CIKS Fellow Ankita is on a mission to create new digital art which blend indigenous traditions and stories with different Indian tribal art styles- all to tell visual stories afresh. Explore her journey of re-creating the Harappan Bull seal in the Sohrai art style from Jharkhand.
Creative blog and Art by Ankita K, a digital artist and a summer fellow at CIKS.
Rummaging into the past, we find that the earliest forms of mural art in India were prominently showcased on cave walls, such as those found in the Bhimbetka rock shelters in Madhya Pradesh and the Ajanta Ellora caves in Maharashtra, which exist till date. Moreover, an estimated dating of the Sohrai art from the Isco Rock Shelters in Hazaribagh, Jharkhand, further underscores its historical significance. This art form appears to date back to the Chalcolithic period in prehistory, thus highlighting its primal origins.
This makes us ponder as to what exactly stimulated them to explore art, and why in the nomadic phase of human life?
Initially, this might have been a result of circumstantial coincidences born out of boredom and exploration that eventually led them to stumble upon artistic creation. This practice alone resulted in a major breakthrough in deciphering ancient societies. Interestingly, the mural paintings were heavily dominated by human motifs linking to forager band or hunter-gatherer communities. Representation of animal motifs additionally indicated the practice of domestication. This reflects that their art was not solely confined to realising aesthetic standards but to provide a sneak peak into their thought-processes, religious sentiments, archaic beliefs and people's daily lives. While for some, art seemed to have been a medium to converse, there were others who did it for the love of art. People who breathed art, gathered inspiration from nature and brought them to life through their seamless twig-created brush strokes.
Presently, such artistically driven indigenous communities sparsely remain to practice those art forms. With diminishing interest and lack of exposure, the community painters have resorted to meager jobs, often for little pay. However, there still exists a rare proportion of indigenous tribes who have continued to ascertain their presence by sticking to their long-held artistic heritage.
Insightful References Of The Humped Bull Seal
Harappan civilization is marked by an age of settled lifestyle that progressed towards art cultivation in varied forms: sculpture, seal, pottery, terracotta figurines. One of the major findings involve the Mohenjodaro humped bull seal that laid emphasis on the prominence of a bull in Indian civilisation. This gave rise to diverse decipherable perspectives. First, the bull's massive anatomical structure- the finely carved body exudes a hint of grandeur and is more often perceived as the bull being a leader of a clan or a high-rank official. The relief depiction reflects vigour and chivalry, acting as a shield to protect its herdsmen. Second, sacrificial animal/procreation- the possibility of a zebu bull being a symbol of sacrifice or fertility was one of the interpretations given by the American archaeologist J. Mark Kenoyer.
If we look at Indian sources, ancient Indian texts, like the Atharva Veda (a branch of which also gave Indians Ayurveda- the science of a long and healthy life), highlight the zebu bull as a symbol of prosperity and sustenance. Vedic deities such as Indra, Agni, Varuna, and Soma are frequently compared to cattle in hymns, representing qualities like valour, strength, and aggression. Nandi, the mythological bull is present in theIndian Puranas, and continues to be an integral part of Indian temples, old and new. The Puranas reflect upon Nandi’s varied attributes. Also called Nandikesavara, the bull is eminently positioned as Shiva’s most trusted vahana (vehicle), his chief attendant, a learned sage and a personification of Dharma himself. In temples, he is the true grantor of wishes, and you will often witness children whispering all their desires in Nandi's ears to seek his help in making them come true.
Sohrai Art: The Generational Transfer of Artistic Possessions
Jharkhand, known for its meandering terrain and mineral depositories, backs a vast array of 32 indigenous communities that together take pride in their glorious heritage transcending through generations. These tribal communities are the bearers of old-age tradition, making Jharkhand a seat for folktales and folk art traditions.
Several legends and endearing stories have passed down to us from antiquity, some we lost on the way while some retained and remolded themselves to fit in the contemporary world. One of them is Sohrai art, which has disseminated values, traditions and matriarchal sentiments of relevance in prodigious amounts.
A practice once so common, is found on the outer muddy walls of every home in Jharkhand. Animal and plant motifs, geometrical patterns were common occurrences. Human-like figures at times accompanied the Pashupati figure as well. These elements of portrayal often replicated themes embodying the mother-child duo and gestation.
The etymological dissection conveys the origin of the term Sohrai- “Soroi” meaning to whip with a stick, a clear indication of cattle domestication. Hence, is mostly seen practicing before the sowing season and after the monsoons. The reliance on natural entities among these communities transcends mere daily necessities, extending significantly into their artistic expressions. Even before the availability of the straight from the tube paints, these people prepared organic colour formulations. Drawn from nature's abundant resources, the following are the distinct sources for the colours utilized:
Kaolin for white (dudhi mitti): A type of white clay rich in the mineral kaolinite.
Iron ore for red: This is processed into iron oxide pigments yielding multiple gradients.
Manganese-enriched soil for black (gerua): The unique chemical properties of manganese allow for a rich, durable black that has been utilized in both ancient and contemporary artistic practices.
Hills for Ochre yellow: These minerals are rich in iron oxide, which, when processed, results in a vibrant ochre yellow colour.
As far as brushes are concerned, these were crafted from the chewing twig leftovers.
An Intersection Of Mohenjodaro Bull Seal And Sohrai Art: The Journey
As a historical researcher and illustrator, the core idea behind this creation is to amalgamate elements of Sohrai and Harappan art traditions into a unified and coherent output, thereby providing these rich artistic legacies with a new lease on life and enhancing their visibility within the broader digital landscape.
The artistic journey began with a thorough exploration of available resources, culminating in the creation of a moodboard. The true challenge lay in capturing the precise essence of the figures. In historical art recreation, it is crucial to uphold the integrity of the original work, avoiding any alterations or compromises- while making space for new creative expression.
The next step was to be able to articulate my thought process to be able to envision my art and replicate the idea onto the digital form. This involved several back-to-back revisions until I came up with the final result. Here is a preliminary bull-sketch before the final version was created.
An artistic composition has many elements which when placed together create an interesting artwork. My focus shifted towards creating an archaic border design that could take my viewers back in time, using Sohrai motifs. The inspiration for this segment was derived from the Indus seal.
The beautifying elements behind the bull’s body structure have been taken from Sohra which is extensively rich in geometric patterns and shapes. These constitutive elements give the artwork a Sohrai flavour- complete with the lines and shapes used in the traditional art-form.
Finally, the entire illustration is bound by the five chosen hues from the traditional Sohrai colour palette. This uniformity in colour composition brings a sense of togetherness and cohesion, enhancing the overall harmony and depth of the seal.
Digital Intervention Redefining The Art Pedagogy
The era of digitization has accelerated mobility in terms of creating, sharing, and experiencing art. There’s a whole community out there intending to revive the long-lost art forms and exploring possibilities to reach out to mass audiences. In pedagogical context, this massive reachability thrives the chances of reconnecting with the local genres of art.
Folk art such as Sohrai could ascertain its presence through digital means and is even being utilized in recreating scenes from the historical epochs. This not only ensures its survival and also makes room for reinterpretation and appreciation in contemporary contexts.
This blog has been created as part of the CIKS Summer Fellowship 2024. Each fellow will share a series of blog posts summarizing their projects from the fellowship. Keep an eye out for the exciting work the fellows are doing.
Meet the creator: Ankita
Ankita is passionate about art and history, and explores these through travelling. Her inquisitive traits to know more eventually led her to pursue a B.A. and M.A. in Ancient Indian History and Culture & Archaeology, profoundly shaping her thought process along the way. She aspires to enrich her Indian heritage through the intricate art of illustration. Her aim is to closely examine and study Jharkhand’s indigenous art forms to critically observe perspectives, cultures, dominant narratives, and stereotypes through their motif and theme representations.
Note: All images in this blog have been created by the author, and may not be used/reproduced without permission.