23 Mesolithic art of India

D. K. Bhattacharya

Table of contents:

Introduction

1. Bhimbetka

2. Pachmarhi

3. Southern India Conclusion

Learning Outcomes

• To know and understand about the Mesolithic Art of India
• To know the features of Mesolithic art differentiating it from others
• To know about sites in India famous for their Mesolithic art evidence

Introduction

The rock art evidences from India are not only varied in form and style but also show a continuing involvement with animals within one’s immediate environment. Not only are these faithful representations as in Ladakh and Zanskar valleys, but also at times imaginary additions are known to have been added. The classic example of this is seen in Bhimbetka where in several instances a pig has been drawn with a pair of horns. It needs no over emphasizing, therefore, that the purpose of the rock art is more to represent a symbolic world from within the world of perception. The x-ray pattern which by no means is specific to only India, is another very interesting approach to portray the invisible within the area of visibility. This again goes to contradict the view generally believed that for simple societies what is not visible is never counted as the real world. It would, on the contrary suggest that rock art is the medium through which individuals in pre-literate societies tried to create a parallel world of belief.

Early twentieth century Carlleyle discovered rock paintings at a site called Sohagighat, south of Allahabad. Cockburn had also described microloiths in the Vindhyan rock shelters with red ochre painting of an extinct species of rhinocerous. Both the authors attributed these paintings to early Holocene. Subsequently a large number of caves and rock shelters were discovered from Madhya Pradesh which are now ascribed to the Mesolithic period. Bhimbetka caves in Raisen district of Madhya Pradesh is a cluster of more than 500 caves. Paintings in these caves have been divided into four broad ages- Mesolithic, Chalcolithic, Early historic and Medieval period. There is one panel painted on the mushroom like ledge of rock projection at the back of III F-23 rock shelter which is held by many as possibly belonging to late Palaeolithic period. It represents a 140 cm long boar like creature. The surface on which it is painted is slopping and the animal drawn seems to be rushing down the slope. The animal drawn has pig like ears and body, it has a snout like a rhinoceros and a lower lip shown like an elephant. A pair of curved horns is drawn over the head. Flowing lines are drawn out of its genital. A small piglet is drawn near these flowing lines. Perhaps this led many experts to believe that the lines represent flowing semen. In front of the snout a man is seen running and there are lines shown flowing out of the snout which perhaps represents the breath of the animal. There is a big crab drawn in front of the running man. There are some more stick-like human figures shown around the animal. One of them is carrying a spear with microliths embedded in a series. This motif of pig with a pair of horns is also represented in another rock shelter in Bhimbetka.

1.  Bhimbetka

Wakankar (1973), Neumyar (1983) and Mathpal (1984) brought out a classified study of the morphology of rock art at Bhimbetka. According to these scholars the oldest style is usually represented in green colours. In some cases red and yellow coloured lines are also drawn alongside.

Mostly, these represent groups of male dancers. Their body is bent in S-shape and they have a kidney shaped mask. Often a circle is drawn near their mouth to possibly indicate that they are singing. Although the bodies and extremities are shown with lines of varying thickness, the vigorous action and motion of the body become quite evident. Even the two ends of the loin cloth is shown flowing out.

It is quite evident from these depictions that one of the activities of Mesolithic ritual must have been reinforcing their organic solidarity. Songs and dances specially created to reinforce cosmogeny to the members of the band becomes very important part of primitive ritual activities. The other panels at Bhimbetka show such economic activities as hunting, carrying fishes, and honey collection. The concepts of perspective in Mesolithic paintings seem to follow a complex pattern in composition. For instance the main object to be represented is drawn in the middle and those to be shown farthest from the main object are drawn on the top.

2.   Pachmarhi

Pachmarhi is a part of Satpura ranges and here more than a thousand panels of rock art is described. Microlithis have been recorded both on the surface as also in excavated floors within these rock shelters but still some of the panels seem to be younger in date. Hunting scenes are not as common as depiction of a chariot with a man standing on it or one playing a flute in another depiction. In the western zone, south eastern part of Chambal valley has shown many rock shelters. Some archaeological deposits have also been recorded in some of these shelters. Paintings are mostly done in different shades of red colour. Few pictures are made by using black and white colour also. Of the many depictions a 90 cm x 46 cm wild buffalo being hunted is an important one. Rajasthan shows many other rock shelters in Jaipur, Neemkathana and Churu districts. The depictions here does not compare with Central Indian depictions. Specialists working in this zone feel that Rajasthan rock art is dated to late Mesolithic to Chalcolithic period. That is to say, anywhere between 3000 B.C to 1500 B.C. Gujarat, specially in the eastern borders adjoining Rajasthan has also yielded several rock art sites from Panchmahal and Sabarkantha districts. Some of the panels show inscriptions in Brahmi script. Most of these paintings, as such, are considered fairly late in date.

3.   Southern India

In the southern zone, Andhra Pradesh has yielded a large number of rock art evidences. It would appear from these rock paintings and the bruising found near almost all Neo-Chalco sites that rock art in this region maintains a distinct style which is not comparable to rock art of Central India. Human beings in a hunting or dancing scene are almost unknown in South Indian rock art. Neither are there any scene depicting domestic activity nor horse ridden figures with swords and shields. It would, therefore, appear that chronologically these represent a phase which is termed as Deccan Neolithic that is anywhere between 3000 B.C. to 1500 B.C.

Rock art in eastern zone show several young and old panels in Jharkhand and Bihar. In total more than 1000 panels have been identified. Figures range from 4 cm to 109 cm in length and are executed with various shades of red ochre. Among the engravings the depiction of a humped bull is significant. Human figures are shown in usual dancing, hunting or else mounted sword carrying warriors. Activities like collecting and processing food is also shown in many of these paintings. Since Kharosthi and Brahmi scripts are found engraved in many of these panels specialist believe that these may be dated to anywhere between 600 BC to 400 AD. However the occurrence of profusion of microliths in some of these rock shelters makes one feel that possibly the oldest date of rock art in this region may be as early as 500 B.C.

Proceeding further in Caoteru zone we come to Odisha. Sambalpur and Sundargarh districts show maximum number of rock art evidences. In total paintings are found in 2241 panels and engravings are found in 3534 panels, and these are spread over 27 rock shelters. Most of these show various signs and female genitals. Human figure is represented as a stick with a horn head gear. Animals depicted show pig, antelopes, deer, peacocks and lizards. An excavation in one of these rock shelters yielded a Mesolithic occupation forming the oldest bed. This was used as an argument to comment that rock art in Odisha is as old as Mesolithic period.

Conclusion

To conclude it must be emphasized that the oldest evidence of art in India is found in Central India, specifically within the Bhimbetka cluster. Further direct evidence of microliths attached weapons are also painted more often in these caves. Since microliths have now been found to occur well within Pleistocene in India and also found to be used by contemporary tribals as well as some regions occurrence of microliths on cave floor does actually proof nothing. Consequently rock art in India may be viewed as belonging to early Holocene but continuing within historical period stylistically human representation of stick like form is so common that it may be cited as a common phenomenon for the entire country. Stencilled palm, outlined palm and positive palm print also appeared to be universal in all rock paintings all over India. Cental Indian representations of animal show a similarity in the fact that either they are shown as being hunted or chasing or throwing up the hunter.

The mythical boar of Bhimbetka seems to be specific to this cluster and does not even spread into neighbourhood of Pachmarhi. Mesolithic art in India presents a great deal of variation within the country and continues well within middle Holocene period.