Dr. Mathpal’s documentation of different species of deer as depicted in the rock art in Bhimbetka and shelterwise distribution of deer images is really a commendable attempt. Another noteworthy contribution here lies in the enlisting of the rock art sites in India and its plotting on an accurate scale map. Dr. Mathpal has tactfully avoided the dilemma of absolute dating of the rock paintings in this work for obvious reasons. Probably this is the right kind of approach necessary at this stage.

At the outset, editors of the European Section, Giacamo Camuri and Angelo Fossati have outlined their approach in the following lines: “Delving into the strata of prehistory while the concentrating on reliable resources of oral tradition, one is guided by a figure that has shown alacrity and stubbornness in its resistance to cultural changes”. They have treated their concept with deft approach supported by authentic materials of timeless art carefully selected from important as well as little known sites.

The rock art is a subject which is a conjunction or meeting point of art and science. The editors have highlighted both and points – science and aesthetics – rationally, while dealing with the subject. Their attempt to interpret the semiotic code of the rock art motifs through the elements of nature is unique. It is interesting to understand the process of transformation from the two-dimensional rock art to the formation of mythologies in oral text. In the languages of the editors, “the meaning announced in visual languages are compounded in narrative composition of myths and legends”. Obviously, there remains some doubt on the hypothesis of so-called narrative context concealed in visual representation forming the required background to the production of a painting. In fact, artistic visualisation is more feasible on the basis of an existing oral text or narrative rather than the forming of a myth or legend on an incipient art form. The illustrations cited here from renowned sites such as Lascax, Val Camonica, Pena Del Cuco, etc. belonging to late Paleolithic period followed by the samples from the Iron age in Alpine region do not complements to the viewpoint held by the authors.

To sum up, this book would give an excellent direction in understanding rock art in an overall holistic situation. So far, the rock art was treated as a subject of chronology, form and style to some extent over the years. This is a maiden attempt to unravel the semiotic code, having taken into account the total structure of the art and interrelated issues in the timeless journey of man.

A.K. Das

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