VIJAYNAGARA MURALS

Lepakshi 120 Kms, from Bangalore is a delightful synthesis of architecture, sculpture and painting.
The Virabhadra Temple at Lepakshi was built in themid-16th century in the regime of King Achuta
Deva Raya, by Viranna and Virupanna, Vijayanagara governors of Penukonda. It contains some of
the finest sculpture of the period carved with intricate designs and has the earliest preserved cycle
of beautiful, narrative and innovative mural paintings on its ceilings corridors.The main temple is laid
out in three parts, these are: 1. The assembly hall known as the Mukha mandapa or Natya mandapa
or Ranga mandapa; 2. arda mandapa or antarala (ante chamber); 3. the garbhagriha or the sanctum
sanctorum.

Virupaksha temple at Hampi in Vijaynagar is named after one of the many names of Lord Shiva. It
comes under the establishment of a Kingdom (c.1336) by the Sangama brothers – Harihara Raya
(Hakka) and Bukka Raya (Bukka)
The Vijayanagara style of painting, as it came to be known later, was a combination of the Chalukya,
Chola and Pandya styles.

THEME/SUBJECT MATTER

Religious themes: The glory, the virtues, the valour and the deeds of the gods and the epic heroes,
naturally, formed the subject of Vijayanagar art. These murals are found depicting scenes from the
epics and the Indian Puranas. Most panels illustrate legends from the the following:
 Ramayana,Mahabharata and SivaPurana.
 A number of panels depicting the Gods-Lord Shiva, Lord Vishnu, as well as other
mythological characters like Arjuna etc.
 The scenes from Krishna’s childhood;
 the Shiva’s manifestations (Kamadahana-murti and Tripurari, Shiva as Kiratha ( boar hunter),
Dakshinamurthy);
 Girija-kalyana (Girija’s wedding with Shiva);
 the ten incarnations (Dashavataras) of Vishnu;
 the figures of the Dikpalas (the protectors of all directions/regions);
 the classic scene of Arjuna shooting the fish device (matsya yantra) to win Draupadi’s hand
in marriage.
 Kiratarjunya (Arjuna`s penance).

Murals dedicated to figures yet unknown, probably Kings and Queens of the time as also from
events of contemporary life:
Legendary episode of the compassionate King Manu-neethi-cholan who dispensed justice even to
animals. Few other pictures show Viruppanna and Viranna with their sons and guards

Dancers:
We find celestial ladies as well as Nautch girl performing dances.
In the case of celestial women, some are performing the Kolata or stick-play, an entertainment
popular in Karnataka among common people.
A traditional dance by holding a double-edged sword can be seen.

TECHNIQUE- FRESCO-SECCO
The surface was prepared with three or four layer of plasters and finally with a crystal soft lime
plaster or the paste of the conch shells.
Then, sketches were made on the smooth surface of dried plaster. (This method of preparation of
the surface was much different from the one adopted by the artists of Ajanta, which was more
elaborate and spread over a much longer stages of preparation).
Preliminary outlines were made in a light colour, such as yellow or red and then flat tones are added,
the most common being yellow, brown or ochre accents were created in blue, red or green.
Only three or four colours were used; and they were mostly earthen and sometimes mixed with glue
or any other vegetable binders.
The background was usually in red and the figures were in lighter tones of green and rarely blue.
White was rarely applied, the plaster, cloth or paper merely being left exposed.
Black outlines and white highlights were sometimes added at the last stage to give a linear quality.

ARTISTIC FEATURES/CHARACTERISTICS

1. Paintings on ceilings of the mandapas and in the corridors

All these paintings are seen mainly on the ceilings of the mandapas and in the corridors of
the temple. The murals are found in the high ceilings of the huge gateways of the Veerabhadra
temple. The ceiling is divided into a number of strips, and the individual strips are broken into square
or rectangular panels. Each one of the panels depicts a particular scene, or part of one, in keeping
with the theme of representation in the central panel. The narratives are combined in rows one
above the other proceeding in alternating directions, from left to right and then right to left.

2. Frames of textile patterns and architectural elements

The narrative panels are framed and structured by bands and beams with textile patterns
These panels show a rhythmic forward movement and do not look overcrowded.

3. Intertwining of the story of the Vijayanagar kings with the Indian epic heroes
The story of the Vijayanagar Empire and its early kings is intertwined with stories of the Indian epic
heroes. This was done for a deep religious belief and deep-rooted objective to protect and spread
the Hindu way of life and its values, the Dharma.

4. Human figures
A rather prominent aspect of the figures is that the profile figures are shown tilting backwards, from
the feet upwards till the waist, and then again forward from the waist to the neck. The head stands
erect.
In most of the Vijayanagar paintings, human faces usually appear in the profile(Ek chashma and ded
chashma), figures stand with a slight slant with both feet pointing in the same direction just like the
leather figures of the folk art. There is a peculiar depiction of protruding eye and just like Jain
manuscripts . The angular features remind us of temple idols.

5. Linear style
There is simplicity and vigour in the style of the paintings with a sense of movement and energy
caught in the figures, which represent a linear style. The figures in front are well captured due to
the light shade of the background. Sometimes the facial profiles or some dark costumes may not
have a line at all at the edges/contours.

6. Several related pictorial traditions:

A comparison of paintings on the ceilings, cloths and manuscripts reveal a host of common features
certifying to several related pictorial traditions. The difference was only in size/scale and techniques.
We can observe a limited range of compositional devices and colour schemes.
7. Variation in details of styles in the treatment of identical subjects
The Vijaynagara Empire was very widespread in different parts. Therefore one can see a variety of
modulation or variation in details of styles in the treatment of identical subjects.

8. Muslim influence
The tunics and conical caps worn by the nobility in Vijaynagara period is from the Islamic dress
styles.

9. Variety of costumes, textile patterns

The peaked corners of clothes look very unique.
The paintings provide a glimpse of the richness and colour of a multinational society in terms of its
styles and fashions. The costumes of men and women, colour and embroidered sarees, jewellery,
hair styles , tall headwear (kulavi) etc. now serve as a resource for the textile and fashion designers.
Most of the sari fabrics appear to be white with stripes or chequers as ornamentation or a band of
flowers along the borders.
Some of the material is very fine displaying the outlines of the legs.

10. Jewellery and ornamentation:

Most of the paintings highlight detailed hairstyles of people with rich accessories, and exquisite
jewellery. Women are adorned with beautiful jewellery like ear studs, variety of necklaces, bangles
and hair accessories. Men are also seen wearing jewellery and other accessories.

11. Decoration and stylisation:

The panels are bordered with decorative margins on four sides, which go very well with the central
panel. It may be noted that the costumes are never left blank and without any design, and all of
them are shown with decorative patterns.

DESCRIPTION OF A FEW PAINTINGS:

TITLE: JAGADGURU VIDYARANYA BEING CARRIED IN A STATE PROCESSION

MEDIUM: FRESCO-SECCO
PERIOD: 15TH CENTURY
DYNASTY: VIJAY NAGARA
LOCATION: VIRUPAKSHA TEMPLE, HAMPI
THEME: The ceiling of the Virupaksha temple mandapa has a painting, which depicts Vidyaranya, the
guru of Harihara and Bukka, being carried in a palanquin.
DESCRIPTION:
The Sri Vidyaranya panel is one among few in traditional Indian art, which depict scenes from
contemporary history. The panel has sadly become old and hazy. It depicts the scene of Sri
Vidyaranya seated in a palanquin and taken in a procession. The sage is seated in a decorated
palanquin with a backrest carried by four bearers ; followed by several men on foot
weaving chowries (fly-whisks) or carrying long knotted staves(long sticks). The long procession is led
and followed by decorated elephants.
The tilt of the palanquin hints at the uneven ground-surface.The dark background is in complete
contrast with the figures painted in light colors. The figures are moving in organised lines. The
farther line is painted on top of the one in front rather than overlapping or behind as per the
scientific perspective. The border has a decorative circular-textile pattern.
The portrayal is one of grace and rhythm; and there is an air of calm and respectful silence in high
regard to the Guru.

TITLE: KIRATA STORY

MEDIUM: FRESCO-SECCO
PERIOD: 15TH CENTURY
DYNASTY: VIJAY NAGARA
LOCATION: LEPAKSHI
Theme: This animated scene narrates the hunting episode from the Kirata story.
Note for students: Elaborate the given outlines
One panel shows Arjuna in meditation. .....wearing a robe like a sage......hint of stylised trees and
vegetation on the groun to show the forest

Another panel shows the boar is charging through the forest. A sage is shown fleeing together with
antelopes, rabbit, and birds(above). On the right are hunters with bows and arrows. The demon in
the guise of the boar....central dominating .....in the composition. Trees are denser....stylised....

Another panel shows....Arjuna dressed as a tribal hunter..... costumes and head gears....skin colors.

One more damaged panel continues the Kirata story. The sages, still terrified, are shown reporting to
Shiva (on the right). They are all standing in line ....

White dhotis ....textile patterns...dark background....angular puppet-like features.

TITLE: SIVA SLAYS ANDHAKASURA

MEDIUM: FRESCO-SECCO
PERIOD: 15TH CENTURY
DYNASTY: VIJAY NAGARA
LOCATION:VIRUPAKSHA TEMPLE,HAMPI
THEME: Episode from mythology , Shiva kills the demon Andhakasura who abducts Parvati.
DESCRIPTION: (Expand the outline)
Siva slays Andhakasura, while dieties and worshippers watch, worship, and appreciate in
amazement. Figure of multi-armed Shiva, wearing his characteristic lion skin is animated with
energetic gestures....demon has got defeated. Emphasis on the side....and informal balance in the
composition.
The conical caps...pointed beards....The floral borders... are variety of costumes, textile patterns
particularly elaborate and well-preserved on this panel.

TITLE: SHIVA’S WEDDING WITH GIRIJA

MEDIUM: FRESCO-SECCO
PERIOD: 15TH CENTURY
DYNASTY: VIJAY NAGARA
LOCATION: VIRUPAKSHA TEMPLE, HAMPI (same theme is there in Lepakshi as well)
DESCRIPTION: The most spectacular painting is the depiction of the wedding of Lord Shiva and
Goddess Parvati.
Main panel...arched beautifully...architectural details as part of the panel divisions....Some of the
elements of the painting that stand out are the costumes and jewellery worn by the guests attending
the Wedding.
In further two panels ashtadikpalas and sages can be seen attending the wedding.....standing in
reverence..... ashtadikpalas seem similarly dressed....skin colors differ....textile patterns on borders
...elaborate decorations
One panel shows attendants of Parvati.....wearing lovely sarees....different hair dos and
accessories...one wearing a diagonal flower garland....They are not wearing the upper garment....but
wear a veil on their shoulders...textile patterns suit the special occasion.
Another famous scene shows patrons and architects of the temple worshipping Siva and Parvati.
They are identified by the tall, conical and patterned brocade caps. These are believed to be the
brothers Viranna and Virupanna
The grand event of the sacred couple attended by all with great enthusiasm. All classes of society
from common man to royalty are present. The artist has skilfully depicted the figures without
overcrowding.

THE LONGEST PANEL OF THE TEMPLE CEILING: They also show the episodes from the life of King
Manu-nithi-kanda Chola, who granted justice to a cow whose calf was run over by his son`s chariot.
In these paintings the king is shown sacrificing the prince under the chariot`s wheels, but God Siva is
restoring life to both the victims and praising the king`s sense of justice.
The paintings that have survived, are some of the most outstanding murals in India. They are also
the best among the Vijayanagara style of pictorial art.

OTHER IMPORTANT MURALS:

 ARJUNA SHOOTING MATSYA YANTRA
TO WIN DRAUPADI'S HAND IN MARRIAGE.

There is a distinct Vijaynagara influence in the Deccani Kalm of miniature. There is a reflection of
Vijaynagara pictorial form and techniques even in Orissa, where the mighty arm of Krishnadevraya
penetrate by his triumph over the Gajapati
The Lepakshi paintings have continued to influence generations of artists in South India.
It is practiced , even today, as a craft. The birds, beasts and foliage depicted in its paintings and
sculptures have initiated a style that decorates the block-printed Indian textiles and rugs; popularly
referred to as the Lepakshi motifs.

Useful links:
https://sreenivasaraos.com/tag/vijayanagar/
http://www.academia.edu/8770525/Paintings_in_Vijaynagara_Empire