Rock Art of the Vindhyas: An Archaeological Survey

Documentation and Analysis of the Rock Art Of Mirzapur District, Uttar Pradesh

Ajay Pratap

• Publisher: Archaeopress Archaeology
• Year: 2016
• ISBN:
  9781784912468
• Topic: Social Sciences
• Subtopic: Archaeology
• Index: Social Sciences

Rock paintings and petroglyphs are a record of human memories. No doubt, this function defines in essence all archaeological objects. Yet some objects such as tools, beyond their symbolic value, are clearly fashioned for their utility. How does rock art as an object fashioned by human hands then differ from tools? What utility does it have beyond its symbolic value? The Vindhyan corpus of rock paintings has provided us with a very valuable opportunity to be answering such questions.

Table of contents

• Copyright Information
• Cover
• Contents
• List of Figures
• List of Maps
• List of Tables
• Acknowledgements
• Glossary
• Chapter 1
• Figure 1. Landscape at Chuna Dari
• Figure 2. Landscape at Likhaniya Dari
• Figure 3. Landscape at Morhana Pahar
• Figure 4. Landscape at Wyndham Falls
• Figure 5. Landscape at Mukkha Dari
• Figure 6. Landscape at Lekhania Pahar
• Figure 7. A symbolic representation at CAR 10, Morhana Pahar
• Figure 8. A direct representation of a female figure at CAR 8, Morhana Pahar top right hand corner
• Figure 9. Panel at MKD 2 showing some awkwardly depicted female figures wearing skirt-like apparel, kneeling in front of a Bubalus figure. Equally five figures in a row above may be read as male
• Figure 10. Indirect representation of feminine gender through laborious designs
• Map 1. Google Earth Image of the Wyndham Study Area. Source: Google Earth.
• Table 1. Map distances based on Figure 4 between rock art groups in the study area
• Map 2. Map of Mirzapur showing its rock-art sites.
• Source: Based on Tiwari (1990, 4)
• Figure 11. Rainfall pattern based on raw data from Mirzapur District Gazetteer, 1972.
• Chapter 2
• Map 3. Drainage and Landforms of Mirzapur, Sonbhadra and adjoining Districts. Source: Based on Ansari (2007, 3).
• Map 4. Drainage of Mirzapur, Sonbhadra and adjoining districts.
• Source: Based on Ansari (2007, 4) Scale as above
• Figure 12. Carlleyle’s Tool-drawings. Source: Sieveking, 1960
• Figure 13. Cockburn’s sketch of tool-bearing horizons, Mirzapur
• Figure 14. Plan and section of Likhaniya Dari and Chuna Dari Shelters (Ghosh 1932)
• Figure 15. Photograph of Rock Paintings at Likhaniya Dari (Ghosh 1932) and a view of this shelter from the opposite bank of river Garai
• Figure 16. View of Chuna Dari 1 (CHD 1) (Ghosh, 1932)
• Figure 17. Water-colour reproduction of paintings at Chuna Dari which are now invisible due to overlay of modern graffiti (Ghosh, 1932)
• Figure 18. Water colour reproduction of rock paintings now submerged under graffiti at Chuna Dari 1 and 2 sites (Ghosh, 1932)
• Figure 19. A combination of rock paintings at Likhaniya Dari and Chuna Dari (Ghosh, 1932)
• Figure 20. Photographs of artefact finds of M. Ghosh (1932)
• Chapter 3
• Table 2. Painted Rock Shelter Sites known in 2009
• Table 3. List of sites of our survey
• Table 4. Previous and current research
• Table 5. Details of Our Exploration from 2009-2014 (1)
• Table 5. Details of Our Exploration from 2009-2014 (2)
• Table 5. Details of Our Exploration from 2009-2014 (3)
• Chapter 4
• Table 6. GPS based locations of Painted Rock Shelters at Wyndham Falls
• Figure 21. Close-up view of WYN 1 paintings showing two large animal figures and one small one in front of each. Of The larger figures both are tusked elephants. The smaller figures in both cases are of dogs
• Figure 22. Close-up view of the faded dancing human figures at WYN 1. Such animated figures are also the subject of depiction at the WYN 2 painted site which is a short distance from WYN 1
• Figure 23. General view of the left portion of the WYN 3 painted site, on the Wyndham River, showing unresolved painted designs, over younger Calcite deposits. Some previous defacement through modern graffiti is also visible
• Figure 24. Broad view of the right portion of the WYN 3 painted shelter showing the image of a dog superimposed over calcite
• Figure 25. An image of a fantastic animal surrounded by human figures at WYN 3. Such distortions are usually an exceptions in Vindhyan rock-paintings. However, apparently narrative panels also exist both here and at WYN 4 painted locations.
• Figure 26. More figures within the hollows of WYN 3 shelter in a better state of preservation and complete absence of calcite of any sort. The calcite which is visible over the figure of a Panthera pardus fusca is entirely contemporary arising from water-
• Figure 27. General view of painted panel at WYN 4-1 painted shelter.
• Figure 28. View of WYN 4-1 in which a faded human figure is visible
• Figure 29. Full view of the arrow crossfire painted panel at WYN 4 - 2. To the right hand side are five human figures. The middle one is seated inside what appears to be a dwelling shown in outline. There is a lone human figure in a seated posture behind
• Figure 30. Close-up and magnified view of the group at right of this thematic panel Painting at WYN 4 - 2. This natural rectangular cleavage in the shelter wall provides a suitable background for this painting.
• Figure 31. Close-up view of arrow-crossfire panel at WYN 4 - 2. Slight superimposition of a lighter ochre-coloured (haemetite) painting of figure of eight sort of design, by a darker ochre-coloured (haemetite) painting of an arrow which has been fired y
• Figure 32. Human figures at the left side of the thematic panel at WYN 4 - 2. Body shapes and apparently dresses amongst these figures are very different from the human figures depicted on the right side of this thematic panel
• Figure 33. The main panel at Likhaniya Dari Painted Shelter (LKH 1) showing the vertical painted wall. Note the graffiti as well as the figures, now fading, painted in a lighter shade of geru (Haemetite) to the left of the panel. The remaining painted ico
• Figure 34. Closer view of the main panel here shows the stupa figure
• Figure 35. A possibly upper palaeolithic abrasion petroglyph and painted panel at the bottom right corner of the Likhaniya Dari (LKH) Painted Panel. Depicted here are one dancing human figure (far left), three blackbuck deer in outline, and numerous decor
• Figure 36. Natural corrosion visible looking to the right hand sidewall of CHD 1 from this painted panel
• Figure 37. Content of the new panel at CHD 1. A group of armed soldiers on the march, foot soldiers, horse riders, elephant riders, pitcher and water bearers
• Figure 38. The poor state of conservation of this painting
• Figure 39. Stylistic similarity of body shapes of human figures, and hair-styles, here with that at other sites
• Figure 40. A view of figures painted over the calcite on the right hand margin of this painting
• Figure 41. Faded paintings on the ceiling towards the right hand margin of CHD1 cave
• Table 7. GPS based locations of Painted Shelters at Chuna Dari Cave
• Table 8. GPS based locations of Painted Rock Shelters at Morhana Pahar Group I shelters
• Table 9. GPS based locations of Painted Rock Shelters at Morhana Pahar Group II shelters
• Table 10. GPS based locations of Painted Rock Shelters at Morhana Pahar Group III
• Figure 42. Various types of deer depictions, CAR 1
• Figure 43. Abstract designs at CAR 2 shelter
• Figure 44. Human figures engaged in some activity at CAR 3 shelter
• Figure 45. Paintings at CAR 4, hopelessly degraded paintings from water – throwing and decomposing basal rock
• Figure 46. Axis unicornis or Barasingha figure at CAR 5 shelter
• Figure 47. More abstract drawings or children’s doodles at CAR 5
• Figure 48. Close-up of Axis quadricornis or chowsingha deer depiction at CAR 6
• Figure 49. White paintings of three deer superimposed upon a red painting of a man on an elephant at CAR 7. The hind leg and tail of the third deer is visible at the right hand margin of the panel.
• Figure 50. Closer view of Figure 49 showing the second deer figure
• Figure 51. Black paintings, designs, CAR 7
• Figure 52. Human and animal figures at CAR 7. Animal figure is probably Bubalus bubalis
• Figure 53. Sole Female Figure Image at CAR 8
• Figure 54. Close-up of design at CAR 9
• Figure 55. Dancers at CAR 9
• Figure 56. Human activity depiction at CAR 10, content is unresolved
• Figure 57. Faded red ochre paintings at CAR 11
• Figure 58. A wide-angle view of this panel at CAR 12
• Figure 59. The panel at CAR 12 rock hollow adjacent to CAR 11 showing a yellow painting of an elephant possibly being hunted by numerous human figures also painted in yellow surrounding this elephant. Superimposed is a red painting showing a horse rider
• Figure 60. Close-up view of the hunters and the elephant
• Figure 61. Faunal depictions on the ceiling of LKHPHC1. A speared nilgai (Boselaphus tragocamelus) with a practice drawing of the final image to its right
• Figure 62. Drawing practice? Adjacent outline figure
• Figure 63. Male and female Axis axis in rut LKHPH-C1
• Figure 64. Complex social imagery LKHPH C-2
• Figure 65. Paintings at a height. The earlier panel at left at MKD 2
• Figure 66. The later panel at right at MKD 2
• Chapter 5
• Figure 67. Contemporary rock art at CAR 9, Morhana Pahar
• Figure 68. Cattle-dung on CAR 5 floor
• Figure 69. A makeshift shrine at Panchmukhi rock shelters
• Figure 70. Daurica hirundica nest at Wyndham 3
• Figure 71. A Daurica hirundica mud nest at CHD 1
• Figure 72. Thin film silica at MKD 2
• Figure 73. Calcite deposit over an old painting at Wyndham 3
• Figure 74. Paintings over calcite at Wyndham 3
• Figure 75. Morhana Pahar CAR 9, Surface entirely exposed to wind action
• Figure 76. Thin-film silica deposit over rock paintings at CAR 9, Morhana Pahar
• Figure 77. Graffiti in black over Likhaniya Dari Panel
• Figure 78. Organic patina around paintings at WYN 1
• FIgure 79. Termite runs at CHD 1
• Figure 80. Corroded base of CHD 1 shelter
• Figure 81. Wasp-nest on a painted figure at CHD 1
• Figure 82. Plant overgrowth at WYN 4-1 and 2
• Figure 83. Peeling of paint from an open-air painting CAR 12 Morhana Pahar
• Figure 84. Modern calcite deposit over animal figure at Wyndham 3 arising from water-throwing
• Figure 85. A badly bruised panel at Chuna Dari CHD 1
• Figure 86. Graffiti, termite-runs and campfire-smoke at CHD 1 shelter
• Figure 87. Ceiling collapse leading to hindered viewing of rock art panel at CHD 1
• Figure 88. Heavily weathered sandstone at WYN 1
• Figure 89. Debris at CAR 8, Morhana Pahar
• Figure 90. The consequences of Patia and related mining visible in the Sukrit Range
• Figure 91. High-Tension Grid wires situated on Morhana Pahar. View from CAR 12
• Chapter 6
• Figure 92. Suspected Upper Palaeolithic painting from Morhana Car Group II – CAR 14 shelter
• Figure 93. Mesolithic paintings from Morhana Pahar CAR Group II – CAR 8
• Figure 94. Neolithic paintings from Morhana CAR Group II – CAR 10
• Figure 95. Chalcolithic paintings from Morhana Pahar CAR Group – II – CAR 10 shelter
• Figure 96. Iron Age painting superimposed over Upper Palaeolithic panel at CAR – 14 Shelter
• Figure 97. Late historical possibly even medieval rock paintings at CAR 8 Shelter
• Figure 98. Modern period paintings from CAR 10 Shelter
• Figure 99. WDRB calcium carbonate sampling surface for maximum age determination using U-Th Dating at WYN 3. (14.0995+ 0.487 – 0.4953 ka BP).
• Photo courtesy R. Banerjee
• Figure 100. WDRB 2 calcium carbonate sampling surface at Wyndham 3 (WYN 3) for minimum age. (13.0895 ± 1.2348 ka BP). Photo courtesy R. Banerjee
• Figure 101. WDRB 3 calcium carbonate surface sampled for minimum age through U-Th dating at WYN 3 Sites. (12.1428+0.3927 – 0.3981 ka BP) Photo courtesy R. Banerjee
• Figure 102. WDRBAi calcium carbonate sampling surface for maximum age using U-Th dating at WYN 3 Site (no age obtained Isochron failed). Photo courtesy R. Banerjee
• Chapter 7
• Figure 103. WYN 4-2. Probably a prepared surface
• Figure 104. WYN 4-2. Smoothness of the painted surface suggests that it was prepared
• Figure 105. Lihaniya Dari. Rock art image incised and inlaid with paint
• Figure 106. Earliest period human figures depicted by joining two inverted
• triangles at WYN 3
• Chapter 8
• Figure 107. Pure Foraging. Likhaniya Dari panel showing a blackbuck Deer
• and some abstract designs
• Figure 108. Foraging-farming related depictions at Mukkha Dari MKD 2
• Figure 109. Foraging for birds and small mammals by trapping at Wyndham 3
• Figure 110. A herd of goats at Morhana CAR 10 shelter suggesting pastoral activity
• Figure 111. Rock art depiction at Wyndham 4, which suggests inter-group conflict
• Figure 112. Superimposed later figure at Morhana CAR 12, suggests symbolic appropriation of territory
• over territory
• Chapter 9
• (Probably the Modern Lekhania near Morhana Pahar)
• (in the Morhana Pahar Shelter cluster)
• (modern location of Gharwa Pahari is not known)
• (modern name and location not known)
• Table 12. A.C. Carlleyle Tool Collection from Gharwa Pahari
• Table 13. A.C. Carlleyle Tool Collection from Likhaneya Pahar
• Table 14. A.C. Carlleyle Tool Collection from Baghe Khor or Bagai-Khor
• Table 15. A.C. Carlleyle Tool Collection from Gharido Pahari
• Table 16. A.C. Carlleyle Tool Collection from Bharkachcha or Barkacha, in the general area of Wyndham, however, whether from Wyndham Falls locality is not known. Notable are artefact classified as Iron-Ore Fabricators
• Table 17. A.C. Carlleyle Tool Collection from miscellaneous locations in Mirzapur and Banda
• Source: Sieveking, G De G. 1960. Morhana Pahar: Or the mystery of A.C. Carlyle. Man 140: 97-100.
• Table 18. A.C. Carlleyle Tool Collection from Morhana Pahar
• Figure 113. Pastoral cowshed at Bhaldaria
• Table 19. M. Ghosh Tool Collection from Likhaniya Dari. Source: Ghosh, M. 1932.
• Bibliography
• _GoBack
• Index
• Back cover