The Natural Rock Shelters at Bhimbetka lie at the foothills of the Vindhyan Mountain Ranges. These caves display paintings produced by primitive man from around the Acheulian to Historic Period (100000BP - 600 AD). The Archaeological UNESCO World Heritage Site is remotely located about 3 km inwards from NH 69.
The Entrance Landmark Cave
Bhimbetka was one of the secondary centres of agriculture and domestication globally during the Pre-historic times. The cave paintings depict many epochs in succession. Hence, serve as important landmarks in the advancement of human scientific & social abilities. The site is considered to have the world's oldest stone walls and floors.
One can observe gradual transformations of primitive, mostly agricultural & eventually trade, communities and technologies of the time. These inscriptions also eventually conceptualize individuality among the occupants of the shelters.
Some Cave Painting Themes:
Overall, the paintings in Bhimbetka have been categorized into 7 themes including: figures, scenes, mythology, material culture, nature, decoration & others. (Wakankar, 1975)
The Theme: An Artist and his Creation
The scene includes paintings of many animals & the artist's sign - a hand outlined (subtle line weight in the photograph) The artwork was possibly intended for a wider audience as it was depicted on a rock in an open space - Auditorium Rock. The handprint served as an 'identity' of the creator.
This painting is popularly called the 'Zoo Rock'
The Zoo Rock depicts a large variety of animal paintings mostly belonging to the Mesolithic Period as well as some from the Chalcolithic & Historic Period. It consists of 453 figures. The animals include - bull, cow, gaur, buffalo, deer, nilgai, chinkara, boar, dog, squirrel, tigers, lions, horses, elephants, goats, oxen, rodents and birds. The human figures include horsemen with shields, spears, swords, foot soldiers, drummers, hunters, women, boy and infant. (Ota, 2008)
It provides an overview of the socio-cultural life that existed during the above periods. The exhaustive record encompasses the animals that existed at the time of painting. It depicts an advancement in hunting technologies. It provides a broad overview of the social structure which probably was an autocracy or an army rule.
Human figures, Dancers & Animals
The animals are portrayed beautifully, almost in their natural form. The scene-setting is celebratory as it portrays many people dancing (human figures linearly composed) along with drummers. It also includes horse riders.
This painting is from the Historic Period. There are about 4 dark figures, the rest have faded traces. The figures include silhouettes of elephants with their riders, horsemen, soldiers and bulls. (Ota, 2008)
Silhouette of a Boar like animal attacking a person. There are about 2-3 people nearby.
Tribal War
The painting depicts a battle scene among three tribes from around the Historic Era. It comprises of soldiers, horsemen, elephant riders & men with axes.
Super-Impositions of Paintings express Transitioning Belief Systems & Lifestyles
Left: This is one of the richest clusters of rock paintings. The figures are depicted in dark purple red colour wearing variety of dresses, ornaments and headgear with long harpoons or barbed arrows & bows. (Wakankar,1975). It also consists of animal silhouettes, with cows depicted as the largest of the lot.
Right: Paintings from the Historic Period. This includes armour clad soldiers, cavaliers, fowls, scorpions, centipedes, horse riders, fat woman, horses, panthers, chicks, old woman, flowers, elephant riders, archers, dancers, dog, swamp deer, sun pattern, finger tip dots and few more patterns (Ota, 2008)
Architectural Features:
The caves are natural, geological formations. However, the transition of spaces within these is experienced as though they are moulded through movements, functions and contrived cave formations that enable climate adaptiveness. One can even observe concepts of sheltered spaces and viewing decks. This expresses possibilities of human intervention within the natural landscape.
'Auditorium Rock'
The cave opening spatializes for an audience (right). It forms a narrow path through an archway terminating at a spillover, a few metres beyond it. This space is brightly lit by natural daylight. This rock formation is called 'Auditorium Rock'. This space invokes a feeling similar to standing at an open art gallery
Series of Archways
The archways within the caves guide movement and provide a fascinating natural architectural element. These have varied proportions - with high as well as human-scale ceilings. Its width defines its capacity to hold people. The rightmost archway holds a slightly 'scooped out' appearance - which could be used as a seating space within the shaded area.
Cave Shelters at upper levels. Window-like openings (right)
The shelters possibly served as safe space at higher levels, away from the animals. This provides evidence of floors by the arrangement of slabs and boulders. Many of these 'units' also consist of paintings on the inner walls and ceilings. These paintings reflected individual interests like activities and records specific to a smaller group. Depending on the artwork, it is easy to understand the socio-cultural hierarchical networks that existed during the time.
Turtle Rock
An interesting natural landmark close to the site includes a turtle-shaped rock (left). It is located on slightly higher ground. The image on the right indicates a natural pathway that leads to this landmark.
Seating areas Carved within Cave Rocks. In Frame L to R: Namrata, Soumya, Sanjana & Aditi
Built form elements tracing back to the Early Historic Period
Bhimbetka is situated within a region that holds many Buddhist Sites. Construction remains from this early historical period include dressed stone arrangements. Pictured above are brickwork remains from the Sunga Period, about 2nd Century BC. Construction work & Architectural elements from a similar time period have also been observed in the neighbouring areas.
It is said that the socio-cultural influences from Bhimbetka ( such as art, architecture, religion, pastoral lifestyle, attire and social hierarchies) can strongly be observed within the tribal settlements in the villages nearby. Some of these tribes include the Gonds, the Pradhans and the Korkus. The Bhimbetka cave paintings serve as integral archaeological resources that enable reconstruction of ways of life, socio-cultural & spatial aspects as well as the subsistence patterns of the inhabitants in the region that have continued through time.
Bibliography & Resources:
Limited, D. K., Staff, D. K. P., Dorling Kindersley (Firme)., & Snow, P. (2018). History of the World: Map by Map. Dorling Kindersley Limited.
A Proposal for nomination for inclusion in the UNESCO World Heritage List.Rock Shelters of Bhimbhetka: Continuity through Antiquity, Art & Environment. The Archaeological Survey of India. July 2003.
Archaeological Explorations in Izeh & Bhimbhetka Regions. Neda Hossein Tehrani.
Kalyan Kumar Chakravarty; Robert G. Bednarik. Indian Rock Art and Its Global Context. Motilal Banarsidass. p. 29
*Photos have been sourced through self.
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