D.
R. Michael Buam
The Khasi and
Jaiñtia hills are abundant in relics of the past which are more evident in the
monoliths, dolmens and menhirs which stand till today as reminders of the
glorious and colourful history of the indigenous people of the region. But
sadly, no written records exist (or are yet to be found) of the early history
of these people. Notably, oral tradition tells us that the Khasi tribes have
swallowed their books (U Khasi u la nguid ïa ka kot) and therefore have lost
their script forever. Another oral tradition (among the War-Jaiñtia) points to the supposition that the scribes among the Khasi tribes were a revered group who became extinct at some point in history. The term used for them, "Prai-Dia" literally means 'god of the cloth' which is suggestive that they wrote on cloth.
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| Remnants of a once thriving weekly market at Moopat in East Jaiñtia Hills of Meghalaya. |
It was only in
1842 that the Rev. Thomas Jones undertook to re-create the Khasi alphabets
using the Roman script. Since then, the people have produced writings across
all literary genres. And although the early history of the people which has
been passed down the generations by oral tradition has also been reflected in
some literary works, not much light has been shed on the actual dates and
events in particular, barring a few that have appeared in the ‘Buranjis’ of
Assam and Tripura and the accounts of the British officers and scholars who
have served in the region from the early 19th century till India’s
independence from British rule in 1947.
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| Arched stone bridge built during the reign of Jaiñtia Kings near Syndai in West Jaiñtia Hills. |
Therefore, the ancient
and medieval history of the Khasi and Jaiñtia hills still remain an incomplete
study which only archaeologists and historians can complete (or try to). The
contribution of historical linguist to the study would definitely add clarity
to the picture and even researchers of other disciplines can also shed light to
this under-developed picture. Genetical studies, for one, has helped a lot to shed more light in the study of history and ancient civilizations and can change the current perception on what we have learnt so far. While recent carbon dating of a few iron smelting
sites point to the people’s antiquity, (see Prokop and Suliga) underground excavations have scarcely been
done to dig out the ancient history of the people in Khasi and Jaiñtia hills. The
only excavation we have come to know of was done (by Dr. Marco Mitri and his team) around the Lum Sohpetbneng area
and it does support the existence of a civilisation whose myths were centred
round the Lum Sohpetbneng near the present-day man-made Umïam lake near Shillong. Prominent author and journalist, Sumar Singh Sawian has brought out a book, Ka Thymmei Lariti, based on this.
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| Elephant rock sculpture at Ampubon near Syndai village in West Jaiñtia Hills. |
Oral tradition,
as we know it, has been subjected to embellishments as well as deletions. It sometimes
also creates confusion through existence of varying versions of a particular
event or person. This is clearly evident in the 3 to 4 different versions of
the legend of “Ka Lidakha” which tells of the origin of the Jaiñtia kings.
However, in spite of its demerits, oral tradition still remains the chief
source of early history of Khasi and Jaiñtia Hills and if not recorded would
soon get eroded or buried into antiquity.
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| Stone bridge at Thlumuwi in West Jaiñtia Hills. |
And it is on
oral tradition that this article relies to try to understand the existing rock
engravings and sculptures found in Jaiñtia Hills. In the midst of the realities
already presented above, we are presented with the relics of the past which are
difficult to explain in the absence of written records. This leaves much room
for speculation. Here, the imagination of the human mind comes to play and
naiveté serves to propagate misinformation. In the scheme of daily life,
especially in this hectic world, rumination and contemplation have become
scarce.
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| The Rupasor Bathing Ghat of the Jaiñtia Royals dug in a rock at Ampubon near Syndai village. |
Jaiñtia hills has
its fair share (if not more) of evidences of past events through the monoliths,
remnants of haats (weekly markets)
and structures that stand till today besides the awe-inspiring stone bridges
that have withstood the natural forces of weathering and decay till today. It
is the human activities that are more threatening to these relics. A notable
point in this observation is the absence of engravings and sculptures in the
central part of Jaiñtia hills. This may be proven to be wrong (I hope so) but
till now, nothing has been reported to the contrary. The sculptures and
engravings we have observed so far are seen in the areas that adjoin a
different culture.
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| Rock surfaces on the west bank of the Tisang (Myntdu) River near Pasadwar village in West Jaiñtia Hills bear several engravings of Hindu culture and local myths. |
In the south
Jaiñtia hills, (i.e. the War-Jaiñtia area), we encounter engravings of Hindu
culture and faith, such as the ‘Trishul’ engraved at different periods on the
rocks that embank the Tisang river (known as the Myntdu river in its upper
reaches) near Psadwar village. The Jaiñtia kings, who also ruled over the
plains of Sylhet (now in Bangladesh) besides their traditional kingdom in
Jaiñtia hills were liberal and therefore accepted Hindu beliefs. Hence we see
the engraving of the Hindu deity ‘Ganesh’ on the path leading to a cave in
Syndai village where Hindu pilgrims used to visit on the annual occasion of
‘Shiv Ratri’. We also see the rock-cut sculpture of Ganesh cut on the rock in
the bathing pool of the Jaiñtia royalty at the Rupasor bathing ghat near Syndai
village on the road to Muktapur, a border village through which the ancient
road to Jaiñtiapur (the winter capital of the Jaiñtia kings) passes through.
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| Image of Lord Ganesha carved in a rock near Syndai village in West Jaiñtia Hills. |
The only
reference to local culture can be seen in the engraving of “U Khmi”
(Earthquake) which is found on a rock on the banks of the Tisang river near
Psadwar. Oral tradition tells us that “U Khmi” was a giant residing under the
surface of the earth and the earthquakes that we feel are the result of him
moving his body parts. He was said to be so powerful that if he moved either
both his arms and hands, the earth would crumble. Therefore, his mother cut off
his ear on one side and one side of his limbs so that he will not be able to
destroy the earth. This legend is depicted in the moss-covered engraving that
is seen till today. Near this engraving a little downstream, we can also find
the engravings of what the locals claim to be of Rama and Lakhsmana on a rock
and nearer still is found an engraving of a tiger and a woman. Though a clear
explanation of the engravings are lacking, they still remain as mute witnesses
of a time gone by.
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| Representation of "U Khmi" found on the west bank of River Tisang (Myntdu) near Pasadwar village in West Jaiñtia Hills. |
The
representation of the sun and moon on stone are found close to the Rupasor
bathing ghat and the sculptures of small elephants are found on the stream
called Ampubon, also situated near the Rupasor bathing ghat. These sculptures
are indicative of the influence of Hindu culture and were most probably made
during the reign of the Jaiñtia kings. Arched stone bridges, most probably
belonging to the 18th century AD are to be found near the Rupasor
bathing ghat. These are testimony of the Jaiñtia Kingdom’s legacy.
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| "U Moo-syiem" representing an unnamed king of the past at Khanduli village in West Jaiñtia Hills. |
In Khanduli, a
village in the northern part of Jaiñtia hills, adjoining the Karbi Anglong
district of Assam, we find engravings on rocks that depict a soldier or a king.
One of the engravings has been destroyed due to a road constructed on its
location. Probably, the engraving had gone unnoticed or ignored by the
labourers, but the elderly residents still recall it in their memory.
Fortunately, a similar engraving has been preserved by thoughtful individuals,
which we find on the outskirts of the village to the north. This engraving has
been fenced off and marked to protect it from being destroyed. However, traces
of paint are seen on the face of the engraving which otherwise still remains
intact. Below the image of the soldier (or king) is juxtaposed an image of a
woman (maybe of the queen). Only detailed studies can reveal the true meaning
of the engravings. But the local name of the engraving on rock does point to a
king being its subject. Local tradition refers to it as the “Moo-Syiem” (King’s
rock/stone) although it does not refer to a name or age.
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| Engraving of an animal (Tiger?) and a woman found on the western bank of Tisang (Myntdu) River near Pasadwar village. |
The most
interesting engraving or rock sculpture in Jaiñtia hills may be ascribed to the
rock carving of a Vulva situated on the outskirts of Lum Lakhiat village (Near
Khanduli). The vulva has been carved on a rock which is about 15 feet wide and
5 feet off the higher ground. The engraving is a larger than life
representation of the female genital and is inconspicuous to the normal eye
because of the creepers growing on the rock and also because of the vegetation
growing around it which camouflages it from the ordinary eye. I call it
interesting because it evokes several questions to which the answers seem
elusive. The present villagers of Lum Lakhiat have no knowledge of its origin.
Most of them are unaware of its presence because it is situated away from the
village on a hill, but close to their paddy fields.
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| The carving of a vulva on a rock on the outskirts of Lumlakhiat village in West Jaiñtia Hills |
We may probably
never know who made it and when, but why was it made and for what purposes? Was
it a product of voyeurism or was it made by someone who had nothing better to
do? Or, could it be the work of someone inspired by creative thought? I am
inclined to link it to Yoni-worship which is prevalent even today in India. The
vulva engraved on this rock is similar to that at Kamakhya temple in Guwahati
in Assam (a neighbour of Meghalaya). Kamakhya is one of the most visited
‘Shakti Peethas’ by Hindu pilgrims. Meghalaya also boasts of a “Shakti Peetha”
located at Nartiang in Jaiñtia hills, which happens to be quite close (about 35
Kms) to Lum Lakhiat towards the South. This proximity of the vulva engraving at
Lum Lakhiat to the “Shakti Peetha” at Nartiang does suggest that perhaps during
the reign of the Jaiñtia Kings (who were patrons of Hinduism), Yoni-worship was
practised by some of their subjects which slowly discontinued with the decline
of the kingdom after the British annexation in 1835 AD.
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| Images (purportedly) of Ram and Lakhan on a rock on the western bank of Tisang (Myntdu) River near Pasadwar village. |
There is another
sculpture at Kseh Rynchang (also near Khanduli) which is now broken and removed
from its original location during the construction of a road there. It now lies
face down beside the tri-junction of the main road to Khanduli. People of the
village say that there were two sculptures of a man and a woman in the nude.
They do not know when or who made the sculptures but a story attached to the
nude sculptures tells that the man and woman were turned to rock figures due to
a curse by the man’s wife when she found that the man (her husband) had
committed adultery against her with the woman.
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| Photographs of the Bullocks of Miat Rynsut Pala taken by (Late) Shining Star Laloo. |
The late Shining
Star Laloo in his book written in Khasi, “Ka Syiem Latympang” (Queen Latympang)
mentions some stone engravings and sculptures that can be found in Latuba near
Thangrain village in West Jaintia Hills to the north. These include the elephant
of U Syiem Slieng (a neighbouring king who fought against Queen Latympang), the
bullocks of U Miat Rynsut Pala (Queen Latympang’s beloved) and his plough. Oral also tradition tells that Miat Rynsut had left his two bullocks while ploughing his
field to rush to the aid of Queen Latympang. The bullocks kept waiting for his
return but when he did not come back to the field, the bullocks and his plough
turned to stone. The stone bullocks were disfigured with cracks not many years
ago due to weathering but locals say that they cracked after a rainstorm known
as ‘Ka Pylliang’ hit the area incessantly for nine days and nights.
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| Representation of the Sun and Moon on rock lying to the west of the Rupasor Royal Bathing Ghat near Syndai village. |
Some engravings
have also been found on a monolith at Tamu, another village near Khanduli and
another rock carving has also been reported from the same region at Saitsama
village. An engraving of a rooster and an elephant on one of the monoliths in
Yawmusiang at Nangbah village has been highlighted later (using black paint) by
somebody yet unknown. The arched stone bridge at Umïaknieh (to the south of
Krangshuri falls near Amlarem) also has some engravings on its sides. This
bridge is similar in structure to the one near the Rupasor bathing ghat and is
probably of the same age and lies on the ancient highway between the summer
capital (Nartiang) and the winter capital (Sylhet) of the Jaiñtia kings. Maybe
some more are to be discovered. Only time will tell.
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| Tridents (Trishuls) engraved on rocks along the western bank of Tisang (Myntdu) River near Pasadwar village. |
It must be noted
that it is considered taboo in the Khasi and Jaiñtia culture to make images in
any form of one’s God, ancestors, deities and any object of reverence. This has
also been reiterated by the noted artist and writer Raphael Warjri in his book
“Ka Thoh Dur Mynta” (A Khasi book on Creative Art). Till the recent past some
elders still refrain from being photographed. Therefore, it is not surprising to
find very few rock engravings or sculptures in Khasi and Jaiñtia hills. Those
that are mentioned here most probably have been the influence of other cultures as
they are found only in the Southern and Northern fringes of the erstwhile Jaiñtia
Kingdom which come in contact with neighbouring cultures. However, it is a
subject of further research which will lead to a better understanding of the
subject.
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| A rooster and an elephant etched on a monolith at Yawmusiang in Nangbah Village of West Jaiñtia Hills. |
(The
views expressed above are those of the writer. He can be contacted at drmbuam@gmail.com The author permits use of the texts and images with credit to the source where superimposed and to the author where there is none.)
