Social- cultural Significance of Similar Motifs of The Raigarh District, Chhattisgarh: Wooden 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:
5000 painted Rock Shelters with 700 of them concentrated at Bhimbetka is the 3rd largest distribution in world, next to Africa and Australia.
It is widely spread in Jammu and Kashmir., Rajasthan, Gujarat, Maharashtra, U.P., M.P., Chhattisgarh, Tamil Nadu, Kerala, Karnataka and so on.
In absence of script, it is a significant source of information about various components of past life ways namely, Material culture, Structures, Economic activities, Man-Animal relationship etc.
Underlying purpose of rock art, its exact functions and location of motifs in hidden and dark places is not accurately understood, yet.
The present communication aims to throw light on social – cultural aspects of ancient Rock art through ethno archaeological investigations of present-day art of main tribal communities living in the vicinity of Raigarh rock art sites.
KEYWORDS: Wooden art, Tribal.
OBJECTIVES:
To throw light on Wooden Art, as being practiced by tribal communities, inhabiting the surrounding region of Raigarh rock shelters.
To relate tribal art with belief system, life ceremonies, festivals, magico-religious practices.
To find out ethnographic parallels of rock art motifs among the tribal communities of the region.
To throw light on functional aspects of ancient Rock art.
RAIGARH DISTRICT: 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 lakhs
PROFILE OF STUDIED TRIBAL COMMUNITIES
|
S.No. |
Variables |
Kanwar |
Majhi |
|
1. |
Distributionb ( Blocks) |
Raigarh Kharsia Dharamjaigarh Gharghoda Sarangarh |
Raigarh Kharsia Dharamjaigarh Sarangarh |
|
2. |
Population (Census-2011) |
8,87,477 |
65,027 |
|
3. |
Literacy Rate |
67.00% |
44.10% |
|
4. |
Sub-Groups |
Rathia Kanwar Paikra Kanwar Dudh Kanwar Khobha Kanwar Chanti Kanwar Koliha Kanwar Cherwa Kanwar |
1.Majhi |
|
5. |
Common Clans |
Porga, Bandi, Chenga, Singar, Libri, Kethla, |
Nag, Tukur, Dhicha, Bhaisa, Sua etc |
|
6. |
Racial afflation |
Proto-Austroloid |
Proto-Austroloid |
|
7. |
Tradition Occupation |
Agriculture |
Agriculture and Bamboo art |
|
8. |
Main Deity |
Thakur Deo |
Deharin |
RESEARCH TOOLS USED
(a) Observations
(i) Diversified motifs (ii) Technique used
(b) Documentation
(i) Tracing of Motifs [Trace paper, Pencil, Rubber]
(ii) Photography
(c) Interview
(i) Source of their artistic skill
(ii) Cultural significance
(iii) Underlying motives of various motifs
(iv) Associated rituals
(v) Changing trends
WOODEN ART
(a) Introduction:
Traditional art of Kanwar and Majhi tribes, got almost extinct in recent past.
Commonly carved on outer surface of main gate of hoses belonging to the Kanwar tribe.
Confined to traditional houses of Kanwar families belonging to higher in status group.
Horse and Elephant carvings were used in past as indicators of socio-economic status by the interested families for matrilineal purposes. .
(b) Functions:
Wooden art is done to decorate door from outside, invariably to depict their respective totem.
At micro level, tribal people follow social hierarchy, primarily determined by their respective totems. . As matrimonial alliances are generally fixed between two potential families of equal social status, wooden carved depictions of horse and elephant, on outer side of main gate of houses helps in deciding potential matrilineal matches.
(c) Period: Any time of the year
(d) Color Used: Natural colors of furniture
(e) Preferred Wood: Sal and Beeja wood are preferred for wood carving, unless damaged by lightening.
(f) Tools Used:
(1) Chisel, (2) Saw, (3) Wood Chisel, (4) Gimlet, (5) Jack Plane, (6) Tape, (7) Pencil
(g) Artists:
Done by Artist Carpenter who are invariably adult males belonging to Kanwar Tribe.
(h) Common Designs:
Confined to totems of Kanwar Tribe as represented by i. Elephant, ii. Horse, iii. Bull, iv. Fish
REPRESENTATIVE WOODEN ART DESIGN (KANWAR TRIBE)
Elephant : Wooden Carving
Bull : Wooden Carving
SIMILARITIES IN WOODEN ART and ROCK ART
(i) ELEPHANT MOTIF
Wooden Art : Kanwar Tribe Rock Art : Basnajhar
Socio-Cultural Significance
(a) Clan Sign: Elephant is a totem of the Kanwar (Gandhel) tribe.
(b) Social Status: Being the King’s vehicle, elephant enjoys the higher status.
(c) Occurrence of wooden carved elephant on the outer surface of Kanwar house is taken as indication of higher socio-economic status of the family.
(ii) HORSE MOTIF
Wooden Art : Majhi Tribe Rock Art : Bhanwarkhol
Socio-Cultural Significance
(a) Social Status: Association of horse is taken as function of occupation as well as of social status of the person.
(b) Mythology: Majhi tribe links horse with Luv –Kush episode of Ramayana. According to their mythology Luv-Kush not only lived in their homeland for some time but the Horse episode of Lav-kush also took place there.
(iii) OX MOTIF
Wooden Art : Kanwar Tribe Rock Art : Ongna
Socio-Cultural Significance
(a) Clan Sign : Ox is one of the totem of Kanwar ( Khuta) tribe with relatively higher socio-economic status.
(b) God Shiva: Being the vehicle of the Lord Shiva, Ox is worshipped among most of the tribal and non-tribal communities of India.
(c) Akti Festival : The Ox worshiping is practiced by all the studied tribal communities on the Akti festival, celebrated every year on the eve of new agricultural season.
(d) Economic Activities : All the studied tribal communities are engaged in primitive agriculture using Ox for ploughing purpose. Besides, it is utilized in Bullock -Cart for transportation purpose.
(iv) FISH MOTIF
Wooden Art : Kanwar Tribe Rock Art : Karmagarh
Socio-Cultural Significance
(a) Clan Sign: It is the totem of Kanwar and Gond tribe.
RESULT:
Tribal art is thus found intertwined with various aspects of their culture, namely, identification, social stratification, rituals, belief system and so on.
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 painters could be their ancestors who depicted early developmental cultural phases, namely, hunting gathering, primitive agriculture and early historic ones.
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.
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4. Gordon, D.H.(1939). Rock Paintings of Kabrapahar, Raigarh State. Science and Culture, 5.
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11. Wakankar, V.S. (1965). Painted Rockshelters in India. IPEK 21,78-83.
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Received on 08.10.2024 Revised on 12.11.2024 Accepted on 04.12.2024 Published on 16.12.2024 Available online on December 31, 2024 Research J. Engineering and Tech. 2024; 15(2):59-64. DOI: 10.52711/2321-581X.2024.00009 ©A and V Publications All right reserved
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