Hand Stencils of Chhattisgarh: An Analysis of 2D:4D Ratios and Their Implications

Shimon Prakash1* and Mohd Zakir Khan2

Hand stencils, created using the blowing technique, represent one of the most elusive and significant themes in global rock art. Recent discoveries at the Maros–Pangkep karsts in Sulawesi, Indonesia, dated to approximately 67 ka, are comparable to the hand stencils of El Castillo Cave in Spain, which date to the Upper Palaeolithic (over 37 ka), suggesting the widespread emergence of symbolic behaviour during the Late Pleistocene. In the South Asian context, such motifs remain remarkably rare, appearing only as sporadic and isolated expressions. However, extensive surveys conducted by the present research team in Korba District have identified several rock art sites with similar evidence, among which the Chhati-Bahar site is particularly significant. The site contains a notable concentration of approximately 80 hand stencils of varying sizes. Interestingly, while most stencils are rendered in red ochre, a few examples are executed in black pigment. These motifs occur in association with Upper Palaeolithic and microlithic artefacts, including blades, backed pieces, and geometric tools, reflecting regional cultural integration. The present study undertakes a detailed analysis of these hand stencils, with particular emphasis on the 2D:4D digit ratio to ascertain dimorphic patterns reflected in the art. This research therefore seeks to bridge an important gap in the study of hand stencil representations in South Asia and contributes to the broader global discourse on prehistoric symbolic expression.