Depictions of Animals in cave paintings of Anmalai East

Animal motifs in Cave Paintings of 

Great Migration Corridor of Western Ghats-

Archeo-zoological approach.

The cave paintings of Great Migration Corridor give us vivid pictures about man and animal relation during period of culture existed in the region. Simultaneously we can draw a clear conclusion about the period of cave paintings in the area. It works on both way and benefited for a clear study about man and environment analysis of the culture. There are 22 cave paintings discovered so far. Innumerable number of megaliths and other archaeological monuments seen in the area near to the paintings is more important and interesting.

            Presently 90% of the area is under forest cover. A close analysis of the landscape ravels that majority of the area was under shifting cultivation, except few section with permanent agriculture practiced. Only 10% of the area is of primary forest, rests of all are secondary degraded forest. We can see many domestic species of trees and plants in the region such as, drumstick, tamarind, mangoes, franchapani etc. Another interesting fact is the age of the secondary forest is that they are not recent formations.

Animal Depicted in the cave paintings of GMC

Following are the animals identified from the motifs of paintings.

I. Nilgiri Tahr – (Hermitagus hylocrius) The Nilgiri tahr is a highly endangered species of mountain goat. It is an endemic to western Ghats- which means we cannot see them anywhere else in the world other than Western Ghats.  Less than 3000 in the wild , this mountain goat is a close cousin of Himalayan Tahr. As per natural history the ancestor of the Tahr was in the plains during the ice age. After the climate change this temperate climate animal migrates to the high mountains of Western Ghats and Himalayas to keep its habitat cooler. Now the Anamalais and Palani hills constitute more than 70% of the population of Nilgiri Tahr. It is a fact that the Tahr was a game hunt, both for meat and horns. They are living in cliffs and Rocky Mountains. Before the invention of gun people used traps and ‘chasing to end’ technique to hunt this animal. Large scale hunting of the tar took place during colonial period also, which lead this species into the brink of extinction. 

            Nigiri Tahr is depicted in following cave paintings

a)     Attala – the name itself pointed to this animal, probably they may used this cave. Later people took over it. Even today the high areas and Rocky Mountains of this region is a noted habitat of Nilgiri tahr. It is in Eravikulam National Park, specially constituted to conserve the Nilgiri tahr. Few bone pieces, suspected to be of Tahr are found along with other food refusal from the cave floor. The paintings are in Kavolin white. There are no hunting scenes of the animal.

b)      Ezhuthala or Pathipara – The paintings of Tahr in this widely known cave painting is faded. It is in walking position and looked like a male.

c)     Alampatty Odavaickal- This cave is in lower elevation than the other two. A male tahr is clearly depicted with a bamboo basket like thing behind, probably used for trapping the tahr. The pigment is white.

d)     Ezhuthalamadi- Only one goat is depicted in this painting. It is in white and looked from a later period painting.

Conclusion: The depictions of Nilgiri Tahr are found only in 4 out of 22 paintings in GMC. These paintings are in high altitude. At present the animal is found a bit far from these paintings. Though this is a game hunt, no x-ray painting or hunting scenes are found. So all the depictions are purely naturalistic.

II.        Sambar Deer – Cervus unicolor. Sambar is the most common deer found in Indian subcontinent. It is the biggest deer in India. It is a game hunt and harms the crops. Sambar deer was hunted from time immemorial for its flesh and antelope. The deer was depicted in many cave paintings discovered in Indian subcontinent.

            The sambar deer is depicted in the following cave p paintings in GMC

a)     Ezhuthala – Sambar doves are depicted in this cave. No antelope is found in this painting. This deer is painted vertically and horizontally in different motifs. The pigment is red.

b)     Alampatty-Madathala- A huge canvas is used for painting the sambar in this cave. Two big doves are depicted with accurate proportion. It is a naturalistic depiction. One dove standing in front of the second in leaning position like in delivery. The stomach highlighted like in x-ray painting. The placenta pouch is hanging down.

c)     Vaimala-2 – A sambar with a calf is depicted in a big canvas on the roof panel of Vaimala-2 cave. The motif is faded and very difficult to identify. Only the head, portion of the body and legs etc of the mother and ¾ of the calf are seen.

d)     Ezhuthalamadi- Pictures of sambar deer is also found in Ezhuthalamadi in Kaolin.

Conclusion: Depictions of sambar is found in 4 paintings. Majority of them are in red pigment. Hunting scenes are absent; where as one x-ray painting can be seen. No antelopes are depicted. All of the motifs are either doves or doves with calves. So the paintings are purely naturalistic.

III        Elephants:- Elephas maximus Though there is good number of wild elephants in the forest area of GMC, depictions of wild elephants are absent in paintings. Those found are tamed with people on back.

a)     Attala- There is 3 motifs of elephant are found in Atala. All with riders on its back. One carrying a weapon.

b)     Kodanthoor Kudi- There is a petroglyph of a bull elephant is engraved on a rock in front of Kodanthoor settlement.

c)     Ezhuthalamadi- A male elephant is drawn on the lower panel. It looks recent and in white.

                        Conclusion: Though the entire paintings GMC are inside forest and wildlife zone, and elephant reserve, depictions of wild elephants are absent in the paintings. Since many lesser and higher fauna of the region are depicted and the wild elephant is omitted is an interesting fact and food for thought. It is believed that wild elephnats were started to come to this valley less than a century before. There is an interesting story among the tribes about the arrival of a wild elephant to the valley. At the same time they have a story that few places of this area were used for trapping wild elephants log long time ago and the area was called ‘Anaikoppam’. So between the time of story of the trapping of elephant and arrival of elephant has to study.

IV. Cattle – Both domestic and wild cattle are come under the genus Bos placed in the sub family bovine. All modern breeds are beloved to be evolved from two wild species namely Bos taurus (hump less European breed) and Bos indicus (zebu breeds with hump) It is believed that the earliest domestication of cattle was occurred in Eastern Sahara, about 7000 BC. The Taurus species domestication was in the Fertile Crescent and the humped cattle was in India.

                        A local species of the hump backed bull evolved in Kongunad- the northern plains of the GMG called Kangayambull smaller type (http://www.embryoplus.com/cattle_kangayam.html) . This is also called Mysore type of bull which is smaller than the Bos indicus. It is believed that this species is evolved from a cross breeding with Blue buck or Nilgai. As per the legend of the Kongunad , a group of people from the north called Kongans migrated from the north with their cattle . Their main job was cattle rearing . They settled in the plains and developed a culture in the area , which is later known as Kongunad. Their cattle breed is called Kongu cattle. The depictions of the GMG bears the pictures of Kongu cattle . The size and combat body and the smaller horns ravels this fact.

IV. Horse: Wild horses or asses are not mentioned in the natural history of Western Ghats. Domestic horses should be introduced to south India either from the north or through Roman connection or both. There are motifs with horse pictures are found in Attala, Ezhuthala, and Kulukkala. Though the drawings are not in perfect anatomy the pictures reveals the presents of houses in the region during the period of the drawings. Either they may own it or they may see with people who invaded or migrated into their land. People on the back of houses carrying weapon, horses or mules walking around etc are the nature of the depictions. Horses may be used by the people migrated later into the valley, but the mules may be a later introduction for carrying goods. Even now a tribe called ‘Chacliyas’ keeping mules for carrying goods like jaggery, rice etc from fields to different villages up in the mountains.

VI. Indian Hare – Lepus Nigricollis

Hares are very common throughout the continent. There is only one depiction of this animal which is found in a motif in Attala, painted in Kaolin. An eagle trying to take away   Hare from the ground is the scene depicted. It is a common seen in the verdant hills the ears of the hare is well highlighted.   

VII Mongoose- Ruddy – Herpestes smithii

The picture of a mongoose is depicted in Alamatty Odavaikal painting. The depiction is in kaolin. The shape of the body and long upward tilted tail shows clearly that the picture is of Ruddy mongoose. 3 species of mongoose are found in the region, via, Small Indian grey mongoose, Ruddy mongoose, stripe necked mongoose and Brown mongoose, of which Ruddy and stripe necked has long upward tail. In the picture the body of the mongoose is slim and elongated, which means the depiction is of Ruddy mongoose.

VIII Indian Pangolin

A pangolin like animal is depicted in Vedanala. It is a line drawing and no details of scales drawn.

Birds

IX. Peahen or stork- The presence of birds in all these motifs is noteworthy. Other than peacock and eagle no other birds are depicted in the paintings. Though are numerous number of land birds in the regions. Probably because no others birds are big enough to catch the attention of the artists. In Attala, there is a depiction of a big bird look like a peahen, but the body is more resembling to stork. Storks are winter visitors in the lower regions of the Gap, but the painting is in the higher and the northern most ends.

X. Black eagle:

Reptiles

XI. Monitor Lizard- Monitor lizard is a very common reptile in this area. It is an easy hunt and tribes hunting them with many techniques. The picture of monitor lizard is depicted in Attala. The depiction of the lizard is deferent from gecko; the body of the Monitor is elongated. The limbs are also bigger.

Rock gecko: Rock Gecko is the biggest gecko in Peninsular India. The rock shelters and caverns are its ideal habitat. The body is fatty and limbs are thick. Tails is also shorter. It is depicted in Attala.

XII. Snake: A snake is drawn in kaolin in Athiyodakoottuvai cave. Since the head and body are thicker in the depiction it could be the picture of a rock python which is abandoned in the area. The Pampu pulaya or Malasa tribe of the area hunting them for meat.

XII. Mud Terrapin : is engraved on a flint granule discovered from Chinnar plateau

Rock Arts of Anamalais

Walk Through Ages -My love with Anjunad-Marayoor valley starts from 1993. At that time, my role was an associate director of a movie. Then after, this enchanting and mystic mountains and valleys dragged my soul and mind into its unfathomed beauty.  Later in 1994 I took a video documentary titled ‘Megaliths of Marayoor’ for DD Trivandrum. Since then my curiosity driving me through the rich heritage fields of Anchunad. Then     I realized that there existed a boundless continuity of a vanished culture extent beyond the political boundaries. I decided to wander around Panani hills and Anamalais in search of its buried cultures. However, the forests tracts and farmland are rich in biodiversity. It took over my attention, changed the mindset, and paid more attention to study the fauna of the area.

My journey through the forest tracts and mountains as a naturalist yielded many discoveries of Megaliths and prehistoric monuments; many may avoided due to ignorance. My academic background is nothing connected directly or indirectly with nature or archaeology. From my experiences in nature studies, I understood that no disciplines shut their doors forever, if you have ambition and hard work. I have collected all local legends and myths of the area visited.. I am explored almost all of the mountain ranges of the region and discovered many cave paintings.

Rock Arts of Anamalais

Anjunad valley is surrounded by mountains. The sudden fall of altitude from 2600msl (Anamudi ranges) to 400msl (Chinnnar- Kodanthoor) causes the formation of gorges and cliffs. They are carrying innumerable number of   natural caves and rock shelters. These shelters and caves could use by early inhabitance as well as those who went into the forest for hunting and food gathering. These geographical and anthropogenic features of this region are the reasons for the occurrence of paintings in rock shelters.

Early discoveries of rock paintings in this region carried out by Dr S.P Tampi during his research in 1974. This was the first discovery of a cave painting (Petrographs) in Kerala. Rest of all –Edackal, Ankode and Thenmala are engravings ( Petroglyphs ) His discoveries brought to light three petrographs- The Ezhuthala or Pathipara or Koodakkad, Attala, and Kulukkala in Chambakkad. Later Kovilkadavu painting discovered. 

Dr Yashodhar Mathpal carried out a systematic work on Marayoor paintings, which published entitled Rock Art of Kerala in 1998.  I have started serious studies on cave paintings from 2002. In 2009, my unpublished dissertation submitted to Center for Heritage studies as part of my Diploma Programme in Archaeology; provide the result of an intensive exploration of rock arts of this region. It brought to light more than 22 rock arts from Anjunad and adjourned region.  It includes the discoveries of series of paintings from Alampatty region by the eco volunteers of Alampatty Malapulaya Settlement lead by Mr.Danushkodi. They guided me in my explorations too.

Regional history of rock shelters

Though few archaeologists studied the rock arts discovered early, none of them gives emphasis on the regional history of its physical existence or local myths and believes about theses paintings.   No serious studies about the local history and legends about rock shelters conducted in earlier studies. ‘Ala’ is the local name for rock shelter. Those shelters having paintings or engravings, called Ezhuthala or Ezhuthupara, which means a shelter or rock surface used for drawing (parietal)  or writing. Some of these rock shelters used with “Patti” mean a shelter for cattle (eg Alapatti, Alampatti etc.). Some of them are named with “Payee Varum’ which means a shelter for releasing ghost from a body Interestingly as per the local history these shelters were used by cattle heard men, hunters etc. Even in historical period tribal bands were also used these shelters.

The Great Corridor

After long years of my observation I found that the cultures existed in this region of Western ghats are concentrated in different table lands formed in a big gap between Anamalais and Palani Hills. I have identified the importance of this gap during my nature studies. Animals from Deccan Plateau to the higher reaches of Anamalais and Palani bio-geoms should use this gap as migration corridor. The sudden fall of altitude of mountains to the plateau caused microclimates that resulted in many endemic and geographic races of animals and plants. The corridor is running north – south connecting the plateau with the higher reaches of Anamudi hills near Munnar. The northern corridor is wide and opens its mouth to the plateau from Manupatty in the west to Puthumadai in the east. In the south, its tail shrinks into a gorge and joined with Anamudi hills at 8^th Mile north of Munnar town. The altitude in its mouth (north) is 300 MSL, where as the tail (south) is 2000 MSL with in 50kms of its course. The Pambar River, one of the three east flowing rivers of Kerala is originating and flowing through this gap. Now Munnar-Udumelpet road is passing through this gap. The gap attains its maximum width in Kodanthoor –Varavendi tableland and minimum in 8^th mile. After its mouth with flat land, intermittent solitary hills and marshes the corridor heading towards southward and faces the high mountains of Pambumala ranges standing like sentinels. Through narrow crevices, it enters a table land- The Kodanthoor-Chinnar-Manjapatty-Varavendi tableland. The table land is protected by very high mountains of Grasshills in the west , Karimala ranges in the south and Kodai hills in the east. The Pambar from south, Chinnar from west and Manjapatty River from east are flowing through this land. Innumerable streams from mountains sprawling water into the earth during monsoon. Since it is lying under the rain shadow of the Ghats monsoon is not severe, but the streams and rivers carries sufficient water from the mountains. The forest is tropical savanna type and deciduous. Therefore, it was easy to clear for agriculture and hunting and it is an ideal place for human settlement. Now the entire area is under protected forests and national parks. Only few tribal communities are living here. However, remains of an ancient settlement buried in this forest.

      After this plateau, the corridor again faces high-rise of mountains. However, managed to enter through many gaps along Pambar River into The Anmudi ranges and Pothadimala Mountains protect this land. Pambar, Chenkallar and Koodkad streams are flowing through this land. The terrain is undulated. It is surrounded by natural forest. The flat area of the land is used for cultivation and is occupied by modern habitation.

      Apart from this two-table land, there are many small hillocks and small tablelands, which used by the settles. 

Geographical distribution of Cave paintings.

The cave paintings of Marayoor and adjourned hills are found in rock shelters . It is in North – South directions on both sides of the 'Great Migration Corridor'. The southern most  cave painting in this group is Pallanad (Attala- goat’s shelter) at an altitude of about 1527 MSL in the west side of the Gap in Anamudi range , facing South East. The second known cave is Pathipara (Ezhuthala) in the same range of Hills further about   8kms north of Pallanad. The third one is further 5kms north of Pathiparra in the same hills in Purachi Vayal. The forth known painting is ‘Vannan thurai’ painting in north east of (11’Oclock) of Purachi Vayal painting. Purachi Vayal and Vnnanthurai are almost opposite to each other. The fifth is Alampatty Paintings further 10kms down north in Karimala ranges in the west side of the gap. Further 2kms north the Vaimala shelters are located. The other paintings inside Kerala territory are located in the south barrier of Kodanthoor-Manjapetty valley. The other paintings discovered so far from these region are Mandayottimala, Nelthinathitu, Kombukallu, Kulukkala in Champakad Mountain, the Alapatty, malasar patty, Athiyoda etc. All these paintings are in lower hills. The Kodanthoor painting, a continuation of this culture located in Tamilnadu border. The ‘thullalvarum alai’ and Ezhuthalamadiare the other paintings of this region which is located in the bordering mountains of Kodanthoor table land. The Kovil kadavu painting is located in the middle of Anjunad plateau atop a small hill.

EARLY DISCOVERIES

Attalla N 10 15’05.8” E 77 08’19.4”
Elevation 1527m

This site lies in the border of Munnar and Marayoor Panchayath in the uphill, west of Pallanad Village. The cave is facing towards the east. The cave is also known as Attala- or a shelter for goats. The shelter is over 50m  long, 10mts wide and three meters in height. Paintings are  executed in white kaolin (China clay) there are about 100 individual paintings on the roof . Main motifs depicted here are, man on elephant, animals, human figures, band fighting , rituals, plants, food gathering ,weapons like tridents, naturalist depiction etc. These paintings were studied by Dr Thampi and Mathpal. Though they were studied these paintings scientifically, lack of regional studies and approach mislead them interpreting many of the paintings incorrectly. For instance the Vallikooda (a basket like vessel made from vine) used while collecting honey form cliff is interpreted as coracle. It is clearly seen from the painting that the people who are standing in the vessel carrying the tip of a vine. Likewise Dr Mathpal misinterprets a rock plantain (Kalluvazha-Ensetesuperdun) with bulb and flower as a flower pot.

The paintings clearly depicted scenes of band fighting and clashes. Since the depictions of sward and trident like iron materials we could reach a conclusion that these paintings are from historical period. The depictions of fighting probably pointing towards a period of unrest prevailed in ‘KonguNadu’ during historical period. Many of these similar depictions can be seen in Kumbukallu,(vedanala)and  Ezhuthalamadi etc

Pathipara(Ezhuthala)

PATHIPARA (Ezhuthala)

This site is located about 2kms west of  Marayoor Town in Koodakkad path way inside Marayoor Sandal Reserve. . The nearest tribal villages are Marayoor ‘Ur' )Gramam) and Kammalamkudy Muthuva Settlement. Dr SP Tampi discovered this shelter during his doctoral research in 1974. Paintings in red ochre are prominent. White kavolin is also present.  Paintings bordering by removing patina can also bee seen in depictions. Overlapping of drawings is a notable feature. Cattle, sambar deer, Nilgiri Tahr etc like animals are depicted. . There are three giant human figures drawn in red pigment and bordered by scratching patina. Along with these, few kaolin paintings noticed in the north lower panel of the cave. It could be in later period.  

Kovilkadavu N 10 15.29.34 E 77 10 .8.28

The famous Kovilkadavu painting is in a rock surface inside a crevice on the northern side of Kovilkadavu GHSS. There are three motifs carrying 3 sets of figures figures acan be seen in this shelter. The main figurine is a mounting bull (Mathpal 1998). Rests of all figures are faded and difficult to identify except a figure like a stretcher made from Bamboo. Similar paintings are seen in other paintings like Vaimala, Ezhuthalamadi etc. Though the animal is said to be a mounting bull (cattle) (Mathpal 1998)  size of horns and the shape of ears are not like a cattle. It looks more like “Nilgai” ( boselaphus tragocarnelus). Though the Nilgai is not present in any region and locally extinct, as per natural history once it distributed all over the subcontinent. Hence, the painting is very valuable in the context of natural history. 

Chambakkad or Kulukkala

Dr.Padmanabhan Thampi reports the paintings of Chambakkad in 1983. It is located opposite to Vaimalai in Kulukkala Mountain, south of Champakkad settlement. The paintings are of white kavolin. The depictions are dancing bands, abstract figures and few figures of ‘Payee’. The cave is big and enough to accommodate a band. Few cup marks are found in the floor. One small stone grinder is also found in the south corner of the cave. Pieces of decayed bones of animals, carbon blocks etc are also found in the floor. A man with sword riding on a horse is also depicted in its lower panel.

DISCOVERIES BY THE EDC MEMBERS OF ALAMPATTY

The eco-volunteers who are living in Alapatty settlement have known about few paintings in their region. During my studies, they showed these paintings to me along with Danushkodi. I studied these paintings and brought to light the archaeological importance of the paintings.

Madathala  N 10 18’ 36.1” E 77 11’ 29.9”

 

This site is located 1km east of Alampetti eco-tourism centre and can be approached by short distance walk from Alampetti. It was discovered by the Eco-tourism volunteers lead by K Dhanush Kod(a report submitted in Chinnar wildlife sanctuary in 2002). The cluster consist of two chambers found close by having number of red ochre pigments are revealed.

Cave-1

This site lies 2km north from the Alampetti Eco-tourism shop. Here three animal motifs are on a vertical sand stone surface. This cave is 15m in length and 3X3m in width and height respectively. Paintings are mainly seen in the front side of the cave, which is facing towards east. One animal is being trapped in vine loop (even today people using this trap) is depicted in the left side of the shelter; mostly it looks like a wild boar (sus scrofa). Another motif , which seems to be two standing sambar deer (doves) and a calf in the right side of the shelter. The first dove in a hind leaning position just like while in delivery. The cave has a second chamber in its north west, some faded paintings were also noticed in it but the original motif is could not be identified. The painting seems to be drawn with a fine brush.

Cave-2

This shelter is located few meters southwest of the previous one. It has few animal and human depictions as well. This cave measures approximately 8m in length 3m in width and 4m in height. Main paintings executed are an anteater and a fish motif in the left side and a man collecting honey from a cliff sitting on bamboo base made. The same types of bases are widely used by tribes in this area for collecting honey). A noteworthy motif found beside the second panel was a human figure with broad head. It shares close similarity with a (payee thullal) ritual performance.

Alampatty Odavayckal  N 10 18’ 43.7” E 77 11’ 14.2”

This painting is located about 500m west of Alampetti eco tourism centre, in Chinnar Wildlife Sanctuary. The painting is in ground level on the north bank of Alampetti Odai, a tributary of Pambanar River. The painting is in white Kaolin and depicted figures of goats, ruddy mongoose, steps of ritual dances of etc. A notable painting is of sign like ‘Kanga’ of Africa. Mr.Mahadevan has opined that ‘Kanga Sign’ was an early for of an Indus script.

The figures are drawn in lower panels of the cave. The base of the cave is a huge bedrock spread used for cooking and rest. Even now, people from the nearby settlement (Alampetti) are using this shelter.

Jallimala N 10 18’ 30.7” E 77 11’ 30.3”

These paintings are located half a km east of Madathala, two paintings are noticed here which is located on the cliff of the mountain. The paintings are inside oval shaped cavities formed on rocks.

Cave-1

There is one dome shaped cave of about 2mtr.Dia- having more than five kaolin and red ochre paintings. It is located in the west side of the cliff facing the valley. It is unbelievable to think that people lived in this cave. Mostly geometric design and faunal motifs are present here.

Cave-2
This shelter is located in the east side of the cliff. A red ochre painting of a human motif near an animal (either sitting on an animal or standing behind it) holding an unidentifiable objects in his both hands. The animal is look like a dog.

Vaimala 10 19’ 13.9” 77 12’ 00.2”

This Rock shelter lies 2km north of Alampetti eco-tourism centre on the left side of Marayoor Chinnar road. The members of EDC discovered this site in 2006. Both caves are in a cliff, which would be very difficult for a person to pass through. Two shelters discovered. Red ochre pigments are used for paintings.

Cave-1

This hollow shaped shelter has got 8m length 5m in width and 3.5m in height. Paintings are on the sandstone wall around 1m in height. Mainly palm impressions and few faded figures in red ochre are the paintings.  Paintings look like a honeycomb depicted in the wall.

Cave-2

This cave situated few meters north of cave no-1. It is spacious and enough for a band. The  paintings are executed on the roof and side wall of the cave. Two huge animal motifs were noticed on the ceilings, which look like a Sambar deer and a calf.

OTHER DISCOVERIES BY VILLAGERS.

Vannnthurai or Rakthamadichanchal

It is located near Vannanthurai near Palappaty settlement inside Chinnar wildlife sanctuary. The paintings are palms in red ochre. There is a myth about the painting is prevailed among the villagers. Once a pregnant women expelled from her house. Her husband doubted his responsibility in her pregnancy and treated her as cheating wife. She went into the cave and gave birth to a baby. She put her arm in the blood and impressed on the wall. Both the mother and the baby died and became ghost.

MY DISCOVERIES

Mandayottimala

It is a famous cliff located in the east of Jallimala mountain right above the road. There are about 12 oval shaped cave formations in a single rock. The biggest cave has less than 2m circumference. Out of 12, four carries paintings, all are in red ochre. It is hard to believe that people used these caves. However, they are in strategic location facing the corridor and plateau.  The biggest chamber has few red ochre lines drawn on the wall look like tally mark.  Similar signs are found in Vaimala, Nelthinnasitttu, Jallimla etc. The most attractive paintings of this group is the one found inside the biggest cave. They are anthropomorphic figures- morphing of human figures with trident. Another interesting figure is of a sign like swastika.

Puravayalkudi N 10⁰ 17′ 32.5″ E 77⁰ 09′ 55.2″
Elevation: 1139m

Mr.Danushkodi from Marayoor Ur is one of my best friend and colleague. We together did many adventurous journeys in Anamalai-Palani region. It was Mr.Danushkodi told about this painting. In last October (2010) I went for a survey in this region along with Mr.Nikhil Das and Shibin  After an hour's search inside the bushes in the foothill of of Pondrukundrumala we discovered the site.   Puravayalkudi lies 4km North West of Marayoor town. This site is found about 100m away from the Puravayalkudi to Eruttalakudi road. An oblong shaped rock shelter revealed three kaolin painting on the top of the wall. Average height of this cave is 1m.. There are three are few kavolin paintings are drawn in the surface of the shelter. Mating posture of two animals executed on the wall and two animals drawn on the right and left side of the first motif. On the left side of this panel on a suppurate rock a Nilgiri Tahr is painted.. It is all faded and exposed to whether and required immediate restoration.This paintings are of purely naturalistic. It is the only painting in this region, which depicts mating of animals. The period of the painting may be during the decline phase of the Great Corridor Culture, could be less than 1000 years and Shamanic in nature.

Nelthinasittu

It is located about 2km south of Vaimala. It is difficult to access to the cave without rope. It is about 20m long 5m wide and 6m in height. Sevier weathering occurred and the upper panels are almost spoiled.  Beautiful painting look like an Urn burial, anthropomorphic figures, different graffiti’s, a panel of sixteen pie like signs aligned in horizontal position encircled together. Perhaps it may be the first discovery of a rock painting with megalithic monument.

Vedanala   N 10 19’ 06. 7” E 77 11’33.9”

It is located about 2km south of Vaimala. It is difficult to access to the cave without rope. It is about 20m long 5m wide and 6m in height. Sevier weathering occurred and the upper panels are almost spoiled.  Beautiful painting look like an Urn burial, anthropomorphic figures, different graffiti’s, a panel of sixteen pie like signs aligned in horizontal position encircled together. Perhaps it may be the first discovery of a rock painting with megalithic monument.

Chinnavendru

This cave is located about 5km west of Vedanala. This the biggest cave ever discovered from this region. It is having approximately 100m in length 40m in width and 10m in height.  Unfortunately, all the panels perished due to whethering. There is only one painting left in one wall. It is the depiction of a banana plant with rhizomes. The scene is of harvesting the banana by a man on an animal with a long knife. 

Alapatty

Alapetty is located north of the present Champakad settlement.  As per local history a band of Malapulayas  lived here about 50 years before. A huge grinding stone with a big pebble stone put in the face of the cave. All the paintings are in white kaolin. Painting for ‘Payee thullal’ is an important depiction of this cave.

Malasapatty

This site is located in Malassapetty bedrock three km northeast of Alapetti in Chinnar wildlife sanctuary. It is a very small cave enough to accommodate 2 or three persons. This cave can provide protection from animals. The paintings are in white kaolin. Few Tamil letters and a trident depicted in the cave.

Athiyodakoottuvaya

This cave is located in the confluence of Athiyoda stream and Pambar. All the markings are in white kaolin. Apart from human figures few signs are also depicted. As per local history, hunters used this cave. Few potshards and animal bones found in this cave.

Kodanthoor

There is a rock shelter with paintings is located near Kodanthoor temple. The cave carries pictures of ‘payee’ similar as that of Alapatty. As per local history, the cave used for eliminating payees from affected villagers. The figure of a cart also depicted in kavolin in its wall. 

 

Nelladichanpara engraving

During my expedition to Pambumala, clusters of dolmens and dwarf dolmens discovered. Along side on bedrock, engravings of marks like ‘tally’ noticed. Later I have done studies on it. 

Nelladichanpara Painting inside a dolmen This is quite unique and seldom found. This paintings look like figures for occult practice among tribes. The paintings are in horizontal and vertical inside the orthaostat of a dolmen in Nelladichanpara.The figures look like beetles and two human figures

Ezhuthalamadi- Exhuthala means cave for painting and writing, madi means a small tableland. Quite incidentally, in 2008 I went for a birding walk after taking permission form the park authority. There my guide and I lost the trail. We decided to climb up the hill to find out the trail back to Kodanthoor. Then I noticed and big cavity ahead of us in the mountain. We decided to change the trail and went up to the cave. It was the great great Ezhuthalamadi cave with hundreds of paintings. They are from different periods, different people and depicted culture, nature, rituals, dances and a number of anthropomorphic figures.


My search is continuing. Apart from paintings many megalithic monuments, rock inscriptions and animist sacred groves are are discovered. Those who interested to know more contact me.