Cavepaintings Inindia

Total Page:16

File Type:pdf, Size:1020Kb

Cavepaintings Inindia VIDYA BHAWAN BALIKA VIDYAPITH Subject : Fine Art (painting) class : 12th science/com Date : 13/06/20 RADHAKISHOR MONDAL History of Indian art Cave paintings in India Cave painting at Bhimbetka The history of cave paintings in India or rock art range from drawings and paintings from prehistoric times, beginning in the caves of Central India, typified by those at the Bhimbetka rock shelters from around 10,000 BP, to elaborate frescoes at sites such as the rock-cut artificial caves at Ajanta and Ellora, extending as late as the 10th – 12th century BP. Madhya Prades Bhimbetka Main article: Bhimbetka rock shelters A man being hunted by a horned boar. Cave painting at Bhimbetka. The Bhimbetka rock shelters are an archaeological site in the state of Madhya Pradesh in central India that spans several prehistoric periods. It exhibits the earliest traces of human life on the Indian subcontinent and evidence of Stone Age habitation starting at the site in Acheulian times. It is located in the Raisen District southeast of Bhopal. Bhimbetka is a UNESCO world heritage site that consists of seven hills and over 750 rock shelters distributed over 10 kilometres (6.2 mi). At least some of the shelters were inhabited more than 100,000 years ago. Some of the Bhimbetka rock shelters feature prehistoric cave paintings of which the oldest date from 10,000 years BP, corresponding to the Indian Mesolithic. The paintings show themes such as animals, and early evidence of dancing and hunting. The Bhimbetka site has the oldest known rock art in the Indian subcontinent, and is one of the largest prehistoric complexes. Tamil Nadu In Tamil Nadu, ancient Paleolithic cave paintings are found in Padiyendhal, Alampadi, Kombaikadu, Kilvalai, Settavarai and Nehanurpatti. The paintings have not been dated, but they could be around 30,000 to 10,000 years old, as they use similar art form of Bhimbetka rock shelters in Bhopal.[citation needed] In the Nilagiri Hills, they are also found in Kumittipathi, Mavadaippu and Karikkiyur. In Theni District they are found in the Andipatti Hills. Karnataka Cave paintings are found in Hiregudda which is near Badami. Odisha Odisha has the richest repository of rock art in Eastern India. The state has recorded more than a hundred rock shelters with rock paintings and engravings. Numerous geometric symbols, dots and lines are found along with animals, and human paintings and engravings dating from late Pleistocene onwards. Many of the geometric shape and patterns found in rock art of Odisha are enigmatic in nature. Painted figures have been found executed in monochrome, red and white or sometimes in combination with shades of yellow color. Gudahandi Gudahandi Rock Art of Odisha The rock shelter of Gudahandi is located on the summit of the hillock and situated about 20 km from Block headquarters Koksara in Kalahandi district. The rock art shelter exhibits both monochrome and bi-chrome paintings of early historic period. It is the only reported rock art site of Kalahandi district. The rock art panel preserves the specimen of paintings which include a stylized human figure in red, deer and a variety of geometric patterns of squares and rectangles either empty or in filled with straight and diagonal lines or with dots on the borders grid patterns, wheels with spokes, apsidal patterns, oval shapes with dots executed either in monochrome of red or in polychrome of red, blue and black. Yogimatha Yogimath Rock Art of Odisha The rock painting of the Yogimatha (10th Millennium BCE. of Nuapada District of Odisha which was older script of the India. The script ‘Ga’, and ‘o’ (tha) was discovered from Yogimatha rock painting, this painting saw a person with four animals and write some alphabet. That painting created a word Like "Gaitha" (very popular Odia word at present ‘Gotha’ or ‘group’ in English). This art closely related to this alphabet. This alphabet has similarity to Dhauli and Jaugada Inscription’s script of Ashok. It was the ancient form of Indian script and it is the first glimpse of possible origin of the Odia language and script. Radha kishor Mondal PGT Fine Art .
Recommended publications
  • Dating Aurignacian Rock Art in Altxerri B Cave (Northern Spain)
    Journal of Human Evolution 65 (2013) 457e464 Contents lists available at ScienceDirect Journal of Human Evolution journal homepage: www.elsevier.com/locate/jhevol Not only Chauvet: Dating Aurignacian rock art in Altxerri B Cave (northern Spain) C. González-Sainz a, A. Ruiz-Redondo a,*, D. Garate-Maidagan b, E. Iriarte-Avilés c a Instituto Internacional de Investigaciones Prehistóricas de Cantabria (IIIPC), Avenida de los Castros s/n, 39005 Santander, Spain b CREAP Cartailhac-TRACES-UMR 5608, University de Toulouse-Le Mirail, 5 allées Antonio Machado, 31058 Toulouse Cedex 9, France c Laboratorio de Evolución Humana, Dpto. CC. Históricas y Geografía, University de Burgos, Plaza de Misael Bañuelos s/n, Edificio IþDþi, 09001 Burgos, Spain article info abstract Article history: The discovery and first dates of the paintings in Grotte Chauvet provoked a new debate on the origin and Received 29 May 2013 characteristics of the first figurative Palaeolithic art. Since then, other art ensembles in France and Italy Accepted 2 August 2013 (Aldène, Fumane, Arcy-sur-Cure and Castanet) have enlarged our knowledge of graphic activity in the early Available online 3 September 2013 Upper Palaeolithic. This paper presents a chronological assessment of the Palaeolithic parietal ensemble in Altxerri B (northern Spain). When the study began in 2011, one of our main objectives was to determine the Keywords: age of this pictorial phase in the cave. Archaeological, geological and stylistic evidence, together with Upper Palaeolithic radiometric dates, suggest an Aurignacian chronology for this art. The ensemble in Altxerri B can therefore Radiocarbon dating Cantabrian region be added to the small but growing number of sites dated in this period, corroborating the hypothesis of fi Cave painting more complex and varied gurative art than had been supposed in the early Upper Palaeolithic.
    [Show full text]
  • ROCK PAINTINGS at HUECO TANKS STATE HISTORIC SITE by Kay Sutherland, Ph.D
    PWD BK P4501-095E Hueco 6/22/06 9:06 AM Page A ROCK PAINTINGS AT HUECO TANKS STATE HISTORIC SITE by Kay Sutherland, Ph.D. PWD BK P4501-095E Hueco 6/22/06 9:06 AM Page B Mescalero Apache design, circa 1800 A.D., part of a rock painting depicting white dancing figures. Unless otherwise indicated, the illustrations are photographs of watercolors by Forrest Kirkland, reproduced courtesy of Texas Memorial Museum. The watercolors were photographed by Rod Florence. Editor: Georg Zappler Art Direction: Pris Martin PWD BK P4501-095E Hueco 6/22/06 9:06 AM Page C ROCK PAINTINGS AT HUECO TANKS STATE HISTORIC SITE by Kay Sutherland, Ph.D. Watercolors by Forrest Kirkland Dedicated to Forrest and Lula Kirkland PWD BK P4501-095E Hueco 6/22/06 9:06 AM Page 1 INTRODUCTION The rock paintings at Hueco Tanks the “Jornada Mogollon”) lived in State Historic Site are the impres- small villages or pueblos at and sive artistic legacy of the different near Hueco Tanks and painted on prehistoric peoples who found the rock-shelter walls. Still later, water, shelter and food at this the Mescalero Apaches and possibly stone oasis in the desert. Over other Plains Indian groups 3000 paintings depict religious painted pictures of their rituals masks, caricature faces, complex and depicted their contact with geometric designs, dancing figures, Spaniards, Mexicans and Anglos. people with elaborate headdresses, The European newcomers and birds, jaguars, deer and symbols settlers left no pictures, but some of rain, lightning and corn. Hidden chose instead to record their within shelters, crevices and caves names with dates on the rock among the three massive outcrops walls, perhaps as a sign of the of boulders found in the park, the importance of the individual in art work is rich in symbolism and western cultures.
    [Show full text]
  • Art and Symbolism: the Case Of
    ON THE EMERGENCE OF ART AND SYMBOLISM: THE CASE OF NEANDERTAL ‘ART’ IN NORTHERN SPAIN by Amy Chase B.A. University of Victoria, 2011 A thesis submitted to the School of Graduate Studies In partial fulfillment of the requirements for the degree of Master of Arts Department of Archaeology Memorial University of Newfoundland May 2017 St. John’s, Newfoundland and Labrador ABSTRACT The idea that Neandertals possessed symbolic and artistic capabilities is highly controversial, as until recently, art creation was thought to have been exclusive to Anatomically Modern Humans. An intense academic debate surrounding Neandertal behavioural and cognitive capacities is fuelled by methodological advancements, archaeological reappraisals, and theoretical shifts. Recent re-dating of prehistoric rock art in Spain, to a time when Neandertals could have been the creators, has further fuelled this debate. This thesis aims to address the underlying causes responsible for this debate and investigate the archaeological signifiers of art and symbolism. I then examine the archaeological record of El Castillo, which contains some of the oldest known cave paintings in Europe, with the objective of establishing possible evidence for symbolic and artistic behaviour in Neandertals. The case of El Castillo is an illustrative example of some of the ideas and concepts that are currently involved in the interpretation of Neandertals’ archaeological record. As the dating of the site layer at El Castillo is problematic, and not all materials were analyzed during this study, the results of this research are rather inconclusive, although some evidence of probable symbolic behaviour in Neandertals at El Castillo is identified and discussed.
    [Show full text]
  • Homo Aestheticus’
    Conceptual Paper Glob J Arch & Anthropol Volume 11 Issue 3 - June 2020 Copyright © All rights are reserved by Shuchi Srivastava DOI: 10.19080/GJAA.2020.11.555815 Man and Artistic Expression: Emergence of ‘Homo Aestheticus’ Shuchi Srivastava* Department of Anthropology, National Post Graduate College, University of Lucknow, India Submission: May 30, 2020; Published: June 16, 2020 *Corresponding author: Shuchi Srivastava, Assistant Professor, Department of Anthropology, National Post Graduate College, An Autonomous College of University of Lucknow, Lucknow, India Abstract Man is a member of animal kingdom like all other animals but his unique feature is culture. Cultural activities involve art and artistic expressions which are the earliest methods of emotional manifestation through sign. The present paper deals with the origin of the artistic expression of the man, i.e. the emergence of ‘Homo aestheticus’ and discussed various related aspects. It is basically a conceptual paper; history of art begins with humanity. In his artistic instincts and attainments, man expressed his vigour, his ability to establish a gainful and optimistictherefore, mainlyrelationship the secondary with his environmentsources of data to humanizehave been nature. used for Their the behaviorsstudy. Overall as artists findings was reveal one of that the man selection is artistic characteristics by nature suitableand the for the progress of the human species. Evidence from extensive analysis of cave art and home art suggests that humans have also been ‘Homo aestheticus’ since their origins. Keywords: Man; Art; Artistic expression; Homo aestheticus; Prehistoric art; Palaeolithic art; Cave art; Home art Introduction ‘Sahityasangeetkalavihinah, Sakshatpashuh Maybe it was the time when some African apelike creatures to 7 million years ago, the first human ancestors were appeared.
    [Show full text]
  • 1 COVER- INNER Final Rajeev.Pmd
    CLASSICAL ODIA Document Prepared Under the overall Supervision of Dr. Debi Prasanna Pattanayak (Padmashree) B.A. (Hons), M.A.in Odia, Utkal University (Gold Medalist). M.A. in Linguistics, Pune University. Diploma in French, Viswabharati University, Santiniketan, West Bengal Ph.D. in Linguistices, cornall, USA. D.litt(Honoris causa) SOA University, Bhubaneswar. Professer Emeritus: Pune University, Utkal University of Culture, Founder Director: Central Institute of Indian Languages, Mysore, Additional Secretary (Retd.): MHRD, Government of India, Chairman: Institute of Odia Studies and Research Subrat Kumar Prusty (UGC-NET-SRF) B.A. (Hons), M.A.(Odia) Ravenshaw University, LLB, Madhusudan Law Collage, Ph.D,(Cont.) P.G. Deptt. Of Odia, Utkal University, Vani Vihar, Bhubaneswar Editor- Civil Service Pathi Member secretary: Institute of Odia Studies and Research Director: IAS Pathi KIS Foundation D-82, Maitri Vihar, Chandrasekharpur Bhubaneswar, Odisha, 755001 © Institute of Odia Studies and Research Published by KIS Foundation D-82, Maitri Vihar, Chandrasekharpur Bhubaneswar, Odisha 755001 Email : [email protected] Tel. : 0674-2300969 Edition : 2013 ISBN : 978-81-925616-3-9 Price : ` 1500 Printed at Vikas Printers, Naveen Shahdara, Delhi 110032 Tel. 22822514 Foreword Odia is one of the most ancient languages of India. Eminent linguists and scholars like John Beams, G.A Grierson, L.S.S O Malley, Suniti Kumar Chatterjee, Pandit Nilakantha Das, John Boulton, Dr. D.P. Pattnayak, Dr. Bijaya Prasad Mahapatra and others have time and again argued in favour of the antiquity of Odia language. Odisha is the only state, where discovered three types of Brhami script like -PreBrahmi, Brahmi & Post Brahmi-. The Indian script ‘o’ (tha) was discovered from yogimatha rock painting of Nuapada district.
    [Show full text]
  • Cave Painting: Demons and Depictions
    EPAPER LIVE TV DAWNNEWS URDU IMAGES HERALD AURORA CITYFM89 TEELI ADVERTISE EVENTS / SUPPLEMENTS CLASSIFIEDS OBITUARIES TODAY'S PAPER | MAY 03, 2021 Cave painting: Demons and depictions Zulfiqar Ali Kalhoro | Published August 16, 2015 Painting in Lahuat Rock Shelter From time to time rock paintings have been discovered in different regions of Pakistan such as the Musa Khel region of Loralai District in Balochistan, the Buner, Swat and Mansehra Districts of Khyber Pakhtunkhawa and Khaplu and Astor in Gilgit-Baltisan. The earliest specimen of rock paintings is located at Malvi in the Musa Khel Tehsil of Lora Lai District, Balochistan. There are nine rock shelters at this site which depict pre- historic and pre-Buddhist paintings. But what may be surprising is that both petroglyphs and pictographs have been found in the Gadap Tehsil of Karachi while rock carvings have been found at Lahaut (Nain Mol), Rahim Bakhsh Gabol and Maher in Gadap Tehsil. The rock carvings at Rahim Bakhsh Village are engraved on bedrock and include carvings of geometric designs, shoe prints and arrows. Apart from the petroglyphs at the Rahim Bakhsh rock-art site, one also finds both petroglyphs and pictograms in the Maher Valley. Petroglyphs are found at Baithi Lak (pass) near the Lahaut rock shelter. This is the main Lak through which people enter into the valley of Maher. There are many petroglyphs on the sandstone rock wall with the majority of these engravings being geometric designs. Painting of the so-called Maher Deity Rock paintings are located in a rock shelter at Lahaut in Maher Valley, situated about 60 km north of Karachi.
    [Show full text]
  • Cave Paintings Cave Paintings Created by Primitive People Are Found on Every ▼ Cave Paintings at Continent
    Cave Paintings Cave paintings created by primitive people are found on every ▼ Cave Paintings at continent. The oldest ones were made about 35,000 years ago. Tassili n’Ajer, Algeria Cave paintings in Europe and Africa often show images of These paintings depict women, children, and hunting and daily activities. In the Americas and Australia, on cattle. Located in Algeria, the Tassili n’Ajer the other hand, the paintings tend to be more symbolic and (tah•SEEL•ee nah• ZHEER) site contains more than less realistic. 15,000 images. They depict shifts in climate, Scholars are not sure about the purpose of cave paintings. animal migrations, and changes in human life. They may have been part of magical rites, hunting rituals, or The oldest paintings date back to about 6000 B.C. Images continued to be painted until an attempt to mark the events during various seasons. Another around the second century A.D. theory is that cave paintings (especially the more realistic ones) may simply be depictions of the surrounding world. RESEARCH LINKS For more on cave paintings, go to classzone.com ▼ Cave Paintings at Cuevas de las Manos in Argentina Cuevas de las Manos (Cave of the Hands) is located in the Rio Pinturas ravine, northeast of Santa Cruz, Argentina. Its rock walls display numerous hand paintings in vivid colors. The Tehuelches (tuh•WEHL•cheez) people created the paintings between 13,000 and 9,500 years ago. The cave is about 78 feet deep and, at the entrance, about 48 feet wide and 32 feet high. 12 ▲ Replica of Lascaux Cave Painting, France Discovered in 1940 , the Lascaux (lah•SKOH) cave contains more than 600 painted animals and symbols.
    [Show full text]
  • 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.
    [Show full text]
  • Cave Painting UNIT 1
    All Grades ART ~ Lesson A CYCLE 1 Cave Painting UNIT 1 !! Students will create a cave painting using charcoal and acrylic. Printing"the"Handout" guarantees"families"see" Before the Lesson: the"“home"follow@up" assignment”"and"have" 1.! Review Lesson and Art Handout (below) to understand philosophy and ideas. terms"and"visual"aids" 2.! Print “Animal Template” (below) on card-stock and cut out for"studying"during"the" 3.! Print “Handout” (below) week.""" 4.! Review materials list below and make sure you have everything ready. 5.! Review In-Class section below to make sure you understand the activity. 6.! Optional: Print “ Visual Aids” (below, images are the same as Handout) Materials Needed: !! 1-2 Colors of Acrylic Paint !! 1 Paintbrush per student !! 1 Water Jar per student !! Animal templates (see below, print enough so that each student can have at least one animal at a time). !! 1 11x17 sheet of sketch paper per student !! 1 Willow Stick or piece of charcoal per student Check$with$your$local$ !! 1 Handout on paper, in color per student (or per family) co7op$director"to" !! 1 Large fan know"what"supplies"are" !! Roll of paper towels already"on@hand"and" which"ones"you"need"to" !! Bottle of cleaning spray procure"by"buying"or" !! 1 Smock per student borrowing."""" !! 1 set of Visual Aids on paper, in color (see below, images are same as Handout Feel$free$to$substitute$ materials"when" Classroom Preparation (always plan at least 30 minutes): desired/needed.""" •! Cover the floor with plastic. •! Set up tables throughout the room, covered with plastic.
    [Show full text]
  • Construction of Our Reality and Myths
    Psychology and Behavioral Science International Journal ISSN 2474-7688 Opinion Psychol Behav Sci Int J Volume 15 Issue 2 - August 2020 Copyright © All rights are reserved by Prof. Dr. Peter Jörg Plath DOI: 10.19080/PBSIJ.2020.15.555909 Construction of our Reality and Myths Peter Jörg Plath* and Ernst-Christoph Haß University of Bremen, Germany Submission: June 22, 2020; Published: August 11, 2020 *Corresponding author: Prof. Dr. Peter Jörg Plath, University of Bremen (retired), Vogelgesangstraße 26, D - 1727 9 Lychen, Germany Abstract We are currently thinking about how to describe the structure of the global corona crisis. In terms of synergy, this crisis is obviously an instability in the social system that has led to the spread of the virus and the related shutdown of the most important economies in the world and of these drastic changes, in the economy, in our lives, in the way we move in public spaces and in human relationships. But all of this is connected withall public the emergencelife. This development and expansion is associated of new communication with great efforts, options especially as well by as the new industrialized stories, narratives countries, and to fakes. reduce It the is the economic hour of consequences birth of new myths! In this context, it seems appropriate to us to take excerpts from our work on the origins of the myths of the technical revolution and to make them accessible to a wider public. In the following we will refer to our lecture “Structure Formation by Social Reflection – Myths and Reality” which we gave at the Frolov conference in Moscow at the Institute for Philosophy of the Russian Academy of Sciences in Nov.
    [Show full text]
  • Rangely's Self-Drive Rock Art Tour
    Rangely’s Self-Drive Rock Art Tour It's a mystery why Native Americans inscribed petroglyphs and paint pictographs on the sheer sandstone walls in so many places around Rangely and the West? Were they doodles, religious scripture, boundaries, events, hunting maps, memories, leaders, ghosts? No one knows for sure, but studying these mysterious messages from civilizations long past may trigger your imagination and give you a feel for history that you probably can't fully experience in any museum. Rock art was applied to the stone in two ways: A petroglyph is a drawing that has been "pecked", or rubbed into the rock. The artist pecked an image by repeatedly tapping on the rock surface with another stone. A pictograph was painted onto the rock using pigments from animals, plants or minerals. In rare cases, one of the early artists would use both methods for a single image. Principal rock art in the Rangely Area is located along two corridors: The Canyon Pintado National Historic District: a property listed on the National Register of Historic Places, is located in northwest Colorado in the Douglas Creek Valley, between Rangely and Fruita on highway 139. The canyon has been occupied by prehistoric people for as long as 11,000 years and was visited repeatedly by a variety of cultures throughout its long history. Many of the rock art sites in the Canyon Pintado District were the handiwork of Fremont-age peoples. Other sites are located both East and West from Rangely on Highway 64 and are all readily accessible by car.
    [Show full text]
  • The Prehistoric Rock Art of Bhimbetka, Central India
    The Prehistoric Rock Art of Bhimbetka, Central India V . N . Misra Introduction The popular image of Prehistoric or Stone Age man still continues to a great extent to be "nasty, brutish and short" as the French thinker, Rousseau, imagined it two centuries ago. This may be true of the earlier stages of man's biological and cultural evolution. But, as early as 50,000 years ago, men, who were indistinguishable from us in physical appearance, brain size and intelligence, had colonised most of the Old World. Nothing illustrates so clearly their close kinship with us than their art- painting, engraving and sculpture- the earliest available manifestation of which is dated circa 30,000 years ago in Western Europe. Indeed so strikingly modern is this art that when the paintings of Altamira in Spain were first discovered exactly a hundred years ago, they were dismissed by several distinguished scholars as modern forgeries. But subsequent discoveries and critical scrutiny soon convinced the sceptics of the genuineness and antiquity of this art. In the last hundred years Prehistoric Art- mostly paintings and engravings and also sculpture- has been discovered in many areas of the Old as well as New World. The richest areas of Prehistoric Art are Western Europe, Sahara, South Africa, Australia and India. Discovery of rock paintings in India It is a matter of some pride for us that the earliest discovery of Prehistoric Art was made in India. In the winter of 1867-68, A . C . L. Carlleyle, an assistant to General A . L . Cunningham, the first Director­ General of the newly-founded Archaeological Survey of India, discovered cave paintings in the hilly and forested country of what are now the Mirzapur district of Uttar Pradesh and the Rewa district of Madhya Pradesh.
    [Show full text]