Social-cultural Significance of Similar Motifs of The Raigarh District, Chhattisgarh: Tattoo Art Vs Ancient Rock Art
Mukesh Kumar Rathia1, Arun Kumar2
1Technical Assistant, School of Studies in Anthropology, Pt. Ravishankar shukla University, Raipur CG.
2Professor (Retd.), School of Studies in Anthropology, Pt. Ravishankar shukla University, Raipur CG.
*Corresponding Author E-mail: mukeshrathia25@gmail.com, arunsabhlok1953@gmail.com
ABSTRACT:
The Raigarh district is a home for various tribal groups, such as, Kanwars, Oraon, Gonds, Majhi and Birhors. The research paper focuses on traditional Tattoo art as practiced by various tribal groups of the region.
The tribal perceive tattooing as a permanent identification mark which accompanies a person to next life. It is considered vital for the young tribal girls to have tattooing before their marriage. it is also believed to have healing effect. Diversified motifs of tribal art include human figures (dancing scenes, palms and soles), animal figures, plant figures, natural scenes along with non-geometric and geometric designs. Relatively greater concentration of motifs is observed on walls and floors of worshiping places. These motifs are expression of their cultural beliefs system related to their clan Gods, rituals, magic, mythology and folklores
Some of tattoo motifs, such as, Symbolic human figures, animals figures (Scorpion, Centipedes, Sparrows), Plant figures (leaves, Creeper, Flowers) exhibit broad similarities to those of ancient rock art of the region. These ethnographic parallels provide useful clues for reconstructing life ways of ancient communities.
Tribal groups, by and large, have been living in their homeland since remote past. While impact of interactions with non-tribal communities in recent past has brought some changes in their traditional occupation, food, dress etc., there is virtually no change in case of their magico religious practices, beliefs in clan Gods, mythology and folklore.
Thus, it may be hypothesized that motifs observed in the tribal art have been playing cultural role related to their magico-religious practices, clan Gods, folklores and mythology, since the time their remote ancestors were occupying rock shelters.
KEYWORDS: Tattoos art, Rock art.
INTRODUCTION:
The rock art is the most reliable source for the reconstruction of prehistoric life ways in regard to Material culture, Structures, Economic activities, Man-Animal relationship etc. India with 5000 painted Rock Shelters is 3rd largest in the world, next only to Africa and Australia. Painted rock shelters are widely spread in India from Jammu and Kashmir, Rajasthan, Gujarat, Maharashtra, U.P., M.P., Chhattisgarh, Tamil Nadu, Karnataka to Kerala, The Bhimbetka with 700 painted rock shelters in 10 square km radius is the largest rock art site in India.
Underlying functions of rock art and the reasons for their presence in hidden and dark places are not properly understood, yet. The present communication aims to throw light on socio-cultural aspects of Ancient Rock Art through finding ethnographic parallels in Tattoo Art motifs among tribal communities living in the vicinity of Raigarh Rock Art sites.
OBJECTIVES:
To throw light on Tattoos art practices among the tribal communities, inhabiting the surrounding region of Raigarh rock shelters.
To relate Tattoo motifs with their belief system, life ceremonies, festivals, magico-religious practices of trial groups of the studied area.
To find out ethnographic parallels among motifs of Tattoo art.
To throw light on functional aspects of ancient Rock art.
RAIGARH DISTRICT: PROFILE
(a) GENERAL FEATURES:
Location: Longitude: 82º55’35” to 83º48’14” E, Latitude: 21º20’32” to 22º47’26”N
Area: 7086 Sq. Km2
Rock Art Bearing Hills: Sighanpur, Basnajhar, Karmagarh and Ongna.
River: Mahanadi
Main Tributaries: Mand and Kelo
Annual Rain Fall: 1200 mm
Total Population (Census 2011) : 1,493,984 Lakhs
Male Population (Census 2011) : 750,278 Lakhs
Female Population (Census 2011) : 743,706 lakhs
Total Tribal Population (Census 2011) : 505,609 Lakhs
Male Population (Census 2011) : 250,473 Lakhs
Female Population (Census 2011) : 255,136 lakh
(b) STUDIED TRIBAL COMMUNITIES: PROFILE
|
S. No. |
Variables |
Kanwar |
Gond |
Majhi |
|
1 |
Distribution (Blocks) |
Raigarh Kharsia Dharamjaigarh Gharghoda Sarangarh |
Raigarh Kharsia Gharghoda Sarangarh |
Raigarh Kharsia Dharamjaigarh Sarangarh |
|
2 |
Population (Census-2011) |
8,87,477 |
42,98,404 |
65,027 |
|
3 |
Sub-Groups |
(i) Rathia Kanwar (ii) Paikra Kanwar (iii) Dudh Kanwar (iv) Khobha Kanwar (v) Chanti Kanwar (vi) Koliha Kanwar (vii) Cherwa Kanwar |
i) Dhurgond |
ii) Majhi |
|
4 |
Common Clans |
Porga, Bandi, Chenga, Singar, Libri, Kethla, |
Netam,Tekam, Markam, Chhedaiya, Kunjam, |
Nag, Tukur, Dhicha, Bhaisa, Sua etc |
|
5 |
Racial afflation |
Proto-Austroloid |
Dravidian |
Proto-Austroloid |
|
6 |
Tradition Occupation |
Agriculture |
Agriculture |
Agriculture and Bamboo art |
|
7 |
Main Deity |
Thakur Deo |
Burha Deo |
Deharin |
|
8 |
Literacy Rate (%) |
67.00 |
56.70 |
44.10 |
RESEARCH TOOLS USED
(i) Observations
a) Tattoo Art was observed along with its diversified motifs.
b) All steps employed in making Tattoo art were observed.
(ii) Interview
a) Source of their artistic skill of Tattoo Art
b) Cultural significance of Tattoo Art
c) Underlying purpose of various motifs of Tattoo Art
d) Associated rituals of Tattoo Art
e) Changing trends, if any
(iii) Documentation
a) Representative Motifs were documented using Trace paper, Pencil and Rubber.
b) Photography of representative motifs was done.
TATTOO ART: SALIENT FEATURES
(i) Artist (Local Name: Bengodi)
Tattoo art is a part time traditional occupation of females belonging to Dewar Community (SC). The skill is passed on from grand-mother to granddaughter during her age from 6 to 15 years. Charges for tattooing art are paid both in kind (Rice) and cash.
(ii) Technique Involved:
After cleaning with water, outline of the design is drawn by pen / pencil on selected body surface. The color is spread into skin along the outlines of drawn design with help of special needles. The tattooed surface is washed with cotton / cloth after a gap of an hour or so, In case of bleeding, paste made of turmeric powder and mustard oil or Cow dung is applied.
(iii) Equipment Used
a) Needle (3 needles, tied together by nylon), b) Black color, c) Cotton / Cloth,
d) Turmeric Powder, e) Mustard oil, f) Cow dung.
(iv) Color Preparation
The black color is prepared by boiling the solution of water and carbon deposited on inner surface of glass of traditional Kerosene lamp (Laltain).
(v) Relative Preferences in Tattoo Art
a) Preferred Gender: Un-married females, only
b) Preferred Age: Between 5 and 12 years.
c) Preferred Body Parts
Upper Body : Chin
Middle Body : (i) Chest (ii) Hands (iii) Palm
Lower Body : (i) Thigh (ii) Lower leg (iii) Foot
(vi) Functions of Tattoo Art
a) As a means of decorating body.
b) As a permanent ornament.
c) Fulfilling one of the pre-conditions of marriage.
(vii) Associated Beliefs
a) It is a traditional art that has been passing on from one generation to other, since time remote.
b) Ancestors opted Tattoo Art for decorating their bodies as they could not afford ornaments.
c) Tattooed woman receive better acceptance from husband’s family.
d) People belonging to the Gond tribe perceive tattoos to have curative values.
e) Tattoo motifs are also believed to assist in attaining salvation after death, as they accompany person to next life.
f) It is believed that certain tattoo marks help in recognizing family ancestors in the subsequent life.
(viii) Precautions:
a) Tattoo art is suspended during rainy season.
b) Intake of sour food is avoided, till wounds caused by pricking are fully dried up.
(ix) Representative Tattoo Motifs:
ix(a) Left: Scorpion ix(b) Right: Centipedes
ix(c) Flying Sparrows ix (d) Mahua Flower
ix(e) Purain Leaf
SIMILARITIES IN TATTOO ART and ROCK ART:
(i) SCORPION MOTIF
Scorpion Motif: Tattoo Art Scorpion Motif : Rock Art
Socio-Cultural Significance of Scorpion Motif
Kanwar people were sleeping on floor in past due to non-availability of furniture. They believe that if they have Scorpion tattoo motif on their body, it would protect them from its bite. Over the period, it has become a tradition.
(ii) CENTIPEDE MOTIF
Centripede Motif: Tattoo Art Centripede Motif: Rock Shelter
Socio-Cultural Significance of Centipede Motif
Kanwar people have Centipede Tattoo motif on their body for protection from its bite as observed in the case with Scorpion. Over the period, it has become their tradition
(iii) COMPOSITE MOTIF
Composite Motif : Tattoo Art Composite Motif : Rock Art
Socio-Cultural Significance of Composite Motif
a) The composite motif is constituted of Clove flower, Bitter Gourd, flying birds, Triangular and wavy lines.
b) It is referred as Pothi design by the Kanwar people. It is used not only for decoration purpose but also as an identification mark
RESULTS:
Tattoo art is thus found intertwined with their culture, namely, identification marker and belief system.
Based on ethno-parallels observed in certain motifs between tribal art and rock art, it may be visualised that they play broadly similar cultural role in past, as well.
As these present day tribal groups have been inhabiting their well defined homelands for centuries, these rock art artists could be their ancestors who depicted early phases of their cultural history.
In other words, various cultural traits of tribal cultures are not the recent ones but are the end products of accumulated experience and gradual improvement, since remote past when their ancestors were rock shelter dwellers.
Results based on ethno archaeological investigations of small geographical zone, however, have their own limitations, To establish the results, more extensive and comprehensive ethno archaeological investigations of varied eco-zones need to be undertaken.
GAPS IN THE ROCK ART STUDY:
Very few attempts have been made to find ethno-parallels of rock art motifs .Since pioneer work of Anderson(1910), number of Indian and Foreign scholars, namely, Wellington(1918), Dutta (1927), Brown(1923), Gordon(1939), Gupta (1960,1967), Mitra (1961), Pandey (1969),Wakankar (1973),Chakravarty et.al.(2004), Badam and Shruti (2004) have enriched our knowledge of Rock art of Raigarh district. At the same time, very few studied have been undertaken to understand the rock art from ethnographic perspective.
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Received on 05.11.2024 Revised on 30.11.2024 Accepted on 14.12.2024 Published on 16.12.2024 Available online on December 31, 2024 Research J. Engineering and Tech. 2024; 15(2):52-58. DOI: 10.52711/2321-581X.2024.00008 ©A and V Publications All right reserved
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