Author(s): Mukesh Kumar Rathia, Arun Kumar

Email(s): mukeshrathia25@gmail.com , arunsabhlok1953@gmail.com

DOI: 10.52711/2321-581X.2024.00008   

Address: Mukesh Kumar Rathia1, Arun Kumar2
1Technical Assistant, School of Studies in Anthropology, Pt. Ravishankar shukla University, Raipur CG.
2Professor (Retd.), School of Studies in Anthropology, Pt. Ravishankar shukla University, Raipur CG.
*Corresponding Author

Published In:   Volume - 15,      Issue - 2,     Year - 2024


ABSTRACT:
The Raigarh district is a home for various tribal groups, such as, Kanwars, Oraon, Gonds, Majhi and Birhors. The research paper focuses on traditional Tattoo art as practiced by various tribal groups of the region. The tribal perceive tattooing as a permanent identification mark which accompanies a person to next life. It is considered vital for the young tribal girls to have tattooing before their marriage. it is also believed to have healing effect. Diversified motifs of tribal art include human figures (dancing scenes, palms and soles), animal figures, plant figures, natural scenes along with non-geometric and geometric designs. Relatively greater concentration of motifs is observed on walls and floors of worshiping places. These motifs are expression of their cultural beliefs system related to their clan Gods, rituals, magic, mythology and folklores Some of tattoo motifs, such as, Symbolic human figures, animals figures (Scorpion, Centipedes, Sparrows), Plant figures (leaves, Creeper, Flowers) exhibit broad similarities to those of ancient rock art of the region. These ethnographic parallels provide useful clues for reconstructing life ways of ancient communities. Tribal groups, by and large, have been living in their homeland since remote past. While impact of interactions with non-tribal communities in recent past has brought some changes in their traditional occupation, food, dress etc., there is virtually no change in case of their magico religious practices, beliefs in clan Gods, mythology and folklore. Thus, it may be hypothesized that motifs observed in the tribal art have been playing cultural role related to their magico-religious practices, clan Gods, folklores and mythology, since the time their remote ancestors were occupying rock shelters.


Cite this article:
Mukesh Kumar Rathia, Arun Kumar. Social-cultural Significance of Similar Motifs of The Raigarh District, Chhattisgarh: Tattoo Art Vs Ancient Rock Art. Research Journal of Engineering and Technology. 2024; 15(2):52-8. doi: 10.52711/2321-581X.2024.00008

Cite(Electronic):
Mukesh Kumar Rathia, Arun Kumar. Social-cultural Significance of Similar Motifs of The Raigarh District, Chhattisgarh: Tattoo Art Vs Ancient Rock Art. Research Journal of Engineering and Technology. 2024; 15(2):52-8. doi: 10.52711/2321-581X.2024.00008   Available on: https://ijersonline.org/AbstractView.aspx?PID=2024-15-2-2


REFERENCES:
1.    Anderson, C. W. (1918). Rock paintings in Singanpur. Journal of Bihar and Orissa Research Society, 4(2), 298-306.
2.    Badam, G.,S.K.Bajpai and K. K. Chakravarty, 2009, Madhya Bharat ki Shail-Chitrakala, B.R. Publishing Corporation, 425, Nimri Colony, Ashok Vihar Phase-IV, Delhi-110052.
3.    Baghel, Y.A., and Patil, G. (2022), Achanakmar-Amarkantak Biosphere Reserve: Development and traditional knowledge of Baiga.
4.    Bandhu, S., Singh, N.K., Sharma, V.N., (2024), A Study of the Baiga Women’s Tradition of Tattoos, Modernization of this Art, and Situation of Tattoo Industry in India.International Journal for Multidisciplinary Research, 6 (3), May-June 2024.p 1-11
5.    Chakravarty, K.K. (Ed.) (1984). Rock Art of India. New Delhi: Arnold Heinemann.
6.    Gordon, D.H.(1939). Rock Paintings of Kabrapahar, Raigarh State. Science and Culture, 5.
7.    Gordon, D.H., Prehistoric Background of Indian Culture, M. D. Desai and Bhulabhai Memorial Institute, Bombay, pp. 100-106.p. 109.
8.    Gupta, J.(1965).Pre-historic Art of India, Allahabad.
9.    Gupta, J.,1967, Bhartiya Pragaitihasik Chitrakala, National Publishing House, Jawahar Nagar, Delhi-71.
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11.    Jonson, A.- Tattoo in Forensic Science : An Indian Perspective.
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13.    Misra, V. N., Mathpal, Y.  and Nagar, M.(1977).Bhimbetka: Prehistoric Man and his Art in Central India. Pune: Deccan College.
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