Rock Art of Bhimbethka

Bhimbethka is a place of great natural beauty. It has giant sandstone rocks, sculpted into hollows, crests, platforms and curls by the wind, rain and water. These are story-telling rocks, whispering their tales through the art of early humans. It is one of the most fascinating places that I have visited.

I had read about the rock-art of Bhimbethka about fifteen years ago and had immediately decided that one day I was going to visit this place. However, as often happens, life has its own compulsions and thus, I had almost forgotten about it.

A visit to the rock-art site in south-west Mozambique at Chinhampere a few years ago, had touched me deeply and had reminded me about my desire to visit Bhimbethka. Finally, a few months ago I visited it. If you are interested in human evolution and rock art of ancient humans, you will love Bhimbethka. It is located in Madhya Pradesh in the central part of India.

Rock-shelters of Bhimbetka are a World Heritage Monument of UNESCO.

DISCOVERY OF BHIMBETHKA

The rock shelters of Bhimbethka were discovered by V. S. Wakankar in 1957. Wakankar, while passing near Bhimbethka in train was struck by the curiously shaped rocks at the top of the hill and decided to stop and visit them.

This area is 600 metres above sea level and about 100 metres above the surrounding plains of Betwa river. Here the rock shelters used by prehistoric humans are scattered over a large area spread over five different hills – Bhineka, Bhonravli, Lakhajwar est, Lakhajwar west and Bhimbethka. All together there are 243 rock shelters, out of which 133 rock-shelters have rock-art. The whole area is part of Ratapani wildlife protected area.

Only 15 rock-shelters of Bhimbethka hill are open to public.

Bhimbethka is at one hour drive from Bhopal. You can hire a taxi to visit it. If you prefer public transport, state buses can drop you at about two and half kilometres from the caves.

EARLY HUMANS IN INDIA

In his wonderful book “Indica: A Deep Natural History of The Indian Subcontinent”, Pranay Lal writes that the progenitor of Anthropoids (monkeys, apes and hominins) developed in Asia and from there spread to Africa and other parts of the world. The first human progenitor Homo habilis evolved in Africa. The standing hominid, Homo erectus arrived about 2 million years ago and then over a short period of time spread into different parts of the world including India, China and Indonesia.

Standing posture of Homo erectus resulted in anatomical changes in pelvis which affected child-birth and children being born without fully developed brains, which created social needs for ancient humans to help each other and to live in communities. They learned to use fire, could make sounds for communication and made stone tools (Acheulean stone tools). Erectus arrived in India around 1.5 million years ago. Some of big sites of Acheulean tools of Erectus in India have been found around Siwalik hills.

The first modern man, Homo sapiens evolved in East Africa around 190,000 years ago. They left Africa around 75,000 years ago and spread in different directions including some who arrived in India. For some time, Erectus and Sapiens cohabited, then Erectus gradually faded away and only Sapiens remained. There were different sub-species of Sapiens including Neanderthals. The present day humans are Homo sapiens sapiens.

ANCIENT HUMANS IN BHIMBETHKA

The rocks of Bhimbethka are formed of sand-stone (orthoquartzite), which have been modelled by the natural forces into different shapes, which provided shelters to early humans. They are not caves and therefore called rock-shelters. Some of them are very big, more than 20 metres high.

Not very far from Bhimbethka is a tribal village, which shows the continuity of human traditions in this area.

The rock-shelters open to the tourists are located on a hill and are numbered from 1 to 15. The path between the different shelters has been paved and covers around one and half kilometres. The oldest signs of humans in these rock-shelters go back to around 100,000 years while the most recent signs belong to medieval period.

Archaeological excavations have been carried out in some areas of Bhimbetka that have shown tools, burials and other objects from lower Paleolithic, middle Paleolithic, upper Paleolithic, Mesolithic and Neolithic periods. The lower Paleolithic tools include Acheulean stone implements.

However, for the visitors to Bhimbethka, the most important signs of prehistorical humans are their paintings on the rocks made with natural elements like lime and ochre. Over the centuries, ancient humans have painted repeatedly at the same surfaces, thus more recent rock paintings overlie older paintings. In some places fifteen layers of paintings have been identified in Bhimbethka.

The paintings show mainly human and animal figures and depict scenes from hunting, wars, social and spiritual lives of persons. Trees, plants and flowers are rare in these paintings. Persons riding horses and elephants as well as battle scenes are part of more recent paintings from historical period.

THINGS TO LOOK FOR AT BHIMBETHKA

Personally, I found all the rock-shelters of Bhimbethka fascinating. There were some places where I could have spent hours looking carefully at individual paintings. However, there are some aspects that you can look for specifically during your visit:

Rock-shelter 2: It is an imposing structure shaped like an enormous cave open at the two ends and is known as the auditorium. It is 39 metres long and around 17 metres high.

On the left at lower level it has some more recent animal and human figures. To the right and on a higher level it has different animals and birds including a peacock and the hand impression of a child. It also has some cupules from early paleolithic period.

Rock-shelter 3: It has some curious round-shaped holes called Cupules cut into the rock. These are the oldest signs of human occupation in Bhimbethka and go back to 100,000 years. I think that these could have been used as storage spaces.

Rock-shelter 4: This shelter is called “the zoo” because its big wall is completely covered with different layers of animals painted during different epochs. There are 252 figures of animals showing 16 species of animals. In addition there are 90 human figures, 1 bird and 6 decorative designs.

Rock-shelter 5: More recent paintings in this shelter depict battles and a royal procession. These are located on the right side of the wall. The procession includes people carrying swords, riding horses and wearing a head-dress. The figures include two drummers.

Why did the ancient humans paint animal figures? One of the reasons proposed for these images found in different parts of the world, is related to hunting. Painting the animals (and conducting ceremonies in front of these figures) was a way to capture the spirits of the animals so that the hunters had success in hunting them.

Rock-shelter 15: This is a very big rock and on one side near the top, it presents a fascinating fantasy scene – a giant boar like animal is chasing a small human figure and a crab. It seems to be the depiction of a mythological story. Because of this painting, it is known as Boar rock.

Apart from the Boar scene, there are other human and animal paintings in this rock shelter.

View Point: Around half-way into the shelters, there is a raised area with a tortoise shaped rock. From here it is possible to see the alluvial plains around Betwa river going towards Narmada river.

In addition, there are three springs in this area known as Ban Ganga, Gupt Ganga and Pandapur. Water from these springs is used by the adivasi (tribal) groups living in this area. Finally at the top of Bhimbethka hill is an old Shiva temple nestled in the rocks.

CONCLUSIONS

Bhimbethka is an incredible place. Its natural beauty is coupled with a rich cultural, historical and archaeological testimony of the human evolution in central India.

At the rock-paintings of Chinhampere in Mozambique, I had met a woman guardian of the ancient site who lived in the village below. It was not possible to visit those rock-paintings without her permission. She had also explained to me about how the village community continued to venerate those rock paintings during their annual festivals.

This continuity of the sacred relationship between the ancient rock art and traditions of local tribal people seems to missing from the areas open for visits in Bhimbethka. Nor does the site provide any information about the religious/spiritual significance of these rock-shelters to the tribal communities today.

Still it is impossible not to be moved by the art of ancient humans at Bhimbethka. The name of Bhimbethka remembers the muscular Pandav brother Bhim from Mahabharat. Local legends say that Pandavas had lived here during the 12 years of exile.

Diane Ecke in her book “India – A sacred geography” has shown how different parts of India take the sacred stories of Hinduism, add to them their local heroes, gods and legends, and make them their own. The legends of Bhima and the names of the three springs, Ban Ganga, Gupt Ganga and Pandapur, seem to follow this norm.

My interest in ancient humans and their lives was stimulated by the series of books called Earth’s Children by Jean M. Auel in the 1980s and 1990s. If you have not read them, do read them. They will give you a glimpse of the lives of early humans.

I also recommend Pranay Lal’s new book – “Indica: A Deep Natural History of The Indian Subcontinent”. It is an enjoyable read, full of information about geological, archaeological and biological finds in India.

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Exploring Kochi Art Biennale

When I had planned my visit to Kochi (Kerala, India), I had not thought about the Kochi Art Biennale. It was being held in the beautiful Fort Kochi area, where I was staying. It was a pleasant surprise to be able to visit the Biennale and to expand my ideas about art.

The image below shows the famous Chinese fishing nets of Fort Kochi.

ART IN KOCHI BIENNALE

Art at the Biennale touched on all the different ways of human expression - paintings, sculptures, architecture, sounds and videos. Appreciating some of them required sitting down, without feeling rushed. However I had little time and I wanted to see a lot of things, so that was not easy.

The location of Fort Kochi, especially the old ruined buildings next to the sea, contributed to the experience of appreciating art. For example, the image below shows the installation, “Shell Mycelium – Degradation movement manifesto” by Asif Rehman Junaid, Giambattista Areddia and Mohamad Yassin, at the Dutch Warehouse (MAP). I felt that the location with the ruins added so much to this installation.

First, I want to tell about three of my favourite art experiences from the Biennale. For me art is all about emotions and feelings. Thus, my favourite art experiences were those that had a strong emotional impact on me.

1. INVERSO MUNDUS BY AES+F

This video installation at Anand Warehouse of Fort Kochi was the best experience I had at the Biennale. The video was projected on a huge screen. It was very powerful and provocative. 

It was by AES+F. It made me think about things we take for granted in the daily life - it turned them upside down. For example, the way we treat animals, the way we treat women and the new areas of scientific research.

One episode had a butcher guy hanging upside down. Then a pig came and opened the guy’s tummy with a knife, to let the blood drain out, as the butchers do with the pigs.

In another episode young guys were tied down and women came with shears, scissors and other instruments to cut them and mark them like animals.

I also liked another work of AES+F presented at the Biennale – Dèfilé. In this work, they had presented some digital images of recently dead persons dressed as fashion models. They explained the concept of this work as, “Motionless bodies in early decomposition, dressed in clothing of an industry obsessed with youth and what is hot right now.”

2. THE PYRAMID OF EXILED POETS BY ALES STEGER

Ales Steger is from Slovenia. His installation at the compound of Aspinwall House had a pyramid with sound recordings of poets who were exiled from their countries. The poets included Bertolt Brecht, Dante Allighieri, Mahmoud Darwish and Ivan Blatn.

I am a little claustrophobic. When I had visited the pyramids in Giza (Egypt), I had not entered the pyramid tunnel because of this fear. However, Steger’s pyramid did not look big and I entered it without thinking. The dark narrow spaces inside it, immediately made me wish to turn back and go out. However, there were other persons behind me and going back was not an option. Thus, I moved slowly, keeping my hand on the wall and trying to take deep breaths to calm myself.

Perhaps it was this state of heightened awareness that contributed to making it a strong emotional experience. The textures of the wall, the smell of mud and wood, the voices of the poets and the suffocating darkness, they were all part of this art experience.

3. TWELVE STORIES OF P. K. SADANANDAN

P. K. Sadanandan is from Thrissur (Kerala, India). His “Twelve stories of the 12 progeny” was a mural painted with natural pigments.

His painting style seemed similar to the 17th century murals from the king's house (Dutch Palace) in Mattancherry in Fort Kochi. His illustrations made me think of a tropical jungle. Episodes of the stories were often separated by rope-lines just like the murals in the Dutch palace. There was a dominance of blue and grey in his images that was beautiful.

This mural depicted the traditional stories of the 12 families (kulam) of a woman called Parayi Petta Panthiru. These stories provide lessons for life such as value of listening, importance of fate and inequality of the caste system.

OTHER ART AT BIENNALE WHICH I LIKED

Apart from the above three art installations which had a strong impact on me, I also liked the following works:

Go Playces: Orijit Sen’s installation had city maps composed of persons, families, shops and events of daily life. These events intersected with the stories of his experiences of visiting these cities. Some of those experiences were represented on magnetic jig-saw puzzle pieces. Thus, the interactive installation invited visitors to imagine the location of those jigsaw puzzle pieces on the maps.

There were too many persons, especially young guys, interacting with this installation, so it was a little bit noisy. Yet, the stories of visits and looking at the huge colourful maps of people and events touched me, making me think of some of my own journeys and experiences.

Riff Off by Bob Gramsma: A huge concrete wall fallen inside a mud pit may seem to be a very unlikely art installation. Many persons would have difficulty in seeing the “art” in it. Yet, it had a strong emotional impact on me.

Bob Gramsma is from Switzerland. His site-specific sculpture in concrete is “a register of an excavated hole”. His explanation about how this sculpture was produced says: “After digging an extensive opening in the earth, a concrete cast was made to produce an inverted sculptural reproduction of the previously created void… it sits as a monumental, inverted blueprint of an excavation it now dissects.”

I am not so sure why it had that impact on me. Perhaps it was the idea of seeing the space created by excavation, not as an empty void, but as a steel and concrete structure.

Bathroom set: Dia Mehta Bhupal (Mumbai, India) had two installations in Biennale. I liked her “Bathroom Set” (it was more of a male urinal rather than a bathroom) in blue, grey and white. It had a strong impact on me because it made me look differently at a place often associated with strong unpleasant smells.

The whole installation was made of scraps of papers taken from magazines – a papier mache world.

Big Dog: Liu Wei is from China. Her installation used oxhide, used for making chewing toys for dogs. She had used oxhide to construct Greek temples, amphitheatres and Roman arches - models of classical Roman/Greek architecture, made from animal skin.

Room for lies: Sunil Padwal (Mumbai, India) brought together daily-life objects of the past, filling the walls with murals of nostalgia.

Visiting the room made me feel as if I had entered an old persons' room, full of memorabilia collected over a life-time.

Secret Dialogues: During my visit, the artist C. Bhagyanath (Thalassery, India) was in the room where his works were displayed.

He works on semi-transparent sheets, creating line drawings on each layer, so that by overlapping the sheets, they create a narrative. Depending upon the work, the layers can vary from 2 to 6 or even more. Most of his works at the Biennale were drawings with carbon, with an occasional use of red colour.

He explained his work as, “… a story about layers, about how we add to what comes before to express the relationship between mind and body, human and animal, inside and outside."

Where the flowers still grow: Bharat Sikka (New Delhi, India) presented a series of photographs and some daily life objects from Kashmir to express his feelings of living in a war zone and how people try to continue to live in spite of everything.

I thought that the photographs and objects he had selected were interesting. For example, among the objects was a box of ammunition that could have belonged to militants or to the Indian army. It also made me think of army persons who live far away from their homes and families and how the violence and war experiences change them.

In this installation, I also felt that a row of dusty, worn out shoes laid out in a corner of the room, was incredibly moving.

Tears of Taj Mahal: Ouyang Jianghe uses calligraphy to create textual sculptures. I love the idea of sculptures of words. It reminds me somehow of the white-books sculptures of the Italian artist Lorenzo Perrone, though the two have completely different concepts.

Jiaghe’s sculptures are hanging scrolls on which he writes. He feels that the meanings of the words are not important, rather it is the complexity of language.

The Pavillion: The Pavillion was a hall at the Cabral Yard where they held meetings, interviews and events of the Biennale. Tony Joseph (Calicut, India) was the architect of this pavillion. I loved the ceiling of the hall covered with saris and lit by lights in changing colours.

Sathe Nagar here: Different artists from Sathe Nagar community in Mumbai had created this architectural installation next to Cochin Club near the beach of Fort Kochi. They organised a series of events, performances and meetings in the installation. It included photographs, videos and soundscapes to present the life in Sathe Nagar.

The installation included some written panels. For example, a panel  talked about the lives of immigrants who have left their families behind in the villages. It started with, “Majhi Maina Gavavar Rahili, my Mynah, my love was left behind in the village, my heart stirs restlessly remembering her, her attractive body, her moon like face, good natured and large hearted, she is to me, what Sita was to Ram…”

Kissa Kursi Ka: A series of installations on the theme of chairs was organised at Heritage Art gallery near the Jewish Synagogue in Mattancherry. The installation by Gunajan Gupta had the background of traditional arts from Kerala and other parts of India. It explored the links between art and design.

CONCLUSIONS

Kochi Biennale 2016-17 with more than 90 artists from a large number of countries, was a wonderful opportunity to see how the ideas and concepts of art are evolving. My conclusion was that art has blurred boundaries.

I felt that short abstract videos, like an installation that explored the rain drops falling on a window pane, was easy to consider as art – because it was about sensations and emotions and not about a story. But “Inversus Mundus” was very clearly a film with episodes and short stories or ideas. I could have seen it as a part of a film festival. So there was this blurring of boundaries between the art-forms that seems to be part of the contemporary understandings about art.

I was also not sure about computer generated art, such as the three-D printed sculptures. I felt as if the artist had cheated by using the three-D printing instead of actually sculpting. Probably, this only means that I belong to an older generation!

I want to conclude this post with another image of an art installation that I liked. It was called Fish Cemetery. It was located on the Fort Kochi beach and was not part of the Art Biennale. Its objective was to creare awareness about environment. It was by Manoj Brahmamangalam and Pramod Gopalakrishnan.

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Exploring the beachside town of Bibione

Clear blue waters, beautiful nature and a large variety of seaside fun activities makes Bibione a wonderful holiday destination for persons who like the sea. At the same time, it also provides a lot of opportunities to explore art, culture and architecture in many of the historical small towns around Bibione.

Bibione is a holiday town along the Adriatic coast in the north-east of Italy, north of Venice. Thus if you are planning holidays in Bibione, this post is for you.

Bibione History

Bibione was a marshy area till 1960s. During 1970s, the marshes were filled and slowly Bibione started to develop as a holiday destination.

The first houses in Bibione had come up in the eastern part of the beach, around Corso del Sole and the area that is now known as "Lido dei Pini". Since those early days, the city grew, mainly towards the west in areas called Pineta and Lido del Sole, with hundreds of hotels and holiday homes and is now one of the biggest holiday centres in the north of Italy.

Over the past three decades, for our family our annual summer holidays in Bibione are a lovable tradition.

Reaching Bibione

The nearest airport is Venice airport about 90 km away. Bibione is connected to Venice and the airport by taxis, boats and buses. The nearest railway station is in Latisana, about 25 km away. Latisana is connected to Bibione by taxis and buses. The bus from Latisana city centre will drop you near the Bibione city centre.

Just for staying in Bibione you do not need a car, you can walk every where, though with the expansion of the city, reaching the far end of the new areas in Pineta may need 15-20 minutes of walk. However, if you are interested in discovering the art, culture and history of the neighbouring medieval towns you will need a car.

For staying in Bibione, there are a lot of options - apartments, independent houses, residences and hotels.

Fun at the seaside

Personally I am not very fond of lazying around on the beach. I did it when our son was small and he used to love the beach, but now I usually go to the beach only for a swim or an early morning/evening walk. However, if you like to spend time on beach, in Bibione you can find opportunities for boat riding and paddle-boat riding.

Along the beach, there are also places where you can play a game of bowls or beach volley or badminton. There are also exercise and dance classes on the beach.

If you plan to spend lot of time on the beach, you may prefer to rent an umbrella and some reclining chairs. Beach is divided into areas, each with its own distinctive colours of umbrella, managed through a kiosk where you can rent per day, per week or for a month.

If you do not mind carrying your own umbrella and chairs, in between, there are many free areas. Apart from the free beaches, there are also areas with umbrellas and chairs where dogs are allowed. For example, dogs are allowed at the Pluto beach in Lido dei Pini.

Nature walks

However, Bibione is not just about soaking sun, seaside walks and swims. The surrounding countryside is also good for nature walks and bicycle rides. You will find farmers in the fields, country houses selling fresh vegetables, ducks walking across the path and many horse-rearing places where you can try horse-riding lessons.

For example, at Lido dei Pini, a new passage has been built along the sea, that passes through a protected forest, and takes you to the lighthouse and Tagliamento river. Similar passages close to the sea are also available near the Bibione Thermal Baths and in Pineta.

Adventure sports 

If you prefer something more adrenalin stimulating, you can try kiting, water-scooters, speed boats, or wind-surfing. Many schools for teaching and renting equipment for the adventure sports and boats are based along the seaside.

On the other hand you can also try playing Bocce (bowls) or handball or attending some beach-dance class. Evenings have concerts in the promenade in Piazza Zenith near the sea and some nights have the fireworks displays, usually at midnight.

Eating Out in Bibione

The city is full of restaurants, pizzerias and take-aways. However, most of the restaurants offer Italian cuisine and it is not easy to find places offering Chinese, Asian, African or South American cuisines. There are some really wonderful ice cream parlours in Bibione where you can try some special flavours of the famous Italian ice cream.

Bibione city Centre

If you do not wish to go out of the city, you can go for a walk in the city centre, full of shops and amusement arcades for children. Corso Europa, the main central street of Bibione is reserved for pedestrians and is the place to spend a couple of hours in the evening without getting bored.

Bibione Thermal Baths

Bibione has a famous thermal bath with qualified staff. You can go there for specific therapies as well as, for massages and rejuvenation therapies. Personally I have not been there, but my wife has been there many times and vouches for this place.

Day-trips from Bibione

Bibione provides some wonderful opportunities for discovering the art, culture and history of the neighbouring medieval towns such as Caorle, Portogruaro, Splimbergo, Redipuglia, Aquileia and Grado.

There are also some amusement parks such as Liliput land and the zoo near Lignano.

You can also visit Venice as a day trip. You can take a bus to Venice. There are also daily organised one-day tours to Venice from Bibione. Visiting towns like Trieste or going across the Italian border to visit Slovenia, Austria or Croatia, is also possible during a day-trip.

Conclusions

Over the past four decades, we have spent so many wonderful days in Bibione, swimming, going for walks and visiting nearby medieval towns during day-trips. In this period, the city has grown and today offers exciting opportunities for all kinds of entertainment and relaxation.

Writing this post has been a wonderful experience because it gave me an opportunity to look at a lot of old pictures and to remember the good times we have had there.

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Old houses of Grado

The old town of Grado is an island city in the north-east of Italy. The town is composed of about 30 islands out of which, only three islands are permanently inhabited. It is also called the Sun Island and the First Venice. This post is about visiting Grado.

If you are holidaying in one of the towns on the north-eastern Adriatic coast of Italy such as Lignano, Bibione or Caorle, you can visit Grado as a day trip, combining it with a visit to the Roman ruins of Aquileia a few kilometres away.

Islands of Grado

The town of Grado is on the biggest island and is connected to the mainland by a bridge. The other two inhabited islands are Schiusa and Barbana. Schiusa is connected to Grado by two bridges while to visit Barbana, you need a boat. The town also includes some villages on the mainland including the protected wildlife area of Valle Cavanata.

The beaches of Grado face south and it is known as the Sun Island because of its good climate. Like Venice but older to it, being a city of different islands, it is also called the First Venice.

Grado developed around 450 CE, as the sea port connected to Aquileia. Soon it became an important town and two big Basilica churches were built here - St. Eufemia and St. Maria delle Grazie. For a few centuries, Grado was the most important port in the north-east of Italy. However as the island city of Venice, 135 km to the south, became more important, Grado declined. In the 12th century, the Patriarch of Grado shifted to Venice. Gradually, Grado became a poor village of the fishermen.

St Eufemia cathedral

This church was built in 579 CE, at the site of an older and smaller church. It is a simple and linear building in red brick. At the top of its bell tower there is a copper statue of archangel St. Michael, added to the building in 1462.

Roman Ruins

Not far from the St Eufemia cathedral, you can see the remains of the floor and some walls of the Court Basilica church from the 4th century CE.

Old Houses of Grado

My favourite part of Grado are its old houses, many of them from the medieval period. These old houses and the narrow streets of the old town, give this town a special look that reminds us of its history. It is full of shops and restaurants for the tourists, many of them are located in the old medieval buildings.

Beyond the city you can see its port and its deep sandy beaches. The best time to visit Grado is in early July when the city celebrates its traditional Barbana boat race.

Along the sea, Grado has a nice walking area, the Lungomare.

Conclusions

Our first visit to Grado was brief, as we had stopped on our way to visit Aquileia. Thus, we were unable to visit much of this city. The parts we saw were beautiful, especially the characteristic old houses, the small squares and the narrow streets of the old town.

We did not have time to visit its beach. We also did not visit the other old church of St. Maria delle Grazie. So we are planning to go back to visit during the next summer.

Meanwhile if you are holidaying on the Adriatic coast in the north-east of Italy, do visit Grado, if you have some time!

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