Greetings Europa Barbarorum fans!
Today we are proud to present one of the new factions that will make an appearance in Europa Barbarorum II.
Contesting the spoils of an empire in turmoil, the Viceroy of Taksashila, Susima Maurya, oldest son of Emperor Bindusara and rightful heir to the throne of the Mauryan Empire, is gathering his forces, and preparing to take his place in the annals of history.
Faction Description:
Wisdom. The most noble of human pursuits. Medicine, literature, art, religion and science; all of these find their refinement in the city of Taksashila. For many an age this city has been a centre of learning, culture and commerce. The ancient hymns of the Rigveda are still recited in the temples, and in the streets can be heard the strange tongues of Yavanas, Parasikas and other Mlecchas. And under the guardianship of the great emperors Chandragupta and Bindusāra, the city has been allowed to prosper. Indeed, it was here, in this very city, that Chandragupta and his Brahmin minister, Kautilya, first began their struggle to create the Mauryan Empire. Thus, Taksashila has always held an important position in the empire, and a great honour has been bestowed upon you, great Taksashilarajya, to be named Uparajya, and thus represent the imperial power in this great city.
But these are troubled times, and the hymns have been replaced by the sound of the war-drum. Barely had the soul of Emperor Bindusāra, the slayer of foes, departed from his body, before his sons were at each others' throats, fighting amongst themselves to decide who would inherit their father's domains. Now, with the empire in turmoil, you are on your own. However, despite the apparent chaos, there might be gains to be made from the situation. The people of Taksashila have always had a taste for freedom, and perhaps the situation can be exploited in order to strengthen your control over the neighbouring lands. But nothing lasts forever, and sooner or later one of the claimants to the throne will emerge victorious, and no doubt he will come to you, demanding your acknowledgement of his suzerainty. Will you accept him as your overlord, or defy the emperor’s will and declare yourself independent? Both alternatives have some merit to them. The imperial Mauryas are your kin, both by nationality and blood, and should you remain loyal, you can rely on them to help you in times of need. Should you defy them, however, you will no doubt face their wrath. But freedom also has its benefits.
No matter where you position yourself in the politics and internal struggles of the empire, you must also be aware of the many other powers that rule the vast tracts beyond the Hindu-Kush, and who behold the riches of India with covetous eyes. Across the Mountains lie first the vast domains of the great Antiyoka, king of the Yavanas. His father was a valued ally of Chandragupta, and the good relations still remain with his son. He also commands many warriors and great wealth, but his domains are vast, and on the fringes of his empire various lords are starting to grow ever bolder and more independent. In particular, it might be prudent to keep a watchful eye on the Yavanas who control Baktria, for their domains are the closest to ours. Further north, the great steppes spread out over a seemingly infinite area. Here, the horsemen of the Shakas and Pahlavas roam, fierce nomads, always searching to find new lands for their herds to graze on, and for their kings to rule over. They fight in a fashion quite unlike that of our ancestors, relying on the speed and stamina of the horse, instead of the power and impact of the glorious chariot. Our ways of war have long served us well, but perhaps this could be a good time to glimpse beyond the confines of our land, to learn from the Mlecchas, and use their own weapons against them. The Yavanas, too, have proven their worth in combat, and should you desire it, they would surely enter your service. Also, throughout the years, emissaries have arrived at the court of Chandragupta and Bindusāra from a certain king Tulamay, who rules a kingdom of Yavanas, far to the west. Relations with this king have been amiable, but he is not on good terms with the other Yavana king. It might be wise to seek the friendship of this king, should we ever find ourselves at war with Antiyoka or his successors.
So, great Taksashilarajya, you have much work before you. You rule a great city, a city of wisdom and knowledge, but these are times that call for warriors and generals, not scribes and brahmins. So be vigilant. Rule wisely, and choose your actions carefully, for regardless of your wisdom and knowledge, you must be prepared for war. But then again, wisdom is power, and power is the key to victory.
Faction Symbol:
Faction Symbol Description:
The faction symbol for Taksashila depicts the well known Indian humped bull. The humped bull has often been especially associated with the northwest, and is common there still today. This type of bull is known to have already featured on seals from the times of the Indus civilisation, and it is also seen on the coinage minted in Taksashila during the period of independence between the time Taksashila broke off from the Mauryan Empire not long after Ashoka’s death in 231 BC, and the conquest of the area by the Baktrian Greeks in the early second century BC.
As basis for the symbol, the bull on the lion capital from the Ashokan Pillar edict at Sarnath was used, and using those basic shapes, a more stylized bull image was created. The Pillar at Sarnath, although not in the direct vicinity of Taksashila, is probably the most famous of the Ashokan Pillar edicts, due to its famous capital depicting four lions on top of a Persian-inspired bell-shaped capital, on which a chackra, which is a symbol resembling a wheel with many spokes, and a number of animals, including a horse and the humped bull in question are depicted. Apart from being generally considered the most important object of Mauryan art, the Sarnath lion capital was eventually used as the national emblem of the Indian Republic, and is also on the flag of the Indian Army.
The colours of the symbol, gold and dark green, were chosen because they do not resemble the colours of any nearby faction, and were considered fitting for an Indian faction. Although much of Gandhara, where Taksashila is located, is relatively arid and mountainous, the dark green represents the lushness of the subcontinent's deep forests and jungles, while the gold represents the famed wealth of India, oft-mentioned by ancient authors.
The Units:
Kauntikas (Indian Spearmen)
These men, armed with spears and protected by shields, are the mainstay of the Indian infantry. Most of these men are not part of the Kshatriya warrior caste, but can be men of varying origin who have taken up arms. Their spears, which they wield in an underarm position, are made of wood or bamboo, with iron spearheads. Barbed spearheads are known to have been used, but pictorial sources provide evidence for a multitude of different types. The shields are flat and bell-shaped, some of them with painted patterns, while others are just reinforced with leather straps. It seems likely that this type of shield was actually strapped to the arm, making it easier to block with.
Most of the warriors are dressed in their everyday clothing, which includes loincloths, skirts, and short-sleeved shirts. The majority would have fought bare-chested, however. Some of the warriors wear a simple type of armour corselet, made from strips of hardened leather and tied at the back by what is in the epics referred to as a corselet strap. This type of armour can, for instance, be seen on some of the warriors on the reliefs on the Toranas at Sanchi. Some of them wear turbans, which might have been used to deaden the blows of blunt weapons, while others have the characteristic Indian hair knot. These were sometimes tied up with cloth to form a simple type of turban.
These warriors are neither the best nor the bravest men in the Indian armies. They are primarily meant to add mass to the infantry formations, where they do a decent job holding the line, but cannot be expected to defeat better trained warriors, and nor are they suitable as assault infantry. Such roles are better filled by macemen or swordsmen.
Historically, spearmen were some of the most common warriors in Indian armies, which is attested to by their prevalence on murals and reliefs, and the fact that the epics list a plethora of different names for designating various types of spears, such as barbed spears, throwing spears, pikes and metal spears. The spear remained primarily an infantry weapon, and was generally not considered as heroic as the bow, or mêlée weapons that put more emphasis on individual combat skills, such as the mace or sword.
In the classical “Four-Armed Army”, or Caturangabala, the infantry was one of the four main arms. Even though Kautilya, the author of the Arthashastra, proposed that an army should preferably be made up entirely of Kshatriyas, most armies probably contained large contingents of members of other castes as well, especially after the ascension of Buddhism during Mauryan times. The Seleukid ambassador Megasthenes reported in c. 300 BC that Chandragupta had over 600,000 infantrymen under his command, and most of these were probably levies armed with whatever they had to hand. Spears and shields were cheap and easy to make, and spearmen would likely have made up a large part of the mêlée infantry.
Other empires that conquered India also made use of the warriors they could muster there. Indian warriors were likely present at Thermopylai as part of the Achaemenid army, and later dynasties that ruled north-west India, such as the Baktrians, Sakas and Kushanas, were not slow to incorporate these warriors into their armies.
Cāpadhara Yoddhṛ (Indian Longbowmen)
These men are armed with the weapon most closely associated with the ancient Indian warrior: the longbow. The longbows would have been made of either bamboo or wood, and it would have been drawn in a particular fashion, described by ancient authors. The archer would put the bottom end of the bow against the ground, supported by his foot, when he shot the arrow, to give the bow stability. Quivers would have been worn on the back, as can be deduced from several ancient stone reliefs of warriors all carrying the quiver on their shoulders. In addition to the bows, these warriors also carry a broadsword. According to Arrianos, the broadsword and the bow were the weapons of choice of Indian warriors, and the sword was used in a slashing fashion. There were several different types of swords, some of native Indian design, but through foreign influence, other types, such as the Hellenic kopis made their way into the hands of Indian warriors. In fact, the design of the kopis sword remains in use in India today in the famed kukri knifes, which retain the shape of the Greek original, so great was the influence of Hellenic warfare in India.
Most of the warriors are dressed in their everyday clothing, which includes loincloths, skirts, and short-sleeved shirts. The majority would have fought bare-chested, however. Some of the warriors wear a simple type of armour corselet, made from strips of hardened leather and tied at the back by what is in the epics referred to as a corselet strap. This type of armour can, for instance, be seen on some of the warriors on the reliefs on the Toranas at Sanchi. Some of them wear turbans, which might have been used to deaden the blows of blunt weapons, while others have the characteristic Indian hair knot. These were sometimes tied up with cloth to form a simple type of turban.
These archers can use their bows with great efficiency, and though they may not have the best aim, the power and range of their weapons more than make up for this. Though their broadswords make them more capable in mêlée than most archers, they are primarily ranged warriors, and may break if facing better trained warriors in hand-to-hand combat.
Historically, archers with longbows were one of the most prominent aspects of Indian warfare, as can be attested to by reliefs and Murals from the time, in addition to their mention in Epics and also in accounts of classical authors like Arrianos. Archery had always been an important aspect of warfare already for the Vedic Aryan tribes that started migrating into the Indian subcontinent in the 2nd millennium BC, and in literature, archery was emphasised as the nobility’s means of fighting. The armament of these men differs from that of the noble kshatriya charioteers in that while they used composite bows, the infantry used longbows.
In the classical “Four-Armed Army”, or Caturangabala, the foot archers were considered part of the infantry. Even though Kautilya, the author of the Arthashastra, proposed that an army should preferably be made up entirely of Kshatriyas, most armies probably contained large contingents of members of other castes as well, especially after the ascension of Buddhism during Mauryan times. The Seleukid ambassador Megasthenes reported in c. 300 BC that Chandragupta had over 600,000 infantrymen under his command, and most of these were probably levies. A substantial proportion of these would probably have been longbowmen.
Other empires that conquered India also made use of the warriors they could muster there. Indian warriors were likely present at Thermopylai as part of the Achaemenid army, and later dynasties that ruled north-west India, such as the Baktrians, Sakas and Kushanas, were not slow to incorporate these warriors into their armies.
Laghu Aśvānīka (Indian Light Cavalry)
Armed with javelins and swords, the Indian light cavalry is very good for skirmishing duties and to pursue routing enemies. Though better soldiers than the mere levies that make up the bulk of Indian armies, these men are still no professional warriors. Along with their javelins, they carry small cavalry shields, which resemble the bell-shaped infantry shields, but are smaller and with a rounded bottom. Just like the infantry’s shields, they are made of leather on a wooden frame, and either painted or covered with leather straps as reinforcement. They also wield swords for use in mêlée.
Like the levies, most are dressed in their everyday clothing, some with shirts on, while others fight bare-chested. Some wear the particular short shirts that are seen on the Ajanta murals, which leaves the abdomen bare, but covers the upper thorax area. Unlike the infantry, they do not wear any armour at all, as these men are intended for skirmishing duties, and not engaging in mêlée. Some wear protective turbans, which might help to deaden blows to the head, while others have the characteristic Indian hair knots.
They ride well-bred Kambojan horses, which were famed for being excellent war horses. Some of the earliest known stirrups can be seen on Indian monuments, but far from all riders used them, and these relatively light cavalry units had not the same need for such devices as the heavier cavalry used for mêlée. Some do have saddles, probably reinforced with wood, but most just use a piece of cloth or leather.
These warriors are light skirmishing cavalry, and not intended for charging or fighting in mêlée. They are primarily used for support and screening purposes, and will quickly break if caught in close combat by enemy troops. They are best used for harassing the enemy’s flanks and their speed makes them excellent for chasing down routing enemy units.
Historically, cavalry played a rather minor role in ancient Indian armies, although it was slightly more important in the northwestern parts of the subcontinent. Still, cavalry was most certainly present in all Indian armies, as can be attested to by their appearance on several monuments, such as the stuphas at Sanchi and Barhut, and on the Ajanta murals. The great majority of the horsemen seen on these monuments are light cavalry, armed with javelins and short spears, and unarmoured.
Though relatively seldom mentioned in the epics, cavalry was considered one of the arms of the classical “Four-Armed Army”, or Caturangabala. Their role was primarily supportive, though, and in the Arthashastra, Kautilya states that skirmishing and pursuing routing enemies are the main tasks of the cavalry. The role of shock troops was instead given to the elephants and chariots. Only later, with the development of heavier cavalry types, did horsemen play any significant role in battle. Nevertheless, light cavalry of this type remained a part of Indian armies for scouting or skirmishing purposes until medieval times.
Other empires that conquered India also made use of the warriors they could muster there. Indian warriors were likely present at Thermopylai as part of the Achaemenid army, and later dynasties that ruled north-west India, such as the Baktrians, Sakas and Kushanas, were not slow to incorporate these warriors into their armies.
Kṣatriya Khaḍgacarmadharas (Indian Swordsmen)
Armed with big chopping swords and tall shields, Indian swordsmen are the shock infantry of Indian armies. The swords they wield have a curved shape, resembling the Greek kopis, but are bigger. They were most likely the product of Hellenic influences on Indian armament, where the Indians adapted the shape to fit other purposes as well. Hence, just like the more traditional broadswords, they would have been used as a slashing and chopping weapon in mêlée, the curve only increasing their effectiveness. In addition, they carry javelins which they throw before mêlée commences. Some javelins have barbed heads, as such heads are known both from the murals at Ajanta, and from the Epics.
The shields they carry are long and narrow and most are slightly curved. Such shields are known both from murals and reliefs, and Arrianos describes them as being narrower than a man, but almost as tall. Their size and curved shape would have almost enveloped the warrior carrying it, and given much protection from arrows. Though this type of shield is sometimes seen in other contexts, it is for the most part seen carried along with the curved swords mentioned above, and warriors thus equipped seems to have been prevalent in ancient Indian armies.
These warriors do not wear any body armour, nor do they wear helmets, making them lighter than the macemen, who make up the heavier part of the infantry, but less resilient in mêlée. Being Kshatriyas, many of whom are part of the standing royal army, they can afford finer clothing than the levy infantry, and some even wear jewellery. Judging by mural paintings, most would have worn white clothes with coloured patterns on, although more colourful examples are sometimes seen.
These warriors make quite good assault infantry, while their large shields make them relatively resistant to arrows and other ranged weapons. Their slashing swords may cut through most infantry, but their lack of armour may prove fatal if they are caught in prolonged mêlée.
Historically, swords were important weapons in India since ancient times, and already during the bronze age, the people of the Gangetic Plain wielded swords. However, with the advent of the Vedic Aryans, the sword became more associated with the knights and Kshatriyas. Though nothing is mentioned in ancient Indian sources about the Macedonian campaign in the northwest, Alexander left a lasting legacy on the military culture of the subcontinent, and the kopis sword especially was widely used. In fact, the design of the kopis sword remains in use in India today in the famed kukri knifes, which retain the shape of the Greek original. These swords were most likely adaptations of the kopis to the Indian style of sword fighting, and hence they were enlarged.
Kṣatriya Gadāhasta Yoddhṛ (Indian Macemen)
Warriors from the higher tiers of the Kshatriya caste, these men have chosen to fight with the mace, a weapon with a substantial symbolic importance in India. These men are professional soldiers, paid by the government and very well trained in combat. As such, they can afford better equipment and armour, but they also wear some jewellery to further emphasise their high status. They wield their maces in one hand with a bell-shaped shield, decorated with various painted motifs, in the other. Many of these motifs have a religious significance, such as the chakra and bodhi tree in Buddhism, and the swastika in Hinduism. The maces are made out of a multitude of materials, but most had iron or bronze heads with wooden handles. Some maces have spikes on them, to increase their lethality.
Being relatively wealthy, these men can afford better clothing than the average warrior, with some dyed cloth and some jewellery being in evidence. Some of them wear armour too, namely corselets of hardened leather and scale armour. The leather corselets can, for instance, be seen on some of the warriors on the reliefs on the toranas at Sanchi. The scale armour is a short, armless cuirass, the simplest type of metal body armour described by Kautilya in the Arthashastrsa. In addition to the traditional hair knots and turbans, some wear helmets. The helmets, made of iron or copper, are of the type seen on the Nagarjunakonda relief, with a pointed shape. Helmets are rarely seen on ancient Indian depictions, and even though occasionally mentioned in the ancient literature, they seem to have been of limited use. Yet compared to the turbans that might help deaden blows, but do not protect from slashing or missile weapons, helmets are very effective means of protection, and saw use among more high-ranking warriors. Still, some sport the classic hair knots, or long flowing hair, which was popular among the upper classes in ancient India.
Heavily armed, armoured and well trained, these men are excellent infantry to send into the fiercest mêlée. They may not have the same impact as the swordsmen, but their fighting skill and superior armour gives them far better staying power. Hence, the macemen are good medium/heavy infantry for Indian armies.
Historically, the mace, generally known as Gada, was a very popular weapon among knights, and many knights took pride in their skill of mace fighting. In fact, there existed several different fighting techniques, some of which included hurling the mace at the enemy. Several types of maces are seen on reliefs and mentioned in textual sources. Some, such as the great mace, or Mahagada, was probably wielded two-handed, while other types were wielded with one hand, with or without a shield. The reliefs provide us with ample evidence for various types of mace heads, ranging from square and hexagonal forms, to spiked varieties, and some shaped as simple clubs or batons.
Traditionally, most knights fought mounted on chariots, and would mostly only fight dismounted if the chariot broke down or if they were caught in mêlée. However, some knights, although of higher standing than most, would probably have fought as a part of another arm of the classic "four-armed army", or Caturangabala. Many would likely have made up the heavier contingents of the infantry. Further, not all kshatriyas were knights, and the wealthier of these would likely have fought as part of the heavier troops, although not from chariots.
According to Kautilya in the Arthashastra, the armoured infantry was supposed to hold the centre of the battle line. Such warriors would most likely have been almost exclusively kshatriyas, and were often full-time warriors, being provided for by the state in peacetime. Indeed, Kautilya argues that the army should preferably be made up exclusively of men of the kshatriya caste. Still, given the size of ancient Indian armies, some comprised of over 600,000 men, it is likely that a substantial part was of other castes, and only a fraction of the Kshatriyas would have been wealthy enough to be as well equipped as the knights.
Kṣatriya Ᾱrya Rathas (Indian Chariot Archers)
Riding in horse-drawn chariots, these warriors come from the élite section of the Kshatriya caste, superseding most other warriors in both skill and wealth. They take honour in fighting in the same manner as the ancient Vedic-Aryan heroes of bygone days, and attempt to equal the bravery of Krishna and Arjuna in battle. They are skilled in all types of fighting, but their favoured weapon is the composite bow. In the Artashastra, Kautilya lists wood, bone and sinew as the material of which such bows were made. Like most Indian warriors, they wear their leather quivers on their backs. Some extra quivers would likely have been carried in the chariots as well. All warriors carry Indian broadswords to use in mêlée if the chariot breaks down or they want to engage in a duel on foot. Each chariot carries three men: two warriors armed with bows and one charioteer.
The wealth of these men is clearly seen on their clothing, which is coloured with expensive dyes and, like most Indian clothing, made of cotton. Cotton had been known in India for a long time, and was extensively used for clothing. Megasthenes reports that there were bushes in India which produced wool, which must refer to cotton, but many western readers at the time found this unbelievable. On their heads, some wear turbans of dyed cloth, which serve to deaden blows from blunt weapons. Others wear the traditional Indian hair knot and a small decorative garland. Many wear decorative jewellery in gold, such as necklaces and earrings. Many of the warriors wear heavy armour. Kautilya describes several types of armour, such as foot-length and knee-length armour coats. Both types are represented on the chariot warriors, mostly of scale, but some are also leather coats with metal plates attached to them. The armour is made of a leather base, with metal armour, either of iron, bronze or copper, attached to it. The leather extends slightly below the end of the metal to avoid injury to the wearer. Some warriors also wear helmets. The helmets seen are of the pointed type seen on the reliefs from Nagarjunakonda, and also a round type seen on the reliefs at Sanchi. Some helmets have gilded and painted decorations along the rim. Their bracers are presumably repoussés with gold attachments.
The chariot consists of a box, probably of leather or wicker on a wooden frame, to which an axle, extending some distance outside the box on each side, is attached with leather strings, roughly to the middle of the box, although some depictions seem to hint at it being located somewhat more towards the front of the chariot. The floor in the front of the chariot, where the driver stands, is slightly raised. The wheels are fastened to the end of the axle, possibly with linchpins, but this remains uncertain. The wheels had at least eight spokes, although some depictions show many more. This could, however, be a way to implement the chakra symbol into the pictures. The wheels are made of wood, but with a sort of metal tyre. The felloe may have been made of several parts, or one big piece of wood which had been bent. The chariot pole is fastened at the bottom of the box, and goes through a hole in the yoke. Sometimes an object called a "three-fold piece" is mentioned in sources, but what it was remains uncertain. The most plausible explanation is to interpret it as a pair of wooden poles, supporting the main chariot pole, and fastened to a third pole, situated under the chariot, which is parallel to the axle. A small piece of wood is also attached to the back of the chariot, so that it will not tip over when no horses are attached to it.
The chariot warriors are heavily armoured, and well protected in the chariot, making them very resistant to archer fire. They are élite warriors, and the bravest men an Indian general can muster, so they will not break unless badly worn out. Racing across the battlefield, they can rain arrows upon their enemies, or break formations by charging through them. They are very vulnerable if caught in mêlée, though, as their tactics rely entirely on speed and manoeuvrability. Used wisely, they may tip the balance greatly in their general’s favour, but if used carelessly, they may cause the battle to end in bitter defeat.
Historically, one of the most distinguishing features of ancient Indian warfare was the prevalence of war chariots carrying knights and nobles into battle. Chariots were known in India since the time of the Indus civilisation, but it was the Vedic-Aryans that turned it into the horse-drawn two-wheeled vehicle which was to become associated with heroism in India forever after. Wheeled vehicles were known among the Indo-Europeans at least since the time of the Afanasevo culture in the 3rd millennium BC, and had both religious and practical importance. When the Indo-European peoples started to migrate into the outer Eurasian regions from their central Asian homeland, they brought this technology with them. Their most important contributions were no doubt the spoked wheel, which was far supperior to the solid wheels that had previously been prevalent, for instance in Sumeria, and the use of horses as draft animals. Previously, mules had been used, something which is attested to both in Sumeria and among the people of the Indus civilisation. In India, the two-wheeled chariot became a powerful weapon on the open fields of the Gangetic Plains, and thus gained its position as the preferred transportation of the upper classes. Potentates riding chariots can be seen on many early monuments, not least the murals at Sanchi.
Chariots were considered one of the four main arms of the so called “four-armed army”, or Caturangabala. Kautilya describes the use of the chariot as breaking the mass of the enemy force, and frightening it with magnificence and loud noises. He also notes that it is useful for occupying positions on the battlefield. From this, it is clear what importance the chariot had on ancient Indian battlefields, and that it was, to a large extent, the speed of the chariot which gave it the elevated role it held. Chandragupta had over 8,000 chariots in his army, according to Megasthenes, which is slightly fewer than the number of elephants at his disposal. Given that each chariot had a crew of two or three men, this means that the chariot corps consisted of at least 16,000 or maybe even 24,000 men. The ranks of the chariot military arm would have been swollen still further by the servants and support personel that according to Kautilya should accompany the chariot corps, and hence, a quite substantial number of men would have occupied with the chariot arm.
However, despite its illustrious past, it soon became clear that the age of chariot warfare was past. Already at the Battle of the Hydaspes, the chariots commanded by Poros’s son were destroyed by Alexander’s forces when they got stuck in mud, and during the next two centuries, further exposure to the types of warfare practised by the peoples to the northwest of the Indian subcontinent forced Indian rulers to gradually abandon the chariot as an effective weapon. Its battlefield role was gradually transferred to the cavalry, which became more heavily armed and armoured, but still retained the speed and manoeuvrability of the chariots, while the elephants took over the role of heavy shock forces and archery platforms. Chariots lingered in Indian armies up to the 8th century AD, but by that time, their role was primarily symbolic.
Vāru (preliminary name) (Indian Elephants)
Towering high above the rest of the battlefield, the war elephant is indeed a sight to behold. The thick skin of this pachyderm makes it hard to bring down, and its strength can crush many an obstacle in its way, making it an invaluable weapon to any general, Indian or Mleccha, who may wish to utilise it in combat. The elephant is covered with rugs or padded cloth, and on its back a wooden tower holds two warriors armed with bows. This tower would have been made as light as possible, probably from wood, bamboo and leather, and was fastened with leather straps or chains over the elephant’s chest, backside and belly. Sometimes, elephants may have been painted with different motifs, often with symbolic or religious meaning. A mahout, or “elephant-driver”, is also seated on the beast’s neck, from whence he directs it with a goad.
The warriors in the tower are equipped with longbows of the kind used by much of the infantry. The warriors wear no armour except the occasional leather corselet of the type seen at Sanchi, and are dressed in everyday clothing. They wear quivers of hardened leather slung across their backs, and there may also have been spare quivers in the tower, to prevent the archers from running out of ammunition. The patterns on the shields on each side of the tower are based on murals from Ajanta.
Elephants are best used as cavalry screens, where their presence can scare away enemy cavalry. They can also be used to ram through an enemy battle line, though they are less useful when faced with loose order or phalanx infantry. Beyond their obvious use against enemy infantry or cavalry, they can also be used in siege combat, battering down wooden gates and walls with ease. They are highly vulnerable to better prepared and fortified installations, though. Their greatest vulnerability is against skirmishers, slingers and archers, who can pepper them with missiles - eventually toppling them by virtue of their cumulative impact. To counter the effect of enemy skirmishers, a wise general will arrange his own skirmishers in opposition, or try to maintain constant attacks upon each individual group.
Historically, elephants had been used in battle at least since the Vedic-Aryan tribes first arrived on the Indian subcontinent. Depictions of elephants on seals are known from the Indus civilisation, but whether they were already used for war at this point is not known. However, in the Vedic period, elephants were quickly domesticated and trained for war. During the Mauryan period, as the importance of chariots declined, the importance of elephants grew dramatically. According to Megasthenes, Chandragupta Maurya had over 9,000 elephants in his army, and nobody except the king himself was allowed to own an elephant.
Elephants were one of the arms of the traditional Indian four-armed army, or Caturangabala. According to Kautilya in the Arthashastra, war elephants were used to break up compact forces and trample the enemy. Furthermore, the elephants could frighten the enemy, and even break down gates and fortifications. In addition to these battlefield uses, the elephant could also be used as a transport during marches or while the army was encamped. When the army was arrayed for battle, the elephants were placed in front, where they could be driven straight into the mass of the enemy army.
It seems as though most Indian war elephants in fact were not equipped with a tower from which the warriors fought, but most depictions seem to show the riders mounted directly on the elephant’s back. However, most of the depictions of elephants on reliefs, such as the ones from Sanchi, do not depict elephants in actual battle, so it cannot be accurately deduced whether this was always the case. The murals at Ajanta show elephants in battle, and though some warriors seem to be seated directly on top of the elephants, one of the major battle scenes seems to show the elephants carrying some sort of platform on their backs, where the warriors are stationed. Further, javelins seem to be stacked on some of these platforms, which could imply that they are to be interpreted as towers. In addition to this, a Seleukid depiction displays an elephant with a clearly Indian mahout carrying a tower with warriors in, which is also in line with Aelian’s description of Indian war elephants carrying towers.
Foreign powers were also interested in utilising Indian elephants in battle. Most powers that conquered northwestern India, such as the Sakas, Baktrian Greeks, and the Gondopharid Indo-Parthians, made use of elephants in their armies. But in addition to this, elephants were bought or taken from India to be employed by other powers elsewhere, too. After the war between Seleukos Nikator and Chandragupta Maurya in the late 4th century, Seleukos gave up a large swathe of land in exchange for 500 elephants as part of the peace arrangements, which shows the importance of these animals. Indian elephants became an important part of Hellenistic warfare, being used as far away as in Italy by Pyrrhos. Even Antiochos III received some elephants as a tribute from the Indian King Subhagasena during his Indian campaign in 206 BC.
Officers
The officers of the Indian forces are well equipped, with armour, swords and shields. The armour they wear is made of metal scales upon a leather base, and some also wear helmets, while others wear protective turbans. The helmets are of the types seen on the Nagarjunakonda relief, and on the toranas of the stupha at Sanchi, and they are made of high quality Magadhan iron. Being wealthy Kshatriyas, they wear high quality cotton clothing, coloured with expensive dyes. The tiger skin is worn both for additional protection, and for showing the dignity and wealth of its wearer. Such skins are often mentioned in the epics, and skins both of tigers and Indian lions would have been worn.
The armies of Mauryan India were well organised and had competent officers to command their forces in battle, even at lower levels.The army was often divided up into smaller combat groups commaded by an officer. These groups could constitute a number of horsemen or a number of infantrymen, but Kautilya also mentions various combined combat groups that might include chariots, infantry and horsemen under a single junior officer.
Standard Bearers
Just like most other armies of the period, Indian armies carried standards into battle. To represent the rigorous organisation of Indian armies at the time, we decided to make three different standards, representing various classes of warriors. These standard types are as follows: the regular standard, carried by levy forces and lighter professional forces, the kshatriya standard, which most professional and élite forces carry, and finally the noble standard, reserved for the most distingushed and aristocratic warriors found in Indian armies.
The simple standard is inspired by the ones seen on the great battle scene from the Ajanta murals, and consists of a metal disk with three tassles, one on top and one on each side, and a forked flag attached to the back. When carried in a charge, both the tassles and flag would have fluttered in the wind, making them a striking sight when carried in large numbers, as one can see on the murals from Ajanta. The warrior carrying it is a normal soldier, without any fancy clothing or jewellery. Instead, he wears a normal shirt, and his hair is tied up in the classical Indian knot, as can be seen on numerous statues and murals from the Indian subcontinent. His weapon is the normal Indian steel broadsword, which is used in a slashing fashion.
The Kshatriya standard is based on the very unique standard seen carried by a cavalryman on a relief from the Barhut Stupa. It depicts a winged creature, which resembles a cross between a man and a lion holding a flag with both its hands. Though the apperance of the figure and its base are decidedly Persian-inspired, we decided to give our representation an Indian feeling when it comes to colours and decorations. The standard was most likely made of painted wood, with some decorations made of gold or some other metal. The flag shows a tree, which is a motif often seen on ancient Indian monuments. It relates to the symbolism of the Bodhi tree, the type of tree under which it is said that the Buddha reached Parnirvana, or enlightenment, and such trees were often used as a symbol of the Buddha in antiquity, when it was not considered proper to depict the Buddha as a human being. The warrior carrying the standard is a kshatriya warrior, dressed in high quality clothes, and some of the standard bearers also wear scale armour and helmets. He is armed with a mace, which was a weapon with much symbolic power among higher caste Indians.
The noble standard bearer carries a particular type of parasol, known as a Chattra. Parasols of this type were considered a sign of royalty, and princes and kings would often have been accompanied by an attendant with such a parasol. The attendant would hold the parasol over the prince to shield him from the sun, as pale skin was considered a sign of high social standing in ancient India. The attendant wears a red garment of cotton, coloured with expensive dyes, and he wears necklaces, arm and ankle rings to emphasise the importance of his position as attendant to a man of royal blood. The Chattra is blue and white, and inspired by some parasols seen on the Ajanta murals with these colours and patterns.
Generals
Indian kings and princes often commanded their armies in person, generally mounted either on an elephant or a chariot. There were state officials with military duties too, such as the Senapati, or military minister, but these seems to quite often have had an advisory role. Even in battle, the king or prince would have been accompanied by an attendant carrying a chattra, or parasol, to shield him from the sun, but also to mark his importance and social standing. Kautilya, in his treatise on statecraft, the Arthashastra, advises that the king or general should always have a similarly dressed stand-in ride at the head of the army, as the commander will always be the first target of the enemy soldiers. To play that role cannot have been a very pleasant job...
As befits a man of royal standing, the general wears very high quality clothes coloured with expensive dyes, in addition to his lavish jewellery. Most of the generals and kings seen on ancient Indian monuments are bare-chested and heavily laden with jewellery, even in combat situations. The jewellery includes not only arm rings and ankle rings, but also necklaces, garlands and earrings. Heavy earrings that weighted the earlobes down and elongated them were common among upper-class Indians, and several examples of such earrings are seen on ancient monuments and statues. Some examples of big earrings, clearly designed to rest on the wearer's shoulders, have also been found. The necklace that can be seen on the unit model, made of small golden fish, is based on an example from the Cleveland Museum of Art.
Although they are very rarely seen on depictions from our time period, the epics and Kautilya's Arthashastra mention armour, and judging by the descriptions of ancient heroes in the epic stories, many generals would have worn elaborate armoured coats. Judging by the descriptions, and the few depictions we have, such armour would most likely have been made of metal scales fastened to a leather coat. These armoured coats are often described as being of gold, but this seems very impractical, and the most likely interpretation is that some of the metal scales were covered with a thin layer of decorative gold. Many epics also talk of warriors clad in lion or tiger skin, and thus we have chosen to feature this too. The skin would mostly have played a decorative role, but it is not impossible that it may also have served as protection at times.
Turbans are often seen on the depictions of royals and heroes on ancient monuments, and judging by these depictions, the turbans were great in size, and made of lavishly decorated cloth. Especially the knots on the forehead are often very big, and it seems plausible that noblemen sometimes had their long hair tied up inside the turban. In addition to turbans, golden crowns of various types are often seen on depictions of ancient Indian kings, and judging by the Ajanta murals, such crowns may also have been worn in battle, although some of the types seen are clearly not fit for such a purpose. The crowns would have been made of gold, but often had precious stones inlain, or carvings. The crown shown here is based on a crown from the collections of the British Museum. Although that crown was most likely part of the golden decorations of a statue, it seems very plausable that crowns of a similar type would have been worn by kings and princes in ancient India.
The generals are equipped with slightly curved chopping swords, as the sword was one of the weapons that were most closely associated to knights and heroes, but they carry no shields. Sometimes, a small object can be seen in the hands of the kings and princes depicted in battle scenes. This is sometimes refered to as a Vajra (roughly "lighting"), which is a symbolic object in Hinduism and Buddhism, and could have been used as a symbol of royalty, but it may also be some type of command staff, which the king used to direct the battle operations. Kings were generally not expected to take part in the fiercest mêlée, but to be present and command the forces, although both Ambhi of Taksashila and Poros are shining examples of kings who were not afraid of getting involved in the thick of battle.
Unit Cards
As a little bonus, here are the excellent unit cards made by MaxMazi for all the previewed units for Taksashila as they will appear in the Europa Barbarorum II Grand Campaign. Enjoy!
The Map:
With the introduction of a new faction in India, we decided to improve that part of the map by extending it some distance further to the east, and including two new provinces.
The new provinces are Saurashtra, with capital at Uperkot, corresponding roughly to modern Gujarat, Trinakarta, with capital at Sagala, representing the Panjab. In addition to this, the capital of the province Paropamisadae has been changed from Kophen to Alexandreia Kaukasia. Here you can see how the new provinces look in-game:
(Disclaimer: Note that the starting positions of the factions are not finalized, and may change for the initial release).
In case you have not already done so, show your support for Europa Barbarorum in style with these new signature banners, featuring the warriors of Taksashila! Courtesy of Gustave.
We hope you have enjoyed this preview of Taksashila.
Please note that unless stated otherwise, ALL pictures, names, and descriptions shown in our previews are works in progress. We continue to improve on all parts of EB, and we will continue to do so long after our initial release.
Since some areas where these news items are posted cannot handle wide images, we appreciate your restraint from quoting full-size images.
As always, if you have questions or comments, the best place to post them is here, where the EB team is most active:
Europa Barbarorum ORG forum:
http://forums.totalwar.org/vb/forumd...-Barbarorum-II
Europa Barbarorum TWC forum:
http://www.twcenter.net/forums/forumdisplay.php?f=454
Credits:
Skins & 3D Renders: Gustave
Models: Tux, JMRC
Video and screenshots: MaxMazi
2D art and banners: Gustave, MaxMazi
Historical research: Mithridates VI Eupator, Paullus, The Persian Cataphract, Spurius Brontosaurus
Textwork: Mithridates VI Eupator
Faction Symbol: Megalos
Concept drawings: Gustave, Mithridates VI Eupator
Mapping: Tanit
Proofreading: I Am Herenow