function art: an ethno rock art attempt to decode some...

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

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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.

ISSN 2347 – 5463 Heritage: Journal of Multidisciplinary Studies in Archaeology 6: 2018

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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


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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


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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. It is believed that there is a place on the earth which connects the heaven,

earth and hell. In some religion this connecting point is a tree and in some religion it is

a mountain. According to Hindu, Jain and Buddhist tradition this place is mount Meru

or Sumeru, which is the centre of universe and connects earth to heaven. Mount Meru

has the resemblance with mount Olympus in Greek Myths. In ancient Greek Religion

Olympus was home of the twelve Olympian gods (www.wikipedia.com).


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The Mount Kailash is believed to be the home of Lord Shiva. The ancient Hindu epic

Ramayana mentions of Shri Ram Chandra reaching heaven by climbing the stairs of

Kailash. The Tibetans believe that there is an invisible Ladder from Kailash to heaven.

During the summer season, the snow of the south face of Kailash melts exposing the

scarps on the almost vertical ascent, creating an illusion of staircase leading to the

summit of Kailash. Tibetans have deep faith in kailash as the abode of their gods

(Vaghela, 2014).

According to Buddhist tradition and stories, Ladder is reflected as a connection

between earth and heaven. Buddha is believed to have gone to heaven to give sermons

to his mother Mayadevi and other gods. Indra, the king of heaven constructed a

Ladder for Buddha to descend on earth after preaching. This Ladder was extending

from Mahameru to Sankisa. This story is depicted in many early Buddhist sculptures at

Sanchi, Bharhut, Gandhara etc (Figure 4). The earliest historical document defining the

concept of Ladder in mortuary practices and solar imagery comes from Egypt. The

pyramids of Egypt itself were considered as sunʹs rays to ascend and join the sun.

Figure 5: Engraving over the Burial Potteries, Tamilnadu (Courtesy Rajan)

In prehistoric context the earliest depiction of Ladder as a symbol of ascending heaven

is found in Rock Art site in Nevadaʹs dried up lake Winnamucca, USA. There are

several limestone boulders with deep carvings dated between 14,800 to 10,500 years

ago (www.nationalgeogrtaphy.com). In Rock Art Ladder symbol is depicted with two

struts connected by rungs or one strut with rungs or only represented with a zigzag

rope which is ascending into a concentric circle, Labyrinth or sun. This kind of

representation can be seen on various Rock Art sites like Guanajuato cave in Central

Mexico, California, Moconkey Ranch, Vermal, Utah.

In India, said motif is occurred in forms of petroglyphs and pictographs and also as

graffiti on pots from Kodumanal in Tamilnadu (Figure 5). This is burial‐cum habitation

site. As graffiti on Megalithic pottery, the Ladder motif along with a crossed circle


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adjoining it has been reported from many sites. In Indian Rock Art Ladder motif has

been seen in many contexts and on various sites. It is depicted as Ladder reaching to

sun or Labyrinth, and sometimes Crossed Circle or Plus in Circle mark present on the

top or below the Ladder and sometimes shamans or souls is also present with Ladder

motif.

In the pictograph of Chintakunta, Cuddapah district, Andhra Pradesh (Chandramauli,

2002:49), Churna, Pachamarhi, Madhya Pradesh (Pathak, 2013:150) and specially

Ataikkalu, Palani hills, Tamilnadu the Ladder is depicted with series of seven rungs,

leading to sun. Petroglyphs in Edakkal, Kerala, have a few representations of Ladder

with some hazy anthropomorphic figures at the far end of each Ladder, as though it is

denoting the soul/spirit/shamans, ascending to heaven. In a pictograph from Palani

hills, Pakkialai site, the Ladder motif has seven steps and a cross mark at the top. Osari

Ghat in Kaimur, Bihar (Figure 6), there is a Ladder and a Cord like line running into a

seven layered concentric circle along with Plus in Circle. It is important to note that

seven rungs or steps of Ladder have some religious significance. Perhaps it represents

the seven layered heavens.

Ethno‐Rock Art The depiction of seven stepped Ladder is also popular in Mthraic and Orphic

traditional reference of death ceremonies. In present Hindu tradition in India, the dead

body is carried on a Ladder of seven (Nihildas, 2018: 27) rungs, made of bamboo stick.

The Mila Pulayans tribes of Anamali hills also use same carrier to transport the dead

body to the burial ground where they leave the Ladder on the burial mound. And this

figure is represented in Rock Art of Anamali hills. The Ladder is still important

amongst every class of Indian society after death of a human.

Jain community in certain parts of north India, celebrate the naming ceremony of their

great grandchild by doing a ritual that involves placing a golden Ladder on the toe of

the great grandparents as to honor and respect their age and to also remind them to

ready themselves for the heavenly journey. Lepcha tribes residing in Sikkim play their

funeral ceremony using the Ladder. They construct a stone wall around the burial

ground and place wooden Ladders leaning onto the walls so that the soul ascends to

the bounded enclosure. Even in the sanctum of Chandela period temples one can see

the Ladder made of single stone. So, we see the Ladder motif is commonly associated

with death ceremonies not only in India but in many parts of the world from ancient

times to the modern.

The Tree Ladder The concept of divine tree is present in many religions with various names like ʹTree of

Lifeʹ, Tree of Knowledge, Akshaya Vat, World tree, Bodhi Vriksha, Tree of Immortality

etc. The tree of life is believed to be situated in the middle of the universe and connect

the earth and the heaven. In some religion the tree is believed to be the reason behind

the origin of man. In other traditions, it is associated with ʹWorld Treeʹ that forms a


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bridge between the spiritual and physical worlds. The existence of a tree or tree trunk

as a Ladder to heaven was prevalent in the beliefs among the Caucasus, Tibetans and

Koryaks ethinic groups. It is said in ʹʹBook of Genesisʺ that the tree of life is in paradise,

the intermediate heaven. The tree Ladder depicted on many places as vertically

running stem along with branches issuing from it and may also contain symbols like

Crosses and Sun etc. In India, the tree Ladder to heaven is represented in petroglyphs

and pictographs in Himalayan/Tibetan regions. In Leh, a boulder has the

representation of tree with adjoining a circle in left and a cross mark above it. The cross

mark possibly represents the dead. Swastika symbols are also present on that boulder in

anti‐clock wise direction. All symbols together possibly represent the tree Ladder to

heaven. Many of sacred trees are planted on burial or cremation ground as a part of

rituals. Like in Kerala, some of the Hindu communities plant a coconut tree towards

the head side at the cremation place.

Figure 6: General View of the Rock Art Site Osari Ghat, Kaimur

Labyrinth Labyrinth is a word of pre‐Greek Minoan origin, which the Greeks associate with the

palace of Knossos in Crete. It is also widely associated with the Lydian word ʹLabrysʹ

means double edged axe. The Bronze Age site Knossos was excavated by explorer

Arthur Evans, the complexity of the architecture promoted him to suggest that palace


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has been the origin of the Minotaur Labyrinth. In Greek mythology, the Labyrinth was

designed by the legendary artificer Deadalus for the king Minos to hold Minotaur, the

monster in captivity.

The symbol Labyrinth has been found in many contexts including art and traditions in

many parts of the world (Kumar, 2015: 83‐104). Labyrinth is a common character of

Rock Art and also used in present day rituals on some places. Labyrinth designs are

found in prehistoric context. The earliest depiction is in Winnemucca Lake, Nevada,

USA, which dates 10,500‐14,000 years ago. There are many types of Labyrinth such as

Unicircular, Concentric Circle, Aberrant Type, and Classical Seven Coursed labyrinth.

Unicircular Labyrinth is shown as a single rounded line with one centre and one path.

Concentric Labyrinth is multicircled figure with one centre. A Labyrinth in its classical

from have seven circuits with a Plus mark in the middle.

Figure 7: General View of Labyrinth, ladder and Plus in Circle, Osari Ghat, Kaimur

Labyrinth in the prehistoric times is believed to have served as traps for malevolent

spirits or as defined paths for ritual dances. In medieval times the Labyrinth

symbolizes a hard path to God with a clearly defined centre (God) and one entrance

(birth). Labyrinth to shamans is symbolic form of pilgrimage; can walk the path,

ascending to salvation or enlightment (www.ifpress.com). In different context of

executions, Labyrinth has different but somehow magico‐religious associations. But the

most common strain of belief associated with Labyrinth seems to be the life after death,


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heaven, cosmos, sun or moon etc. Here are some examples of Labyrinth in Rock Art

traditions. From Osari Ghat hill (Figure 7), in Chand block of Kaimur region, Bihar

(Kumar and Tiwary, 2014:276‐280). The ceiling of a rock shelter is painted with a large

concentric Labyrinth in red ochre. It had seven outer circles of which five are clearly

visible now. There are seven smaller concentric circles with dot in its centre denoting

the hub of the large Labyrinth. A Ladder is also seen leading into the hub and a cord

over running it. The space within the large Labyrinth is divided into quadrates, In

these quadrates the ʹPlus in Circleʹ motif is noticed and it may represent the deceased

person. The Labyrinth is painted on the ceiling as though to denote the cosmos or

heaven. Perhaps each quadrant belongs to different dead people of one family or one

society. It is interesting to note that this cave even now is associated with death rituals

of the ethnic groups inhabitating that area. This kind of Labyrinth with cord running

into hub is present in many sites of England and America and Central Tasmania

(Bednarik, 2007:18, f.5).

An example of aberrant variety of Labyrinth is found from Onak kindi, near Anegudi

on the left bank of the Tungbhadara, Karnataka. In this depiction, the lower half of the

circle has series of lines radiating from its outer edge and in upper half there are

thirteen conical projections with a median stalk. It appears that the softer lines in lower

half denotes the moon and the upper one possibly denotes the sun. In some traditions

it is thought that the spirit of dead depart to dwell in the moon or to shine among

constellations. In this figure the interior of the circle has thirteen circles with a dot at its

hub which is arranged in a circular form and a Ladder motif is crossing the circle from

centre. Left side of Ladder is depicted with the deceased and between his legs a Cross

in Circle is depicted. This Labyrinth representation recalls a megalithic stone circle. It is

to be noticed that megalithic burial are found in this area. The classical seven course

Labyrinth is widely distributed in India, observed from Ladakh in north to Assam‐

Manipur in east, and Goa in the west and at center from Naidupalli, Prakastam district,

Andhra Pradesh (Chandramauli, 2002:163). A seven course unicircular Labyrinth

occurred in Usgalimol in Goa, inscribed on the bed of laterite. This is in geoglyph form

that can be only seen from higher platform clearly. The area of interest covers

approximately 60 x 30 sq. meter. Adjoining the Labyrinth, there is a conjoined elliptical

feet representation, possibly denoting the deceased soul (blog.parikkar.com).

Ethno‐Rock Art An aberrant Labyrinth in pictograph form is there in the site of Jharnawa Rani Gadar in

Jharkhand. Two human figures possibly dead, encircled within a quadrangle and the

free space around the human figures is filled with circles is depicted. The quadrant is

again encircled with big circles. Also, there are other representations of deads with

cupules surrounding it, from the same area, clearly synchronizing the association of

deads with the circular Labyrinths like formations. it is interesting that there is

continuity of tradition among the Mundas from Jharkhand region. The priest of this

tribe, during their sepulchral ritual, draw a simple anthropomorphic figure on the floor

with rice flour and a turmeric piece placed on it to denote bones of the deceased. Small


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Circles are drawn around the centrally designed anthropomorphic figure and they are

filled with offerings like food, liquor, tobacco, blood of sacrificed animal etc.

Figure 8: Representation of Chakras and Nadis of Human Body

Labyrinth is a prehistoric symbol and no one knows its exact meaning, but many

contexts indicate that the symbol has the phenomenology of religion and it is related

with cosmological agents like sky, heaven, sun‐moon etc. It has been seen that the

spiritual goal of every religion and individual practitioners is to attain liberation and

attain a place in heaven. In Rock Art and other places, its depiction may be concerned

with religious purpose. Tamil Brahmin community settled in the lane near south fort,

Trivandrum ritualistically creates multi‐circular Labyrinth with powdered lime in front

of their homes. Its centre has one dot and outermost circle has rays emitting from it in

different styles. According to the community members the design represents the sun

and generally made on Sunday.

The purpose of Labyrinth and associated symbols in Rock Art has some relations with

shamanʹs practices or death rituals. It may be that the symbols all together try to

convey the message that the soul of deceased or the shaman in his practices tries to

reach to the realm of God. According to the tantric tradition, it is said that inside every

human being there is a network of nerves and sensory organs that interpret the outside

physical world. Human body has subtle system of seven centers of energy called

Chakras and three channels called ʹnadisʹ (www.wikipedia.com) (Figure 8). The soul of

human ʹkundaliniʹ (the coiled energy) is situated in the lowest centre of energy below


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the sacrum bone of body. The practitioner has to awake his soul and ascend it to the

top energy centre, which is situated on fontanel. It is done by high meditation

practices. The ultimate goal of soul is to become spirit, which is the reflection of God.

This state is called self‐realization/moksha/enlightment/ liberation etc. A self‐realized

person fully enjoys the state of connection with divine. This concept is found in tantric

tradition of Hinduism, Vajrayan Buddhism and Jainism too.

Conclusion Interpreting the Rock Art symbols group of Ladder, Labyrinth and Plus in Circle, one

may notice that seven runged Ladder may be the seven centers of energy and

Labyrinth may be the divine realm of God and the soul is represented by Plus in Circle

or Cross. Since ancient times Monks/Sadhus/Rishis/Tantrik went to mountains and caves

to meditate and performs their religious arts. So, some of the Rock Art may be executed

by the monks as their religious performances. But later with time, these executions

become a part of local rituals in some areas. The meaning of symbols may be

interpreted differently from region to region but as years passed and as the tradition is

still seen in Ethno‐Rock Art, many symbols were able to retain its meaning across the

globe. The decoding and purpose behind its creation remains an enigma. A circle

within a circle may have a different meaning in a painting that features clustered

circles. Some set of circles can mean a campfire, hill and tree or spinning. This context

dependent interpretation occurs even within the same tribe. So it is very important to

know the particular symbol for contextual study and the purpose behind its creation

for getting information about the mind of the artist through the study of cognitive

approach. Simultaneously it is also important to know its conceptual interpretation

which is only possible by an expert of the field and by the lover of symbolic study.

Every art holds a story conveyed in an elaborate fashion that only the collective

meaning‐makers can fully understand by following the above said pattern that is the

cognitive, contextual and conceptual study of rock art. The described symbols, Plus in

Circle, Ladder and Labyrinth are used in such an elaborated manner as seen in Rock

Art and in living art among regional inhabitants of India and abroad. These symbols

are also an important source of silent social and visual communication which was

existing during the ancient times.

Authors discuss about the signs and symbols, and how they play an important part in

communication between the creator and people in public space. This is a message

through visual communication for conveying of things that happen. We should call it

social semiotics for communication between society and the individual. The symbols

creation was probably a far more diverted, culturally specific and complex structure in

early societies, which still continued and very complicated to interpret today. The

present attempt is to highlight about the purpose and function of art such as message

through silent communication from the symbols like Ladder, Labyrinth and Plus in

Circle which are associated with cosmological aspects and also to the life cycle of a

person. This is a small attempt to decode some symbol through the eyes of Ethno‐Rock

Art.


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