ISSN 1799-2591

Theory and Practice in Language Studies, Vol. 12, No. 9, pp. 1811-1818, September 2022
DOI: https://doi.org/10.17507/tpls.1209.14

Anthropomorphism in Indian Visual Narratives

Cynthiya Rose J S
School of Social Sciences and Languages, Vellore Institute of Technology, Chennai, India

Bhuvaneswari R
School of Social Sciences and Languages, Vellore Institute of Technology, Chennai, India

Abstract—The study of images begins to flourish because of the ubiquity of visual representations in
communication. A visual medium communicates across ages and languages. Each artifact, like strokes, colours
and gestures, has its specific meaning that highlights human behaviour. In stories, animals in human form
delight and capture the audiences’ attention. The selection of animals and their projected ways reflects more
than what is expressed directly in the text. As a result, anthropomorphism (nonhuman entities that talk and
act like human) is widely used as a communicative tool to insist on sensitive themes. Simultaneously, there is a
belief that anthropomorphism misattributed human-like abilities to nonhuman which can risk the people’s
approach towards nonhuman. This paper identifies some of the degrees of anthropomorphism noted in Indian
visual narratives from Malik’s Munnu: A Boy from Kashmir, Gupta and Rastogi’s Chhotu: A Tale of Partition
and Love, Amar Chitra Katha’s Animal Tales from India, Samhita Arni’s Sita’s Ramayana, Amruta Patil’s
Aranyaka: Book of the Forest and Samit Basu’s Tall Tales of Vishnu Sharma: Panchatantra. The study
researches the role and importance of anthropomorphism in visual narratives.

Index Terms—visual narratives, anthropomorphism, graphic novels, illustrations, children’s literature, India

I. INTRODUCTION
“Welcome to the age of images; the signs are everywhere - for those who can read them.” (Burmark, 2002, p. 2)
Visual narratives are trendy and more popular than traditional narratives in children’s literature. Visual narratives are
also known as ‘visual storytelling’, narrating the story using photos, videos, and graphics. Illustrated tales are built in a
sequence of events and documented as picture books, comic books, and graphic novels. It balances the visual space and
scripture space. These narratives follow the format, including text, images, panels, word balloons and sound effects.
According to Osewalt (n.d.), children understand the narrative by connecting themselves with the text, raise curious
questions, visualise the scenes in mind, look for clues, identify the characters, check the understanding level and try to
express what they have learnt from the text. Visual aids captivate, allow children to understand the entire story and,
eventually, encourage them to react to real-life situations. However, visuals and text combine both processes and give a
child a clear view of text and the world around them.
Fantasy, mystery, and adventures are key denominators in children’s books, notably when characters are imaginative.
Animals with human features in the stories add to the excitement and effectively convey the theme. Children’s love for
animals is inevitable; they love to have pet animals. Their continuous interaction with nature and curiosity (Burke &
Copenhaver, 2004) motivates writers to create human-animal characters in children’s literature. This ‘not-quite-human
yet not-quite-animal characters’ mesmerises the children and rekindles their imagination. Animal stories, in general,
begin with a problem, and a solution is found in the course of the book. These books generally involve children to know
the fundamentals of morality and end on a happy note. The animal characters help premature children to explore
complex topics. It grades up children’s relationship with animals and nature. The humanised feature of animals in
stories is known as anthropomorphism; they talk, act, dress, think, and feel like human—this anthropomorphic device in
books connects human with the universe. Commoner’s (1971), the first law of on ecology, ‘everything is connected to
everything else’ suggests each thing has a connection either with the physical (environment) nature or the inner
(character) nature. Nothing exists; peaceful existence is always better than mere existence without nature. In a way,
anthropomorphism takes advantage of the visual components to develop the reader’s inner nature.
In literary history, anthropomorphism plays a significant role; primitive storytellers use animals as an antagonist to
dramatise man’s ceaseless struggle against the forces of nature. Moreover, they are in didactic stories like Aesop’s
fables too. Some of the well-known anthropomorphic children’s books are Kenneth’s The Wind in the Willows,
Beatrix’s The Tale of Peter Rabbit, Dr Seuss’s The Cat in the Hat, Lewis’s Alice in Wonderland, A. A. Milne’s Winnie
the Pooh, and E.B White’s Charlotte’s Web. The research focuses on distinguishing features of anthropomorphism
employed in visual narratives.

II. LITERATURE REVIEW

The representation of animals is found in ancient paintings and carvings; the stories are the creation of human with
animal bodies and animals with human behaviours. For example, Panchatantra’s story Turtle and the Geese was

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sculpted in Nalanda Temple (7th century CE). The natural resources are worshipped as deities, as the human feel one
with nature. According to Bailey (2010), anthropomorphism portrays Gods and supernatural powers who appear and act
like humans, both outside and inside the world. Human and animal representations may be combined by the gods, as in
animal-headed human beings. Greek mythical characters Bastet, Thoth, Horus, Anubis Sphinx and Hindu mythological
deities Hanuman and Narasimha are great documentaries for the presence of anthropomorphism from antiquity.
Animal stories dated from the sixth century, like well-known Aesop’s Fables, teach good behaviour in children.
Blount’s views, Aesop’s Fable used the allure of animals and narrative to reach out to his audience in a unique way, and
the strategy has been picked up, expanded, used, and replicated till the animal moral story grows tedious after a while
(Blount, 1975). Animal stories offer an innate connection between children and nature. Thus, Fraustino (2016) voices in
article named “The Rights and Wrongs of Anthropomorphism in Picture Books”, that nonhuman characters in literature
simplifies the severe subject of death while also resolving the problematic human-nonhuman relationship. It exposes
children to reality or life truths such as death, poverty and sufferings, which is basically absent in children’s literature.
You (2021), in his paper titled “The Necessity of an Anthropomorphic Approach to Children’s Literature”, disclosed
anthropomorphism as a touchstone for exploring aesthetics and ethical problems in children’s literature. His research
exhibits anthropomorphic tales that resist allegorising nonhuman as a person and animal-related themes and builds other
significant comments to young readers about human-animal relations in the Anthropocene.
Epley et al. (2007) state, Anthropomorphism is the tendency to instil human-like features, motivations, intentions, or
feelings into the real or imagined behaviour of nonhuman agents. His article titled, “On Seeing Human: A Three-Factor
Theory of Anthropomorphism” explains three psychological determinants: elicited agent knowledge, reflectance
motivation, and sociality motivation. This theory on robot gives insights into the human-computer interaction and the
inverse process of dehumanisation. The extension of this theory is followed in “When We Need a Human: Motivational
Determinants of Anthropomorphism”, where he examines motivational determinants: sociality and effecting
motivations. This theory offers unique predictions regarding anthropomorphism’s dispositional, situational, cultural,
and developmental diversity (Epley et al., 2008). Waytz et al. (2010) assert that “Psychologists have used the term
anthropomorphism rather loosely to describe everything from mistaken inferences about nonhuman agents to almost
any kind of dispositional inference about a nonhuman agent, definitions that do not fit with the actual dictionary
definition of ascribing ‘human characteristics or behaviour to a god, animal, or object’” (p.221). Eventually, his article
titled “Who sees human? The stability and importance of individual differences in anthropomorphism” focuses on an
individual variation in anthropomorphism are used to forecast how much moral care and concern an agent is given, how
much responsibility and confidence is put on an agent, and how much an agent acts as a source of social influence on
the self (Waytz et al., 2010). It addresses how understanding anthropomorphism influences the growing study of
nonhuman as well as the traditional concerns that underpin the perception of a person.
Lesher (1992) stated that Xenophanes (6th BCE) coined anthropomorphism to characterise gods and other
supernatural beings. So, he introduced two divisions: the first includes assigning human-like physical characteristics
(such as a face or hands) to nonhuman. In contrast, the second entails attributing a human-like intellect to nonhuman
(e.g., intentions, conscious awareness, secondary emotions such as shame or joy). May Hill Arbuthnot, a critic of
children’s literature, categorises animal stories into three: firstly, animals dress and act like human; secondly, animals
talk but act naturally and thirdly, in which animals were ‘objectively’ described (Markowsky, 1975). Ms Burnford
suggests that the categories of Hill express a child’s reading chronology. Children enjoy dressed animals, then progress
to more realistic and objective treatment. An anthropomorphism makes the unfamiliar appear to be more familiar to the
reader. Juliet Kellogg Markowsky gives four reasons for the authors to employ anthropomorphic activities in writing for
children. The first reason is to enable the readers to identify with the animals; the second is for the fantasy’s flight; the
third is for variety, and humour is the last reason. In “Four Degrees of Anthropomorphism”, Emslie (2007) presents
common approaches towards creating animals. Displaying human emotion with animal behaviour; animals
communicate amongst themselves but remain animal-like human; animals as human types, but they retain specific
animal-like characteristics; completely humanised behaviour. The lack of study in the field of anthropomorphic
methods, notably in Indian visual narratives, necessitates this research.

III. METHODOLOGY
The textual analysis method is used in the study to analyse anthropomorphic depictions in Indian Visual Narratives.
This study focuses on recognising the degrees of anthropomorphism in Indian graphic narratives like Malik Sajad’s
Munnu: A Boy from Kashmir, Gupta & Rastogi’s Chhotu: A Tale of Partition and Love, Amar Chitra Katha’s Animal
Tales from India, Samhita Arni’s Sita’s Ramayana, Amruta Patil’s Aranyaka: Book of the Forest and Samit Basu’s Tall
Tales of Vishnu Sharma: Panchatantra. Despite the definition of the term ‘anthropomorphism’ as ‘the attribution of
human characteristics or behaviour to a god, animal, or object’, the research is limited to talking about animal characters
and animals that display anthropomorphic behaviours. The paper touches on visual artifacts like shades/strokes and
colour and gradually analyses image format from black & white illustration to digital art. However, the cynosure of the
article lies in the degrees of anthropomorphism as conceived from May Hill Arbuthnot’s animal stories categorisation
and Pete Emslie’s theory on anthropomorphism.

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IV. DEGREES OF ANTHROPOMORPHISM IN VISUAL ARTS

An illustration is an interpretation or explanation of text that expresses additional details about characters to elicit an
emotional response. The story elucidates with a dynamic blend of illustration and text. For improved comprehension, it
adds emotions and background information to the text. As a result, visual storytelling educates, informs, and entertains
the audience. Images have connotative and denotative meanings. It symbolises the emotion and struggles while
outlining everyday actions. Visual narratives enable the fantasy world in children and mould them with different
perspectives apart from text ideas to deal with life hitches. The successful explanation of abstract concepts is
accomplished by integrating new innovative ideas of modern technology into visual art. It also works as a documentary
on people’s daily lives in the current era. Illustrations convey the sensitive issues and realistic depictions effortlessly but
effectively without disturbing in the reader’s environment. From an illustration view, anthropomorphism is to engage
the readers and communicate the message (Dallacqua, 2012). In literature, anthropomorphic animals enable a child to
relate to a character as their peer. Animals as characters create emotional distance from personal, powerful and painful
themes. A visual narrative has a precise meaning in relation to the context, including line, colour, shape, words, space,
and texture. Variations in artifacts are assigned to narrate actual happenings other than the plot and elicit the audience’s
emotion.
Degree A: Fully Recognised as Human in a Human World
Storytellers prefer anthropomorphic representations to explain people’s daily lives. Malik’s Munnu: A Boy from
Kashmir is an anthropomorphic book in which Kashmiri people are depicted as Hangul, their national, regional animal.
It is to spotlight the Kashmiri people, and Hangul are endangered species. The story is about Munnu, a little Kashmiri
boy and his early life experience. The illustrator provides visual cues to identify each character, such as wearing a tie.
His sketches of dogs, hangul deer, and human representation distinguish Kashmiri people from the Indian army. The
author draws the influenced from the works, Art Spiegelman’s Maus and Joe Sacco’s Palestine. The everyday life of
the Kashmiri people, their struggle and their politics are illustrated through anthropomorphism. The illustration gives
minuscule and rich details about the background. A feature of anthropomorphism is that humanised animals behave
similarly to human, such as moving on legs, conversing, dressing up, carrying props and blending into the human world.
The below Figure.1 artwork from the novel depicts drawing, drinking, weariness, driving, sobbing, and pleading. A
reader can understand the illustration without written description that Hangul loosening his tie implies he was exhausted;
the bike riding signifies that they are in a hurry in the middle of the army forces.
The text reflects a person’s idea or dialogue, but the illustration provides additional details to the text about the
incident’s context, scene, and tone. The combination of text and illustration brings the people’s emotions before the
reader’s eyes. Colour is a designer’s tool for reflecting the chroma, hue and value to induce reaction with the context.
The colours, black and white, are employed to emphasise the stark gloom of reality. To convey the variety of intensity,
thin and heavy strokes are used rather than shades. Visual narrative is conceivable for the sight of horror and violence
occurring in the complex nation. It provides eye-opening knowledge to readers who have never envisioned the suffering
of Kashmiris.

Figure 1: Munnu: A Boy From Kashmir

Degree B: Replacing Human Face with Animal Face

Another aspect of anthropomorphism is replacing the human face with an animal face. An animal face illustration
symbolises the character’s nature, like dog-faced characters denoting monitoring and protecting ability. The relationship

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between the emotional response evoked by visual artists’ strategies anthropomorphising animal faces or dehumanising
people’s faces and bodies, on the other hand, is an invitation to narrative empathy proffered by graphic storytelling
(Keen, 2011). In Gupta & Rastogi’s Chhotu: A Tale of Partition and Love, multiple animal faces are merged with the
human body. It is a story of an orphan boy Chhotu who tries to recognise his life’s meaning across religious and cultural
identities in the Indian partition period. Illustration tries to explore religious unity, class struggle and divisions in the
form of anthropomorphism. Presenting the past through animals’ eyes transforms the readers to create changes in the
future. The new variety of using multiple animals faces with the human body is to pin the diverse people’s presence in
India. Illustrators make use of the background to picturise the context through texture. This creative combination of
illustration and language binds the reader with this unique style as it widens their imagination to unbox the metaphor
usage in novels. The background with the grades of darkness is to level the period’s violence and highlight the inner
emotion of a person as blank and dark. Visual allusions with the running texts, “we’re all animals after all” (Rastogi &
Gupta, 2019, p.143) and “Indians and dogs are not allowed” (Rastogi & Gupta, 2019, p.22), convey that both human
and animals are equal. It suggests that the reader, a human to think of himself in the place of represented animals. As
expressed by Markowsky (1975), anthropomorphism allows readers to relate with performing characters while amusing
them with knowledge, and leads to abrupt changes in their life.

Figure 2: Chhotu: A Tale of Partition and Love

Degree C: Animals with Biological Identity and Talking Ability

Animals are presented with a biological identity and talking ability through speech balloons. Amar Chitra Katha’s
Animal Tales from India are ancient stories intended to teach morals and lessons. It is not just a story for and about
children but serves as a nostalgic reminder. Each story from Amar Chitra Katha is tailored to India’s cultural
phenomena. Social issues, the environment, and animal rights are addressed in the stories. Using Anthropomorphic
figures in writings creates environmental awareness and a love for nature. Unlike digital illustration, Indian visual
storytelling emphasises inherited ideas from the past. The costumes, settings, and colour choices in handmade artwork
express various emotions, postures, and gestures. The below illustration from Amar Chitra Katha contrasts the idea of
the food chain that the rat helps the cat on the right side of Figure 3 and the tiger and the fox having a harmonious
conversation. Thus, the animal stories appeal to the children more than dealing with scientific facts, it insists on moral
values.

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Figure 3: Animals Tales in Ancient India

Degree D: Animals Pictured Partially with Human Traits Integrated Into the Human World
Anthropomorphic animals are pictured as if they were human. Generally, humans are classified into man and woman,
but in animal stories, the classification differs as men, women, and anthropomorphic characters—these humanised
animals are believed to be one among human. According to Arni’s depiction of Hanuman in Sita’s Ramayana, a
monkey in human form acts like a human. Even though the plot is based on the classic epic Ramayana, it is told from
the women’s perspective. Anthropomorphic characters can be observed from the opening of the text; the illustration of a
crying flower empathises with Sita, “who was she? The forest wondered. What was she doing here? And why was she
crying? She knew the forest watched her, and she heard the whispered questions” (Arni, 2011, p.8). Maricha turned into
a golden deer to attract Rama’s attention and screamed out in animal form, “Sita, Sita.” (Arni, 2011, p.19) Both depict
the aspects of anthropomorphic utilisation to soothe and distract people by appealing to their emotions. Finally, the
vanaras, Hanuman, Vali, and Sugriva, are regarded as humanoid beings with animal qualities. This anthropomorphic
portrayal of human symbolically represents the idea of social class stratification. The novel illustration is unlike other
graphic illustrations following the Patua style of art with solid and assertive strokes to hold the traditional culture. The
earthy colour palette in the work provides the impression that the characters come from the soil, which denotes the skin
colour of Indian people and makes the readers feel one with the text. It does not mean Indian texts are meant for Indian
readers but as a depiction of rich Indian culture and a literary source for those who want to learn more about India.
Despite the story’s powerful themes of death, war, violence, and betrayal, the illustration balances the intensity of the
theme that does not affect the reader’s emotions.

Figure 4: Sita’s Ramayana

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Degree E: Normal Animals with Human Emotions

Anthropomorphic elements are deployed to represent the character’s inner emotion. In graphic storytelling, animals
define the character’s personality (Jardim, 2013). It is reflected in Amruta Patil’s Aranyaka: Book of the Forest. Natural
analogies and allegories describe human lives and personalities in this story; aside from these metaphors, Figure 5
illustrates an animal communicating with a man. The black panther is a representation of the character’s (Katyayani)
inner self. Katyayani, the protagonist of the novel, enormously indulged with nature, finds herself within the forest. In
her isolation, she communicates with the black panther and her grove. Figure 5 displays the understanding of an animal
towards human’s emotion. The uniqueness of the illustration is hand-drawn and water-coloured, making the images
with running texts more translucent and luminous.

Figure 5: Aranyaka: Book of the Forest

Degree F: Animals to Replace the Human Characters or Animals in Human Form With Moderate Animal Identity
Animals replace the human characters to convey the message in a human acceptable way. “Inanimate objects can do
what people are not able to, or cannot” (Derby, 1970, p190). Tall Tales of Vishnu Sharma: Panchatantra is a graphic
novel about searching for a guardian to protect the ancient story Panchatantra, which includes ancient to modern-day
story characters. It is a coming-of-age story that attempts to preserve the essence of Indian folklore from extinction.
Actual Panchatantra is an ancient fable intended to inculcate moral values in three princes of the ages with traditional
cultural values; this novel covers how westernisation tries to merge and affect ancient values and culture. Various kinds
of animals depicted in the novel are compared to a rallying cry of people to defend their ideals. It is not to project India,
particularly as a multicultural nation but to celebrate an individual’s uniqueness. Figure 6 displays human characters
being replaced by animals; an old tortoise for an older man and two cranes for a woman. The connotative meaning of
Figure 6 is an effort of the animal to communicate with readers. It is reflected in the action of the animal crew
members’ taking human form to speak with the guardian, such as the cow, lion, and monkey transforming into a human,
which is exposed on the right side of Figure 6. Graphic illustration attracts modern readers and provides multiple
meanings according to the context and position of the illustration. The dark space and empty blank page full of black
colour denote the story’s pause and the horror effect of the upcoming age.

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Figure 6: The Tall Tales of Vishnu Sharma: Panchatantra

V. CONCLUSION
Graphic Novels in India are known for their idiosyncratic illustrations with running texts. In India, anthropomorphic
representations can be seen in illustrations, carvings and puppets. Although some researchers believe that
anthropomorphic portrayal is a wrong perception of animals that leads to inaccuracy, anthropomorphism is popular
among people because of its diversity and humour. Anthropomorphism, on the other hand, allows readers to discover
the hidden context behind the artwork while simultaneously conveying delicate issues in a more straightforward manner.
Though the sketching style is different to artists, the artwork speaks more on the artist’s intension than the text. This
research examines illustrations from Indian graphic storytelling and assigns degrees to various types of
anthropomorphism: Degree A: animals act in the same way as human do in order to understand people’s daily lives;
Degree B: substituting animal faces for human faces to emphasise the diversity of people across the world; Degree C:
animals having the ability to communicate to reinforce cultural norms; Degree D: animals are humanised is to
empathise nature; Degree E: replacing human character is to convey the message in an acceptable human way; Degree
F: the reader’s feeling was linked to the anthropomorphic figure through animal depiction. This is a preliminary
investigation into detecting various degrees of anthropomorphism in different texts; for further study, each degree of
anthropomorphism may be examined in detail in specific novels.

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[5] Blount, M. (1975). Animal Land: The Creatures of Children’s Fiction. New York: William Morrow.
[6] Burke, C. L., & Copenhaver, J. G. (2004). Animals as people in children’s literature. Language Arts, 81(3), 205-213.
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[8] Commoner, B. (1971). The closing circle: Confronting the environmental crisis. Knopf.
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[15] Fraustino, L. R. (2016). The rights and wrongs of anthropomorphism in picture books. In Ethics and Children’s Literature (pp.
159-176). Routledge.
[16] Jardim, T. J. (2013). Animals as character: Anthropomorphism as personality in animation (Doctoral dissertation).
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[18] Lesher, J.H. (1992). Xenophanes of Colophon: Fragments. Toronto, Canada: University of Toronto Press.
[19] Markowsky, J. (1975). Why Anthropomorphism in Children’s Literature?. Elementary English, 52(4), 460-466.
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Cynthiya Rose J S is a PhD candidate in the Department of English, School of Social Sciences and Languages, Vellore Institute
of Technology, Chennai, India. She researches how images work and their impact on children. Her research interests are Children’s
Literature, Indian Literature and Graphic Novels.

Bhuvaneswari R is currently working as an Assistant professor (Sr.) at the School of Social Sciences and Languages, Vellore
Institute of Technology, Chennai. She has pursued her master's at the University of Madras, Chennai and doctoral research at HNB
Central University, Srinagar. Her research areas of interest are ELT, Children/Young Adult Literature, Canadian writings, Indian
literature, and Contemporary Fiction. She is passionate about environmental humanities. She has authored and co-authored articles in
National and International Journals.
Publications include:
[1] Narendiran, S., & Bhuvaneswari, R. (2021). Consciously eco-conscious: An eco-conscious re-reading of Bibhutibhushan
Bandyopadhyay’s Moon Mountain as young adult literature. Rupkatha Journal on Interdisciplinary Studies in Humanities,
13(2), 1-9.
[2] Cynthiya Rose J S., Bhuvaneswari R. (2020). Storytelling among Children: A Survey. Journal of Critical Reviews 7(15),
36-43.
[3] Sufina, K., & Bhuvaneswari, R. (2018). Ecocriticism in Indian Fiction. IUP Journal of English Studies, 13(1).
[4] Narendiran, S., & Bhuvaneswari, R. (2018). Distorted Resistance: A Re-Read of Red Blooms in the Forest as Naxal and
Leftist Frankensteins. Pertanika Journal of Social Sciences & Humanities.
[5] Sufina, K., & Bhuvaneswari, R. (2018). Listening to Earth Stories: An Interview with Swarnalatha Rangarajan. The Goose,
16(2), 47.
[6] Bhuvaneswari, R. (2016). Projects for engineers: An innovative approach in English language teaching. International
Journal of Applied Engineering Research, 11(1), 319-321.

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