A STUDY OF MURAL PAINTINGS AT VIRABHADRA TEMPLE, …

S.R.S.D. Memorial Shiksha Shodh Sansthan, Agra, India

Keywords: Murals, Virupanna, Hindu themes, Shiva, Vishnu, Virabhadra, Fashion

Introduction

The Lepakshi (13°49′N 77°36′E / 13.81°N 77.60°E)1 is a small village in

Ananthpur district of Andhra Pradesh. It has attained the significance in

the historical, art and archaeological point of view. The place is

renowned as the repository of the best mural paintings, architecture and

sculptures of the Vijayanagar Kings of 16th Century A.D. The Lepakshi

consists of three shrines dedicated to Shiva, Vishnu and 'Virabhadra'. It

was developed into the present exquisite shrine by 'Virupanna'2, the

treasurer of the Vijayanagar Kings. He conceived the idea as he found

the image of his tutelary god Veerabhadra. He executed the plan in the

absence of the king and used the treasure when he was away at

INQUISITIVE TEACHER

A Peer Reviewed Refereed Research Journal

ONLINE ISSN-2455-5827 Volume VI, Issue II, December 2019, pp. 38-52

www.srsshodhsansthan.org

A STUDY OF MURAL PAINTINGS AT VIRABHADRA TEMPLE, LEPAKSHI

K.Mrutyunjaya Rao

Assistant Professor & Head, Department of Fine Arts

Yogi Vemana University, Kadapa, Andhra Pradesh

Abstract

The Lepakshi is a small village in Ananthapur district of Andhra Pradesh. It is renowned as the

repository of the best highly decorative mural paintings enriched by textile designs of the Vijayanagar

Kings of 16th Century A.D. The subject matters are the scenes from Incarnation of Shiva, Ramayana,

Mahabharata and Puranas include the Krishna are executed in fresco. The colour palette is very limited

to vermillion red, red ochre, chalk white, or Khadi matti, green and yellow and red ochres are

predominant. The chief characteristics of the murals are faces are portrayed as round and bulging and

protruding eye in three quarter face reflected as in the conventional style of Ellora paintings and 14th

century Jain miniatures. It is not a direct development of classical painting, but it serves its decorative

purpose exceptionally well with its undercurrent of folk art. Historically its importance lies in its

influence on the later Muslim painting in the Deccan kingdom. These paintings provide a glimpse of the

richness and color of a cosmopolitan society; its styles and fashions. The meticulous rendering of

contemporary jewelry and dresses of different categories of people in the painting mirrors the social and

economic and political strata of the society of the 16th century A.D.

IT, Vol. VI, Issue II, December 2019 ISSN-2455-5827

A Study of Mural Paintings at Virabhadra .... 39 | P a g e

Vijayanagar. When the construction was almost finished and it was being supervised the king returned

and found the treasure was empty. The king ordered, as a punishment to this heinous crime, that he should

be blinded. The treasurer being a loyal person carried out the punishment spot with his own hands. Even

today two close red spots, just close as the eyes of human being, can be seen on the western wall of the

temple. During the reign of Vijayanagara kings, pilgrims flooded to this temple to visit Lord Veerabhadra.

It was once a great center for trade, flourished as a second capital became now insignificant spot. The

essence of the paintings is celebration connected to Shiva the lord of dance.

A.H. Longhurst has discovered the great tradition mural paintings at Virabhadhra swami temple

at Lepakshi in 1912-133. In 1935, the cousin of C. Sivaramamurti and Collector of Ananthpur Dewaan

Bhahadur Vishwanadha Rao was so fascinated by the charm of the Lepakshi mural and invited C.

Sivaramamurti to copy them4. Later Art Historian C. Sivaramamurti recognized their greatness and

documented in 1936.

The Mural paintings are existed in the temple ceilings of various sections such as natyamandapa,

ardhamandapa, Mahamandapa and circumambulatory path around the Virabhadhra shrine and Sayanagara

and Raghunatha temple. The paintings executed on the ceiling of Mahamandapa is Virabhadhra which is

known as the largest mural in Asia The wall space is divided in to compartments and panels to

accommodate the paintings with textile designs as borders and hangings. Figures are large sized and bold

but defaced and darkened but unfolds the mastery of Vijayanagara painters. The colour scheme is very

dull. The pallet comprised of reds and yellow, reds and red ochres, khajal black, white or “khadi matti”5

and occasional use of Gold. The Always in paintings were portrayed in light yellows, Acharyas in light

green and deities were painted in Blues. Reds used for garments and gold was used for rendering of

jewellery. Ornamental exaggeration is noticeable. The theme and style of the figures are similar to the

sculptural traditions of Vijayanagara style of the 16th century. The technique adopted for the execution of

murals is Fresco – Secco6. The artist meticulously rendered the contemporary jewellery and dresses of

different categories of people in the paintings which mirrors the social and economical and political strata

of the society of the 16th century A.D.

For the convenience of the study, the temple complex can be divided as three sections. They are 1.

Natyamandapa 2. Ardhamandapa 3. Complex of Mahamandapa and circumambulatory passage around

the Virabhadhra shrine and Sayanagara.

The ceilings of Natyamandapa is divided into different panels by beams. The paintings in

Natyamandapa can be studied under 11 panels each had been painted by different themes , mostly

belongs to Shiva. Themes like Manunidhicholan story, Arjuna wins Draupadi, worship of Bhairava,

Viranna Virupanna with their retinue, worship of Virabhadhra, Vatapathrasai , Parvathi’s Toilet,



marriage pf Shiva and Parvathi,

Kiratarjuniyam episode depicted in

four panels, Nataraja, Ramas’s

coronation. They painted in bright

colours rather than the images in

Ardhamandapa.

The most worth study of the noticeable

paintings of the Vijayanagara period is

found in Ardhamandapa where the

ceiling adorned with rich murals

describes the various 14 manifestations

of Shiva and Parvati as Devi . The paintings here are do not related to any story or episode, but

illustrates the ichnography of different manifestations of Shiva. It is running east to west (left to right)

along the entire length of the ceiling. Length of this panel measures 73.96 feet in length and 3.95 feet in

width. The mural contains totally 93 figures which can be read from left to right. Each aspects of God

flanked by the rishis and semi divine human beings with different hair styles. These are worked as

element of continuity for the entire panel. It is observed from the right side of the entrance to

Mahamandapa, the paintings have been crudely restored, a thin fungus film is formed on the paintings.

Especially on the Natarajamurti image some small size layers are peeled off.

Among those incarnations of “Lingodhbavamurti” is painted as 6th figure, “Andhakasura

samharamurti” is 15th figure, Shiva as “Dakshinamurti” image is painted at 27

th image,

“Chandesanugrahamurti” is depicted as 35th image, “Biskhatanamurti” is 39

th image, Shiva as

“Harihara” is painted as 44th image, incarnation of “ a form of Shiva (difficult to identify )” is 50th image

, Shiva as “Ardhanarisvara” as the 53rd

image, Shiva as “Kalyanasundaramurthi” is painted as 58th

image, and “Tripurantakamurti” as the 63rd

image incarnation of “Gangadhramurti” is painted as 69th

image, “Natarajamurti” as 77th image, Shiva as “Vrishabharudamurti” is painted as 86

th image, Shiva is

painted as “Chandrasekharamurti” at 89th image and “Chandrasekharamurti” is painted as 92

nd image last

three image are completely faded and beyond the recognition. According to Anna L.Dallapiccola Its

unidentified said to be known as Goddess(?) may be Parvathi7

but this is identified as a wonderful

picture of Goddess Parvathi, the Most beautiful picture in the temple.

. Mahamandapa is a common hall to the shrines of Virabhadhra, Papavinasha, Raghunatha shrines

which were highly decorated with paintings all over the ceiling of the Mahamandapa.



Virabhadhra Mural:

The largest painting on the ceiling of Maha mandapa is the picture of Virabhadhra of measuring

24.52 feet by 11.50 feet in standing pose is the most popular most important religious force in Karnataka

and southern Andhra Pradesh. It is adopted by Virasiavas an offshoot of Shaivism. This painting was

hidden under the thick coat of suit had been uncovered by Dr. S. Subbaraman and other scientists of the

chemistry branch of Archaeological Survey of India in 1959-60 after considerable effort. According to

C.Sivaramamurti is “probably largest ever attempted as a mural in India. Even exceeding the

magnificent size of Tripurantaka ,the creation of Rajaraja’s painter in Rajarajesvara temple at Tanjavur 8.

On the ceiling of the Natyamandapa, Maha mandapa, on the walls of Virabhadhra shrine, Virabhadhra

portrayed in both standing and seated positions. The mythological account of the emergence of

Virabhadhra is narrated in the Kurma purana, the Varaha purana and the Bhagavatha purana9. This

terrific aspect of Virabhadhra destroyed the sacrifice and cut the head of the Daksha. Subsequently

Daksha was brought back to the life on the request of his wife , and he was given goat’s head 10

.

Virabhadhra is depicted in Profile not in the full front view as in the other icons of the temple in India.

This painting is seen mostly in low colour key with greys, blue shades and tints with strong and bold

sweeping lines to illuminate the details of the whole painting unfolds the mastery of the line of the artist.

Paintings on the ceiling of Raghunadhalaya:

The shrine of Raghunadhalaya is a complete temple itself into three separate parts. The main cell

is far behind is called as garbhagriha. In the front is an anteroom called as antharala and third part is

mandapa. The ceiling of mandapa which is in square of measuring twenty feet by twenty feet divided by

cross beams into nine equal square panels. There are seven avataras of ten of Vishnu are painted on these

panels. This shrine is opposite to the Papanashesvara shrine, and east faced

The narrative of Kiratarjuniyam is painted in Natyamandapa as a long narrative and even

executed as relief sculpture on the left side wall of Ardhamantapa. This theme is again appeared on the

extreme Northern bay of the Mahamandapa ceiling measured length of 11.5 feet in length and 4.2 feet

width with a different coloured treatment, poses, composition and very reduced into number of frames

than the earlier depiction. Unlike the natyamandapa painting, it is painted as silhouette images on a plain

background with occasional use of whites in the parts of dress and jewellery. As usually the narrative

begins with the Arjuna’s penance after conversation with Indra. The narrative could be read in six scenes.

Paintings in the passage way of around the Veerabhadra Shrine:

Walls of Virabhadhra Shrine also having murals but it’s very difficult to identify , became very black.

According to the temple priests, the ASI is soon going to revive them through the chemical cleaning in

the month of December 2019. It is also came to know E3 panel is renovated recently. That is why,

amongst the panels E1- E13, the E3 panel is visible clearly.



The visual language of sculptures and paintings seems to be intertwined. The sculptural qualities

are infused into these murals. The Lepakshi sculptures are infused with the full of life and rhythm

attained supremacy in conception and execution. The Padminijati woman , kalyana sundaramuthy, and

dikpalas were undoubtbly spilled from the hands of the masters. The deep niches with deity sculptures

flanked by the pilasters , crowned by thoranas are common features in Pallava, early Chalukya and Chola

temples. The eight dikpalas are seen either in sculpture and paintings. In sculptures the dikpalas are

shown in fours hands while in painting they were shown in two hands. The Bringhi was shown in three

legs in sculptures but in the painting it was with two legs.

Characteristics of Lepakshi Murals:

In general, the Lepakshi paintings are highly decorative. They are more line drawings with little

attempt of modeling. The paintings on the ceilings of the Natyamandapa, Mahamandapa, girbhagriha,

Sayanagara and Raghunadhalaya are seems like relief sculptures in colour with cylindrical forms.

Mostly female figure was given emphasis to be more beautiful, portrayed in the mood of worshippers as

the holy figures as in the bronzes of south India under Cholas. This sculptural quality and plasticity traced

in parallel to the art of Ajanta and Ellora. Human figures have attained flow, sensuous lines and dressed

in ornamental draperies, every woman appeared as apsara or goddess and every man figure exalted into a

divinity. The artist achieved the success in depiction of human emotions as well as animals too. Artist did

meticulous study on animals like, cow, boar, rabbit, dogs and parrots, and bucks, deers etc. we can notice

these all in Kiratarjuniyam episode. It is not possible to us what obviously a synthetic style.

Lepakshi paintings are traditionally arranged in square and oblong, rectangular planes in

which the human figuration have occupied high rank and paramount importance. The ceilings of

Virupaksha temple at Hampi divided into compartmental composition. But at Lepakshi the murals are

depicted in the rectangular panels formed by the vertical and horizontal beams. All the panels were

embellished with decorative textile designs which are stood as a hall mark to identify the murals from

Lepakshi. It is probably that Vijayanagara painters were very closely to the style of Western Indian

miniatures in arranging in square and rectangular formats with decorated boarders. And it’s also the

continuation of the earlier tradition of Ajanta.



The human faces are portrayed as round and bulging and protruding eye in three quarter face reflected as

in the conventional style of Ellora

paintings and 14th century Jain

miniatures. Their bulging eyes are

often considered as a symbol of

character of the cult of Shiva and

wrath of god Virabhadhra but also

give the feeling of amazing and

wonder and celebration. All the human figuration are shown in broad shoulders and slightly thick and

bloated abdomen and belly. Slim waist is hardly seen. The artist preferred to draw profile figures, in total

they may seem doll like appearance as if they are in slanting to left. Majority of the human figures are

always depicted in slightly tilted against the gravity and rarely seen in sitting postures. Both feet pointing

the same direction like the leather puppets that constitute popular folk art form in this area. The physical

feature of male figure are very often described as per the Indian text and presented in the paintings.

Elongated profile, large shoulders, robust waist, and lion like stature.

Mostly female figure was given emphasis to be more beautiful, portrayed in the mood of

worshippers as the holy figures as in the bronzes of south India under Cholas. This sculptural quality and

plasticity traced in parallel to the art of Ajanta and Ellora. Female figure is characterized by the full

sensuous development. Women portrayed with slender waist, rounded breast, fish like eyes and arched

eye brows (mention add more Indian text). Most of the ladies have the same type hair –knot, but turban

and hair styles of men vary a great deal. The standing postures of human beings are represented always in

reverently paying anjali and locking their hands near the chest, and raising the hands in the act of

adoration.

The paintings of Lepakshi, Vijayanagara painter represented the human figure in an idealized

manner with fever realistic touch. The human figures are arranged one by one like procession, mostly

shown in standing posture only. Rare presentation of Images of Shiva as Dakshinamurti seated on hillock

on tiger skin (kaupina) under the sacred tree toward the south, and Shiva riding Nandi as

Vrishabharudamurti, and while playing chess with Parvathi and seated Dharmaraja, Shiva as Tripurantaka

as a warrior attitude, Drupada are seen occasionally for the narrating the drama and somewhere Arjuna

doing penance on single leg, prostrating mode after getting pasupatha from Shiva are rarely seen. But

most of human figures are depicted in standing position.



The paintings in Natyamandapa the figures are somewhat in slanting position to the left

diagonally in 60 degrees. Further, this slanting figure has been vanished in the paintings of Ardhamantapa

and Mukha mandapa. But this doesn’t mean the other postures are not represented. Only gods and

important figures in the narration were shown like that manner. Rest of the human figures were shown in

locking hands near the chest in submissive attitude, raising their hands above the head had apparently in

the act of adoration. This is seen, fifth and sixth figures of male devotees and retinue from the extreme

left shown in posture of raising their hand above the head. In the “Parvati’s Toilet” painting where the

fourth and sixth, eighteenth females images which are depicted in heavily bordered, and white checks

saris respectively directed in raising their right hand above the head showing their adoration in the

event. This is located at Panel A4 in the Natyamandapa. The one more posture of female of brown

ochre complexion , stood and facing left, behind the Prishata the wife of Drupada in the paintings of

Draupadi swayamvara is depicted in stance of raising her right hand above her head . It seen on the panel

No A2 extreme west to Natyamandapa . Some figure shown in Anjali mudra which we see in the

painting of Viranna and Virupanna with their retinue in the panel A3 in Natyamandapa.

Many of the human figures especially male including Gods are shown with broad shoulders with

bloated abdomens. Slim waists are conspicuously absent. This depiction unfolds the Lepakshi painters

inspired more by their immediate surroundings and day to day life situations rather than the following

idealized canons of physical beauty as per descriptions cited in classical Indian literary works.

The height of the figures is governed by the position of objects in the space. The principle of

verticality could be seen as predominating feature of the Lepakshi murals. The various forms of Shiva ,

and brothers Viranna and Virupanna Nayaka were shown as taller than the other figures throw ought this



tradition to symbolize the intensity of the divinity and high status, importance of the figure according to

theme. Various types of the backgrounds served for the compositions. They are mainly two types. Former

is trees represented to the division of the space as compartment. The trees are stylized in to umbrella

shape. The latter is the background, is decorated with ornamental hangings, flying Apsaras and clouds

and hills flowers etc. the elements loose flower decoration is the distinctive feature in this tradition.

Circular, Semi-circular, bell shaped and multi curved hangings and some floral festoons are arranged on

the upper section of the panel gives the semblance of a stage. Sometimes they are provided floral

festoons and lotus petal motifs. They are profusely found in the Lepakshi paintings as well as

Vijayanagara painting centers Somapalem, Tiruvalanjuli etc. But at Hampi we may not see such kind of

compositions as we see at Lepakshi and Somapalem. The introduction of architectural settings into the

pictorial language considered as an important feature of Lepakshi for spatial organization. Architectural

elements became the secondary elements but not as in Virupaksha , Tirupattikurnam paintings. In

Ajanta paintings architecture dominated the scene . the architectural details are introduced being the

coherence in the groups and may be called as Architectural landscapes. But Lepakshi murals especially

architecture was just used a secondary element in organizing space. This is rarely seen in some paintings

only.

The representation of Human eyes seems protruding into the space with profile face and pointed

nose and chin are chief characteristics of Lepakshi paintings. The farther cheeks appears as if it shrinking

and the consequent protrusion of further eye into space are predominantly found in the paintings of

natyamandapa and pradakshinapada or outer side of the Mukha mandapa. It can be stated that these not

innovations of Lepakshi painters but it’s a continuation. A careful examination of early Indian wall

paintings of Ellora of 7th century ad and 6th century of Pallava paintings in the rock cut temples gives an

basic idea to know the source from which the Lepakshi painter drew inspiration and guidance. These

features are to be noticed initially in the paintings of Ajanta and Ellora, though the rock hewn Kailasa

temple built belongs to the 8th century AD, several layers of paintings are found in the temple belongs to

the different periods. The angularity in drawing does not appear in the earlier layers but it is noticed in

the middle layers. Moti Chandra has observed the remarkable change in figure drawing. The paintings at

Ellora , could be said without any reservations that these paintings are harbingers of the new convention

of Indian Art. Which became stereo typed with western miniatures11

. The protudence of farther eye,

recession of farther cheek, linier quality of line drawing is evident in Jain temple at Tirumalaii,

Brihadisvara Temple at Tanjore, Vijayalaya Choleswaram of Nartamalai temple of 10th 11th centuries

A.D.



It is essential to be that a careful examination of early Indian mural painting and western Indian

jain miniature paintings provides us many clues and comprehensive idea to know the source form which

the art of Vijayanagara and its painters culled inspiration and guidance. H. Zimmer in his the “Art of

Asia” has cited the importance of the study of some paintings at Ajanta and Ellora. Though the rock cut

Kailasa temple of eighth century A.D. The several layers found in the temple belongs to different

periods. Moti Chandra observed rightly the marked angularity of drawing seen in the pointed nose of

Garuda, the Gandharvas and Lakshmi. “It could be said without any reservation that these paintings of the

harbingers of the new conventions in Indian Art which became stereo typed in western Indian miniature

painting. Further these features represented in profound that were noticed in the Kailasanatha Temple at

Ellora. The western Indian palm leaf manuscript were classified into two groups as per its style. The

First group belongs the paintings between 1100 A. D and 1350 A. D. Whereas the latter is 1350AD to

1450 AD. The remarkable example of first period are Sathkandagama, Dasavaikalika, laghuvrutti,

Mahavircharita, Neminathacharita, etc. In these western Indian miniature paintings has been crystallized

itself. The drawing is angular , physical peculiarities, pointed nose , protruding eye and shrinking check

into the face are chief elements of the style. The illustrated palm leaf manuscripts of Kalpasutra,

Siddhahaimavyakarana etc are the best exemplified for the second period. In these miniatures also

pinching of the check and pointed nose and protrusion of farther eye into space. The illustrated paper

manuscripts also continued the above referred. The same element has appeared at Lepakshi but also at

Hampi, Somapalem, Ajanta , Ellora , Mamandur, Tirumalaii, Tanjavur, Nartamalai etc. Regarding the

origin and antiquity of the above features Moti Chandra stated as “ but if the sculpture be the index of the

art conventions of these times, then the angularity of the treatment of Human figures may be counted as

the distinguished features of western Indian art of Bundelkhand , Rajput, Malwa, and Gujarat. It would

be an interesting study to take the migration of the art conventions of old western school to the Deccan

and South, but unfortunately the no traces of wall paintings or Murals of 7th and 8

th century AD have

survived from western India12

The paucity of the documents of the western Indian School of Painting in

Gujarat may be attributed to the destruction of Muslim invasion and vengeance of the iconoclastic zeal on

Hindu temples and places. In these centuries of plunders and invasions and stress , precious documents

of western Indian school of painting on palm leaf and cloth are irretrievably lost. If this theory of Moti

Chandra is accepted the it follows that the Vijayanagara painters drew inspirations and guidance either

directly from western Indian miniatures or the paintings found at Tirumalaii, Nartamalai, Tanjavur. It

may be pointed out here that though the angularity in drawing and representation of “profile Perdue” are

profusely found at Anegondi and Hampi. But the protrusion of farther eye into empty space is completely

absent in Nayaka paintings at Tirupattikurnam , Tanjavur, Chidambaram ( 17th century ). The paintings

at Ardhamantapa are superior in technique and style than the paintings in Natyamandapa of same. In



these paintings are represented in frontal in the case of god and profile figures in others human beings.

Shiva in all aspects showed in frontal position. Even Vishnu and Virabhadhra. The rounded face ,

expressive eyes, arched eye brows, delicate fingers nails undoubtbly the mastery over the modeling and

linier conception by Vijayanagara Painters. Besides long lustrous eyes, graceful lips, lovely chin, fully

developed cheeks, arched eye brows , curved ears, singularly attractive neck, charming head dress and

graceful stance of the body, while sitting and standing that are prominently found the resemblance to the

Chola paintings noticed in the earlier layers in the Brihadisvara temple at Tanjavur. The paintings that

are found on the ceilings of the Kapardiswara temple were very close in the resemblance to the paintings

in Ardhamantapa. The painting Shiva a Vrishabharudamurti as similar in and akin to the Shiva as

Vrishabharudamurti in Lepakshi painting that Shiva blessing Maunidhikondai Chola. Further the

depiction of nature and boarder decorations, Gandharvas etc. has very close resemblance to the

Tiruvalanjuli paintings . But the C. Sivaramamurti assigns the Tiruvalanjuli paintings to Nayaka period of

17th century.AD It is likely to say that Lepakshi painting belongs to 16

th Century contemporary o the fore

said. The Paintings on the ceiling on the ardhamandapa are the later stage of Lepakshi. The earlier stage

seen in Natyamandapa. So it is better to group them in to three though they are executed in short span of

time. It is also difficult to arrive the exact time taken to complete the work. Because the unfinished

Kalyana mandapa, left blank panels out of Nine squares on the ceiling of Mukha mandapa of Raghunadha

temple.

All the panels are enriched by textile designs as a boarder painting. Similarly the Nayaka

paintings of Tiruvalanjuli has been painted with borders of textile designs6 With the reference of these

we understand that how much level of craftsmanship in those days by one can understand the aesthetic

sensibilities of the weaver’s skill in those days. Rhythm of dancers, adoration of Parvathi, and emphasis

on beauty of women are infused with ochres, sensuality of heavy breasts, round lips and innocent fish

eyes gives resonances of the adoration of beauty. The male figures were often shown in action and elegant

costumes are the unique style of Vijayanagara style. The fusion between human figuration and spiritual

inclination has been transferred into poetical grace. Refinement of the handling in soft whites, yellows,

ochres, pale flesh tints, grays against the red and ochres, and bold sensuous lines, bulging eyes brought

strangeness in appearance apart from the earlier traditions creates visible stirrings on the beholders.

Besides the common characteristics of the Lepakshi paintings, according to overall observation

on style and development at Lepakshi, these paintings can be classified into three groups as follows, even

though we may not know the exact period of patronization to Lepakshi murals. Epigraphic evidences

regarding donations too suggesting that the patronization of temple even after the reign of Achyutharaya.

The incomplete structures of Kalyana mandapa, and two square panels of nine on the ceiling of



Mukhamandapa of Raghunadhalaya shrine indicates the political struggle in the last years of

Vijayanagara dynasty. S. Paramasivan has analyzed the paintings into two categories based on the

chemical analysis. But being a visual artist, I have observed there are three style of works can be grouped

as follows. This categorization is done based on the styles, colour and composition.

The Group I:

The paintings of this group includes on the ceiling of Mahamandapa (panels E1 to E13 ( except extreme

right part of E3 panel) and around the veerabhadra shrine and its outer walls. The panel E3 can be

divided into three scenes. The images of the left panel worship of Virabhadhra , worship of Tiruvengala

seems the earliest of the temple as the treatment of line and form lacking grace than the images of

Natyamandapa. The second scene on panel of E3 depicts “Shiva seated on low throne” is beautiful

than of the rest of panel E3. Perhaps it might be painted later or repainted. Some Paintings on the ceiling

of Outer verandah of at the right from the naga linga and extreme west from the Sayanagara (panels F1-

F13) also comes under this phase, but some paintings belongs to phase II. The painted image of Ganesha

is noticed on this panel and gives an idea and hypothesis about the classification of phases of paintings.

According to Hindu belief any work starts with worship of Ganapathi, it is felt this custom followed by

the Lepakshi painters. Even today this custom is in practice. It is in general the earliest paintings of any

tradition owes some influxes of other styles. Hence the paintings of Mahamandapa owes strong

influence of western Indian miniatures and artists adopted from Gujarat. This has reached its pinnacle in

Phase II with refined and sweeping, flowing lines, then adopted Chalukyan art for high decoration with

pearls and clothing. The mural painted in the east-west corner (from left ) in the ceiling of passageway

behind the Virabhadhra shrine is the best example.



The Group II:

This group includes the paintings executed in Ardha mandapa (panel B1) where the manifestations of

Shiva and Devi were painted are a little bit earlier than the ceiling paintings in Natyamandapa from

panels A1 to A11 are also to be inserted into this phase II. Amongst them the Vatapathrasai image

painted in panel A3 (extreme right of the panel) seems very odd and not proportionate, not matched well

with the rest of the images that existed in the panel in both size and theme. Perhaps, the king might had

ordered the painters to add the image of vatapathrasai in the panels even after completion of the painting

work. These figures are drawn with fluent and continuous sweeping lines with delicacy and spontaneity

with soft tones of ochres and vermillion reds and browns and rare usage of green and greys. Very

meticulous degree of work was executed with the pearl decoration. Devi painting (the last image, from

left to right on the ceiling of Ardha mandapa) is the most beautiful and mature style of the Vijayanagara

paintings which differed with rest of images of Shiva. The colour treatment seems fresh and retouched in

later stage. Kiratarjuniya panel was again painted and elaborated with more scenes than the earlier

depictions in the form of painting in the Mahamandapa and relief sculpture panel on the front western

wall of the temple. Rendering of textile motifs done with greater care than the earlier panels. The

sensibility of drawing, painting, special organization, selection of human postures, postures, maturity in

human figures, lighting and tints and shades of the paintings differs with images of Natyamandapa and

Mahamandapa. These are may be reasons to categorize the above paintings and sections under Group II.

Perhaps the patron changed and adopted artists of Tamilnadu for the novelty paintings in natyamandapa

when compared to Mahamandapa.

The Group III:

This group includes the paintings in Mahamandapa. In the ceiling of Mahamandapa, Virabhadhra image

(panel C1) is painted in Blues, greens, greys with high decoration. The Ceiling paintings of

Raghunadhalaya are also belongs to the last phase paintings in the temple. The more Blues and greens

start appear on the murals. In the rest of paintings , it is noticed somewhat hurriedness and simplicity in

the execution of paintings, two blocks left empty out of nine panels were made little attempt on the

ceiling of Raghunatha Temple which unfold the situation of the unrest of Vijayanagara times. Another

panels in the eastern part of the verandah (panel B2, B3) and western part of the verandah (panels B4, B5)

were painted with Ramayana scenes. These scenes are painted in silhouette forms in fine line against the

background of chrome yellow.

In the Mahamandapa, the upper panel on the Virabhadhra painting “ Shiva sitting with his

consort, ganas in Kailasa is the most mature paintings tan the rest in the painting. it seems the patron

changed the artists , might be hired Nayaka painters from Tamilnadu region. “Vatapathrasai” painted in



natyamandapa on the panel A3 might be painted by them.

The extreme east panel C4 is painted with narrative

episode of Kiratarjuniyam. Unlike the Kiratarjuniyam

episode in natyamandapa, the whole narration was

depicted with a few important scenes, reduced to a single

panel. The entire panel is painted in silhouette images (as

if they are against the light) on chrome yellow

background with occasional use of white to highlight the

jewellery, decorative textile hangings and garments. The

maturity in line and dynamic gestures and movements of

the wild boar suggest the phase of paintings. “The

leopard hunt” painted on the panel C8, located at the west

to the Virabhadhra mural is the only one secular painting

in the temple. Shiva kills Gajasura on panel C9 unfolds

the dynamism with grace, the second scene in the panel

C3 (seated Shiva) may be belongs to this phase. Due to

the heavy soot deposited on the ceiling by the poojas, paintings deteriorated, seems old.

The Vijayanagara style is not a direct development of classical painting. But it serves its

decorative purpose exceptionally well with its undercurrent of folk art discernable in the tableau –like

placing of flat figures against a patterned background. Historically its importance lies in its influence on

the later Muslim painting in the Deccan kingdom. The paintings provide a glimpse of the richness and

color of a cosmopolitan society; its styles and fashions. The costumes of men and women, colored and

embroidered saris, jewelry, hair styles , tall headwear (kulavi) etc. now serve as a resource for the textile

and fashion designers, as they provide details of costumes etc of a distant past.



The costumes of men and women, colored and embroidered saris, jewellery, hair styles, tall headwear

(kulayi) etc. now serves as a resource for the textile and fashion designers, as they provide details of

costumes etc of a distant past. The artist meticulously rendered the contemporary jewellery and dresses of

different categories of people in the painting. They have influenced from the surviving craft form of

Kalamkari to reach its peak. It is observed that Pearls are most dominating element in the jewellery. The

birds, beasts and foliage depicted in its paintings and sculptures have spawned a style that decorates the

block-printed Indian textiles and rugs; popularly referred to as the Lepakshi motifs. Even today, the

chequers and stripes are a choice for saris as well shirts and other textiles in South India. It is said that

Lepakshi painter redefined the range of motifs of Kalamkari.

Today paintings are sad state of preservation. In many places plasters are peeling off and colours

are fading, in need of better maintenance and expert restoration. As a result of human negligence of in

cleaning and damping and leakage, sinking of water thorough the cleavages of ceilings causing the

painting into the stage of deterioration. An NGO, The International Institute for Art, Culture and

Democracy (IIACD), Bangalore under the lead role of Uma Chandru. The organization has given

wonderful contribution to this great tradition by documentation of paintings. A.P Tourism is actively

working to bringing its glory to the back and life to the AP tourism. It recently set up the huge statue of

“Jayatu” made of fiber on the boulders was installed near the temple to commutate the myth and local

beliefs about the temple. Moreover Andhra Pradesh Tourism Corporation of Government of Andhra

Pradesh is Conducting “Lepakshi festival” for last two years in grand scale to attract the tourists.

References

1. Gazette of Anantha puram and Gopala Rao. A., Lepakshi, Lalit Kala Akademi, Hyderabad, 1969,

p. 45.



2. Anna L Dallapiccolla , South India under Vijayanagara, Vijayanagara and Nayaka Paintings,

Chapter 22 Edited. Anila Varghese, Anna L Dallapiccola, Oxford University Press, London.

2014, p. 274.

3. Sivaramamurti, C., Vijayanagara Paintings, Publication Division, New Delhi, 1985, p. 39.

4. Gopala Rao, A., Lepakshi, The Andhra Pradesh Lalit Kala Akademi , Hyderabad (1969) , p. 6.

5. Kameswara Rao, V., Vijayanagara Paintings, Tirupati, 1981, p. 2.

6. Olle Nordmark, Fresco Painting, American Artist Group INC, Newyork, 1947, p. 87.

7. Anna L.Dallapiccola, Brigitte Khan Majlis, George Mtichell, Lepakshi, Niyogi Books, New

Delhi, 2019, p. 213.

8. A. Gopala Rao, Lepakshi, The Andhra Pradesh Lalit Kala Akademi , Hyderabad, 1969, .p.6

9. Myneni Krishna Kumari, Mural paintings of Andhra Pradesh, B.R, Publishing Corporation, New

Delhi, 2013, p.56.

10. Gopinadha Rao, T.A., Principles of Hindu Iconography, Vol. I part 2, 1914, p. 185.

11. Moti Chandra, Studies in Early Indian Paintings, London, 1970, p. 113.

12. Ibid., p.18

13. Image Courtesy: figure1: Anna L.Dallapiccola, Brigitte Khan Majlis, George Mitchell, Lepakshi,

Niyogi Books, Newdelhi, 2019, p. 135.

14. Line Drawings by author K.Mrutyunjaya Rao.

A STUDY OF MURAL PAINTINGS AT VIRABHADRA TEMPLE, …

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