The gharial (Gavialis gangeticus), also known as gavial or fish-eating crocodile, is a crocodilian in the family Gavialidae and among the longest of all living crocodilians. Mature females are 2.6 to 4.5 m (8 ft 6 in to 14 ft 9 in) long, and males 3 to 6 m (9 ft 10 in to 19 ft 8 in), weighing over 900 kg (2,000 lb) in some cases. Adult males have a distinct boss at the end of the snout, which resembles an earthenware pot known as a ghara, hence the name "gharial". The gharial is well adapted to catching fish because of its long, narrow snout and 110 sharp, interlocking teeth.

The gharial probably evolved in the northern Indian subcontinent. Fossil gharial remains were excavated in Pliocene deposits in the Sivalik Hills and the Narmada River valley. It currently inhabits rivers in the plains of the northern part of the Indian subcontinent. It is the most thoroughly aquatic crocodilian, and leaves the water only for basking and building nests on moist sandbanks. Adults mate at the end of the cold season. Females congregate in spring to dig nests, in which they lay 20–95 eggs. They guard the nests and the young, which hatch before the onset of the monsoon. The hatchlings stay and forage in shallow water during their first year, but move to sites with deeper water as they grow.

The wild gharial population has declined drastically since the 1930s and is limited to only 2% of its historical range today. Conservation programmes initiated in India and Nepal focused on reintroducing captive-bred gharials since the early 1980s. Loss of habitat because of sand mining and conversion to agriculture, depletion of fish resources and detrimental fishing methods continue to threaten the population. It has been listed as critically endangered on the IUCN Red List since 2007.

The oldest known depictions of the gharial are about 4,000 years old and were found in the Indus Valley. Hindus regard it as the vehicle of the river deity Gaṅgā. Local people living near rivers attributed mystical and healing powers to the gharial, and used some of its body parts as ingredients of indigenous medicine.

Etymology

The name 'gharial' is derived from the Hindustani word 'ghara' for an earthen pot, in reference to the nasal protuberance on the adult male's snout. It is also called 'gavial'.

Evolution

The evolution of the gharial and its relationship with and divergence from other crocodilians have been a subject of controversy. Some authors assumed that the gharial evolved earlier than the other crocodilians because of its distinct skull shape and dentition, indicating a more advanced level of specialization. Others suggested that it evolved much later than other crocodilians because of its low levels of blood protein divergence. As it shares this trait with the false gharial, it was suggested that they form a sister group. In contrast, it was suggested that the gharial and all the other crocodilians form a sister group as the structure of its tail muscles is unique.

The genus Gavialis probably originated in the region of India and Pakistan in the Early Miocene. Fossil gharial remains excavated in the Sivalik Hills of Haryana and Himachal Pradesh are dated to between the Pliocene and the Early Pleistocene. Fossil gharial remains were also found at two sites in the Ayeyarwady River valley in central Myanmar, which are dated to the Late Pleistocene. During the Quaternary, Gavialis dispersed as far as Java via the Siva–Malayan route, which did not require saltwater crossings. Fossil remains of Gavialis bengawanicus found on Java were dated to the Early Pleistocene.

Characteristics

The gharial is olive-coloured, with adults being darker than young, which have dark brown cross bands and speckles. Its back turns almost black at 20 years of age, but its belly is yellowish-white. It has four transverse rows of two scales on the neck, which continue along the back.

Its snout is very long and narrow, widened at the end, and with 27 to 29 upper teeth and 25 or 26 lower teeth on each side. The front teeth are the largest. The first, second, and third lower jaw teeth fit into spaces in the upper jaw. The extremely long mandibular symphysis extends to the 23rd or 24th tooth. The snout of adult gharials is 3.5 times longer than the width of the skull's base. Because of this long snout the gharial is especially adapted to catching and eating fish.

Distribution and habitat

The gharial once thrived in all the major river systems of the northern Indian subcontinent, from the Indus River in Pakistan, the Ganges in India, the Brahmaputra River in northeastern India and Bangladesh to the Irrawaddy River in Myanmar. In the early 20th century, it was considered common in the Indus River and its Punjabi tributaries. By the early 1980s, it was almost extinct in the Indus. During surveys in 2008 and 2009, no gharial was sighted in the river. It was also present in India's Godavari River but was hunted to extinction between the late 1940s and the 1960s. It was considered extinct in the Koshi River since 1970.

By 1976, its global range had decreased to only 2% of its historical range, and fewer than 200 gharials were estimated to survive. It is locally extinct in Pakistan, Bhutan and Myanmar. Since the early 1980s, the population has been reinforced with captive-bred gharials that were released into wild habitats in India and Nepal. In 2017, the global population was estimated to comprise at maximum 900 individuals, including about 600 mature adults in six major subpopulations along 1,100 km (680 mi) of river courses and another 50 mature adults in eight minor subpopulations along 1,200 km (750 mi) of river courses.

Behaviour and ecology

The gharial is the most thoroughly aquatic crocodilian. It leaves the water only for basking on riverbanks. Being cold-blooded, it seeks to cool down during hot times and to warm up when ambient temperature is cool. Gharials bask daily in the cold season, foremost in the mornings, and prefer sandy and moist beaches. They change their basking pattern with increasing daily temperatures; they start basking earlier in the mornings, move back into the river when it is hot, and return to the beach later in the afternoon.

The gharial is well adapted to hunting fish underwater because of its sharp interlocking teeth and long narrow snout, which meets little resistance in the water. It does not chew its prey, but swallows it whole. Juvenile gharials were observed to jerk their heads back to manoeuvre fish into their gullets, sliding them in head first. Young gharials feed on insects, tadpoles, small fish and frogs. Adults also feed on small crustaceans. Remains of Indian softshell turtle (Nilssonia gangetica) were also found in gharial stomachs. Gharials tear apart large fish and pick up and swallow stones as gastroliths, probably to aid digestion or regulate buoyancy

Threats

The gharial population is estimated to have declined from 5,000–10,000 individuals in 1946 to fewer than 250 individuals in 2006, a decline of 96–98% within three generations. Gharials were killed by fishermen, hunted for skins, trophies and indigenous medicine, and their eggs collected for consumption. The remaining individuals form several fragmented subpopulations. Hunting is no longer considered a significant threat. However, the wild population declined from an estimated 436 adult gharials in 1997 to fewer than 250 mature individuals in 2006. One reason for this decline is the increased use of gill nets for fishing in gharial habitat. The other major reason is the loss of riverine habitat as dams, barrages, irrigation canals and artificial embankments were built; siltation and sand-mining changed river courses; and land near rivers is used for agriculture and grazing by livestock

In culture

The earliest known depictions of the gharial date to the Indus Valley civilisation. Seals and tablets show gharials with fish in their mouths and surrounded by fish. A tablet shows a deity flanked by a gharial and a fish. These pieces are about 4,000 years old and were found at Mohenjo-daro and Amri, Sindh.

A gharial is depicted on one of the rock carvings on a pillar of the Sanchi Stupa, which dates to the 3rd century BC. In Hindu mythology, the gharial is the vehicle of the river deity Gaṅgā and of the wind and sea deity Varuna.

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  • Dolores [love/loves]
    ·
    2 years ago

    if you take away the high-mindedness from pretentious art you're just left with unpleasant, ineffective art. something that effectively conveys emotion and events in an enjoyable way isn't pretentious.

    the style and boring-ness, ymmv situations, that's what creates a pretension dialectic---with some for whom it 'clicked' or 'got it' insisting its genius and others overwhelmed by the problems of the text insisting its shite.

    i also don't think the majority of people who are accused set out to make pretentious films, making something truly esoteric requires a far greater command of the craft than they possess. very few Godards out there but lots of people with interesting ideas who fumble execution, at least in the eyes of the public & (most damning) peers.

    • Huldra [they/them, it/its]
      ·
      2 years ago

      None of that seems particularly helpful though when it comes to wether or not a work is "actually pretentious" vs if its just people projecting their expectations onto art and getting mad about it.

      • Dolores [love/loves]
        ·
        2 years ago

        i mean isn't pretension fundamentally about a clash between expectation and content? the feeling of whether themes and ideas are met with appropriate amounts of importance (and how that is communicated artistically) is pretty subjective.

        • Huldra [they/them, it/its]
          ·
          edit-2
          2 years ago

          I guess my main point is that I feel like for some people who argue about art, being aware of the concept of "pretentious art" and all the baggage that goes along with that when it comes to things like modern art, disrupts their ability to enjoy and consume art more than the proliferation of "pretentious art" has done harm.

          I know that on this site theres been cases when any defense of modern art has been met with a long spiel of "Well Im just a poor working man, I've never had the chance to go to a fancy schmancy college to get a degree in enjoying real art!" And at that point it comes off to me like they've shut themselves off from even beginning to enjoy a lot of art due to projecting a lot of intent onto the artist and coming into it like they are about to fight the artist about the art.

          Like for example something I feel like I've seen a lot is someone approach abstract art, and first get angry about how they don't understand what the artist could possibly even "mean" with that painting or whatever, and then if someone gives some stock explanation of abstract art as being something you read into yourself to reach a personal meaning or whatever, it instead turns into "Oooooh, so it doesnt even mean anything at all? What a great piece of art that doesnt even mean anything!" etc.

          I use abstract art as an example because my personal experience is that it shouldnt be particularly challenging or difficult to find something interesting or enjoyable about it, yet its often a big target of anti-pretension debate.

          Also I think that an artist is likely to tell you if they are being pretentious about a piece of work and if there is a big important meaning they want to convey, a lot of the time they'll be happy to spell it out.

          • Dolores [love/loves]
            ·
            2 years ago

            no lies detected. i definitely think pretensiousness is a good critical tool and discussion topic but you're right that it shouldn't be used as a lathe to write things off or decide they're bad/unenjoyable just based on that

            i mean have you seen a whit stilman movie? pretentiousness can be entertaining in of itself

            • Huldra [they/them, it/its]
              ·
              2 years ago

              I haven't seen or heard of that guy yet but I'll see if I can check him out.

              Conceptualizing his own films as "The Doomed-Bourgeois-in-Love series" definitely feels like an example of a guy telling you when he is going to be pretentious.

              • Dolores [love/loves]
                ·
                2 years ago

                conceptually, one is opposed to sending everyone with an education to the fields to do hard labor, but mr stilman makes a compelling argument for it