Kitabı oku: «The Tribes and Castes of the Central Provinces of India, Volume 4», sayfa 25

2. Legends of origin

The following interesting legends as to the origin of the caste adduced by them in support of their Brāhmanical descent are related²⁷⁹ by Sir H. Risley: “One of the Prajā-pati, or mind-born sons of Brahma, was in the habit of providing the flesh of cows and clarified butter as a burnt-offering (Ahuti) to the gods. It was then the custom to eat a portion of the sacrifice, restore the victim to life, and drive it into the forest. On one occasion the Prajā-pati failed to resuscitate the sacrificial animal, owing to his wife, who was pregnant at the time, having clandestinely made away with a portion. Alarmed at this he summoned all the other Prajā-patis, and they sought by divination to discover the cause of the failure. At last they ascertained what had occurred, and as a punishment the wife was cursed and expelled from their society. The child which she bore was the first Mochi or tanner, and from that time forth, mankind being deprived of the power of reanimating cattle slaughtered for food, the pious abandoned the practice of killing kine altogether. Another story is that Muchirām, the ancestor of the caste, was born from the sweat of Brahma while dancing. He chanced to offend the irritable sage Durvāsa, who sent a pretty Brāhman widow to allure him into a breach of chastity. Muchirām accosted the widow as mother, and refused to have anything to do with her; but Durvāsa used the miraculous power he had acquired by penance to render the widow pregnant so that the innocent Muchirām was made an outcaste on suspicion. From her two sons are descended the two main branches of the caste in Bengal.”

3. Art among the Hindus

In the Central Provinces the term Mochi is often used for the whole caste in the northern Districts, and Jīngar in the Marātha country; while the Chitrakārs or painters form a separate group. Though the trades of cobbler and book-binder are now widely separated in civilised countries, the connection between them is apparent since both work in leather. It is not at first sight clear why the painter should be of the same caste, but the reason is perhaps that his brushes are made of the hair of animals, and this is also regarded as impure, as being a part of the hide. If such be the case a senseless caste rule of ceremonial impurity has prevented the art of painting from being cultivated by the Hindus; and the comparatively poor development of their music may perhaps be ascribed to the same cause, since the use of the sinews of animals for stringed instruments would also prevent the educated classes from learning to play them. Thus no stringed instruments are permitted to be used in temples, but only the gong, cymbal, horn and conch-shell. And this rule would greatly discourage the cultivation of music, which art, like all the others, has usually served in its early period as an appanage to religious services. It has been held that instruments were originally employed at temples and shrines in order to scare away evil spirits by their noise while the god was being fed or worshipped, and not for the purpose of calling the worshippers together; since noise is a recognised means of driving away spirits, probably in consequence of its effect in frightening wild animals. It is for the same end that music is essential at weddings, especially during the night when the spirits are more potent; and this is the primary object of the continuous discordant din which the Hindus consider a necessary accompaniment to a wedding.

Except for this ceremonial strictness Hinduism should have been favourable to the development of both painting and sculpture, as being a polytheistic religion. In the early stages of society religion and art are intimately connected, as is shown by the fact that images and paintings are at first nearly always of deities or sacred persons or animals, and it is only after a considerable period of development that secular subjects are treated. Similarly architecture is in its commencement found to be applied solely to sacred buildings, as temples and churches, and is only gradually diverted to secular buildings. The figures sculptured by the Mochis are usually images for temples, and those who practise this art are called Murtikar, from murti, an image or idol; and the pictures of the Chitrakārs were until recently all of deities or divine animals, though secular paintings may now occasionally be met with. And the uneducated believers in a polytheistic religion regularly take the image for the deity himself, at first scarcely conceiving of the one apart from the other. Thus some Bharewas or brass-workers say that they dare not make metal images of the gods, because they are afraid that the badness of their handiwork might arouse the wrath of the gods and move them to take revenge. The surmise might in fact be almost justifiable that the end to which figures of men and animals were first drawn or painted, or modelled in clay or metal was that they might be worshipped as images of the deities, the savage mind not distinguishing at all between an image of the god and the god himself. For this reason monotheistic religions would be severely antagonistic to the arts, and such is in fact the case. Thus the Muhammadan commentary, the Hadith, has a verse: “Woe to him who has painted a living creature! At the day of the last judgment the persons represented by him will come out of the tomb and join themselves to him to demand of him a soul. Then that man, unable to give life to his work, will burn in eternal flames.” And in Judaism the familiar prohibition of the Second Commandment appears to be directed to the same end.

Image of the god Vishnu as Vithoba

Hindu sculpture has indeed been fairly prolific, but is not generally considered to have attained to any degree of artistic merit. Since sculpture is mainly concerned with the human form it seems clear that an appreciation of the beauty of muscular strength and the symmetrical development of the limbs is an essential preliminary to success in this art; and such a feeling can only arise among a people who set much store on feats of bodily strength and agility. This has never been the character of the Hindus, whose religion encourages asceticism and mortification of the body, and points to mental self-absorption and detachment from worldly cares and exercises as the highest type of virtue.

4. Antagonism of Mochis and Chamārs

As a natural result of the pretensions to nobility made by the Mochis, there is no love lost between them and the Chamārs; and the latter allege that the Mochis have stolen their rāmpi, the knife with which they cut leather. On this account the Chamārs will neither take water to drink from the Mochis nor mend their shoes, and will not even permit them to try on a new pair of shoes until they have paid the price set on them; for they say that the Mochis are half-bred Chamārs and therefore cannot be permitted to defile the shoes of a true Chamār by trying them on; but when they have been paid for, the maker has severed connection with them, and the use to which they may be put no longer affects him.

5. Exogamous groups

In the Central Provinces the Mochis are said to have forty exogamous sections or gotras, of which the bulk are named after all the well-known Rājpūt clans, while two agree with those of the Chamārs. And they have also an equal number of kheras or groups named after villages. The limits of the two groups seem to be identical; thus members of the sept named after the Kachhwāha Rājpūts say that their khera or village name is Mungāvali in Gwālior; those of the Ghangere sept give Chanderi as their khera, the Sitāwat sept Dhāmoni in Saugor, the Didoria Chhatarpur, the Narele Narwar, and so on. The names of the village groups have now been generally forgotten and they are said to have no influence on marriage, which is regulated by the Rājpūt sept names; but it seems probable that the kheras were the original divisions and the Rājpūt gotras have been more recently adopted in support of the claims already noticed.

6. Social customs

The Mochis have adopted the customs of the higher Hindu castes. A man may not take a wife from his own gotra, his mother’s gotra or from a family into which a girl from his own family has married. They usually marry their daughters in childhood and employ Brāhmans in their ceremonies, and no degradation attaches to these latter for serving as their priests. In minor domestic ceremonies for which the Brāhman is not engaged his place is taken by a relative, who is called sawāsa, and is either the sister’s husband, daughter’s husband, or father’s sister’s husband, of the head of the family. They permit widow-remarriage and divorce, and in the southern Districts effect a divorce by laying a pestle between the wife and husband. They burn their dead and observe mourning for the usual period. After a death they will not again put on a coloured head-cloth until some relative sets it on their heads for the first time on the expiry of the period of mourning. They revere the ordinary Hindu deities, and like the Chamārs they have a family god, known as Mair, whose representation in the shape of a lump of clay is enshrined within the house and worshipped at marriages and deaths. In Saugor he is said to be the collective representative of the spirits of their ancestors. In some localities they eat flesh and drink liquor, but in others abstain from both. Among the Hindus the Mochis rank considerably higher than the Chamārs; their touch does not defile and they are permitted to enter temples and take part in religious ceremonies. The name of a Saugor Mochi is remembered who became a good drawer and painter and was held in much esteem at the Peshwa’s court. In northern India about half the Mochis are Muhammadans, but in the Central Provinces they are all Hindus.

7. Shoes

In view of the fact that many of the Mochis were Muhammadans and that slippers are mainly a Muhammadan article of attire Buchanan thought it probable that they were brought into India by the invaders, the Hindus having previously been content with sandals and wooden shoes. He wrote: “Many Hindus now use leather slippers, but some adhere to the proper custom of wearing sandals, which have wooden soles, a strap of leather to pass over the instep, and a wooden or horn peg with a button on its top. The foot is passed through the strap and the peg is placed between two of the toes.”²⁸⁰ It is certain, however, that leather shoes and slippers were known to the Hindus from a fairly early period: “The episode related in the Rāmāyana of Bhārata placing on the vacant throne of Ajodhya a pair of Rāma’s slippers, which he worshipped during the latter’s protracted exile, shows that shoes were important articles of wear and worthy of attention. In Manu and the Mahābhārata slippers are also mentioned and the time and mode of putting them on pointed out. The Vishnu Purāna enjoins all who wish to protect their persons never to be without leather shoes. Manu in one place expresses great repugnance to stepping into another’s shoes and peremptorily forbids it, and the Purānas recommend the use of shoes when walking out of the house, particularly in thorny places and on hot sand.”²⁸¹ Thus shoes were certainly worn by the Hindus before Muhammadan times, though loose slippers may have been brought into fashion by the latter. And it seems possible that the Mochis may have adopted Islām, partly to obtain the patronage of the followers of the new religion, and also to escape from the degraded position to which their profession of leather-working was relegated by Hinduism and to dissociate themselves from the Chamārs.

Mowār

Mowār.—A small caste of cultivators found in the Chhattīsgarh country, in the Raipur and Bilāspur Districts and the Raigarh State. They numbered 2500 persons in 1901. The derivation of the name is obscure, but they themselves say that it is derived from Mow or Mowagarh, a town in the Jhānsi District of the United Provinces, and they also call themselves Mahuwār or the inhabitants of Mow. They say that the Rāja of Mowagarh, under whom they were serving, desired to marry the daughter of one of their Sirdārs (headmen), because she was extremely beautiful, but her father refused, and when the Rāja persisted in his desire they left the place in a body and came to Ratanpur in the time of Rāja Bīmbaji, in A.D. 1770. A Bilāspur writer states that the Mowārs are an offshoot from the Rajwār Rājpūts of Sargūja State. Colonel Dalton writes²⁸² of the Rajwār Rājpūts of Sargūja and other adjoining States that they are peaceably disposed cultivators, who declare themselves to be fallen Kshatriyas; but he remarks later that they are probably aborigines, as they do not conform to Hindu customs, and they are skilled in a dance called Chailo, which he considers to be of Dravidian origin. In another place he remarks that the Rajwārs of Bengal admit that they are derived from the miscegenation of Kurmis and Kols. The fact that the Mowārs of Sārangarh make a representation of a bow and arrow on their documents, instead of signing their names, affords some support to the theory that they are probably a branch of one of the aboriginal tribes. The name may be derived from mowa, a radish, as the Mowārs of Bilāspur are engaged principally in garden cultivation.

The Mowārs have no subcastes, but are divided into a number of exogamous groups, principally of a totemistic nature. Those of the Sūrajha or sun sept throw away their earthen pots on the occasion of an eclipse, and those of the Hataia or elephant sept will not ride on an elephant and worship that animal at the Dasahra festival. Members of other septs named after the cobra, the crow, the monkey and the tiger will not kill their totem animal, and when they see the dead body of one of its species they throw away their earthen cooking-pots as a sign of mourning. The marriage of persons belonging to the same sept and also that of first cousins is prohibited. If an unmarried girl is seduced by a man of the caste she becomes his wife and is not expelled, but the caste will not eat food cooked by her. But a girl going wrong with an outsider is finally cast out. The marriage and other social customs resemble those of the Kurmis. The caste employ Brāhmans at their ceremonies and have a great regard for them. Their gurus or spiritual preceptors are Bairāgis and Gosains. They eat the flesh of clean animals and a few drink liquor, but most of them abstain from it. Their women are tattooed on the arms and hands with figures intended to represent deer, flies and other animals and insects. The caste say that they were formerly employed as soldiers under the native chiefs, but they are now all cultivators. They grow all kinds of grain and vegetables, except turmeric and onions. A few of them are landowners, and the majority tenants. Very few are constrained to labour for hire. In appearance the men are generally strong and healthy, and of a dark complexion.

Murha

1. Origin of the caste

Murha.—A Dravidian, caste of navvies and labourers found in Jubbulpore and the adjoining Districts, to the number of about 1500 persons. The name Murha has been held to show that the caste are connected with the Munda tribe. The Murhas, however, call themselves also Khare Bind Kewat and Lunia or Nunia (salt-maker), and in Jubbulpore they give these two names as subdivisions of the caste. And these names indicate that the caste are an offshoot of the large Bind tribe of Bengal and northern India, though in parts of the Central Provinces they have probably been recruited from the Kols or Mundas. Sir H. Risley²⁸³ records a story related by the Binds to the effect that they and the Nunias were formerly one, and that the existing Nunias are descended from a Bind who consented to dig a grave for a Muhammadan king and was put out of caste for doing so. And he remarks that the Binds may be a true primitive tribe and the Nunias a functional group differentiated from them by taking to the manufacture of earth salt. This explanation of the relationship of the Binds and Nunias seems almost certainly correct. In the United Provinces the Binds are divided into the Khare and Dhusia or first and second subcastes, and the Khare Binds also call themselves Kewat.²⁸⁴ And the Murhas of Narsinghpur call themselves Khare Bind Kewats, though the other Kewats repudiate all connection with them. There seems thus to be no doubt that the Murhas of these Provinces are another offshoot of the Bind tribe like the Nunias, who have taken up the profession of navvies and earthworkers and thus become a separate caste. Mr. Hīra Lāl notes that the Narsinghpur District contains a village Nonia, which is inhabited solely by Murhas who call themselves Khare Bind Kewat. As the village is no doubt named Nonia or Nunia after them, we thus have an instance of all the three designations being applied to the same set of persons. The Murhas say that they came into Narsinghpur from Rewah, and they still speak the Bagheli dialect, though the current vernacular of the locality is Bundeli. The Binds themselves derive their name from the Vindhya (Bindhya) hills.²⁸⁵ They relate that a traveller passing by the Vindhya hills heard a strange flute-like sound coming out of a clump of bamboos. He cut a shoot and took from it a fleshy substance, which afterwards grew into a man, the supposed ancestor of the Binds. In Mandla the Murhas say that the difference between themselves and the Nunias is that the latter make field-embankments and other earthwork, while the Murhas work in stone and build bridges. According to their own story they were brought to Mandla from their home in Eastern Oudh more than ten generations ago by a Gond king of the Garha-Mandla dynasty for the purpose of building his fort or castle. He gave them two villages for their maintenance which they have now lost. The caste has, however, probably received some local accretions and in Mandla some Murhas appear to be Kols; members of this tribe are generally above the average in bodily strength and are in considerable request for employment on earth- and stone-work.

2. Marriage customs

In Narsinghpur the Murhas appear to have no regular exogamous divisions. Some of them remember the names of their kheros or ancestral villages and do not marry with families belonging to the same khero, but this is not a regular rule of the caste. Generally speaking, persons descended through males from a common ancestor do not intermarry so long as they remember the relationship. In Mandla they have five divisions, of which the highest is Pūrbia. The name Pūrbia (Eastern) is commonly applied in the Central Provinces to persons coming from Oudh, and in this case the Pūrbia Murhas are probably the latest immigrants from home and have a superior status on this account. Up till recently they practised hypergamy with the other groups, taking daughters from them in marriage, but not giving their daughters to them. This rule is now, however, breaking down on account of the difficulty they find in getting their daughters married. The children of brothers and sisters may marry in some places, but in others neither they nor their children may marry with each other. Anta Sānta or the exchange of girls between two families is permitted. The bridegroom’s father has to pay from five to twenty rupees as a chari or bride-price to the girl’s father, which sum is regarded as the remuneration of the latter for having brought up his daughter. In the case of the daughter of a headman the bride-price is sometimes as high as Rs. 150. In Damoh a curious survival of marriage by capture remains. The bridegroom’s party give a ram or he-goat to the bride’s party and these take it to their shed, cut its head off and hang it by the side of the khām or marriage-pole. The brother-in-law of the bridegroom or of his father then sallies forth to bring back the head of the animal, but is opposed by the women of the bride’s party, who belabour him and his friends with sticks, brooms and rolling-pins. But in the end the head is always taken away. The binding portion of the marriage is the bhānwar or walking round the sacred post. When the bride is leaving for her husband’s house the women of her party take seven balls of flour with burning wicks thrust into them, and place them in a winnowing-fan. They wave this round the bride’s head and then throw the balls and after them the fan over the litter in which the bride is seated. The bridegroom’s party must catch the fan, and if they let it fall to the ground they are much laughed at for their clumsiness. When the pair arrive at the bridegroom’s house, the fan is again waved over their heads; and a cloth is spread before the house, on which seven burning wicks are placed like the previous ones. The bride walks quickly over the cloth to the house and the bridegroom must keep pace with her, picking up the burning flour balls as he goes. When the pair arrive at the house the bridegroom’s sister shuts the door and will not open it until she is given a present. Divorce and the remarriage of widows are permitted.