hips. The chali nach is said to be eight in number, but each
one differs from the other mainly in the ramdani, which employs eight
different thalas.
    There is a class of vyas-gowa oja-pali in the sattras. Their dances are
much similar to non-sattra vyah-gowa oja-pali. One oja and palis up to 20 or
25 in number form this sattra chorus. The oja is dressed in white dhoti, a
pagri with a garland on it, a netted waist-coat and a chaddar.
Pre-historical Beginnings Recent exacavations at Nevasa have revealed
two pieces of pottery with painted representations of a dog and a deer with a
pair of wavy horns. These are treated as the earliest specimens of creative
painting in India. Potteries painted with geometrical or vegetal patterns are
known from the Indus Valley as well, but they can hardly be considered as
creative expressions in meaningful line, volume and colour. Drawings and
paintings on the walls of rock-cut caves of primitive people of a relatively
later age, are also known from other places in India such as Adamgarh,
Mirzapur, etc. These are mostly hunting scenes drawn in sharp lines and
angles, in isolated units or groups.      Full of life and movement, they are