Later Mural Traditions Notes in English Class 11 Fine Art Chapter-5 Book-1

EVEN after Ajanta, very few sites with paintings have survived which provide valuable evidences to reconstruct the tradition of paintings. It may also be noted that the sculptures too were plastered and painted. The tradition of cave excavations continued further at many places where sculpting and painting were done simultaneously.

Badami

Badami in Karnataka, capital of the early Chalukyas (543–598 CE), is known for its rock-cut caves, especially the Vishnu Cave (Cave No.4), patronised by King Mangalesha. An inscription from 578–579 CE records the dedication of a Vishnu image, showing the king’s Vaishnava faith. A fragment of mural painting survives on the cave’s vaulted roof, depicting palace scenes with Kirtivarman, his wife, and Indra’s retinue watching a dance. The style, with fluid lines and expressive faces, reflects the continuation of the Ajanta mural tradition, showcasing the artistic skill of the 6th century CE.

Murals under the Pallava, Pandava and Chola Kings

The tradition of painting in South India flourished under the Pallava, Pandya, and Chola dynasties with regional variations. Pallava king Mahendravarman I (7th century) promoted temple art at Panamalai, Mandagapattu, and Kanchipuram, earning titles like Vichitrachitta and Chitrakarapuli. Though only fragments survive, his paintings depict graceful figures like a female deity at Panamalai. Under Rajsimha, Kanchipuram temples featured Somaskanda images with round faces, rhythmic lines, and ornamentation. The Pandyas continued this tradition, with surviving paintings in Tirumalaipuram and Sittanavasal. At Sittanavasal, ceilings and pillars show celestial dancers with expressive faces, supple limbs, and vibrant colors—an early example of South Indian mural style. The Chola dynasty (9th–13th century) elevated temple art, especially during the 11th century. Major temples like Brihadeswara (Thanjavur), Gangaikonda Cholapuram, and Darasuram were built under Rajaraja Chola and successors. Chola paintings, especially in Brihadeswara, depict scenes of Shiva—Tripurantaka, Nataraja, and Kailash—as well as portraits of Rajaraja Chola and his guru Kuruvar. These murals, initially covered by Nayak-period paintings, reveal the artistic brilliance of the Chola era.

Vijayanagara Murals

Chola Paintings – Artistic Perfection

The Brihadeswara Temple at Thanjavur, built in the 11th century CE, is the main site showcasing the height of Chola art. By this time, Chola artists had developed a mature and refined style, marked by smooth, flowing lines, graceful human figures, and elongated faces and bodies with soft modelling. This art reflects both the peak of Chola creativity and the emergence of a new stylistic phase. After the Chola decline in the 13th century, the Vijayanagara Dynasty rose to prominence.

Vijayanagara Paintings – Storytelling in Style

The Vijayanagara period (14th to 16th century CE), with its capital at Hampi, saw the rise of distinctive temple paintings. Major temples include Virupaksha (Hampi), Tiruparakunram, and Lepakshi in Andhra Pradesh. Vijayanagara paintings feature side-profile faces with large, front-facing eyes, slim waists, and simple backgrounds. Figures appear flat and two-dimensional, often arranged in box-like sections. The lines are firm yet flowing, and themes commonly include stories from the Ramayana, Mahabharata, Vishnu’s avatars, and processions of saints like Vidyaranya. The Lepakshi Temple is especially famous for its brightly colored ceiling and wall paintings, often depicting scenes from Shiva’s life in a bold, flat style.

Nayaka Paintings – Extension of Vijayanagara Style

The Nayaka paintings (17th–18th centuries CE) continued the Vijayanagara style with some regional variations. Found at sites like Thiruparakunram, Sreerangam, Tiruvarur, Chidambaram, and Chengam, these paintings mostly depict figures in profile, set against flat backgrounds. Compared to Vijayanagara art, male figures appear slimmer with smaller abdomens. Common themes include the Mahabharata, Ramayana, Krishna-leela, and episodes from Shiva and Vishnu's myths, such as Bhikshatana and Mohini. Earlier paintings at Thiruparakunram even show scenes from the life of Mahavira. A notable example is the Nataraja painting at Tiruvalanjuli, known for its sense of movement and dynamic space. The Sri Krishna temple at Chengam has 60 Ramayana panels, showcasing the narrative richness of Nayaka art.

Kerala Murals

Between the 16th and 18th centuries, Kerala painters developed a unique mural style influenced by Nayaka and Vijayanagara art, as well as local traditions like Kathakali and kalam ezhuthu. Using vibrant colors and three-dimensional human figures, they depicted scenes from Hindu mythology, often based on local versions of the Ramayana and Mahabharata. These murals are found in over sixty sites, including temples and palaces like the Dutch Palace (Kochi), Krishnapuram, and Padmanabhapuram. Key temple sites include Pundareekapuram, Triprayar, and Vadakkunathan. Across India, rural wall painting traditions also continue, such as Mithila (Bihar), Warli (Maharashtra), and Pithoro (Rajasthan, Gujarat), often created by women during festivals and rituals.