An Encyclopaedia of Indian Archaeology v1.c18.s7: 13.7 Contents
An Encyclopaedia of Indian Archaeology v1.c18.s7
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13.7 Contents
v1.c18.s7.1
The subject matter of the paintings of the earliest or prehistoric period consists predominantly of wild animals and hunting scenes. A great variety of animals is depicted. These include the tiger, leopard, rhinoceros, gaur, ox, wild buffalo, sloth bear, boar, *nīlgai*, *sāmbar*, swamp deer, *chītal*, monkey, *langūr*, fox, jackal and rabbit. At some sites such as Lakhajuar the fish is a very common theme. The snake and other reptiles are very rare and so are trees and plants. Animals like the wild buffalo, gaur and *sāmbar* are usually shown in large herds. They are portrayed in different postures and moods such as standing, moving slowly, running, grazing, looking back or down. The animals are realistically drawn and are marked by vitality and dynamism. On a large canvas such as in the zoo rock of BHIMBETKA each one of the many species depicted stands out distinctly. It is clear that the prehistoric artist had a thorough knowledge of the morphology and habits of the various animals in their environment. The size of the animals varies from a few cm to life-size or even larger. The bodies are often decorated by various geometric patterns like straight or wavy lines, dots, criss-crosses and other more complex designs. Many of these early paintings are highly mature creations and suggest a long evolutionary period behind them.
v1.c18.s7.2
Hunting scenes are quite common. They include individual hunters hunting one or more animals as well as communal hunting of large herds. The weapons used are the stick, bow and arrow and spear. In several cases the arrows and spears are barbed and tipped with what are certainly microlithic tools. In one scene at BHIMBETKA several animals are seen falling down a steep cliff suggesting that they were stampeded down to meet their death. Many times hunters are shown wearing masks [6.13]. There are also scenes of trapping and snaring of animals. Other economic activities depicted include collection of honey and fruits by men and women climbing trees.
v1.c18.s7.3
In some drawings the animal figures have characters of different animals. One of the most impressive paintings at BHIMBETKA is a large animal painted at a great height on a massive projecting rock. The animal has the body and face of a boar but horns and tail of a bull. It is shown angrily chasing a tiny human figure in front of which is a large crab. The same scene with a slight variation and on a smaller scale is repeated in two other shelters. Here probably we have the depiction of a scene from tribal mythology.
v1.c18.s7.4
No human figures appear to be associated with the earliest paintings but later on they are quite common and we see them with or without the association of animals. In contrast to the careful attention given to the realistic portrayal of animals, human figures are nearly always drawn in a conventionalized manner. They are stick-shaped and are often disproportionately long. Sometimes they are shown wearing a loin-cloth with long tassels hanging behind. There are small family groups and other scenes suggesting tending of the sick and mourning. At BHIMBETKA a man is seen drinking liquid from a pot. [For some interesting scenes see PACHMARHI.]
v1.c18.s7.5
Some paintings can be assigned to the transitional stage between the prehistoric (hunting-gathering stage) and historical periods. These show domesticated animals, scenes of daily life—carrying water-pots, bags and *kāṅwārs*, playing on drums and harps and goading animals. Sometimes horse- and ox-drawn chariots are also found in this phase. Both in number and the range of themes these paintings are limited.
v1.c18.s7.6
Paintings of the historical period are more numerous and best preserved because they are of a comparatively recent date and usually overlie older paintings. The variety of themes is limited and they tend to be extremely repetitive. The most common subjects are fighting scenes and processions. Warriors are shown on foot or riding horses and elephants. They use metal weapons like swords and shields, spears and bows and arrows. Processions consist of horse- and elephant-riders, sometimes with footmen preceding horse-riders. Horses and elephants are sometimes caparisoned. Less commonly does one see the domesticated cattle. There are Hindu religious motifs like Gaṇeśa and Kubera and *ālpanā* designs. The animal figures are schematic and highly stylized and many of them or so distorted that they look like caricatures. This art clearly marks a great decline in artistic tradition. It is certain that the painters of these figures were not inspired by artistic activity but were only repeating traditional motifs as a matter of ritual necessity.
v1.c18.s7.7
In the very last phases of the historical paintings there are a number of inscriptions or rock writings in Aśokan and Gupta Brāhmī [20.4.2] and *śaṅkha* scripts, always overlapping the drawings. Most probably these inscriptions were written by hermits and monks living in these caves during historic times. [The sophisticated paintings in the early and late historical Buddhist, Brāhmaṇical and Jaina rock-cut caves are excluded from the present scope.]