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DAILY LIFE IN PRE-HISTORIC INDIAN PAINTING THESIS SUBMITTED FOR THE AWARD OF THE DEGREE OF doctor of vbil000pbp IN FINE ARTS Submitted by <r' Sanju Verma Under the Supervision of / Dr. Madhu Rani H DEPARTMENT OF FINE ARTS ALIGARH MUSLIM UNIVERSITY ALIGARH 2013 'r- • I /~ OJ 1 1 r T9034 Dedicated to My Parents PBX : 0571-2700920 Extn. : 1455 C W DEPARTMENT OF FINE ARTS ALIGARH MUSLIM UNIVERSITY ALIGARH-202002 Ref. No ......................... Date O4.c.O3...2Q13 Certificate This is to certify that Ms. Sanju Verma has completed her Ph.D. thesis entitled "Daily Life in Prehistoric Indian Painting" under my supervision. To the best of my knowledge, this an original work based on her own study of the subject and on the investigation made through research material collected from original sources. This Ph.D has been submitted as partial fulfillment for the degree of Doctor of Philosophy in Fine Art. (Dr. adh %Rani) Contents ACKNOWLEDGEMENT ABSTRACT PREFACE REVIEW OF LITERATURE INTRODUCTION 1-10 ROCK ART AND RESEARCH IN INDIA 11-24 PRE-HISTORIC PAINTING AND ENGRAVINGS 25-89 Kumaon Himalaya Uttar Pradesh (Mirzapur) Madhya Pradesh (Bhimbetka : A world Heritage Site) Bihar (Kaimur Hills) Orissa (Sambalpur, Sundargarh and Suvarnpir) Kerala (Ezhuthu Cave, Edakkal Cave and Attala) METHODS AND TECHNIQUES OF ROCK PAINTING 90-105 DAILY LIFE IN PRE-HISTORIC INDIAN PAINTING 106-115 HISTORICAL SIGNIFICANCE AND CONSERVATION 116-126 OF ROCK ART CONCLUSION 127-134 BIBLIOGRAPHY 135-150 ILLUSTRATIONS Plates including line drawings, paintings and engravings Acknowledgement "'nrotling is ever Cost by courtesy. It is the cheapest of the pleasures costs nothing and conveys much. It pleases him who gives auf him who receives and thus, h'ke mercy, it is twice 6Cessed. 'Erastus'Wiman In the praise of Almighty god" who 6estowed on me the divine guidance to em6arkupon this taskof keeping in realms of facts rind events. One plus one make's rECeven, a famous saying became true, with the submission of this work under the able guidance and support of my seniors, coffeagues, juniors; staff and family members. First and foremost, I gladly acknowledge my debt to my supervisor Dr.. 9,1aAu 4'pni, (Department of 'Fine Arts, ,Ugarh !Muslim rVniversity, Ilgarri. Her ability to probe beneath the test is a true gift, and her insight has strengthened this study Signi icantCy. I will always be thankf u(for her wisdom, knowledge, deep concerq enEightenedguidance, constructive cnticism, constant encouragement, help and keen interest throughout the course of this investigation. it has been an lmnor to work with her I am grateful to 4'rof..Seema yavedChairman, Dept. of Tinc)1rts, A.M. `0., it Figar/ii amf aCC the faculty members of the @Uepanrnent for encouraging me to work on this dissertation. I wish to convey grateful regards to Prof S.T derma for providing mtfait-ng support and inspiration for his expert opinion we vaCua6fe hints during this research work. 'With due regards, I feet immense pleasure in expressing my deepest gratitude to Dr. Narayan 'Czyas ( rchaeologist) Archaeologist Survey of India,Bhopal Dr. 4runaShnvastava Librarian BhartBFiava, Bhopa[M.Y, Dr. Ashok 7zwan; Indira G'adhi PSgshtnyat14anavSangrehafaya, Sfu+mi(a 7Cif(s, 63hop4 Mr. Tapas Kumar sVisvash Phvtogrnphy Officer, I.G.RS%1S, (Bhopal, for their immense support. They have opened their hearts and their doors, supplying me with resources andproviding me the opportunity to do a part of my work, My gratitude and indebtedness to 'Dr. y'iriraj 7(umar, faculty of Arts, Dayafbagh, 44iucationafltutitute, (JJaya(hagh, Agra and all the fzcufty members of the (Department of Fine)1rt, Educationallnstitute IDayafbagfi, for being a constant source of inspiration, inva(uahfe suggestions and research oriented approach that had helped me a t t in accomplishing my work,, I am also thankful to the staff of >Mau&ana Azad Library, .A l4.'U, Lahtkafa Library, New NeU(ii, Library of 9lodern Art Gallery, Library of National R4useum, Indira (jandhi 7(p(a Sangfarafaya, New q)elhy Library of I3hart Phavan, 4hopab, 9 AII, Library of National tMvseum of Man Bhopal M.P., Library of &fanavSangraha(aya, Shamifa, Xi&G Bhopal very sincere thanks are also due to Inc/large, Seminar Library and Staff members of the Department of 'History, A.;K%tk, Afzgarb for the their sympathetic and prompt co-operation, providing facilities, relevant and demandng nwtenafandsuggestions frui fully. ackzwwfedge the happy moments spent with my fn'end. aM , ShabanaRpze from the bottom of my heart. She is especia1Cy thanked for her care, attention, understanding, all the emotional support, comraderie, entertainment, endless help and encouragement when it was most required. My fieartfeG and special thanks are also due to Soya 5famid, DDr. 'Farah Plan, Q'una S. Banc, (Dr çshmi b padkaya, Dr. 7(enn, iYr. Yahatab for their academic suggestions, help support and inspiration in preparation at various stages in my thesis. I must attend a special than to Dr. alunira 2 for her creative ftel i in finalizing and giving a finishing touch to nzy thesis. Lifer strength and her faith in me, drove Inc to strive higher and to to better than what I hat p(anned rfrom the beginning of this work I owe my personal reckoning of gratitude and benevolence to my family. A heartfelt note of gratitude you goes to my wonderful cEA4i .qzS. For always being there when I neededthem most andnever once complaining about my ignorance for thiern, they deserve far more credit than 1 can ever give them. N'o words can appropriately reflect the guidance andsacnfice of my mother 9vfrs. Nidhya. A special thought is denoted to my father 5&.. MarYNiGas6 who is a constant source of inspiration for my journey in nfe andfonned the base of my vision and taught me the goad things that reaQfy matter in life. Their deep prayers, emotional and pbysicaf support have always been my guiding lights. If at a/TI have achievedanything in my career, I arse it to them totally. At this moment, I cannot forget the moral support offered to me 6y my brothers 2Ii1B.TC 'Verma , Mr .fl?(, Verna my sisters 5btrs. Asia, Mrs, ritaeha and their family. I am espedally thankful to Late 41r, Kailash Shankar and .Yitrs. Sakuutala for their cooperation and help. I also extend my sincere thanks to off members of my in-law side for their support. My final and most heartfelt, acknowledgement must go to my husband Mr.'Yate,u ra Kumar thankyou for your Cove anti support and for your unsLiakea6(e 6efrf that no matter what new hurdle appeared that I would eventually finish. One of the best experiences that we lived through in this period was tte birth of our daughter Yashasvi Sai, who provided an additional andloyful dlnension to our Cfe mission In my opinion, doing a 2h.cD, is a sacred taskand this was definitely one of the best decisions of my Ife. Additional energy and vitafi-ty for this research was provided internal y by 'SA1 BABA'. 1 am thank shower of hlessings and strength for completion of my research work., Sanju ` %ma Abstract Prehistoric art is the mother of all art. Indian art and culture arose out of the prehistoric art. Our festivals, living style all are inspired by prehistoric art. This work is an attempt to re-look at the Indian prehistoric daily lives, art and its importance in our daily lives. India is a country rich in the field of art and crafts. It is a country with diverse cultures, traditions, and hence a great diversity in art. Each state of India has different forms of art. The origin of art is attributed to religion, because religion plays a great role in the universalizing of art. It can also be said that art developed out of the need for human beings to communicate and to express themselves. Even when he lived in caves, the prehistoric man expressed his thoughts through the paintings and engravings that he made on the rocks and in the caves where he dwelled. This research "Daily life in prehistoric Indian Painting" is an attempt to look at prehistoric art and to identify the elements of daily life depicted in these paintings. The thesis is divided into five chapters and also has an introducing chapter, which talks of the origins of prehistoric art. The first chapter on rock art research in India, looks at the history of prehistoric art because it is necessary to know about the discovery and history of prehistoric art. The second chapter describes the different rock art sites of India. It details five rock art sites and focuses on the following sites: iv 1. Kumaon Himalaya 2. Mirzapur 3. Bhimbetka 4. Kaimur Hills 5. Sambalpur, Sundargarh and Suvarnpir 6. Ezhuthu cave, Edakkal cave and Attala These places are very rich in rock art. Inspite of being very different from each other they seem to share a lot of similarities. These have been discussed in detail in this chapter. The third chapter is very important to this study as it details the methods and techniques of rock painting. It talks of how laymen could paint on their walls using simple techniques. It also gives a detailed description of the nature of pigments and colours used in prehistoric art and the brushes used for painting on rocks and caves. This chapter also looks at the subject matter of these rock paintings and goes on to look at the various motifs, forms, lines and figures used in these paintings. Nature is the central theme as these prehistoric beings were close to nature and were also inspired by it.
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  • Searching for Rock Art Evidence for an Ancient Super Aurora by Marinus Anthony Van Der Sluijs and Anthony L

    Searching for Rock Art Evidence for an Ancient Super Aurora by Marinus Anthony Van Der Sluijs and Anthony L

    Searching for Rock Art Evidence for an Ancient Super Aurora by marinus anthony van der sluijs and anthony l. peratt or tens of thousands of years, humans have expressed themselves artistically on their sur- roundings—painting, etching, carving, and mold- oglyphs ing designs, decorations, and imagery on surfaces ranging from portable, often hand-held objects (suchF as animal bone and stone) to more stationary features of the landscape, such as scattered rocks, caves, and cliffs. The most famous early examples of this so-called rock art are the fabulous etr Paleolithic cave paintings from southwestern France and north- ern Spain, which date to about 15,000 years ago (see Expedition p 47(3):20-24). Less well known, but far more common, are the petroglyphs (drawings or etchings carved on stone) that have been identified around the world. Besides a general human fascination with visual representation in different media, these rock art images can tell us not only about the people who made them—a broadly anthropological question—but also about environmental conditions of the past. To understand this, one must first appreciate the nature and variability of the subject matter. Rock art images are quite diverse, seemingly depicting everything from simple geometric shapes (lines, circles, triangles, squares) to more or less recog- nizable representations of creatures or elements from the local environment (such as humans, animals, plants, or tools). Less obvious representations of real or imagined phenomena (such as the sun, geographic features, natural forces like wind or run- ning water or creatures of fantasy) can also be identified as well as things that no two people would agree upon without having the artist there to explain what is being depicted.