Vijayanagar, Nayaka and Kerala Murals

Vijayanagar, Nayaka and Kerala Murals

After Ajanta, Only few sites with paintings have survived, which provide valuable evidence to reconstruct the tradition of paintings. The sculptures, too, were plastered and painted. In many places where carving and painting were carried out simultaneously, the tradition of cave excavation continued.

Vijayanagara Murals:

1. The 14th century paintings at Thiruparankundram, near Trichy, represent the early stage of the Vijayanagara vogue. 
2. In Hampi, the Virupaksha temple has mural paintings on the ceiling of its mandapa narrating events from dynastic history and episodes from the Ramayana and the Mahabharata. 
3. In Lepakshi, near Hindupur, in Andhra Pradesh, there are glorious examples of Vijayanagara paintings on the walls of the Shiva temple.
4. Among the important ones, one panel shows Vidyaranya, the spiritual teacher of Bukkaraya, being carried in a palanquin in a procession and the incarnations of Vishnu. The faces of the figures are represented in profile, with large anterior eyes. The figures have narrow waistlines.
5. Vijayanagara painters evolved a pictorial language where the faces are shown in profile, figures and  two-dimensional objects. Lines become still but fluid, compositions appear in rectilinear 
6. In south India, the murals and paintings of Vijayanagara appear in the huge revival of Hindus culture.
7. There were also mural paintings of kings and their works who ruled in Kerala during that period.   
8. Harihara-1 was the first crowned head of Vijayanagar.
9. According to Domingo Paes book “Chronicle of The Vijayanagara kings “A Enormous tank built by Krishin Dev Raya is a great architectural.

Nayaka Murals: 

• Nayaka Dynasty painting’s in the period of seventeenth and eighteenth centuries are seen in Thiruparankundram, Sreerangam and Tiruvarur in TamilNadu.
• Thiruparankundram:
• Paintings from two periods are found – fourteenth and seventeenth centuries
• Early paintings describe scenes from the life of Vardhaman Mahavira
• Themes: Incidents from the Mahabharata, Ramayana and Krishna-leela
• Story of Muchukunda in Tiruvarur
• Stories of Lord Shiva and Lord Vishnu-Shiva as Bhikshatana Murti, Vishnu as Mohini, etc. in Chidambaram
• Story of Ramayana representing the late period of Nayaka paintings in the Sri Krishna temple at Chengam in Arcot
• Nayaka paintings were an extension of the Vijayanagara style
• The figures are set against a flat background. Male figures are shown slim-waisted but with less heavy abdomen as compared to those in Vijayanagara
• The Nayaka Dynasty is not famous for their Murals or painting but also for their unique style of architecture
• More paintings of the Nayaka are based on Hindu Gods, goddesses or saints
• Sri Krishna Temple at Chengam is the last phase of Nayaka Murals

Kerala Murals:

• Kerala painters (sixteenth to the eighteenth century) evolved a photographic language and technique of their own while adopting certain stylistic elements from Nayaka and Vijayanagara schools
• Painters evolved a language taking sign from modern traditions, like Kathakali and kalam ezhuthu using vibrant and bright colors, representing human figures in three-dimensionality
• Themes: Oral traditions and local versions of the Ramayana and the Mahabharata
• Most of the paintings are present on the walls of shrines and temples and some inside palaces
  
  

Sites: More than sixty sites have been found with mural paintings  in Kerala which contains:

• Palaces: Dutch palace in Kochi, Krishnapuram palace in Kayamkulam and Padmanabhapuram palace are three palaces
• Temples: Pundareekapuram Krishna temple, Panayanarkavu, Thirukodithanam, Triprayar Sri Rama temple and Thrissur Vadakkumnathan temple
• These paintings are usually made by women in auspicious occasions or festivals to decorate the walls or home

Conclusion

The sculptures were plastered and painted and the tradition of cave excavations continued further at many places where sculpting and painting were also developed hand in hand. Even today, mural paintings can be observed on interior and exterior walls of houses in villages or havelis and are prevalent in different parts of the country. Generally, these paintings are made by women either at the time of ceremonies or festivals or as a routine to clean and decorate the walls.