Egyptians weren't the only people to propose that death is but an extension of life. Memorial stone carving locally known as 'Gatha', 'Gatla', 'Smriti Stambha' or 'Mandos' is a popular practice amongst the tribes of Gujarat, Rajasthan and western Madhya Pradesh. These visual epitaphs are created when there is an unnatural or sudden death of an individual. The essence of the deceased is portrayed through the figures carved in stone, which are sometimes done in an iconographic way. The tribes believe that after death the spirit resides in the stones, where the spirit provides protection to the family and becomes their guardian angel.


'Gathas' or 'Sati Stambhs' carvings are used as memorial stones for the dead and serve as a visual memoir of the deceased. Stone figures are carved along with other iconographic details that visually depict the persona of the individual, their standing in society, as well as personal interests. This method of depiction helps in capturing the essence of the individual and serves as a memory for the family of the loved one. The tribes believe that after death the spirit resides in the stones, where the spirit provides protection to the family and becomes their guardian angel.



The memorial stone or pillar erected for a deceased female is called 'Sati' or 'Sati Stambh' and when it is a male the stone is called 'Gatha'. If the deceased were a priest, then their stone is given special treatment where the stone is carried around the village along with ceremonial fanfare, drum beating and singing.
An auspicious day for the installation of the 'Gatha' is decided by the priest after the 12th day of mourning has passed. After the sculpting of the pillar is complete, the detail of the 'eyes' is accompanied with a special 'puja' or prayer. The following day the community gathers around a tree or a well to witness the installation of the pillar. Clothes are given as prayer offerings called 'Paharani' and animal sacrifices are made to appease the spirits. The memorial stone pillar is installed facing the eastern direction and the stones are considered to hold and calm the wandering spirits. The 'Gatha' stones are not treated like tombstones, which are usually placed above the buried body, but are placed within the area premises of the community the deceased belonged to.

The iconographic representation of the deceased is what makes these stone pillars so unique. Key attributes of the person are highlighted through exaggeration and the popularity or stature of the person is symbolically depicted. For example, the presence of sun or moon in the picture of a person signifies their fame while the presence of a horse signifies that they were powerful or wealthy. Special attention is given to the details of the face and is enlarged in proportion to the body laying more emphasis on it. The women in the 'Sati Stambha' are portrayed in a very simple manner. The placement of the stone also differs based on the tribes or communities. The 'Gond' community customarily places their Gatha stones under the shade and they call the craft 'Sthapna', derived from a Sanskrit word meaning 'to situate'. Their stones are observed to be bigger than the ones used by other tribes. The 'Bhils' on the other hand position them in open spaces. The 'Gathas of Jhabua', rely on iconic imagery whereas the ones in the 'Chindwada' region have more realistic and natural looking sculptures.


Myths & Legends



Since the dawn of time man has always relied on stone inscriptions as a way to record historical events. Ever since the first working tools were invented in the Paleolithic age, pre-historic man inscribed and chiseled on stones and cave walls. He recorded daily events and documented important data such as cures for the sick, successful hunting expeditions as well as made markings to commemorate the dead. 
In the famous 'Pachmarhi' cave paintings of Madhya Pradesh, a disheartened family is depicted attending a funeral ceremony. The burial practice of the period depicted in the paintings has a close resemblance to that practiced by present day tribes. When man learnt how to hunt, fish, construct huts and grow food he moved from cave shelters and hidings to the more open plains and river beds. Studies of the paintings have revealed the ritualistic practices that developed to appease the spirits of the dead and elements of nature.
Buddhists are known to have adapted this in the form of a 'Stupa' from as early as 300 B.C. Tribal carvings on granite slabs were significantly seen in 'Bastar', from where the craft is believed to have spread to the states of Andhra Pradesh and Karnataka. 
Most memorials in Karnataka seemed to be derivatives of this form of granite pillars with elaborate motifs, characteristic of 8th century Hindu memorials. The same is seen in the memorials erected for the 'Nishidi' (of Jain monks who died fasting for a cause) and 'Sati' (women who sacrificed themselves on the husband's funeral pyre). 'Tulsi' platform-like memorials were constructed specially for the deceased priests and holy men. According to the anthropologist Verrier Elwin, the existence of these customs among the people of Dravidian origin and it's almost absence among the Aryans, indicates its tribal origins. The custom traveled to the south with the migration of the tribes when they wanted to avoid foreign invasions.
It is seen that the tribes imitate their ancestral art of at least 6000 years, even today. Symbols and objects that signify social stature such as horses are used in the engravings. For example in the tribal memorials, a man depicted riding a horse with a servant following him and carrying a decorated umbrella indicates his high status. 
Even though the tribes never rear horses but their dead are often portrayed riding a horse. It is believed that could be a vestige of an ancestral style that has remained unchanged in the last six thousand years. 



A 'Gatha' stone is made on a large piece of rock with no prescribed measurements and has symbolic motifs and other iconography carved on it. Symbols of weapons like swords, bows and arrow are used to depict a brave person; likewise a man fond of alcohol is depicted with liquor bottles and drink glassware. 
Commonly seen, are the figures wielding weapons in traditional attire of the 'Angrakha' (a long coat), 'Pyjama' and 'Pheta'-turban'. The males are sometimes depicted holding hookah pipes. 
Sometimes auspicious figures are shown accompanying the figures of the deceased. A man on a horse representing a bridegroom, a 'Naai' or a barber, a 'Panihari' or a woman carrying water are some of the figures whose portrayal are regarded to be traditionally essential. 

The 'Sati Sthambhas' are usually depicted in a simple manner with the addition of only traditional motifs, though in some villages the images of Sati are shown to be riding a horse. The carvings are intricately detailed that enhance and highlight the beautiful details of the ornaments, 'Odhani' (veil) and 'Gaghra' (skirt). If the woman was married then the pillars are marked with images representing children. In earlier times, the artisan or priest would add a description of the deceased, provided by the family members. In present times, a photograph of the person has replaced the description and the name of the individual is carved in.
It is difficult to spot a 'Gatha' stone without the motif of a horse. This has come to be a prominent motif in the craft. The other commonly seen motifs are 'Crescent of moon', 'Sun', 'Peacock', 'Tiger' and 'Dog'. Traditionally, earthen colours like 'Geru' were used to paint the stones but now oil paints and enamel paints are also used to paint the 'Gatha' Stones.