Читать книгу The Tribes and Castes of the Central Provinces of India, Volume 3 - Robert Vane Russell - Страница 84

Tattooing seems to have been originally a magical means of protecting the body against real and spiritual dangers, much in the same manner as the wearing of ornaments. It is also supposed that people were tattooed with images of their totem in order the better to identify themselves with it. The following account is stated to have been taken from the Baiga priest of a popular shrine of Devi in Mandla. His wife was a tattooer of both Baigas and Gonds, and considered it the correct method for the full tattooing of a woman, though very few women can nowadays be found with it. The magical intent of tattooing is here clearly brought out:—

On the sole of the right foot is the annexed device:

It represents the earth, and will have the effect of preventing the woman’s foot from being bruised and cut when she walks about barefoot.

On the sole of the left foot is this pattern:

It is meant to be in the shape of a foot, and is called Padam Sen Deo or the Foot-god. This deity is represented by stones marked with two footprints under a tree outside the village. When they have a pain in the foot they go to him, rub his two stones together and sprinkle the dust from them on their feet as a means of cure. The device tattooed on the foot no doubt performs a similar protective function.

On the upper part of the foot five dots are made, one on each toe, and a line is drawn round the foot from the big toe to the little toe. This sign is said to represent Gajkaran Deo, the elephant god, who resides in cemeteries. He is a strong god, and it is probably thought that his symbol on the feet will enable them to bear weight. On the legs behind they have the images of the Baiga priest and priestess. These are also supposed to give strength for labour, and when they cannot go into the forest from fever or weakness they say that Bura Deo, as the deified priest is called, is angry with them. On the upper legs in front they tattoo the image of a horse, and at the back a saddle between the knee and the thigh. This is Koda Deo the horse-god, whose image will make their thighs as strong as those of a horse. If they have a pain or weakness in the thigh they go and worship Koda Deo, offering him a piece of saddle-cloth. On the outer side of each upper arm they tattoo the image of Hanumān, the deified monkey and the god of strength, in the form of a man. Both men and women do this, and men apply burning cowdung to the tattoo-mark in order to burn it effectually into the arm. This god makes the arms strong to carry weights. Down the back is tattooed an oblong figure, which is the house of the god Bhimsen, with an opening at the lower end just above the buttocks to represent the gate. Inside this on the back is the image of Bhimsen’s club, consisting of a pattern of dots more or less in the shape of an Indian club. Bhimsen is the god of the cooking-place, and the image of his club, in white clay stained green with the leaves of the semar tree, is made on the wall of the kitchen. If they have no food, or the food is bad, they say that Bhimsen is angry with them. The pattern tattooed on the back appears therefore to be meant to facilitate the digestion of food, which the Gonds apparently once supposed to pass down the body along the back. On the breast in front women tattoo the image of Bura Deo, as shown, the head on her neck and the body finishing at her breast-bone. The marks round the body represent stones, because the symbol of Bura Deo is sometimes a basket plastered with mud and filled with stones. On each side of the body women have the image of Jhulān Devi, the cradle goddess, as shown by the small figures attached to Bura Deo. But a woman cannot have the image of Jhulān Devi tattooed on her till she has borne a child. The place where the image is tattooed is that where a child rests against its mother’s body when she carries it suspended in her cloth, and it is supposed that the image of the goddess supports and protects the child, while the mother’s arms are left free for work.

Gond women, showing tattooing on backs of legs

Round the neck they have Kanteshwar Māta, the goddess of the necklace. She consists of three to six lines of dots round the neck representing bead necklaces.

On the face below the mouth there is sometimes the image of a cobra, and it is supposed that this will protect them from the effects of eating any poisonous thing.

On the forehead women have the image of Chāndi Māta. This consists of a dot at the forehead at the parting of the hair, from which two lines of dots run down to the ears on each side, and are continued along the sides of the face to the neck. This image can only be tattooed after the hair of a woman has been parted on her marriage, and they say that Chāndi Māta will preserve and guard the parting of the hair, that is the life of the woman’s husband, because the parting can only be worn so long as her husband is alive. Chāndi means the moon, and it seems likely that the parting of the hair may be considered to represent the bow of the moon.

The elaborate system of tattooing here described is rarely found, and it is perhaps comparatively recent, having been devised by the Baiga and Pardhān priests as their intelligence developed and their theogony became more complex.