Rock Paintings of Adamgarh (Central India) and Their Age

Author(s): A. P. Khatri
Source: Anthropos, Bd. 59, H. 5./6. (1964), pp. 759-769
Published by: Anthropos Institute
Stable URL: http://www.jstor.org/stable/40456357 .
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 ofAdamgarh
RockPaintings (CentralIndia)
andtheirAge
By A. P. Khatri

Contents:
Introduction
1. The Adamgarh SandstoneHillock
- TheirStyleand SubjectMatter
2. The Paintings
oftheRockShelters
3. Description
4. The Pachmarhi Microlithic
Culture
5. EarlyStoneAgeToolsfromtheAdamgarh
6. The AgeofthePaintings
7. Comparison withRock Paintingsin SouthAfrica,Rhodesiaand EasternSpain
Summary and Conclusion

Introduction

The sandstonehillsoftheCentralPlateau of India aboundin rockshel-

ters,manyofwhichcontainpaintingsexecutedin a stylethatremindsofthe
neolithicpaintingsofEasternSpain,Rhodesia,and SouthAfricaon one hand
and ofAustraliaoil the other.The subjectmattergenerallydeals withbattle
scenes,warriorswithbowsand arrows,clubs,spearsand swords,huntingand
dancingscenesand different animalfigures.Besidesthesepaintingstheserock
sheltersare veryrichin geometric microlithsmade ofchalcedony, jasper,and
sometimes ofbottleglass.Theuse ofbottleglassargueswellwiththemodernity
ofthecultureand at thesametimeshowsthatin India thestoneage persisted
in isolatedtribalareas evenup to our own times,coexistingwithhighlyad-
vancedurbanculturesin the adjoiningvalleys.No potteryhas been foundso
farto occurin associationwith the microliths foundin theserockshelters x.
Theserockpaintingshave in the past attractedbut littleattentionand
have been the subjectmatterof only a fewpaperswhichare by no means
exhaustiveand containa generalaccountof the art depicted.Amongthose

1 Theserockshelters wereto be excavatedby theauthorundertheaegisofthe

and IndustrialResearch,Govt. of India. The projectcould not
Councilof Scientific
becauseofthenon-cooperative
materialize SurveyofIndia.
attitudeoftheArchaeological

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760 A. P. KhATRI 59.1964
Anthropos

interestedin thestudyofprehistoric artwereSilberrad (1907),Mitra (1927),

Ghosh(1932),Brown (1932),Hunter (1935)and Gordon(1935,1939).
Thewriter spentsometimeinthePachmarhi andMahadeoHillsduring the
years1958-61 when he was occupiedwith the historical
pre surveyof theupper
and middlereachesoftheNarmadain orderto workout its stoneage sequence
and the pleistocenechronology, and was able to studyand photograph some
of the importantpaintingsin the rocksheltersin whichthesehillsabound.
Even a newgroupofpaintedrockshelterssituatedbetweenTamia and Pach-
marhiwas discovered whichcontainedpaintings almostsimilarto thosefound
inotherrockshelters ofthisregion.In thefollowingtheAdamgarh rockshelters
willbe discussed.It is suggestedthatthepaintingson thewallsand roofsand
the microlithiccultureon the floor,belongto the ancestorsof some of the
tribalfolk,likeGonds,whoinhabitedand stillinhabitthispartofCentralIndia.

1. The AdamgarhSandstoneHillock

Only a mile and a quartersouthof Houshangabad,in a fertileplain

oftheNarmadawhichis on bothsidesflanked bythemountains ofVindhachal
and Satpura,thereis a sandstoneoutcropknownas Adamgarh.Its importance
as a highpointin themidstofgentlyundulating wheatfieldsmusthave been
immensein war and peace to the tribaisofthe days bygone.
This sandstonehillockis also a quarrycentreofgreatreputeand yields
sandstoneslabs forroofingand flooring.It has roughlynorth-south strike
and dips nearly40 degreesto the west. The rock sheltersoccuron the top
of this hillock.Thoughthereare many shelters,only 11 of themcontain
paintingswhichare stillvisiblethoughin a bad stateofpreservationin spite
ofbeingcontrolled by the Central Government of
Department Archaeology. In
to the the
attempting preserve paintings, department's chemist damaged them
and marredthe beautyand the originalcharmof the paintings.Moreover,
touristshave triedto make theirown paintings,commemorating theirvisit
to a prehistoric
place.

2. The Paintings- Their Styleand Subject Matter

The coloursof thesepaintingsare mostlydarkbrown,pale brown,red,

and white.The paintingsare generallyminiature-sized. They are drawnin a
simplifiedstyle without goingintothe detailsof physicalproportion and lack
any artisticvalue for
except somecases. The figures in
aredrawnonly outlines,
the insidespace is leftvacant. In some cases, the figuresare "solid","half-
solid",and halfdrawnin outlines.In one or two figures the space insidethe
outlinesis filledout withhatchedlines.
Thoughthe paintingshave littleartisticvalue the forceand vitalityof
the artist'sbrushcan be clearlydiscerned.The movementsof animalsand
humanbeingshave been remarkably caughtin thefreezeswhichcan be well
compared with some ofthe in
paintings Australia,SouthAfrica,EasternSpain,
and South America.

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 A. P. Khatri, Rock Paintingsof Adamgarh(CentralIndia) and theirAge

a) Rock shelterson the Adamgarh hillock, near Hoshangabad (Madhya Pradesh),

ò) A scene fromrockshelterNo. 10, exhibitingdifferent stylesof paintings.In the centre
are depicted men on horses with swords and shields; below soldiers on horseback.
Mark the head gears and weapons in both scenes.
c) 'Dancing warriors'.Rock shelterNo. 10.
d) Giraffe,warriorand man on horseback.The giraffeis very intriguing,as this animal
is not foundin India. Rock shelterNo. 10.
e) Two anthropomorphic figureson animals (?). Rock shelterNo. 4.

AnthrojMW 51». 1964

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 RockPaintings (CentralIndia) and theirAge
ofAdamgarh 761

o 70° 75° 80° 85° 90° --35°

35 _ [ 1
j rj^

/ PAINTED ROCK-SHELTERS
^J/J'^~'
'( /S/ ß"^"^^ I IN INDIA 30°
1 AL-^ DELHIS^ y T~l 1

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V -4 ^' SCALE 1:16,500,000
'*S J ' i ¡nch=260 miles

7 0° 7 5° OC? ©5° 90°

Fig. 1 : Painted rock sheltersin India

The subjectsof the paintingsare battlescenes,soldierson horse-back,

runningsoldierswithbows and arrows,clubs and spears,swordsand arrow
containers.The warriorsweardifferent head gearsand dressesthusmarking
the two groupsat war. Besidesthereare depictedanimalslikehorses,oxen,
monkeys, ! Treesare also painted,but
peacocks,fishand,in one case,a giraffe
withoutanydetail, so thatnothing can be said aboutthespeciesto whichthey
belong.
The place whicha paintergenerallyselectedforhis artisticexpression
was theverticalsmoothfaceofa bigboulder,quitehighabove theground,or
the walls and the roofsof the rockshelters.But the place theychosemust
notnecessarily have beenblank,and the superimposition ofthepaintingson

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762 A. P. KhATRI 59.1964
Anthropos

each othershowsthatit mighthave beena taboo to washaway theprevious

paintings.The newpainter,therefore, preferredthesameplaceand paintedon
the figuresand drawingsexecutedearlier.Frederick D. McCarthyof the
SydneyMuseum,Australia,suggestedthat probablytherewas a magical
ora superstitious
significance beliefattachedto thepaintings
thatobscuring
art
mightbringcalamityorsuchthing.As to thestylesand thesuperimpositionsof
thepaintings,Gordon(1939)has triedto dateand classifythemintocategories
whichdate fromca. 600 B.C. to 1000A.D. But in myopinionthereis notsuch
a big gap betweentheearliestand thelatestexecutions.Moreover, thebottle
glassmicrolithswerenotfoundat thattime,and theassociationbetweenthe
cultureand thepaintingswas a doubtfulproposition.

3. Descriptionof the Rock Shelters

Rock ShelterNo. 1: Smallestone, but withmanyfigurespaintedin red and darkred

ochre. Situated at the southernend of the outcrop,facingeast. All paintingshave faded
except fortwo:
a) A deer with twelve horns,with one of the forelegsraised as if taking a jump.
The wholefigureis in outlineexcept forneck and head includinghornswhichare in solid.
The colour is red ochre.
b) Horse in dark grey(steel) colour with forelegsupwards. The mane is depicted
clearly.The neck,face and forelegsare in solid, the rest in outline.The drawingis very
realistic.Debris present- worthexcavating.
Rock ShelterNo. 2: Situated next to No. 1 along the road goingto the otherend
of the hillock. There are two figureswhich are still clearly visible among many faded
drawings:
a) A big spotted deer with two very long horns in the centreof the back wall.
Drawn in outline.The colouris red ochre.
b) In the leftcornerthereis a curiousdrawingwith an elephant-likebody and a
scorpion-liketrunkwhichis curved.Debris present,but only along the sides.
Rock ShelterNo. 3: Only two cows,one behindthe othercan be seen at the bottom
of the whole painted surface.The frontcow is in outlinewhilethe cow behindis in solid.
The profileand perspectiveare very clear. The wide-hornedcows are commonin the
region.The colour is red ochre.
Rock ShelterNo. 4: It is the largestand mostmagnificent rockshelterin the series
and containsa largenumberofpaintings.Figuresare drawnin red ochrevaryingin shade
fromdark to pale. The followingfigurescan be seen:
a) Two men fightingwith swords and shields; one sword is leaf-like with very
clearlydepicted ribs.
b) A man facinga bull withan arrowon the bow in huntingpose.
c) A man on horseback,holdinga spear upright.
d) Decorated horses.
e) A runningmonkeywithits tail erecttowardsthe sky.
/) A dancingpeacock.
g) A bull withtwo horns,its head loweredtowardsthe ground.
h) A tree with branchesand leaves.
i) At the rightend of the rock shelteradjacent to rockshelterNo. 5, is a beautiful
paintingof a lady in uprightposition (solid), holdinga leaf with ribs and veins clearly
markedin one hand, a bunch of sticksin the otherone. In frontof the lady, a running
man holdinga bar in his upraisedhands. The colouris chocolatebrown.

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 Rock Paintingsof Adamgarh(CentralIndia) and theirAge 763

As a matteroffact,thewholewall is fullofpaintingswithoutany par-

ticulararrangement and composition.The movement ofhumanbeingsis vivid.
Thisrockshelteris fullofdebrisand worthexcavating.It is fromthisone that
the bottleglassmicrolithswererecovered.A flutedcoreofjasperaboutthree
incheslongwas also found.
Rock ShelterNo. 5: Only one paintingin outline,drawnin red ochre,whichcould
not be distinguished.Plenty of debris.
Rock ShelterNo. 6: Battle scenes. Men with bows and arrowsand shields drawn
in red and white. Plenty of debris.
Rock ShelterNo. 7: Three paintingsin red ochre. The space betweenthe outlines
is filledwith criss-crosslines. The base of the rock shelteris made of the flatsurfaceof
a huge boulder.No debris.
Rock ShelterNo. 8: Three men in action (?) in red ochre.No debris.
Rock ShelterNo. 9: Anotherbig rock shelterwith one or two paintingsin white.
One is probablyof a horse,the otherone depicts a twelve-hornedstag. Plenty of debris.
The back side ofthisboulderformsthe wall ofrockshelterNo. 10 witha hood on it.
Rock ShelterNo. 10: The richestin paintingswhich are well preserved.They are
situatedquite highabove the groundand thushave been saved fromthe vandalismofthe
tourists.Battle scenes are drawnin large numbersand the various head gears show that
some warriorswereforeigners and othertribais.The fightwas probablybetweenthe local
chieftainand the British troops! In the followingsome of the common drawingsare
described:
a) Four soldiersrunningwithbows and arrowsin one hand and clubs in the other,
the quiverhangingon the back. Legs and movementsare forcefully and nicelyexpressed.
Note the proportionsof the different parts of the legs (see plate, c). The scene is drawn
in dark red.
b) Animalfigureslike horses.
c) A giraffe(plate, d).
d) A beautifulbull withwide hornsin runningposture.The outlineis veryprom-
inent.It is the largestpaintingin the panel.

in solid as well as in hollow

The drawingsare executeddifferently,
theemptyspace betweentheoutlinesis filledwithcriss-
style,and sometimes
the rockforming
crosslines.Underneath the platform of thisshelterthereis
blackhumuswhichsuggestsa site ofhabitation.
rock shelter,but
Rock ShelterNo. 11: It is a very big and the most magnificent
has very few paintings.Only one horse-likefigurewas distinguished.It faces the rock
shelterNo. 10. No debris.

4. The PachmarhiMicrolithicCulture
Thisculture,as said before,consistsofpigmytoolsmadeofa varietyof
semi-preciousstonessuchas jasper,chalcedonyand chertof different colours
likered,greenor a mixture of the two with yellow added. Sometimesbesides
around
bottleglassbloodstoneis also used.It is foundscattered and insidethe
rockshelterson thesurface.Whenit was notlocallyavailabletherawmaterial
was imported.A trialdiggingin one of the Pachmarhirocksheltersrevealed
thatthemicroliths do notpenetratebeyonda footand a half.Theyareprob-
ablya singleculturesitewithvarianceoftime.

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764 A. P. KhATRI 59. 1964
Anthropos

15 16 17 18 19

20 21 22 23 24 25 26 27 28

Fig. 2 : Adamgarhmicroliths(3/4) . The specimensare made of whitechalcedonyif

not stated otherwise.1-5.Bottle glass microliths:1. End scraper.2. Point; the retouching
is limitedto the two anteriorsides forming the points,and to thebase. 3. Triangularpoint.
4. Point cum side scraperwith a notch. 5. A glass piece with a point and flutingmarks.
6-12. Fluted Cores: 6. Long red jasper core with ten flutingsall over its body and a flat
base. 7. Slaty jasper core with eight flutingsand a flatbase. 8. Fluted chalcedonycore
with longitudinaland transverseflutings.9. Conical flutedcore with round flat base.
10. Fluted core with obliquely truncatedbase. 11. Conical core. 12. Pointed flutedcore.
13. Round disc of chalcedony. 14. Round scraper. 15. Point on a greenishred jasper.
16. Point on a red jasper flake. 17. Point. 18. Borer. 19. End flakewithworkedplatform.
20. Blade withlongitudinalridge.21-25. Points. 26-28. Blades.

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 Rock Paintingsof Adamgarh(CentralIndia) and theirAge 765

29 30 31 32 33 34 35 36 37 38 3S

41 42 43 44 45 46 47 48 49 50

51 55 56 57 58 59 60 61

62 63 64 65 66 67 68 £9 70 71 72 73
74 75

76 77 78 79 80 81 82 83 84 85 86 87 88
g9

90 91 92 93 94 95 96 97 98 99 100

101 102 103 104 105 106

29-39.Lunates. 40. Points. 41-50.Lunates. 51. Pen-knifeblade. 52-53.Trapeziums.

54-57.Triangles. 58-59. Shoulderedspecimens.60-61. Points. 62-74. Lunates and backed
blades. 75-76. Triangles. 77-82. Backed bladelets. 83-84. Saw blades. 85-106. Backed
blades of variousshapes whichare sometimestruncated.

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766 A. P. KhATRI 59. 1964
Anthropos

The microlithictypologyconsistsofbladesvaryingfromone centimetre

to fivecentimetreswithparallelsharpedges,blades withparalleledgesbut
"backed"on one side,crescents, trianglesand trapezes,pointswithnotched
and
necks,scrapers,irregular flutedcoresand othernon-descriptiveelements.
No kindof pottery- hand-madeor wheel-made - has been foundso farin
associationwithmicroliths.
Thousandsofmicroliths are collectedfromthedifferentrocksheltersin
thePachmarhiHillsand fromtheAdamgarh.But theyarestillintheprocessof
analysis.However,a roughanalysisgivenbelowof the Adamgarhmaterial
showedthatthegeometric elements formed nearly15% ofthematerialcollected.

Preliminaryanalysisof microlithscollectedfromAdamgarhrockshelters,Hoshan-
gabad, CentralIndia.
S. No. Category No. ofpieces o/o
1. Débitage 1443 70.12
2. Geometricelements(lunate,
crescent,triangle,trapeziumetc.) 304 14.83
3. Blades 22 1.00
4. Bladelets 90 4.33
5. Fluted cores 25 1.20
6. Irregularcores 149 7.27
7. Flakes 15 .07
8. Tablet 1 .004

5. Early Stone Age Tools fromthe Adamgarh

It was provedby the occurrenceof hand axes, cleaversand discoids,

particularly in thelatéritedepositswhichwereformedon theslopysidesofthe
hills in pockets,that the hillockof Adamgarhhas been inhabitedsincethe
lowerpalaeolithictimes.This processoflateritisation
was probablyan in situ
occurrence and tookplace longafterthe toolswerepreparedas happenedin
Orissaand othercoastal regionsof PeninsularIndia. It is evidentfromthe
styleand thesubjectmatterofthepaintings thatthelowerpalaeolithic
culture
has nothingto do withthe paintings.

6. The Age ofthePaintings

Gordon (1939) placed the Adamgarhrockpaintingsin theEarlyThird

Seriesand comparedsome of the elementslike the shieldwithapparently
similaronesat Ajanta and thusdated themfromca. 600 B. C. to 1000A. D.
I completelydisagreewiththisviewas wellas withthemethodofcomparison.
To compareAjantapaintings executedwithsuchperfectionand royalsupport
withthe tribalpaintingsof Adamgarhis fantasticand out of place. Without
goingintodogmaticdiscussions and takingwhattheactualevidenceprovides,
we can simplysay that the paintersof Adamgarhweretribalpeople who
paintedand recordedthevastscenesofthebattleswhichtheyprobablyfought,
and at thesametimetheyweretheauthorsofthemicroliths whichtheyused

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 ofAdamgarh
RockPaintings (CentralIndia) and theirAge 767

in theircompositetools.Whenthe microlithic culturecame in voguecannot

in
yetbe said,but it was in use as late as the 17th-18th centuryas provedby
thebottleglassmicroliths. Probablythedetailedstudyofthesuperimposition
ofthepaintingsmay throw some lightonthequestionwhichstylewaspractised
firstand whichone afterwards, but to date themexactlywillbe impossible.
It is notbeyondreason supposethatthesepaintingsin different
to styleswere
madeby thesamegroupofthetribaismanufacturing themicrolithicculture.

7. ComparisonwithRock Paintingsin South Africa,Rhodesia and Eastern Spain

As commentedbeforethereis suprisingly close resemblance between

the rockpaintingsof SouthAfrica,Rhodesiaand EasternSpain on the one
handandthoseofAustraliaontheother.Alsothebottleglassusedbytribaisin
thestoneage in Africaand Rhodesiaaftertheadventofthewhiteman adds
anotherparallelevidencetotheinteresting studyoftheprimitive rockpaintings
and theirexecuters.
In EasternSpain someofthe paintingsat Cogul(Breuil 1909),Alpera
(Breuil 1912), Barranco de Valltorta(Obermaier 1919), and Albarracin
(Breuil 1911)resemble theAdamgarhand Pachmarhirockpaintings consider-
ably. As a matter of facttheyalready have been compared with the similar
paintings of Bushmen of South Africa associated with Wiltonand Stillbay
culturecontainingbottleglass microliths.
In SouthernRhodesiathe MatopoHills paintingspresenta veryclose
similarity to the CentralIndian paintings.The line of a runningman, for
instance, a rockshelternear the "World'sView" (Jones 1949) showsre-
in
semblancewiththe running warriorsofthe Adamgarhin rocksheltersNo. 4
and No. 10.
Verywellillustrated bookson the subjectby Tongue (1909),Burkitt
(1928), Black and Stow (1930),Rosenthal and Goodwin(1953)and Breuil
(1955) show thatin South Africamanysimilarpaintingscan be sorted.
Beforeclosingthe account I must mentionBurkitt's narrationon
findingthe bottleglass microliths below the junctionof Modernand Riet
Riversin SouthAfricaand variedopinionson it: "Muchcontroversy has been
raisedas to whethercertainfragments of Europeanbottleglass whichare
foundon openupperSmithfield to be assignedto theSmith-
sitesare artificial
fieldculture.We collectednota fewsuchobjectsoftheleftbankjustbelowthe
junctionoftheModernand Riet Rivers."Weretheychippedby upperSmith-
fieldmen? Dr. Van Hoepen believedthemto be theresultofherdsofanimals
trampling overthem.But Burkitt ascribedthemto be actuallyassociated
withSmithfield industryand regardedthemas man-made(Burkitt 1928).
Thereis anotherinteresting accountofBushmenbuyingperfume bottles
fromthe Europeanmarket.It was foundthatto themit was the bottleand
nottheperfume whichwas important, sinceit proveda goodrawmaterialfor
making microliths (Clark 1959).

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768 A. P. KhATRI 59.1964
Anthropos

and Conclusion
Summary

1. In thispaperAdamgarhrocksheltersin CentralIndia are described

whichcontaingeometric microlithsonthefloorandpaintings ontheirwallsand
roofs.
2. The raw materialofthemicroliths is jasper,chalcedony,and bpttle
glass.The typology consists ofblades,triangles and trapezes,lunates,etc. No
pottery is found alongwith them.
3. The paintingsare executedin red and whiteand thefigures are sim-
plifiedand stylizedbut show vigour,vitality,and vividness.The common
imagesare battlescenes,huntings and different animals.
4. It is attempted to showthatthemicrolithic cultureand thepaintings
are associatedwitheach otherand thatthe authorsofbothwereancestorsof
the present-day tribais.On the basis of the occurrence of bottleglassmicro-
lithsand beads,it has beenshownthatthelate stoneage persisted in India in
isolatedpocketsevento ourtimes.
5. The paintingsofCentralIndia are comparedwithsimilarpaintings of
EasternSpain, SouthernRhodesia and South Africa.A parallelinstance of
the occurrence ofbottleglassin Stillbayand Wiltonculturesof SouthAfrica
and Rhodesiais quoted.

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 RockPaintings (CentralIndia) and theirAge
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