Nilgiri Dolmens (South India)
103
chilling conditions exist in areas where the dolmens are and, therefore, I suggest
that artistic procedures used in the dolmens were motivated by prior concep
tualizations gained in lower regions.
The Chakatakambai figures illustrate female / male body contact. If a
uiale figure with spear in right hand does not have his left hand on his waist,
the hand may well be grasping any part of a female’s arm - or, vice versa, a
female may be grasping any part of the man’s left arm. The female figure
hears a fine example of the bulbous object interpreted to be a suttee-related
symbol. More will later be said about this object, but here it suffices for me to
suggest that it represents a vessel with oil which a female poured over herself
fust before perishing in flames.
At Betlada (Map 3, Site 11) there is an outstanding assemblage of male
figures bearing arms (Fig. 4). Events related to armed garrisons in a nearby
f°rt, now in advanced deterioration, may have provided memorable episodes
f° be commemorated in stone. A man holding a boomerang in his right hand
hus a sun and moon above him. These symbolize the hope that an event so
honored in stone will be on record for a long time, as time related to the sun
a nd moon continuing to rise and set. Another male holds a sword and boom-
erang. Was there an attempt to show this and other figures with warm
clothes, or even cotton-quilted armor ? The female figure appears to be a highly
sfyhzed one, with lime upheld in the right hand and the left hand holding a
P°t. And is it too unreasonable to think that the sculptor may have intended
to show radiant flames over the lady’s head? A male figure with spear and
dagger and another male figure with upraised sword and dagger illustrate
hearers of arms in both hands, and are shown with most unusual headgear.
There is also a warrior on horseback, with sword in, upraised right arm. The
horse appears to be covered with trappings - cloths for a triumphal parade ?
At Melur, South (Map 3, Site 21) there are outstanding examples of
c °uiposite panels. One is on the back orthostat in one of three aligned dolmens
(^1. 1 e, left-most dolmen with sculptured side orthostat). In conformance to
w hat has already been noted, the animal and human figures in the panel are
Willfully spread to develop a theme (PI. 1 g and Fig. 4). The broad outline of
fhe events leading to the sculpturing in stone is liable to be agreed upon by
many and is in this way interpreted: At least three men were involved in an
encounter with a tiger. Spear, club, and bow with arrows were the types of
w eapons used. A brave man in the group thrust his spear into the tiger, but
u nfortunately was killed by his adversary in the mêlée which followed. The
metim s wife became a sati and so accompanied her husband in death. The sym-
°nc sun and moon add their stamp to the hope that the traumatic events, and
^specially the wife’s great devotion, will not go completely unrecognized by
future generations.
The height of artistry among the sculptured Nilgiri dolmens was achieved
111 another thematic panel at Melur, South (Fig. 5). The hero is the largest and
Ce utral figure. From the pipal leaf emblem to his right, his headgear, his belt
Wl th dagger, and both the human and animal figures accompanying him, it is
c °U]ectured that the hero was a respected man with power or even a member