ROCK ART IN TAMIL NADU: A STATUS REPORT

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1 Man In India, 91 (2) : Serials Publications ROCK ART IN TAMIL NADU: A STATUS REPORT K. Rajan Despite the presence of a variety of archaeological remains, rock art of Tamil Nadu has not received sufficient academic attention. This paper presents a status report on the research on the rock art of Tamil Nadu. So far more than seventy-five sites are known to yield- paintings executed on rock-shelters and the megalithic tombs; but only a few of the sites have engravings. Rock art is witnessed throughout the region with a higher concentration in the northern part of Tamil Nadu. Situating rock art in proper socio-cultural contexts, studying their chronological evolution, systematic documentation and proper protection are still wanting as far as Tamil Nadu is concerned. Urgent steps are needed from the government to protect these valuable archaeological remains. Keywords: Rock art - Tamil Nadu - India. Rock art is not merely an expression, but also a representation of the tremendously rich life ways of the prehistoric communities. When researchers confront with rock art, they not only admire its aesthetic value, but also attempt to decipher the in which are concentrated the ancient belief systems. Rock art, therefore, is not just about expressing things, but sublime ideas and flashing values. Rock art, which is the earliest known aesthetic expression of humans, serves as an important source material to understand the mental world of the past societies. This non-verbal language, communicated through an everlasting medium, provides insights into the world of the bygone era. The study of rock art in Tamil Nadu, particularly in the recent years, has attracted the attention of a number of academicians, artists and amateurs from different fields. The curiosity in this ancient form of art has resulted in the discovery of more than seventy-five sites in Tamil Nadu with paintings (petrographs) and engravings (petroglyphs) executed on the surface of rock-shelters and the Iron Age ( megalithic ) graves, particularly the dolmens. Unlike in the northern part of India where the early rock art is dated back to the later Palaeolithic times, the south Indian rock art seems to have first appeared in the Mesolithic times, according to the available evidence, but continued through the Neolithic, the Iron Age, and the historical times. History of Research Since the first discovery of rock paintings in 1860s by Archibald Carlleyle in the Kaimur ranges of Bihar region, several rock art sites have been brought to light in different parts of India. The early investigations were in sporadic in nature as one Address for communication: K. Rajan, Department of History, Pondicherry University, Pondicherry, India, rajanarchy@gmail.com

2 338 MAN IN INDIA discovered by Fawcett in 1890s at Edakkal in Wayanad region of Kerala. The study of rock art as a discipline emerged only in the post-independence era. The discovery of the cluster of painted shelters at Bhimbetka in 1957 by V.S. Wakankar made a tremendous impact in the study of rock art in India. The discovery of rock paintings at Mallapadi in Dharmapuri District by K.V. Raman in 1978 initiated a new beginning in the study of rock art of Tamil Nadu. Pon. Arasu, then pre-historic archaeologist in Tamil Nadu State Archaeology Department took initiatives under the direction of R. Nagasamy and discovered several sites in South Arcot and North Arcot districts. Pon.Arasu documented nearly ten sites in a short span of time, particularly in the area around Tirukkoyilur. However, the discovery of Kilvalai paintings with certain graffiti marks identical to the Harappan/Indus script by Bagur Kuppusamy in 1984 generated great interest among archaeologists. Subsequently, the Tamil Nadu State Archaeology Department initiated a concrete programme to survey and document all the available rock art sites in Tamil Nadu (Sridhar 2005). The archaeological officers posted in different districts took efforts to locate rock paintings. For instance, R. Poongundran, then Registering Officer of Nilgiri district, discovered several sites in the Nilgiri hills. Likewise, R. Krishnamurthi, the Archaeological Officer of Dharmapuri district, discovered rock art on the dolmens at Maharajakadai and Mallachandram. This discovery opened up a new dimension and also suggested that the some of the paintings in white pigment might be associated with the Iron Age culture. V. Vedachalam brought to light a few sites in Madurai region. R. Poundurai (1986) of Tamil University consolidated the available data on rock art and brought out a monograph. Pulavar Duraisamy, a schoolteacher of Kaveripakkam, discovered several rock art sites in Dharmapuri district in the 1980s and 1990s. Till then, scholars had given much importance to rock art, but largely ignored the associated cultural materials. To pursue this issue, K.Rajan in association with Pulavar Duraisamy and T. Subramaniam carried out archaeological surveys in the region and placed certain sites within a definite chronological framework. For a period of fifteen years, between 1990 and 2005, there was a lull in rock art research. Only a few sites were added-up to the list. A few sites were identified in the Upper Gundar Basin of Madurai district in Tamil Nadu (Selvakumar et al. 1998). However, recently in the year between 2005 and 2007 a few researchers including K.T. Gandhirajan, R.N. Kumanan, M. Saranya and K. Kumar (Kumar 2005a, 2005b; Valliyammal 2005) brought to light several sites. K.T. Gandhirajan, an artist, concentrated in and around Kollegal taluk of Nilgiri district and brought to light one of the largest rock art sites at Karikkiyur. K. Kumar surveyed in Vellore region in the year between 2005 and 2007 and reported several sites. R.N. Kumaran and M. Saranya as a part of their Ph.D programme noticed rock art sites for the first time in the Palani hills of Kodaikanal region in Irrespective of these discoveries and rock art study in Tamil Nadu is lacking a systematic approach including faithful documentation and micro-level analysis. This scenario is due to

3 ROCK ART IN TAMIL NADU: A STATUS REPORT 339 the lack of data on the cultural context of the sites. Further, there is only limited excavations were conducted at the sites yielding rock art. The excavations at Paiyampalli, Mallapadi and Mayiladumparai have helped to find out the association of rock art and their cultural context. Chronology and Distribution So far more than seventy-five sites are known to yield- paintings executed on the rock-shelters and the megalithic tombs (Table 1). Only a few of the sites have engravings. Rock art is witnessed throughout the region with a higher concentration in the northern part of Tamil Nadu (Fig. 1). This scenario is, probably, due to the limited explorations carried out in the southern region. In the recent past, several Palaeolithic sites have been discovered, beyond the traditional Palaeolithic centre of Kortalaiyar valley, in Chingleput, Vellore, Dharmapuri and Ariyalur districts. The find of a number of Palaeolithic and Mesolithic tools in the Lower Kaveri valley at Kilkolatttur (Figs. 2-5), Kattur and Peraiyur is an eye-opener. Likewise, several Mesolithic sites have been discovered throughout Tamil Nadu (Figs. 6-7). The occurrence of Palaeolithic sites clearly suggests that the prehistoric people intensively inhabited across Tamil Nadu. However, their transformation from one cultural phase to another was not within the same chronological frame all over Tamil Nadu. Rock art sites are found mainly in association with the Mesolithic, the Neolithic and the Iron Age cultures and to some extent with the Early Historic. In the Mesolithic and the Neolithic contexts, they occur on the open rock-shelters located within the vicinity of the settlements. In the Iron Age context, they are found both on the rock shelters as well as the graves, particularly the dolmens. The late phase of the Iron Age in Tamil Nadu understandably overlaps with the Early Historic. Some of the paint-ings, though associated with the later phase of the Iron Age, do reflect the historical elements. The period around the 6th century BC could be treated as the overlapping phase. Some of the rock paintings are noticed in the caves associated with the Jain beds engraved with the Early Historic Tamil- Brahmi inscriptions. Whether these paintings are contemporary or prior to the Jain beds is yet to be assessed. In all probability, Tamil Nadu has a long rock art tradition starting from the Mesolithic and extending to the historical phase. Majority of the rock shelters were in continuous occupation for a long period, which resulted with overlapping of evidence and in a few cases defacement of earlier rock art. Analysis of superimposition, spatial and stylistic elements of rock art and the associated archaeological materials in stratified context have helped to some extent to date the paintings. The excavations conducted in an open rock shelter associated with rock paintings at Mayiladumparai could be cited as a fine example to this fact (Rajan 2004: 74-89). However, this method could not be applied as a universal rule to all shelters as the content, theme, philosophy and the pigment of the paintings vary through time. Artefacts like the Mesolithic tools, the Neolithic celts and Iron

4 340 MAN IN INDIA TABLE 1: ROCK ART SITES IN TAMIL NADU S.No Site Taluk District Culture Colour / Description Pigment 1 Alambadi Tirukkoliyur Villupuram Iron Age Red White Animal figurine mainly deer, bull and boar 2 Alangayam Walajahpet Vellore Early White Trisula, Sun symbol, Historic Men 3 Anaikundu Gudiyatham Vellore Iron Age White Human and animal, geometric 4 Anaipatti Dindukal Madurai Early Red Horse rider, cart, Historic deer, Human 5 Andimalai Krishnagiri Krishnagiri Iron Age White Human 6 Appukkal Vellore Vellore Iron Age White Human and Animal 7 Attakuddai Krishnagiri Krishnagiri Iron Age White Birds, human with weapons 8 Chandira Tiruppattur Vellore Iron Age Red White Human and animal puram, geometric,, Dancing female, finger prints 9 Chandra Vaniyampadi Vellore Iron Age Red Human and animal puram White, fighting scene 10 Chenna Gudiyatham Vellore Iron Age Red Hunting scene, horse, rayanpalli White Human and animal, geometric 11 Chinna Vellore Vellore Iron Age White Human and animal Palam, geometric pakkam 12 Cholavaram Vellore Vellore Iron Age White Human and animal, geometric 13 Iduhatti Kothagiri Nilgiri Iron Age White Animal and Human 14 Iduhatti Otacamund Nilgiri Iron Age Red Geometric designs 15 Kamaya Uttama Madurai Iron Age White Human, cattle Kavundan palayam patti 16 Kandli Tiruppattur Vellore Iron Age White Human and Animal.Engraving of a peacock table contd.

5 ROCK ART IN TAMIL NADU: A STATUS REPORT 341 S.No Site Taluk District Culture Colour / Description Pigment 17 Karikkiyur Kotagiri Nilgiri Early Red A procession of Historic White bison, monkeys clambering up a tree branch, a herd of deer grazing, human beings welcoming one another with outstretched arms, a battle scene with men aiming at each other with bows and arrows, men on horseback engaged in battle, a shoulderclasping dance after a successful boarhunt, a man with a mask, the depiction of sun and its rays, a spiral, a tiger fighting another animal, and a man and his dog sleeping. 18 Karkur Gudiyatham Vellore Iron Age White Dancing scene, Human and animal, geometric 19 Karungala Melur Madurai Early Red Horse, bull kudi Historic 20 Kidaripatti Melur Madurai Iron Age Red Human and animal 21 Kilvalai Tirukkoyilur Villupuram Iron Age RedWhite Dancing scene, graffiti 22 Kollur Tirukkoyilur Villupuram Iron Age RedWhite Human and Animal 23 Kombapatti Kodaikanal Dindugal Iron Age White Wild animals 24 Konavak Coonur Nilagiri Iron Age White Hunting scenes, karai cattle raiders 25 Kuliratti Virudhunagar?Virudhu Iron Age Red White Animal and Human nagar Figurines, geometric 26 Kumbavarai Kothagiri Nilgiri Iron Age White Human and animal table contd.

6 342 MAN IN INDIA S.No Site Taluk District Culture Colour / Description Pigment 27 Kumuttipati Coimbatore Coimbatore Iron Age White Human and Animal 28 Kuruvi Krishnagiri Krishnagiri Iron Age White Human, nayanapalli geometric 29 Maharaja Krishnagiri Krishnagiri Iron Age White human and animal kadai 30 Malaipatti Usilampatti Madurai Iron Age White Human and animal, geometric designs 31 Malla Hosur Krishnagiri Iron Age White Human and animal chandram, archer, plant, house 32 Mallapadi Krishnagiri Krishnagiri Iron Age White Horse riders, human with weapons 33 Mavadaippu Pollachi Coimbatore Iron Age White Tiger, a deer with straight horns, anthropomorphic marching inside a circle, an elephant seizing a man with its trunk while another man chases it 34 Mayiladuma Krishnagiri Krishnagiri Microlithic Red Human and animal parai Neolithic White, human with Iron Age weapons 35 Melpatti Gudiyattam Velore Iron Age White Human and animal 36 ModikuppamGudiyatham Vellore Iron Age White Horse rider, human and animal, geometric 37 Moongil Krishnagiri Krishnagiri Iron Age White Human and animal pudur 38 Mudippina Hosur Krishnagiri Iron Age White Human and animal yanapalli, man holding bow and arrow, geometric 39 Munandip Andipatti Teni Iron Age Red & Human and Animal patti White 40 Muttupatti Tirumangalam Madurai Iron Age White Human and animal 41 Muttuppatti Madurai Madurai Early White Animal Historic table contd.

7 ROCK ART IN TAMIL NADU: A STATUS REPORT 343 S.No Site Taluk District Culture Colour / Description Pigment 42 Nayanur Tirukkoyilur Villupuram Iron Age Red Animal 43 Neganurpatti Gingee Villupuram Iron Age White Human and animal 44 Netterimalai Katpadi Vellore Neolithic Red Animal and Human Iron Age White Figurines, geometric 45 Oppathavadi Krishnagiri Dharmapuri Neolithic Red Archer, bird, (?) White elephant, Human and animal, geometric 46 Oramana Krishnagiri Krishnagiri Iron White Human and animal gunta Age, man seated on a cattle, bird 47 Othikuppam Krishnagiri Kishnagiri Iron Age White Men in row 48 Pachur Tiruppattur Vellore Iron Age Red Human and animal, geometric 49 Padiyandal Tirukkoyilur Villupuram Iron Age Red Human and animal White 50 Paikkal Kothagiri Nilgiri Early White Human and animal Historic 51 Paiyampalli Tiruppattur Vellore Iron Age Red Human and animal Early White, fighting Historic scenes, elephant, horse 52 Panan Chenkottai? Tirunelveli Early Black Bull in circle, dancing parambu Historic, elephant 53 Paravaikkal Gudiyatham Vellore Iron Age White Human and animal, geometric 54 Perumukkal Tindivanam Villupuram Iron Age Engravings of Human and animal, cup marks 55 Pogalur Gudiyatham Vellore Iron Age White Birds, Human and animal, geometric 56 Poonkulam Gudiyatham Vellore Iron Age White Human and animal, geometric 57 Ratnagiri Vellore Vellore Iron Age White Human and animal 58 Ratnagiri Walajahpet Vellore Iron Age White Human and animal, geometric table contd.

8 344 MAN IN INDIA S.No Site Taluk District Culture Colour / Description Pigment 59 Salakkora Kothagiri Nilgiri Iron Age White Human and animal 60 Sempalli Gudiyatham Vellore Iron Age White Birds, Human and animal, geometric 61 Settavarai Gingee Villupuram Iron Age Red Human and animal White, hunting scene, cattle raid 62 Seykundram Gudiyatham Vellore Iron Age White Human and animal, geometric 63 Sikur Otacamund Nilgiri Iron Age Red Human and animal White 64 Sirumalai Dindukal Dindukal Iron Age Red Human, White hunting and fighting scenes 65 Sivanatha Vellore Vellore Iron Age Red Human and animal puram Early White Historic 66 Sundasi Kothagiri Nilgiri Early White Human and animal ngam Historic 67 Sundeku Krishnagiri Krishnagiri Iron Age Red Human and animal ppam White 68 Tatta Kodaikanal Dindugal Iron Age Red Anima and Human kuzhikadu White, geometric, Hunting scene and dancing scene 69 Thalapalli Krishnagiri Krishnagiri Iron Age White Star, Human and animal, bow and arrow, fighting scene 70 Thengu Kunnoor Nilgiri Iron Age White Human and animal Marahada 71 Tirumalai Sivagangai Sivagangai Iron Age Red Human and animal, fighting and dancing scenes 72 Tirumalpadi Wandiwash Tiruvanna Iron Age Engravings of Human malai (?) and animal 73 Tiruvadavur Madurai Madurai Early Red Circle historic 74 Tondur Gingee Villupuram Early White Human and animal table contd.

9 ROCK ART IN TAMIL NADU: A STATUS REPORT 345 S.No Site Taluk District Culture Colour / Description Pigment Historic 75 Udayarna- Villupuram Villupuram Iron Age Red Human and animal ttam White 76 Ulkkombai Andippatti Teni Mesolithic White Human and Animal Figures 77 Vellerikom- Kotagiri Nilgiri Iron Age White Stylised human and bai animal 78 Vellerukkan Coimbatore Coimbatore Early White Human and animal palayam Historic 79 Vettavalam Tiruvanna Tiruvanna Iron Age Red Human and animal malai malai 80 Vikkara Usilampatti Madurai Early White Human mangalam Historic 81 Yerpettu Kothagiri Nilgiri Iron Age Engravings of humans and a tree Age habitation material were recovered from majority of the rock shelters and their surroundings in Tamil Nadu, e.g. Mayiladumparai (Fig. 8), Munandipatti, Ulkombai, Kilvalai (Fig. 9), Perumukkal, Mallapadi and Paiyampalli (Fig. 10). With regard to engravings, Tamil Nadu has very limited evidence, but the Perumukkal engravings are the best examples of this category (Fig. 11). There are sporadic engravings in the rock shelters at Mayiladumparai and Tirumalpadi. The excavations carried out in the shelter with engravings suggest that these engravings belong to the Neolithic phase. The Perumukkal engravings are identical in all respect to those found at the Edakkal caves in Kerala. But the former s cultural association is yet to be ascertained though claims have been made for prehistoric origin. Besides the usual engravings on the walls of the shelter, cup-marks are noticed on the capstone of the Iron Age ( megalithic ) cist burials at Karubayanahalli and Vedarthattakkal in Krishnagiri district. Cup marks were also seen witnessed for the first time on the boulders of a stone circle entombing a cist burial at Velliripatti near Melur in Madurai district. In Tamil Nadu, traces of rock art are found in the districts of Dharmapuri, Krishnagiri, Tiruvannamalai, Vellore, Coimbatore and Madurai with much concentration in the former two districts. Any new addition to the list in future may change the present concentration in northern Tamil Nadu. The northern part, particularly the Dharmapuri and Vellore districts, has paintings of the Mesolithic and the Neolithic phases. The findings at Mayiladumparai, Paiyampalli and Mallapadi are the best examples for this category. These sites are located in the landscape, which is an extension of the Mysore plateau. Palaeolithic tools were recovered from Varatanapalli and Kappalavadi in Krishnagiri district. The earliest

10 346 MAN IN INDIA Figure 1: Map showing Rock Art Sites in Tamil Nadu

11 ROCK ART IN TAMIL NADU: A STATUS REPORT 347 Figure 2: Kilkolattur : Palaeolithic Tools Figure 3: Kilkolattur : Middle Palaeolithic Tools

12 348 MAN IN INDIA Figure 4: Kilkolattur : Middle Palaeolithic Tools Figure 5: Kilkolattur : Middle Palaeolithic Tools

13 ROCK ART IN TAMIL NADU: A STATUS REPORT 349 Figure 6: Tirutangal : Microlithic Tools Figure 7: Tirutangal : Microlithic Tools

14 350 MAN IN INDIA Figure 8: Mayiladumparai : Rock Paintings Figure 9: Kilvalai : Rock Paintings

15 ROCK ART IN TAMIL NADU: A STATUS REPORT 351 Figure 10: Paiyampalli : Rock Paintings Figure 11: Perumukkal : Rock Engravings

16 352 MAN IN INDIA paintings associated with the Mesolithic phase could be seen at Mayiladumparai in Krishnagiri district. The tradition continued in the Neolithic phase and much of the evidence surfaced in the Iron Age as seen at Kilvalai in Tiruvannamalai district. None of the Palaeolithic site so far has yielded any remnants of rock art. The late phase of Iron Age culture in Tamil Nadu overlaps with the Early Historic phase. The cultural transformation from one cultural phase to another is not uniform across this region. The uneven ecological settings in the area might have led to an uneven development in the cultural process. The southern part of Tamil Nadu, particularly the area south of the river Vaigai has not witnessed the Neolithic phase. Though, quite a number of Neolithic celts have been recovered from surface explorations, we hardly have anything to say conclusively about the Neolithic phase. The recent excavations conducted at Mangudi (Shetty 2003) and Teriruveli reveal that this region transformed from the Mesolithic to the Iron Age directly. This is very much contradictory to the scenario in the northern parts of Tamil Nadu. Very little explorations and negligible amount of excavations have been conducted in this region. So future explorations and issue-based excavations may change this scenario. As the present evidence goes, the rock paintings found at sites like at Sirumalai, Mayiladumparai, Ulkombai, Munandipatti and other places could be associated the Mesolithic phase. In the case of Iron Age, the picture is somewhat clearer. The area under study had witnessed the inhabitants belonging to different social/occupational groups. The earliest groups mainly involved in hunting and cattle rearing, while the later groups engaged in agriculture. The former groups generally settled down on hillocks, whereas the latter groups occupied the riverine tracts, which are suitable for agriculture. Though both the groups followed the practice of raising Iron Age ( megalithic ) tombs for the dead, there seem to be architectural and cultural variations in their funerary rites. The groups that occupied the hillocks or foothill regions generally built dolmens and dolmenoid cists. Their main water source was small tanks and perennial ponds. The inhabitants settled on the plains adopted urn burials and stone circles entombing cist or urn burials (Rajan 1992a: 35-47). The size, type and location of the burials and the associated habitations indicate that in Tamil Nadu, rock art was adopted by the people who actively involved in cattle raising rather than those associated with agriculture. Most of the paintings were noticed on the rock-shelters and dolmens. The rock-shelters are generally located in the middle elevations of the hillocks, and in the vicinity of the habitation mounds and Iron Age graves thereby exposing their close relationship. Most of the habitation mounds normally lie on the flat surface of the hillock, whereas the rock-shelters are located a little away from the habitation mound. The non-availability of any cultural material in these shelters clearly suggests that these rock-shelters did not witness long-term human occupation, and instead they were used occasionally on specific times. It probably suggests their ritualistic role. Some of the shelters are

17 ROCK ART IN TAMIL NADU: A STATUS REPORT 353 still under worship of the local communities. For instance, at Mallachandram (Dharmapuri District) and Kilseppuli (Tiruvannamalai district) even today during the festival time, particularly in the Tamil calendar month of karthikai (November- December), the inhabitants of the village first light a lamp in the dolmen and rock shelter before beginning the celebration at home. The living tradition explicitly indicates the continuity of use and the importance of the rock shelters. In ancient times too, the Neolithic or Iron Age people would have visited these shelters on specific occasions to perform some rituals. The ethnographical observation shows the spiritual importance attached to the shelters. Close observation of various rock art sites suggests such an association. Chronologically, the earlier rock art sites are found in the northeastern part of Tamil Nadu, in Krishnagiri taluk of Dharmapuri district. It seems that the idea slowly penetrated into Tiruvannamalai district through the Chengam pass. The tradition of painting the Iron Age tombs was discarded and this prac-tice was continued only in the rock-shelters. For instance in Dharmapuri district nearly 90 % of the rock art sites was found in association with dolmens. Out of 18 dolmen sites, nearly 14 sites were reported with paintings (Fig. 12) (Rajan 1991: 37-52). Hence, it is clear that this art was well received and absorbed into the historical period too, as witnessed in the rock shelters. Figure 12: Mallachandram : Rock Paintings Pigments Rock paintings were made invariably by using both white and red pigments as observed at Kilvalai, Chettavarai, Alambadi, Oramanagunta, Mayiladumparai and

18 354 MAN IN INDIA Oppatavadi. At Mayiladumparai and Ormanagunta paintings in red pigment superimposed by white pigment are seen and thereby suggesting an earlier date for the red pigment. It indicates that paintings were drawn on the shelters at an early date, then on the graves. It is probable that the paintings with red pigment belonged to the Neolithic. However this needs to be researched further. The non-availability of paintings in red pigment in the Iron Age tombs and their superimposition by white pigment suggests their earlier date. The type, position and techniques indicate that they were executed particularly in different locations of the same shelter. Motifs and their Locational Context There is very slight difference between the motifs found on the dolmens and the rock-shelters. The former had numerous human figurines involved in fighting, whereas the later had scenes depicting social gatherings. The are done either in flat wash or in outline. While executing painting on the interior surface of the dolmens, the painters always preferred the western orthostat first and then the northern, southern and finally, the eastern orthostats. Generally, the paintings were seen on the western orthostats. The paintings in the rock-shelter were generally found on the ceiling, but a little interior from the edge. Interestingly at Mayiladumparai, the rock-shelter was devoid of any natural light, and the paintings were found in the darker part of the shelter. Themes Cattle Raids The paintings at several sites including Mayiladumparai, Oppattavadi, Oramanagunta and Konavakkarai depict the scenes of warriors heading for cattle raids. In these cases, generally the warriors were seen mounted on cattle and holding weapons such as swords, javelins, lance like objects and shields. In a few cases the victorious hero is shown with a headdress or square box and mounted on a cattle. The square box may also indicate the memorial stone raised for the slain hero involved in cattle retrieval. These themes recall the later day hero stones found in the study area. At Konavakkarai, the hero is shown in a large size, whereas the rest were depicted comparatively in a smaller size (Paundurai 1986: 34-36). This scheme of depiction is well illustrated in the later day hero stones too. Hunting Scenes Hunting scenes are shown in different patterns. At a site, an archer holds a bow and arrow above his head in a position of charging the arrow upwards. In a scene, four hunters encircle a deer standing in the centre. The horns of the deer are depicted with branches (Cervus unicolour?), and this suggests the attention for details on the part of the painter. In another occasion, a hunter kills an animal by piercing a

19 ROCK ART IN TAMIL NADU: A STATUS REPORT 355 lance-like object. It is to be recalled here that memorial stones were raised during the historical period for the heroes who were killed while hunting or fighting wild animals (Rajan 1992b). There are number of such memorial stones called pantrikuttipattankal, pulikuttipattankal and yanaikutti- pattankal, respectively in Tamil, indicating the stone memorials erected for the men who were killed by a boar, a tiger and an elephant (Nagasamy 1975: 45-49). Other Scenes Fighting scenes, tilling of land, dancing in a row, riding a horse and cattle rearing (Fig. 13) are some of the other scenes portrayed in rock art. In one instance, the fighting scene of a horse rider (?) is depicted. The contenders fight with a shield in one hand and holding rein of the horse in the other hand. Sometimes, they hold a long lance-like object. While depicting the dancing scenes, the painters always preferred to draw the human in a row. In one case a house is drawn in front of a row of four human in dancing posture. In a painting, a plant is depicted emerging out of a square box recalling the tree-in-rail symbol of the punch marked coins or Buddhist tradition?. Figure 13: Mavadaippu : Rock Paintings Interestingly, the paintings observed at Kuruvinayanapalli had symbol with 12 square boxes formed out of 5 vertical and 4 horizontal strokes. Out of five vertical strokes, the inner three strokes end with arrow marks. Four human were also depicted, two each on either side of the above-said symbol. In addition, two human and one animal were also seen. The boxed-symbol with arrow

20 356 MAN IN INDIA mark in the centre is similar to the depicted in the fertility stone, locally called sanniyasikal of the later historical times. The animal depicted on one side of the above motif may be a symbolic representation of the ritual in which animal was made to cross the feature represented in the motif, probably in order to increase fertility. Some other like stars, human genitals, flower motifs and circles with a dot were also found. Symbols Another important aspect of the study is the graffiti found in association with various themes. At Kilvalai five were found (Samy 1984: 71-72) and such graffiti were also found at Vettavalam, Tirumalai, Kurralapadai and Podikaimalai. The Panaikkarans, a contemporary tribal population, worship the found at Podikaimalai. Recently engravings were found on the rock-shelter at Perumukkal and at Tirumalpadi. These engravings are identical to the paint-ings found elsewhere. It is probable that in the course of time, instead of painting, people began to engrave to make their art last forever. Conclusions Situating rock painting in proper socio-cultural contexts, studying their chronological evolution, systematic documentation and proper protection are still wanting as far as rock art of Tamil Nadu is concerned. The varied nature of the paintings and their association with contemporary cultural materials can give enormous data to understand the past societies in a right perspective. The open, unprotected nature of the rock shelters and the Iron Age megalithic dolmens expose them to a greater amount of vandalism. This kind of destruction would lead to the loss of these precious tangible cultural properties in the near future. Urgent steps are needed from the government to protect these valuable archaeological remains. References Kumar, K. (2005a). Karkur Parai Oviyangal, Avanam, Journal of Tamil Nadu Archaeological Society, 16: Kumar, K. (2005b). Neeterimalai Tolliyal Chinnagal, Avanam, Journal of Tamil Nadu Archaeological Society, 16: Nagasamy, R. (1975). Dharmapuri Kalvettukkal (Dharmapuri Hero stones), Chennai, Department of Archaeology, Government of Tamil Nadu. Poundurai, R. (1986). Tamilaga Parai Oviyangal (in Tamil), Madras, Sekar Pathippakam. Rajan, K. (1991). Archaeology of Dharmapuri District, Man and Environment, 26-1 : Rajan, K. (1992a). Iron Age Culture of North Arcot Region, Puratattva 22 : Rajan, K. (1992b). Memorial Stones in Tamil Nadu, New Trends in Indian Art and Archaeology, ed. By N.C. Ghosh & B.U.Nayak, pp , Goa, National Institute of Oceanography. Rajan, K. (2004). Excavations at Mayiladumparai, Man and Environment, 29-2 :

21 ROCK ART IN TAMIL NADU: A STATUS REPORT 357 Selvakumar, V., K.T. Gandhirajan and S. Kannan (1998). Recent Archaeological Discoveries in The Usilampatti Area. Proceedings of Tamil Nadu Historical Congress. Vth Session.Thirunelveli. pp Samy, P. L. (1984). Tamilnattil Sinduveli Eluttoviyam (Harappan Scripts in Tamil Nadu), Madras. Shetty, Ashok Vardhan K. (2003). Excavations at Mangudi, Chennai, Department of Archaeology, Government of Tamil Nadu. Sridhar, T. S. (2005). Rock Art of Tamil Nadu, Chennai, Department of Archaeology, Govt. of Tamil Nadu. Valliyanmmal, M. (2005). Panan Parambu Parai Oviyam, Avanam, Journal of Tamil Nadu Archaeological Society, 16 :