Function of an Art: An Ethno‐Rock Art Attempt to Decode Some Selected Visual Communication of Symbols Neelam Singh1 and Sachin Kr. Tiwary1 1. Department of Ancient Indian History Culture and Archaeology, Faculty of Arts, Banaras Hindu University, Varanasi – 221 005, Uttar Pradesh, India (Email: [email protected]; [email protected]) Received: 23 August 2018; Revised: 02 October 2018; Accepted: 18 November 2018 Heritage: Journal of Multidisciplinary Studies in Archaeology 6 (2018): 954‐966 Abstract: Rock Art is considered to be the first communal expression of human beings which is a big evidence for archaeologists, anthropologists and sociologists inorder to research and reconstruct history. But the major problem of research is the unknown purpose of rock art. Rock Art is a group of symbols and signs, which obviously have some meaning and purpose. Many of the symbols are continuously being used with little changes from the prehistoric age to the modern age. Symbols need contextual, cognitive and conceptual interpretation along with their present use and historical importance. To know the purpose of Rock Art first we should identify the painted or engraved symbols. Ethno‐Rock Art studies are very useful for the interpretations of signs and symbols. The present paper tries to correlate the purpose of symbols with purpose of Rock Art on the basis of Ethno‐Rock Art studies and semeiotic study of some selected symbols such as Ladder, Labyrinth, Plus in Circle, along with the supporting ancient literatures as well as archaeological evidences. Keywords: Ethno‐Rock Art, Symbols, Literature, Labyrinth, Ladder, Kaimur, Human Body Introduction We know that Rock Art is executed worldwide except Antarctica and is largely concentrated in hundreds of areas. Rock Art is considered to be the first communal expression of human. But the purpose of executing Rock Art is an enigma among scholars because no one can exactly take out the meaning of these presentations. On the basis of Ethno‐Rock Art studies, some scholars have tried to understand and interpret the purpose of these implementations. According to studies and researches, the rituals that are percormed by certain tribes on special occasions in the present times are indicative of rock art being a part of certain customs and rituals in ancient times. Or it could be a pictorial script used by early humans as a medium of communication. Or it could be some kind of past time fun (Singh, 2016: 631). Rock Art consists of a lot of symbols. Some specific symbols are present in every continent of the world that indicates universal pattern of Cognition, Contextualization Singh and Tiwary 2018: 954‐966 and Conceptualization, such as; Plus in Circle, Ladder, Labyrinth, Swastika, Caduceus, Endless Knot, Palm Print, Cupples and Pentagram. These symbols are very frequent in Indian Rock Art and can be easily observed in Indian society on various occasions from the birth of a human to the end of life, even in day to day life style. The following symbols are an attempt to decode its meaning and a possible explanation with the support of Ethno‐Rock Art study, Cognitive Approach, Contextual Study and Conceptualized answer for it. Plus in Circle We see this symbol with many names such as Cross Wheel, Sun Wheel, Sun Cross, Sun disc, Celtic cross, Odinʹs Cross/Woodenʹs Cross, Kutsuwa Mon, Spooked Chariot Wheel, Sacred Hoop or Loop, Circle of Life or we can call it ʹPlus in Circleʹ or ʹCross in Circleʹ (Tiwary, 2013:381‐388). This is an enigmatic symbol, depicted in various places from prehistoric time to till date on walls and ceilings and on megalithic monuments. It is very common inside shelters and caves as well as on portable artifacts like seals, sealings, ceramics, animal figurines, coins and even today on living things. This symbol is commonly associated with death rituals. We can see this symbol depicted on memorial stones, megaliths, stamped on animals etc. Here are some examples about its association with death symbols and death rituals: Figure 1: The Stupa Plan of Nagarjunakonda, Andhra Pradesh First of all, if we look at the structural components of Plus in Circle, we find that this symbol has simply an encircled plus mark but sometimes the plus intersects the circle and sometimes it has inverted Cross in Circle with broken arms. The sacred symbol of Hindu culture ʹSwastikaʹ has some similar features with Plus in Circle. The four spokes of Swastika raised on four sides symbolizes four directions and the centre of Swastika symbolizes the sun that means: the sun is the centre of universe and everything is revolving around the sun. If we see a twirling Swastika it looks like Plus in Circle. 955 ISSN 2347 – 5463 Heritage: Journal of Multidisciplinary Studies in Archaeology 6: 2018 Swastika also symbolizes life cycle, which is moving towards completion. Swastika is very popular symbol around the whole world. In eastern world, Swastika is depicted moving clockwise and in western world, it is depicted moving anti‐clockwise. We know that the stupa is a symbol of death and associated with death rituals. In the ground plan of the stupa of Nagarjunakonda site, Andhra Pradesh (Figure 1), the Swastika in circle is seen in structure in the foundation. Therefore, it can be assumed that the Swastika symbol may have derived from the Plus in Circle or vice versaʹ. The sacred Celtic symbol in Christianity is also a death symbol and popular in funeral monuments. The Neroʹs Cross or Encircled Cross inverted with broken arms also signifies the ʹgesture of despairʹ and ʹdeath of manʹ. This symbol is also favorite sign of Satanists. This symbol was a part of official inscription prescribed for the gravestone of Nazi officerʹs labled as ʹthe dead manʹs runeʹ (www.jessuscristsaviour.net). The ʹWorld Triadʹ is the sumbol of cosmic creativity the threefold nature of reality or fate and eternally spiraling cycle of time. In Japan, it is known as Moga‐tama or Mitsu tomoe, in Bhutan, it is the symbol of Trimurti and in Tibet, symbol of Cosmic Mandal. Everywhere it is represented as eternity (www.ancientsymbol.com). The Odinʹs Cross is used for representing the chief god in Germanic Paganism. He is famous for being a bit of a trouble maker (www.seiyaku.com). Ethno‐Rock Art The most authentic example is available from Harivamsa Purana, the ancient literature that indicates the relation between the Cross Wheel and Lord Shiva, the destroyer. The trident is ayudh (weapon) of Lord Shiva. ʹTrishulaʹ and ʹPlus in Circleʹ both symbols are found together in Rock Art of Kaimur (Bihar). Innumerable ʹPlus in Circleʹ symbols are found in Kaimur Rock Art from the walls and ceilings of the shelters. In two shelters, this symbol was graphed with battle scenes that simply mean battle is related with deaths and destructions. Garun Puran, an ancient literature also talks about the death very broadly. According to this literature, as a part of death ritual, the family members of the dead person donate one bull and two or four cows to a Brahmin and it is necessary to mark ʹPlus in Circleʹ and ʹTridentʹ on the lower left and right part of the body of the calf respectively (Figure 2). The marked calf cannot be domesticated by the Brahmin or by any one. And no one can beat the bull if it goes anywhere and destroys othersʹ property. This is so because now it is beleived that this is an idolatry calf and he is carrying the soul of the deceased person. It is very interesting that this tradition is still alive in many parts of India. Similar sentences are opined in Vishnudharmottara Purana. In Gaya and Aurangabad districts of Bihar, the symbol ʹPlus in Circleʹ is noticed on some memorial stones, associated with death ceremony (Tiwary, 2014:376‐379). Seals from Mohenjo‐Daro and Harappa have also depiction of bulls marked with Plus in Circle or similar to moving Swastika. Some uninscribed copper coins are found from 956 Singh and Tiwary 2018: 954‐966 Figure 2: Stamped Plus in Circle and Trident on Donated Bull, Kaimur Figure 3: Red Painted Pictographs of Plus in Circle on Ceiling of Shelter, Kaimur 957 ISSN 2347 – 5463 Heritage: Journal of Multidisciplinary Studies in Archaeology 6: 2018 Kosambi, have the depiction of elephants and bulls again with Plus in Circle marks. The symbol is very common in Rock Art not only in Kaimur (Figure 3) region but also in many parts of India like Eddakal and Marayur of Kerala (Mathpal, 1998), Kabra Pahar (Raigarh), Sitakhardi (Chambal valley), Mirjapur and Dev Kuthar (U.P.), scene of the cult of death from Italy, Valcomenia (Pathak, 2013:236) etc. In Europe, it appears on prehistoric artifacts and in Mexico, the symbol appears on Royal graves. Ladder Ladder is also a popular symbol in art from prehistoric age. Ladders usually have the purpose of indicating ascend to the heights. But in Rock Art, ladder is used for the symbolic representation of age, death or way to heaven. The ʹBook of Genesisʹ of Old Testament, ʺLadder of Jacobʺ talks about a Ladder of twelve steps ascending to heaven from the earth. The explanation of Ladder is the age and the twelve steps of Ladder are the periods into which the age is devided. Among all the mythologies of the world regarding heaven it is said that heaven is pervaded by the greatest happiness. One can attain it by highest act of piety in the world. According to beliefs heavenly beings can descend to earth or incarnate and earthly beings can ascend to heaven in the afterlife or in exceptional cases enter heaven alive. Figure 4: Ladder in Art of Bharahut, Sanchi and Gandhara of Buddhist Art Ajit Kumar (Kumar, 2016:59‐71) of Kerala University has done a wonderful research on this symbol.