Mural Painting in India: Artistic Expressions Through the Ages

The mural painting in India represent a diverse array of artistic expressions that grace temples, palaces, and other sacred places from the medieval era onward. 

Cave Excavations: Mural Painting in India Legacy Beyond Ajanta

• Post-Ajanta Marvels: After Ajanta, there are not many places with mural painting in India that have survived to give us important clues about the painting tradition. 
• Hidden Pigments: It’s worth mentioning that sculptures were also covered with plaster and painted. 
• Craftsmanship Legacy: The tradition of cave excavations continued in other locations, where both sculpting and mural painting in India were carried out at the same time.

Badami: Ancient Indian Artistry in Mural Painting

• Location: Badami in Karnataka was the capital of the early Chalukyan dynasty around 578–579 CE. 
  • With the decline of the Vakataka rule, the Chalukyas established their power in the Deccan. 
• Excavation: The Chalukya king, Mangalesha (the younger son of the Chalukya king, Pulakesi I), sponsored the mural painting in India excavation of the Badami caves, known as the Vishnu Cave. 
• Vishnu Cave: The inscription in Cave No.4 mentions the date 578–579 CE, describes the beauty of the cave and includes the dedication of the image of Vishnu. 
  • Therefore, the cave is popularly known as the Vishnu Cave. 
• Survived Painting: Only a fragment of the painting has survived on the vaulted roof of the front mandapa. 
  • The paintings in this cave, an extension of the Ajanta tradition, depict palace scenes featuring Kirtivarman, son of Pulakesi I. 
• Artistic Maturity: The artistry, characterized by sinuous lines and fluid forms, reflects the artists’ maturity in the sixth century CE. 
  • The faces in the mural painting in India resemble Ajanta’s style, showcasing skilled use of simple lines to create volume. 
  • Notably, the surviving fragment on the vaulted roof portrays scenes of palace life, including a dance, with detailed depictions of the king, queen, and divine figures.

Splendors of South India: Mural Painting Legacies under Pallava, Pandya, and Chola Rule

In the southern regions of Tamil Nadu, the tradition of painting flourished during the rule of Pallava, Pandya, and Chola dynasties.

Palava Art Patronage: Mahendravarma I and the Artistic Splendor of Kanchipuram

• The Pallava kings, succeeding the Chalukya kings, were notable arts patrons. 
• Mahendravarma I: In the seventh century, he built temples in Panamalai, Mandagapattu, and Kanchipuram, showcasing a keen interest in art. 
• Inscription at Mandagapattu: It mentions Mahendravarman I with numerous titles such as Vichitrachitta (curious-minded), Chitrakarapuli (tiger among artists), Chaityakari (temple builder), which shows his interest in art activities. 
• The Panamalai figure of a female divinity is drawn gracefully. 
• Paintings at Kanchipuram Temple: They were patronised by the Pallava king, Rajsimha. 
• Somaskanda: Only traces of paintings remain now which depict Somaskanda. 
  • Faces are round and large. 
  • Lines are rhythmic with increased ornamentation when compared with the paintings of an earlier period. 
  • Depiction of the torso still remains like the earlier sculptural tradition but is elongated.

Pandyas Art Legacy: Splendid Murals in Tirumalaipuram and Sittanvasal Caves

• Continued Patronage: When the Pandyas came to power, they continued the patronage of art, exemplified by the Tirumalaipuram caves and Jaina caves at Sittanvasal. 
  • A few fragmented layers of paintings can be seen in Tirumalaipuram. 
• Sittanavasal: The paintings are visible on the ceilings of shrines, in verandas, and on the brackets. 
• The paintings in these locations, such as dancing figures of celestial nymphs (on the pillars of the veranda), exhibit firm contours (painted in vermilion red on a lighter background), vibrant colors, and skilled artistic imagination. 
  • The body is rendered in yellow with subtle modelling. 
• This tradition of elongated eyes observed in these paintings continued in subsequent artworks in the Deccan and South India.

Chola Art Splendor: Temple Legacy, Murals, and Diverse Themes

• Chola Temple Legacy: During the Chola reign (ninth to thirteenth century), the tradition of temple construction and embellishment persisted. 
• Zenith of Chola Power: The eleventh century marked the zenith of Chola power.
• Architectural Masterpieces: Leading to masterpieces like the Brihadeswara temple in Thanjavur, Gangaikonda Cholapuram, and Darasuram in Tamil Nadu were built during the reigns of Rajaraja Chola, his son, Rajendra Chola and Rajaraja Chola II, respectively. 
• Chola Paintings in Nartamalai: Chola paintings are seen in Nartamalai, particularly in Brihadeswara temple. 
  • Layers of Art Unveiled:Notably, the paintings were uncovered in two layers, with the upper layer from the Nayak period in the sixteenth century revealing the great tradition of Chola painting. 

• Stylistic Maturity in Brihadeswara: The paintings at Brihadeswara temple showcase the stylistic maturity of Chola artists, reflecting a predetermined flow of sinuous lines, supple modelling of figures, and elongation of physiognomic features. 
  • These elements represent both the perfection achieved by Chola artists during their period and a phase of transition.
• Diverse Themes in Chola Art: These artworks portray diverse themes, including Rajaraja and his mentor Kuruvar, dancing figures, and various aspects of Lord Shiva, Shiva in Kailash, Shiva as Tripurantaka, Shiva as Nataraja, a portrait of the patron Rajaraja and his mentor Kuruvar, dancing figures, etc.