Later Mural Traditions
Later Mural Traditions — Study Notes
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LATER MURAL TRADITIONS
ExplanationLATER MURAL TRADITIONS
The tradition of mural painting in India, which reached a high point during the Ajanta period, continued to flourish even after Ajanta, though very few sites with surviving paintings remain today. These surviving sites provide invaluable evidence to reconstruct the history and evolution of Indian mural traditions. It is important to note that sculptures during these periods were often plastered and painted, indicating a close relationship between sculptural and pictorial arts. The practice of cave excavations also continued at various locations, where sculpting and painting were executed simultaneously, reflecting an integrated artistic approach. This continuity and evolution of mural art beyond Ajanta illustrate the dynamic and regionally diverse nature of Indian art traditions in the post-Ajanta era.
- Few surviving sites with paintings exist after Ajanta, but they are crucial for understanding later mural traditions.
- Sculptures were often plastered and painted, showing the integration of painting and sculpture.
- Cave excavations continued with simultaneous sculpting and painting.
- The tradition evolved regionally with distinct styles and themes.
- Later murals reflect continuity and innovation in Indian art.
- These murals help trace the cultural and religious history of their times.
- 📌 Mural painting: Art painted directly on walls or ceilings, often in caves or temples.
- 📌 Plastering: The application of a smooth layer of material on sculptures or walls to prepare for painting.
- 📌 Cave excavations: The process of carving out caves for religious or artistic purposes, often decorated with sculptures and paintings.
Badami
ExplanationBadami
Badami, located in Karnataka, was the capital of the early Chalukyan dynasty which ruled the Deccan region from 543 to 598 CE. After the decline of the Vakataka rule, the Chalukyas established their power in this region. The Chalukya king Mangalesha, younger son of Pulakesi I and brother of Kirtivarman I, patronised the excavation of the Badami caves. An inscription in Cave No.4 dated 578–579 CE describes the beauty of the cave and dedicates an image of Vishnu, indicating the cave's Vaishnava affiliation and leading to its popular name, the Vishnu Cave. Although only a fragment of the painting survives on the vaulted roof of the front mandapa, it provides valuable insight into the artistic style of the period. The paintings depict palace scenes, including one showing King Kirtivarman seated inside the palace with his wife and feudatories watching a dance performance. Figures of Indra and his retinue appear in the corner of the panel. Stylistically, these paintings represent an extension of the Ajanta mural tradition into South India. The artists of the sixth century CE demonstrated proficiency and maturity through sinuously drawn lines, fluid forms, and compact compositions. The faces of the king and queen are gracefully rendered with large eye sockets, half-closed eyes, and protruding lips, reminiscent of Ajanta's style. The contours create a sense of volume with simple line treatment, showcasing the artists' skill in modelling human features.
- Badami was the capital of the early Chalukyan dynasty (543–598 CE).
- King Mangalesha patronised the excavation of Badami caves.
- Cave No.4 is known as the Vishnu Cave due to Vaishnava dedication.
- Paintings depict palace scenes with royal figures and celestial beings.
- Style shows continuation of Ajanta tradition with fluid lines and volume modelling.
- Only fragments of paintings survive, mainly on the vaulted roof of the mandapa.
- 📌 Chalukyan dynasty: Early medieval dynasty ruling parts of the Deccan region.
- 📌 Mandapa: Pillared hall or pavilion in Indian temple architecture.
- 📌 Vaishnava: Devotee or tradition associated with the worship of Vishnu.
Murals under the Pallava, Pandya and Chola Kings
ExplanationMurals under the Pallava, Pandya and Chola Kings
The tradition of mural painting continued to develop in Tamil Nadu under the Pallava, Pandya, and Chola dynasties, each contributing regional variations and stylistic innovations. The Pallava kings, successors to the Chalukyas in parts of South India
Practice Questions — Later Mural Traditions
Includes NCERT exercise questions with answers
Q1.What are the main features of Badami cave paintings?
Answer:
The main features of Badami cave paintings include: 1. Religious Themes: The paintings primarily depict Hindu deities and mythological scenes, reflecting the religious beliefs of the period. 2. Use of Natural Colors: Artists used natural pigments derived from minerals and plants, resulting in earthy tones. 3. Fresco Technique: The paintings were created using the fresco technique, where pigments were applied on wet plaster. 4. Stylized Figures: The figures are stylized with elongated eyes, detailed jewelry, and expressive postures. 5. Narrative Style: The murals often narrate stories from epics like Ramayana and Mahabharata. 6. Architectural Integration: The paintings complement the rock-cut cave architecture, enhancing the spiritual ambiance. 7. Preservation of Detail: Despite age, many paintings retain intricate details and vibrant colors. These features collectively highlight the artistic excellence and cultural significance of the Badami cave paintings.
Explanation:
The answer is derived from the study of Badami cave paintings, which are known for their religious themes, use of natural pigments, fresco technique, stylized figures, and narrative storytelling. These aspects are well-documented in art history and reflect the artistic traditions of the period.
Q2.Write an essay on Vijayanagara paintings.
Answer:
Vijayanagara paintings represent a significant phase in the history of Indian mural traditions, flourishing during the Vijayanagara Empire (14th to 17th centuries). These paintings are renowned for their vibrant colors, intricate detailing, and depiction of religious and courtly themes. Key aspects include: 1. Themes: The murals predominantly illustrate Hindu mythology, including scenes from Ramayana, Mahabharata, and Puranic stories, as well as royal court scenes. 2. Style: The paintings exhibit a blend of traditional South Indian styles with influences from the Deccan and Central India, characterized by bold lines, rich colors, and elaborate ornamentation. 3. Technique: Artists used natural pigments and applied them on plastered walls, employing fresco and tempera techniques. 4. Locations: Notable examples are found in the ruins of Hampi, the capital of the Vijayanagara Empire, especially in temples like Virupaksha and Vittala. 5. Symbolism: The paintings often symbolize the power and piety of the rulers, serving both religious and political purposes. 6. Preservation: Though many murals have deteriorated over time, surviving fragments reveal the grandeur and sophistication of this tradition. In conclusion, Vijayanagara paintings are a testament to the empire's cultural richness and artistic achievements, reflecting a synthesis of religious devotion and royal patronage.
Explanation:
This essay is based on historical and art historical research on Vijayanagara paintings, highlighting their themes, style, technique, and cultural significance. The answer synthesizes information from various sources to provide a comprehensive overview.
Q3.Describe the mural traditions of Kerala and Tamil Nadu.
Answer:
The mural traditions of Kerala and Tamil Nadu are distinguished by their unique styles, themes, and techniques, reflecting the cultural and religious ethos of the respective regions. Kerala Mural Traditions: 1. Themes: Primarily depict Hindu gods, goddesses, and mythological narratives, especially from Ramayana and Bhagavata Purana. 2. Style: Characterized by bright colors, bold outlines, and intricate detailing, with a focus on naturalism and expressive faces. 3. Technique: Use of natural pigments on lime plaster walls, employing fresco techniques. 4. Locations: Prominently found in temples such as the Guruvayur Temple and the Padmanabhaswamy Temple. 5. Symbolism: The murals serve religious functions, enhancing the spiritual atmosphere of temples. Tamil Nadu Mural Traditions: 1. Themes: Include religious stories, royal portraits, and scenes from everyday life. 2. Style: Known for their vivid colors, dynamic compositions, and elaborate ornamentation. 3. Technique: Use of tempera and fresco techniques with natural pigments. 4. Locations: Notable murals are found in temples like the Brihadeeswarar Temple and the Meenakshi Temple. 5. Historical Influence: Influenced by Chola and later Nayak period art traditions. Both traditions emphasize religious devotion, artistic excellence, and cultural continuity, contributing significantly to India's rich mural heritage.
Explanation:
This answer is compiled from studies of Kerala and Tamil Nadu mural art, focusing on their distinctive features, thematic content, and historical contexts. It highlights the similarities and differences between the two regional traditions.
Q4.Which dynasty ruled the Deccan region from 543 to 598 CE and patronised the excavation of the Badami caves?
Answer:
Chalukya dynasty
Explanation:
The Chalukya dynasty ruled the Deccan region from 543 to 598 CE. They established their power after the decline of the Vakataka rule. King Mangalesha, a Chalukya ruler, patronised the excavation of the Badami caves.
Q5.The inscription in Cave No.4 at Badami, dated 578–579 CE, describes the dedication of which deity's image, leading to the cave's popular name?
Answer:
Vishnu
Explanation:
The inscription in Cave No.4 at Badami mentions the dedication of an image of Vishnu, indicating the cave's Vaishnava affiliation. Hence, the cave is popularly known as the Vishnu Cave.
Q6.Identify the stylistic features of the Badami cave paintings that show continuity from the Ajanta tradition.
Answer:
Badami cave paintings feature sinuously drawn lines, fluid forms, and compact composition, representing an extension of the Ajanta mural tradition. The faces have large eye sockets, half-closed eyes, and protruding lips, with contours creating volume through simple line treatment.
Explanation:
The Badami paintings continue Ajanta's style by using flowing lines and graceful modelling. The artists achieved volume in faces by contouring different parts, similar to Ajanta's mature approach in the sixth century CE.
Q7.The painting from Badami depicts a palace scene with King Kirtivarman seated with his wife and feudatories watching a dance scene. Which celestial figure and retinue appear in the corner of this panel?
Answer:
Indra and his retinue
Explanation:
The Badami painting shows Indra, the king of gods, and his retinue towards the corner of the palace scene panel, highlighting the celestial presence in the artwork.
Q8.Describe the titles given to Pallava king Mahendravarma I mentioned in the Mandagapattu inscription and explain what they reveal about his interests.
Answer:
Mahendravarma I is titled Vichitrachitta (curious-minded), Chitrakarapuli (tiger among artists), and Chaityakari (temple builder). These titles show his keen interest in arts, creativity, and temple construction.
Explanation:
The titles reflect Mahendravarma I's patronage of art and architecture, indicating his role in promoting artistic activities during his reign in the seventh century.
All 8 Chapters in An Introduction to Indian Art Part-I
Fine Art · Class 11