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Zoomorphic Images of Groech in the Context of Paleoart Problems

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Introduction

Sistan-Baluchistan province is located in South-East of Iran, and it holds more than than 11% of total area of the country and is the largest province in Iran. Its area is 187502 foursquare kilometers in which 179385 foursquare kilometers is belonged to Baluchistan, it is bordered by S Khorasan from the Due north, from the Westward by Kerman and Hormozgan, from the South by Oman Body of water and from the East by Afghanistan and Pakistan ( Noori, 2010: half-dozen ). Saravan city is in the far Eastern role of Sistan-Baluchistan province, information technology is most 23880 square kilometers ( leaflet of Saravan, 2000: ane ) with a rich historical background (fig. ane). Iranian Baluchistan is a large extensive expanse and its ecological diversity is noticeable. Information technology has been homeland of different generation of rich cultures since the remote past.

Figure 1

The first significant archaeological research in the region was done by Sir Aurel Stein during early 1930s. His efforts focused on the Bampur valley where he recorded numerous sites and conducted a few excavations. Stein enquiry demonstrated that Baluchistan has been inhabited by people who had cultural affiliation with those in western Islamic republic of iran. ( Stein, 1937: 105 )

In 1966 Beatrice de Cardi conducted limited excavations at Bampur to clarify the region'due south prehistoric sequences. These excavations revealed sequence which remains the bones reference for the prehistory of Iranian Baluchistan ( De Cardi, 1966 ). According to her in 3rd millennium B.C in that location was cultural relation between the region with India, Transitional islamic state of afghanistan and Western farsi Gulf region ( De Cardi, 1970: 237 ).

Gary. W. Hume ( 1976 ) surveyed the Sarhad region in 1966–1967 looking especially for Paleolithic sites and discovered afterwards prehistoric sites. The pottery from these sites was studied by Judith. T. Marucheck ( 1979 ) who later conducted a systematic archaeological investigation of that region. Baluchistan may accept been inhabited commencement during Pleistocene as proposed by Hume based on the Paleolithic sites found in Ladiz valley and discovery of Ladizian tools ( Hume, 1976 ). The only other archaeological research completed to appointment was Maurizio Tosi's report of Damin grave goods in 1970 ( Tosi, 1970 ). After these archaeological research in the region many sites were discovered in Baluchistan simply despite the wealth of the sites there has been very piffling and express work done in some areas, like Konarak, Gosht, Espidez, Nikshahr and Qasr-e-Qand. In 2002 and 2006 Mortazavi conducted systematic surveys on Damin and Bampur river and discovered many Bronz Historic period sites which revealed that the two areas in Bampur valley functioned as intermediaries between important sites in the Indus valley, Oman, Shahr-i-sokhte and Iranian Plateau ( Mortazavi, 2006 , 2010 ).

Baluchistan is a region whose archaeological potential should be recognized. It seeks intendance, attending and systematic report. In this paper it is intended to introduce rock art of Saravan which is one of the most precious relics in Baluchistan.

Rock art

Rock fine art occurs throughout the world. The man inclination to leave drawings painted and scratched on enduring surfaces extends far back in to prehistory ( Gerald, 1983: 84 ). Rock art is i of the richest cultural resources in the world which depicts the earliest expressions of human beliefs and ideas ( Sonawane, 1999: xv ). Rock art is a form of visual non-exact communication ( Fossati, 1990: 24 ). Information technology is broadly divided into two categories: (a) pictograph or the pigmented fine art (b) petrography or extractive art ( Sadasiba, 2001: 1 ). In Baluchistan both pictograph and petroglyphs have been identified in great numbers. In this newspaper the painting and engravings occurrences in the following different surface area are considered:

  1. Pictograph of Pir-e-Gooran
  2. Petroglyphs in Negaran valley
  3. Petroglyphs in Kandig valley
  4. Petroglyphs in Shir o Palangan valley
  5. Petroglyphs in Dronezg valley
  6. Petroglyphs in Darsavat valley

Pir-due east-Gooran (Nahook)

Nahook village is located to 35 km North-East of Saravan. The primary river is Nahook, streaming from Moorpish Mountain and flowing to Hamoon eastward Mashkid in Pakistan. Agriculture and brute husbandry is the main activities in the surface area, and economical life is based on subterranean system ( Scheme and Budget System, 1990: 6–7 ). Pictograph of Pir eastward Gooran is depicted on a low mountain facing to the South of the village and its palm gardens (fig. 2). The depicted images are symbolic and include some found shape motifs which resemble cartoon of chalcolithic pottery found in Indus Valley and Bampur which are considered as palm trees. The rock bears a circle motif in the eye which might be representation of the sunday. The symbol of the sun has been found in most all ancient culture of the world and lord's day motif on ancient ceramic proves that the sun accepted past the people from the earliest fourth dimension equally something supreme to be worshiped and venerated ( Satyawadi, 1994: 137 ). Sunday worship started as far back as the Neolithic times. Maringer ( 1960 ) pointed out that the solar system is fairly common in Neolithic fourth dimension. The worship of the sun is based on the concept of the natural miracle as a source of lite warmth and fertility ( Satyawadi, 1994: 39 ). In that location are variety of the sunday motifs observed on ceramics of Indus Valley and Bampur.

Figure 2

Just below the circle image in that location are two symbols which are surrounded past a curved line on the top, and on the correct side there is a motif which is alike to an abstract image of an eagle, with the head turned to the left and open wings. Hawkeye is considered as a symbol of elevation, of the sprit every bit the dominicus and of the spiritual principle in general. The eagle is a bird living in the full light of the sun and it is therefore considered to be luminous in its essence. It is identified with the sun and with the idea of male activeness which fertilize female nature. The eagle as well symbolizes the male parent, and according to Vedic tradition it is as well important as a messenger being the bearer of the Soma from Indra ( Cirlot, 1985: 91 ).

Among the painted images of this console there is another palm leaf motif with dropping leaves which is similar to the chalcolithic pottery design institute in Daimabad India ( Datta, 2000: 148 ).

There are two Tridents in this panel, i at the left bottom of the stone and one faded trident on the top and in the right corner of the painted scene. The trident is a symbol familiar to many ancient cultures, this symbol beginning appears on clay seals form Mesopotamia and the ancient Harappan civilization of the Indus Valley, where information technology possibly arose equally an early symbol of Shiva ( Beer, 2003: 130 ). Trident is also a symbol for the tree of life ( Vries, 1974: 475 ).

These signs and symbols certainly had a meaning for their creators, they might have been painted for some kind of social and religious rituals but understanding the meaning of these images requires scientific and systematic studies. At that place has not been any protection for this painting and merely above the stone there is a water tank construction. It had been besides eroded by natural factors in form of fourth dimension and unprotected from directly sunlight and other subversive agents of weathering. Images are getting faded and some are barely visible, some parts of rock is cleaved and collapsed, therefore proper preservation is needed.

Negaran valley

Negaran valley one of the beautiful valleys of Siahan Mountain is near 70km from Saravan and is located at the end of floodplain of Sardasht, around 36km from Nahook village. A rough road is just route to reach Negaran valley. Forth the way in Sardasht plain there are many boulders and rocks with depicted images of homo and animals like ibex, camel, wolf, dog, fox and the gazelle which at present has been extinct from the region. Negaran ways a place total of depicted images and as the proper name implies, at that place are great variety of drawing in this area and due to rich source of nutrient and water it would accept been a skilful living and hunting identify for the people who lived at that place.

The images in this place are varied and include Anthropomorphic, Zoomorphic and geometric figures.

Anthropomorphic images

Human figures in dissimilar postures, on foot, riding the horse, fighting, hunting, naked or with clothes, and some humanlike images with horn and tail are depicted.

Zoomorphic images consist of wild and domesticated animals like ibex, wolf, wild ass, buffalo, gazelle, pull a fast one on, snake, domestic dog, horse, camel, panther, also there are dots and spiral images.

There are many fighting scenes among the depictions of Negaran valley. In ane boulder composition of the scene shows an invasion and human being figures with bow and arrow attacking horsemen. In this panel an ibex with exaggerated horns is depicted and on the right corner of the rock at that place are sixteen dots in an ordered manner with some sort of schematic uniformity in their representation (fig. 3).

Effigy 3

Other scene is depicting some naked men with big ears fighting with bows and arrows and on the right side of the rock there are many dots or shallow cup marks which are created by hammering (fig. 4). According to Bednarik ( 2000 ) cup marks or cupules are cup-shaped hemispherical petroglyphs. They are probably the nigh common grade of stone fine art in the world and they can be establish in the very early on and archaic traditions but also in recent ones. He also stated the role of cupules was often though certainly not ever ceremonial or symbolic ( Bednarik, 2000: 37 ).

Figure iv

Co-ordinate to Pande ( 1971 ) the bow appears to be of the simple segment type so usually used in Neolithic times ( Pande, 1971: 136 ). In some fighting scene fighters are represented with spear or sword and shield (fig. 5). In some other huge bedrock at the meridian of nearly 5m from the ground level in that location are depictions of fighters, hunters accompanied by dogs and images of wild animals (fig. 6).

Figure 5

Effigy 6

The fighting is between individuals and groups of horsemen and trace of shooting is showed by some lines. At the right side of the panel a horseman is shooting a leopard and another hunter is aiming an ibex (fig. 7) .On the top of the panel there are ii symbolic motifs alike Swastika with three arms. Similar images are establish in Edakal cave in south India which are considered equally sun and fire symbols (Fawcett, 1901: 413). Swastika symbol is to exist institute in almost every ancient and primitive cult all over the world. During the Iron Age information technology represented the supreme deity ( Cirlot, 1985: 323 ). The Swastika is commonly found on Mesopotamian ceramics every bit evidenced from Halaf pottery and Iranian pottery from Sialk II and Sialk Iii, Susa I, Bakun, Bampur and Kurab ( Satyawadi, 1994: threescore ). It is said that if it is depicted in clockwise manner it means: increase, growth, the vernal sun, lucky and white magic, and if it is in counter clockwise it shows decay, darkness, and death, the autumnal sun and blackness magic ( Vries, 1974: 451 ). In this boulder also there is an oval shape image with a thick line cut it in the middle. Amidst the depicted images of this console in that location are buffalos, ibexes, dog and a humped back beast which seems to exist a camel with outsized organ of generation, and some scattered dots bellow its legs (fig. eight).

Figure vii

Figure eight

In that location are also many isolated images in this region including:

  1. A naked man raised hands over his caput and exaggerated caput in length.
  2. Another figure is a man with hands out-stretched, fingers are autonomously and big (fig. nine).
  3. Another bedrock begetting faded human figures and according to their body movement, raised i hand and other hand is down, it seems they are dancing, with clusters of hammering dots in a higher place them (fig. 10).
  4. There are images with human and creature character with horn, tail and humped back (fig. 11).
  5. There is engraving of two humanlike figures which are moving towards a wild ass.
  6. In another rock there is an anthropomorphic figure similar to one stone engraving image from Afualligskop, Orange state in Africa (fig. 12) with horn, tail and an outsized generative organ (fig. xiii).
  7. There are images of wild ass, camel, horse and ibex with exaggerated horns and antelopes.

Figure nine

Figure 10

Effigy 11

Figure 12

Figure 13

According to Veena Datta ( 2000 ) antelopes were a favorite subject of Chalcolithic period be information technology in Iran or Indus valley civilisation ( Datta, 2000: 92 ). The ibex motifs take considerable similarities with the motifs depicted on the Chalcolithic potteries and is seen at Susa I in Iran and Mehargarh 3 in Indus valley region and a little afterwards in East Islamic republic of iran and North Baluchistan ( Satyawadi, 1994: 149 ). It is believed that horn is symbol of strength and power ( Cirlot, 1985: 151 ).

Another interesting paradigm is a spiral engraving which might stand for a serpent (fig. fourteen). It is said that the ophidian is considered as a symbol of obedience and symbolizes rain, hence fertility. Snakes are guardians of springs of life and immortality and also of those superior riches of the sprit that are symbolized by hidden treasure ( Cirlot, 1985: 286 ).

Figure 14

Co-ordinate to subject matters of Negaran valley rock arts, it seems there have been invasions in this region and at that place might have been conflicts for domination of territory between local people and invaders. Due to natural factors and manmade vandalism the petroglyphs accept suffered many amercement.

Kandig

Kandig valley is virtually 9km on route from Saravan. In Baluchi language Kandig means carved and carving. The petroglyphs in this area are varied and include hunting scenes, beast and human being figures in dissimilar postures. 1 of the interesting images in this place is an anthropomorphic picture with horn and a vigorous pose with out- stretched arms and wide open up legs and on the right side there are two humans showing in motion and a naked male person bellow those figures. After near 20 minutes walk and at the finish of Kandig valley nosotros enter Shir o palangan valley with rocks bearing depicted images of animals and man figures sometimes naked with small-scale head and potent arms in a vigorous pose (fig. 15).

Effigy 15

Dronezg

Dronezg is 15km from Saravan metropolis. Anthropomorphic, Zoomorphic and geometric motifs are depicted images found in this expanse. At the height of almost 6 meter on a stone panel there are faded images of ibexes with exaggerated horns and a big circle motif which might correspond the sunday (fig. 16). In that location are representation of sun and ibex in different parts of the world, on the potsherds of Harappan period the sun motif is found to a higher place and around the animals in Rehmandheri II and Rehmandheri 3, Mehargarh, Harappan, Kot diji, Chanhudaro I, Hissar 1B and within the curve of the horns of an animal at Susa I. The lord's day also appears above at the dorsum of the animals on Halaf pottery at Arpichiyah in Mesopotamia ( Satyawadi, 1994: 115 ). Another interesting image in this bedrock is a square which is divided into nine portions (fig. 17) and a naked male person with curved arms is observed on the left.

Effigy 16

Figure 17

Darsavat

Darsavat is another valley in Siahan Mount and located in 18km Northward-West of Saravan. There are depicted images of camel, ibex, dog, wolf, horse and human figures all over the valley but hand engravings are the most eye communicable images in this area (fig. 18). Mitt prints and stencils are widespread images of every continent. They occur in Africa, America, Asia, Australia and Europe. It is said that the hand print has been used equally a medium to make a connectedness between the present globe and the super natural earth and the rock surface works every bit a membrane between ii worlds ( Clottes & Williams, 1998: 96 ).

Figure eighteen

Interpretation of Rock Art

Equally Sonawane ( 2008 ) pointed out there is no universally standard method for interpretation of rock art, subjectively is always present leading speculative identification and interpretations ( Sonawane, 2008: 11 ). Emmanuel Anati ( 1993 ) says perhaps drawings and rock carvings prior to the invention of alphabets constitute languages with its ain grammer and syntax. Stone fine art is a sort of pictographic writing which constitutes humanity's largest and most significant archive of its history for forty,000 years till the appearance of conventional modern ideographic and then alphabetic writing ( Anati, 1993: 2 ).

The evolutionary emergence of writing from stone art images was besides advocated by Majeed Khan who supposed that an evolution took place in Saudi Arabia from man and fauna figures in naturalistic style to schematized human and brute figures then to stick man and animal representations and finally to alphabetic letters ( Quellec, 2006: 166 ).

Andre Leroi-Gourhan (1982) thinks this art is religious and says whether pre historians take or deny the magic or religious character of the designs or their deliberate or fortuitous placing in dissimilar parts of subterranean systems. All authors notice themselves very by and large agreeing that the images in the caves were the framework for an ideology which is expressed in symbols associated with fertility and hunt (Gourhan, 1982: eight). For the purpose of depicting rock images shamanism was proposed by Lewis William ( Clottes & Williams, 1998 ).

There is no doubt there has been a motivation backside creating these images, merely we should be very cautious while interpreting rock arts and I recollect in that location is still a long manner to go for understanding significant meaning of these images.

Dating of rock arts

Although it is hard to constitute an exact age of the rock art they can be dated past 2 methods:

  1. Relative dating techniques
  2. Absolute dating techniques

As it was mentioned earlier, in Baluchistan no scientific and archaeological exploration has been carried out at rock art sites therefore information technology is hard to appointment them precisely merely co-ordinate to the subject matter, style and context they can be dated from prehistoric flow to Islamic era.

Conservation and protection of rock arts and deduction

Rock art is one of the most fragile resources of cultural holding ( Seglie, 2000: 82 ) and conservation of rock art should be taken seriously before they are lost forever. Due to natural factors and man interferences the disuse of evidences of rock art is inevitable ( Chakraverty, 1999: 46 ). But to protect the stone art every bit B. B. Lal ( 1999 ) suggested detailed documentation for recording all significant features of stone art is required ( Lal, 1999: 36 ). Protection of rock art sites is itself an of import task and proper conservation through technical bailiwick is most essential ( Sonawane, 1999: 16 ).

Rock arts of Baluchistan are exposed to the danger of getting damaged either by human or natural agencies. This paper is a preliminary attempt to precisely document some of these stone arts of the Saravan which otherwise might fade out unnoticed and unrecorded.

References

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  2. Bednarik, R. G. (2000). Early prtroglyphs and their global context.Purakala, : 37–41. xi–12.

  3. Beer, Robert . (2003).The Hand Book of Tibetan Buddhist Symbols. Chicago: Serindia Publication.

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  6. Clottes, J. and Lewis Williams, J. D. (1998).The Shamans of Prehistory: Trance and Magic in Painted Caves, New York:

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  10. Fossati, Angelo; Taffe, Ludwig; Simoes De Abreu, Mila . (1990). Rupestrian Archaeology, Techniques and Terminology, A Methodological Arroyo: Petroglyphs In:Ricerche Archaeologiche. Italy: Tomo I. Valcamonica. 1

  11. Gerald, A. Smith . (1983). Geoglyphs, Stone Alignments and Basis Figures In:Ancient Images on Stone Rock Art of California. Los Angeles: Institute of Archaeology.

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  14. Maringer, Johannes . (1960).The Gods of Prehistoric Homo. London: Weidenfeld & Nicolson.

  15. Maruchek, J. T. (1979). Urban Sites and Mobile Settlement Patterns: a Survey of an Unknown Corner of Baluchestan. 

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  17. Mortazavi, M. and Mosapour Negari, Friba (2010). By and Present: Human-Environment Interaction in The Bampur Valley.Ancient Asia 2: vii–13, DOI: https://doi.org/ten.5334/aa.10202

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  19. Pande, B. Thousand. (1971). Neolithic Hunting Scene on a Stone Slab From Burzahom, Kashmir.Asian Perspective 14: 134–138.

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  23. Scheme and Budget Organization, Sistan-Baluchestan Zahedan. Project of Rural Services, Saravan (in Persian). 

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  25. Sonawane, 5. H. (1999). Conservation, Preservation and Maintenance of Rock Art In:Conservation of Rock Fine art. New Delhi: Indra Gandhi National Center for Arts, pp. 15–21.

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