The earliest rock paintings in India were probably not created for aesthetic reasons, but for practical purposes, especially hunting witchcraft. Rock paintings in the Middle Stone Age in India are mostly symbols of visual witchcraft, reflecting the wishes, emotions and psychology of primitive ancestors who tried to influence the environment that could not be controlled by reason with witchcraft. A large number of individual animal images and collective hunting scenes depicted in rock paintings obviously have the meaning of imitating witchcraft or sympathizing with witchcraft in the process of praying for the success of hunting. Mi Erzha Parr's rock painting "The Wounded Wild Boar" vividly depicts the painful expression of a wild boar who fell into a trap and was stabbed in the hip by a sharp weapon. This may be a symbol of hunting witchcraft or a symbol of the cursed hostile wild boar totem tribe. Singanpur's rock painting Hunting vividly reproduces the scene of a group of primitive hunters hunting a bison with sticks and chasing a wild boar. The cave painted with this painting was called "the hall of society" by the local aborigines, and I am afraid it also revealed the news of the ancient hunting witchcraft ceremony. Gototti's rock painting Dancer depicts a group of primitive hunters dancing around two bison in silhouette. Today, the local aborigines still like to dance bison dances that imitate the various movements of bison in religious festivals. Perhaps the dance with rock paintings originated from witchcraft rituals that imitate hunting activities. The innermost layer of Pim Bedka's rock painting "Overlapping Animals" is black silhouette bison, the middle layer is reddish-brown cattle and horses, and the outermost layer is white riding figures. Repeated painting on the same rock wall in different periods probably proves that it is a holy place for witchcraft to play its role.
Witchcraft is considered not only to dispel the fear of primitive people struggling in difficulties and eliminate disasters, but also to promote the reproduction of animals, plants and human beings. A rock painting by Giora shows the primitive world composed of water Mae, reeds, swimming fish, ducks and birds, and embodies the concept of abundance, richness and reproduction. One of Gottotti's rock paintings depicts a group of men queuing to perform the dance of male root worship ceremony, which is an example of primitive reproductive worship. In many rock paintings by Giora and Gottotti, organs, stomachs and fetuses in animals and even inanimate objects (such as rocks) are drawn in a way similar to X-ray perspective. This clear anatomical detail shows the animistic and endless imagination in the original thinking. Rock paintings in the Bronze Age in India still continue the tradition of witchcraft rituals. Frequent war scenes often show not actual wars, but war exercises, dances or ceremonies. Witchcraft ceremony gradually transited to religious ceremony, and image symbols gradually evolved into abstract symbols. Lakojewal's rock painting "Handprints, Elephant Riders and Figures" should be a work in the transitional period from witchcraft to religion. Similar handprints are also common in rock paintings in other parts of the world, which are estimated to be the imprint of some witchcraft ceremony or initiation ceremony; The mysterious atmosphere of primitive religion is formed by strange knights wearing headdresses and abstract geometric figures with different sizes and alternating reality and reality.
In a word, Indian rock paintings vividly record the history of India's social structure, ecological environment and way of thinking at different stages of human culture. Those increasingly decorative lines and colors also show the gradual awakening of ancient Indians' aesthetic consciousness.