{"id":85602,"date":"2026-02-02T18:10:31","date_gmt":"2026-02-02T12:40:31","guid":{"rendered":"https:\/\/vajiramandravi.com\/current-affairs\/?p=85602"},"modified":"2026-02-02T18:10:31","modified_gmt":"2026-02-02T12:40:31","slug":"mural-paintings","status":"publish","type":"post","link":"https:\/\/vajiramandravi.com\/current-affairs\/mural-paintings\/","title":{"rendered":"Mural Paintings, Background, Features, Techniques, Evolution"},"content":{"rendered":"<p><span style=\"font-weight: 400;\">Mural Paintings are the artforms which are painted or integrated directly on walls or caves or ceiling. The art of mural painting has been practiced since ancient times, which usually revolves around religious themes and daily life activities. In India Mural Paintings are usually found in caves, temples and palaces.<\/span><\/p>\n<h2><b>Mural Paintings Historical Background<\/b><\/h2>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">The existence of the mural painting dates back to 2nd century BC to 8th-10th century AD.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">The Ajanta cave murals are considered as the peak of the mural paintings, which dates back to 2nd century BC to 7th century BC.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Other notable places, where mural paintings were found were Ellora caves, Sittanavasal caves, Bagh Caves, Armamalai cave, Ravan Chhaya rock shelter, Lepakshi temple etc.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Most of the mural paintings were found in natural or rock-cut chambers.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">The most common themes of the paintings were Hinduism, <a href=\"https:\/\/vajiramandravi.com\/upsc-exam\/buddhism\/\" target=\"_blank\"><strong>Buddhism<\/strong><\/a> and <a href=\"https:\/\/vajiramandravi.com\/upsc-exam\/jainism\/\" target=\"_blank\"><strong>Jainism<\/strong><\/a>.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">The mural paintings were patronized by Pallavas, Cholas, Chalukyas of Badami, Satavahanas, Vijayanagara empire and Nayakas.<\/span><\/li>\n<\/ul>\n<h2><b>Mural Paintings Features<\/b><\/h2>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">They are large scale paintings often drawn on <\/span><b>Walls, Ceilings and Caves.<\/b><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Usually <\/span><b>natural pigments<\/b><span style=\"font-weight: 400;\"> which are derived from vegetables, rock-minerals and plant-extracts were used in the paintings.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">The theme of the paintings revolve around Hinduism, Buddhism and Jainism.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Stories from the Buddhist \u201cJataka\u201d, hunting scenes, family scenes and human and animal figures were the common subjects of painting.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">The most common technique was <\/span><b>Fresco technique,<\/b><span style=\"font-weight: 400;\"> in which the painting was done on dry to semi-dry plasters.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">The stories are narrated in continuous panels, with expressive gestures and postures.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Colours were used to reflect emotional and spiritual meanings.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">The style of mural paintings vary across regions like Ajanta, Ellora, Badami etc.<\/span><\/li>\n<\/ul>\n<h2><b>Mural Paintings Technique<\/b><\/h2>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">The <\/span><b>Sanskrit text Vishnudharamotaram, written in 5th-6th CE<\/b><span style=\"font-weight: 400;\"> contains a special chapter in which the art of\u00a0 wall paintings has been discussed in detail. It provides guidance on the art of painting. It is believed to be written by <\/span><b>Markandeya Muni.<\/b><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">The wall was prepared by applying a thin layer of lime plaster mixed with sand and organic matter is applied, over which colour would be applied.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Most of the colours were obtained locally from available materials and brushes were prepared from animal hairs.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">In a true Fresco method, the painting is done when the wall is still wet, so that the pigments can penetrate deep into the walls.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">In the other method the limed surface is first allowed to dry then it is drenched with the lime water, this method is called <\/span><b>Fresco-Secco.<\/b><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">At first the figures are drawn using red or black outlines before the filling of the colours.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Colours are applied on various layers to ensure depth and durability.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">The major colors to be used were ochre, red colour from Vermillion, indigo blue, lapis lazuli, chalk white etc.<\/span><\/li>\n<\/ul>\n<h3><b>Ajanta Caves Paintings<\/b><\/h3>\n<ul>\n<li><span style=\"font-weight: 400;\">It is one of the oldest surviving mural paintings in the Indian subcontinent, which were created around 2nd century BC to 5th Century AD out of Volcanic rocks, located near Aurangabad, Maharashtra.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">They were created during the Satavahana and Vakataka rule.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">It is a set of 29 caves carved in Horseshoe shape.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">The major theme of the paintings revolve around Buddhist teachings, Buddha\u2019s previous and future birth and Jataka stories.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">Most of the cave paintings belonged to Gupta Period with only exception with cave no 9 and 10 which belong to Shunga Period. While the most recent paintings are in the cave in 1 and 2<\/span><\/li>\n<li><span style=\"font-weight: 400;\">The wall murals were majorly created using fresco-secco techniques.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">Natural and organic pigments are used like red ochre, yellow ochre, white lime etc.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">The paintings are known for <\/span><b>naturalism, soft modelling, shading, and depth<\/b><span style=\"font-weight: 400;\">, showing advanced understanding of anatomy and emotions.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">Human figures have elegant postures, <\/span><b>expressive eyes, detailed ornaments, and flowing drapery.<\/b><\/li>\n<li><span style=\"font-weight: 400;\">It is considered the <\/span><b>finest achievement of Indian classical mural tradition<\/b><span style=\"font-weight: 400;\"> and a major influence on later Indian art.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">Paintings provide valuable information on <\/span><b>contemporary social life, costumes, musical instruments, trade, and administration<\/b><span style=\"font-weight: 400;\">.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">It was declared a <\/span><b><a href=\"https:\/\/vajiramandravi.com\/upsc-exam\/unesco-world-heritage-sites-in-india\/\" target=\"_blank\">UNESCO World Heritage Site<\/a> in 1983<\/b><\/li>\n<li><span style=\"font-weight: 400;\">Some of the notable paintings of Ajanta caves are:<\/span>\n<ul>\n<li><b>Padmapani Bodhisattva (Avalokiteshwara) (Cave 1):<\/b><span style=\"font-weight: 400;\"> The painting depicts compassion and grace, holding a lotus symbolizing mercy and purity.<\/span><\/li>\n<li><b>Vajrapani Bodhisattva (Cave 1): <\/b><span style=\"font-weight: 400;\">Holding a thunder symbolizing power and protection.<\/span><\/li>\n<li><b>Dying Princess (Cave 16): <\/b><span style=\"font-weight: 400;\">reflecting human suffering and emotional depth.<\/span><\/li>\n<li><b>Shibi Jataka <\/b><span style=\"font-weight: 400;\">depicts King Shibi giving his flesh to save the pigeon.<\/span><\/li>\n<\/ul>\n<\/li>\n<li><span style=\"font-weight: 400;\">Some caves have paintings of Hinduism like the painting of <\/span><b>Indra flying amidst clouds.<\/b><\/li>\n<\/ul>\n<h3><span style=\"font-weight: 400;\">\u00a0\u00a0<\/span><b>Ellora Cave Paintings<\/b><\/h3>\n<ul>\n<li><span style=\"font-weight: 400;\">The Ellora caves located in Aurangabad district of Maharashtra dates back to 6th-10th century CE.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">The caves have three major religious representations.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">17 Hindu caves (13-29)<\/span>\n<ul>\n<li><span style=\"font-weight: 400;\">12 Buddhist caves (1-12)<\/span><\/li>\n<li><span style=\"font-weight: 400;\">5 Jain caves (30-34)<\/span><\/li>\n<\/ul>\n<\/li>\n<li><span style=\"font-weight: 400;\">Among all the most famous is the <\/span><b>Kailasha Temple in cave no 16 and some of the Buddhist caves.<\/b><\/li>\n<li><span style=\"font-weight: 400;\">The famous Kailasha temple was patronized under <\/span><b>Rashtrakuta king Krishna I, dedicated to Lord Shiva.<\/b><\/li>\n<li><span style=\"font-weight: 400;\">The murals were created in two phases, first was done during the carving of the caves and secondly it was done after many centuries.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">Images of Lord Vishnu and Goddess Laxmi are one of the famous paintings of the cave.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">Painting of Lord Shiva surrounded by his devotees and Apsara is another prominent painting of the cave.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">Some of the other significant paintings are:<\/span>\n<ul>\n<li><b>Cave 10: Vishvakarma cave (Buddhist cave)<\/b>\n<ul>\n<li><span style=\"font-weight: 400;\">Also known as <\/span><b>\u201cCarpenter\u2019s cave\u201d.<\/b><\/li>\n<li><span style=\"font-weight: 400;\">In this painting Buddha is seated <\/span><b>Vyakhyana Mudra and a Bodhi tree is carved at his back.<\/b><\/li>\n<\/ul>\n<\/li>\n<li><b>Cave 14: Raavan ki khai\u00a0<\/b>\n<ul>\n<li><span style=\"font-weight: 400;\">The theme is <\/span><b>Ravan shaking Mount Kailash<\/b><span style=\"font-weight: 400;\">. It is associated with Shavite mythology.<\/span><\/li>\n<li><span style=\"font-weight: 400;\">Signifies movement and power.<\/span><\/li>\n<\/ul>\n<\/li>\n<li><b>Cave 15: Dashavatara Temple<\/b>\n<ul>\n<li><span style=\"font-weight: 400;\">Dedicated to Lord Vishu, depicting his ten incarnations. Most of the mural paintings are lost, only some outlines are remaining.<\/span><\/li>\n<\/ul>\n<\/li>\n<li><b>Cave 32: Indra Sabha (Jain Cave)<\/b>\n<ul>\n<li><span style=\"font-weight: 400;\">It is one of most prominent Jain caves, where paintings of Tirthankaras, celestial beings and decorative motifs are painted.<\/span><\/li>\n<\/ul>\n<\/li>\n<li><b>Cave 33: Jagannath Sabha (Jain Cave)<\/b>\n<ul>\n<li><span style=\"font-weight: 400;\">It depicts significant Jain themes.<\/span><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<h3><b>Sittanavasal Cave (Arivar Koil)<\/b><\/h3>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">The paintings are located at Sittanavasal, Tamil Nadu.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">They date back to 1st Century BC to 10th Century AD.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">They are mainly associated with <\/span><b>Jainism. <\/b><span style=\"font-weight: 400;\">The theme of the paintings is <\/span><b>Jain Samavarsarana (Preaching Hall).<\/b><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">There is division of thoughts among scholars regarding its origin, some believe they belong to the <\/span><b>Pallava period, patronized by King Mahendravarman I. while others believe that they were rebuilt by Pandya rulers\u00a0 (7th Century).<\/b><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">They executed Fresco-secco technique (painted on dry plaster).<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Paintings were made using <\/span><b>mineral dyes and vegetable colours,<\/b><span style=\"font-weight: 400;\"> where the most common colours were yellow, green, orange, blue, black and white.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Artistic features: <\/b><span style=\"font-weight: 400;\">Graceful and rhythmic with minimal facial expressions.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">The most prominent painting is the <\/span><b>Pond with the lotuses (Samavasarana concept), <\/b><span style=\"font-weight: 400;\">where monks are collecting the flowers and depictions of swans, fishes, ducks are also there.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">The ceiling and pillars are also carved with dancing figures and celestial beings.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Samavasarna is a special hall, where tirthankaras deliver sermons after they have attained realisation (Kevala-jnana). The painting depicts elephants, bulls, apsaras and gods, who all have gathered in the audience hall.<\/span><\/li>\n<\/ul>\n<h3><b>Bagh Caves<\/b><\/h3>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Located in the Vindhyas, Bagh town of Dhar district of Madhya Pradesh. It is an extension of Ajanta cave paintings.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">They were primarily Viharas (monasteries), intended for the residence of the monks (cave 3 and 4)<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Cave 2 is known as the \u201c<\/span><b>Pandava cave\u201d<\/b><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">The paintings are mostly similar to Ajanta caves but the major difference is that the figures are tightly drawn, have stronger outlines and sharper contour and are more earthly and human.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Cave no 4 known as the \u201cRang Mahal\u201d showcases one of the most prominent paintings of Bagh caves, depicting <\/span><b>Buddhist Jataka tales.<\/b><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Most of the paintings are largely damaged and only a few have survived in fragments. They depict religious narratives in the light of contemporary social life, thus making them more secular as compared to Ajanta cave paintings.<\/span><\/li>\n<\/ul>\n<h3><b>Armamalai Cave Paintings<\/b><\/h3>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">The caves are located in the Vellore district of Tamil Nadu, dating back to the 8th century, when they were adapted to Jain Temple, reflecting a strong Jain presence in medieval Tamil Nadu.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Inside the cave there are unbaked mud platforms and structure for resting, meditation and preaching for the Jain monks.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Major theme: <\/span><b>tales of Asthadik palakas<\/b> <b>(guardian deities of eight directions) <\/b><span style=\"font-weight: 400;\">and other Jainism themes and religious motifs.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Paintings are created combining the <\/span><b>Fresco and Tempera techniques.<\/b><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Mainly use of natural and organic pigment having vibrant and bright colours.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">They have stylistic similarities with the Bagh cave and Sittanavasal cave paintings.<\/span><\/li>\n<\/ul>\n<h3><b>Ravan Chhaya Rock Shelter<\/b><\/h3>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Located near Keonjhar district of Odisha. Which dates back to 6th-7th century CE<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">It is one of the earliest mural paintings of Eastern India.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">They are also called as <\/span><b>Sitabhinji group of rock shelters.\u00a0<\/b><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">They are in the shape of a <\/span><b>Half-opened Umbrella.\u00a0<\/b><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">The most remarkable painting depicts a royal procession, dated back to the 7th century.\u00a0<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Paintings were executed using fresco-tempera methods.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">It also consists of remains from the Chola period of the 11th century.<\/span><\/li>\n<\/ul>\n<h3><b>Lepakshi Temple Paintings<\/b><\/h3>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Located at Lepakshi, Anantpur district of Andhra Pradesh.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Painted on the walls of Veerbhadra temple at Leepakshi,<\/b><span style=\"font-weight: 400;\"> which was built in the 16th Century during <\/span><b>Vijayanagar period<\/b><span style=\"font-weight: 400;\">. They represent the late medieval phase of Indian mural paintings.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">The theme of the painting is around Ramayana. Mahabharata and incarnations of Vishnu and puranic themes.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Paintings are mainly found on the ceilings of <\/span><b>Natya Mandapa, Ardha Mandapa and the inner halls of the temple.<\/b><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">The dominant colours in the paintings were red, yellow, green, black and white. The paintings have a complete <\/span><b>absence of blue colour and other primary colours.<\/b><\/li>\n<\/ul>\n<h3><b>Jogimara Cave Paintings<\/b><\/h3>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Located in the Ramgarh hills of Chattisgarh. They are part of <\/span><b>twin cave complexes: Jogimara caves and Sita Bengara caves.<\/b><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">It is one of the earliest mural paintings in India, dating back to the 3rd century BC.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">The cave depicts a love story in Brahmi script and other paintings.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">The cave served as resting or recreational space and was an addition of an amphitheater and paintings were to decorate the cave.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Paintings were largely secular and depicted dancing couples, animals like elephants and fishes and other floral and decorative motifs.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">The painting was executed using natural pigments and have a distinct red outline and the dominant colours were yellow, white and black.<\/span><\/li>\n<\/ul>\n<h3><b>Badami Cave Paintings<\/b><\/h3>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Located in Badami, Bagalkot district of northern Karnataka.\u00a0<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">They were patronized by the <\/span><b>early Chalukyan Dynasty (543-753 CE).<\/b><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Badami has four main rock-cut caves (cave 1-4)<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Cave 3, which is the Vaishnavite cave, has the most significant mural paintings.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">The paintings were completed during the period of <\/span><b>Mangalishwara (son of Puleksin I).\u00a0<\/b><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">The major theme of painting is Vaishvavism and others inspired from Puranas.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">The well survived painting is that of Shiva and Parvathi.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">The cave paintings include:<\/span>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"2\"><span style=\"font-weight: 400;\">Cave 1: It is the oldest of all the four and contains paintings of Lord Shiva, Parvati and Lord Shiva asNataraja. The paintings are on the ceiling of the cave.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"2\"><span style=\"font-weight: 400;\">Cave 2: It is mainly dedicated to Lord Vishnu and his incarnations.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"2\"><span style=\"font-weight: 400;\">Cave 3: It depicts figures of Lord Vishnu as Paravasudeva, Bhuvaraha, Narasimha and Harihara.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"2\"><span style=\"font-weight: 400;\">Cave 4: It is dedicated to Jainism and has a huge image of Lord Mahavira.<\/span><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<h2><b>Evolution of Mural Paintings under different rulers<\/b><\/h2>\n<p><span style=\"font-weight: 400;\">Mural painting in India evolved over time under the patronage of different rulers and dynasties. Each ruling power contributed its own themes, techniques, and styles, reflecting the religious beliefs, cultural values, and artistic traditions of its period.<\/span><\/p>\n<h3><b>Under Pallavas<\/b><\/h3>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">The <\/span><b>Pallava period (6th\u20139th century CE)<\/b><span style=\"font-weight: 400;\"> saw early development of mural painting in <\/span><b>South India<\/b><span style=\"font-weight: 400;\">.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">It was patronised by Pallava rulers like<\/span><b> Narasimhavarman I and Mahendravarman I<\/b><span style=\"font-weight: 400;\">.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Traces of murals are found at <\/span><b>Mahabalipuram<\/b><span style=\"font-weight: 400;\">, <\/span><b>Kanchipuram (Kailasanatha Temple)<\/b><span style=\"font-weight: 400;\"> and <\/span><b>Panamalai cave<\/b><span style=\"font-weight: 400;\">.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">The paintings were of <\/span><b>Shaivite and Vaishnavite religious themes<\/b><span style=\"font-weight: 400;\">.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">They were painted using the <\/span><b>fresco-secco (tempera) technique<\/b><span style=\"font-weight: 400;\"> with natural colours.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">They show <\/span><b>strong influence of Ajanta paintings<\/b><span style=\"font-weight: 400;\">, adapted to local Tamil traditions.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Figures were <\/span><b>graceful, calm, and decorative<\/b><span style=\"font-weight: 400;\">.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Pallava murals form a <\/span><b>link between Gupta Ajanta art and later Chola temple paintings<\/b><span style=\"font-weight: 400;\">.<\/span><\/li>\n<\/ul>\n<h3><b>Under Pandyas<\/b><\/h3>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">It flourished during the <\/span><b>early Pandya period (6th\u20139th century CE)<\/b><span style=\"font-weight: 400;\"> in <\/span><b>Tamil Nadu<\/b><span style=\"font-weight: 400;\">, reflecting strong royal support.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Best reflected by <\/span><b>Sittanavasal Cave (Arivar Koil)<\/b><span style=\"font-weight: 400;\">; traces were also found in <\/span><b>Thirumalapuram cave<\/b><span style=\"font-weight: 400;\"> and other Pandya rock-cut shrines.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">They were closely linked with <\/span><b>Jainism<\/b><span style=\"font-weight: 400;\"> (and later Shaivism), reflecting the religious diversity under Pandya rule.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Dominantly\u00a0 <\/span><b>symbolic and non-narrative<\/b><span style=\"font-weight: 400;\">, such as the <\/span><b>lotus pond motif<\/b><span style=\"font-weight: 400;\">, nature elements, and spiritual ideals.<\/span><\/li>\n<\/ul>\n<h3><b>Under Cholas<\/b><\/h3>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">It mainly flourished during the <\/span><b>9th\u201313th centuries CE<\/b><span style=\"font-weight: 400;\"> under the <\/span><b>Imperial Cholas<\/b><span style=\"font-weight: 400;\"> in Tamil Nadu.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Examples are- <\/span><b>Brihadeeswara (Rajarajeswaram) Temple, Thanjavur<\/b><span style=\"font-weight: 400;\"> and also traces at <\/span><b>Gangaikonda Cholapuram<\/b><span style=\"font-weight: 400;\"> and <\/span><b>Darasuram<\/b><span style=\"font-weight: 400;\">.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Mostly <\/span><b>Shaivite<\/b><span style=\"font-weight: 400;\">, depicting <\/span><b>Lord Shiva<\/b><span style=\"font-weight: 400;\">, <\/span><b>Nataraja<\/b><span style=\"font-weight: 400;\">, saints (<\/span><b>Nayanars<\/b><span style=\"font-weight: 400;\">), and stories from <\/span><b>Puranas<\/b><span style=\"font-weight: 400;\"> and also include <\/span><b>royal portraits<\/b><span style=\"font-weight: 400;\"> of Chola rulers.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Executed in <\/span><b>fresco-secco technique<\/b><span style=\"font-weight: 400;\"> using natural mineral pigments<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Represent a <\/span><b>distinct South Indian mural tradition<\/b><span style=\"font-weight: 400;\">, showing continuity from Pallava art and influence on later <\/span><b>Vijayanagara paintings<\/b><span style=\"font-weight: 400;\">.<\/span><\/li>\n<\/ul>\n<h3><b>Under Vijayanagara<\/b><\/h3>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">After the <\/span><b>decline of the Cholas<\/b><span style=\"font-weight: 400;\">, the <\/span><b>Vijayanagara Empire (14th\u201316th century CE)<\/b><span style=\"font-weight: 400;\"> extended control from <\/span><b>Hampi to the Trichy region<\/b><span style=\"font-weight: 400;\">, supporting a new phase of mural art.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Hampi<\/b><span style=\"font-weight: 400;\"> was the <\/span><b>capital<\/b><span style=\"font-weight: 400;\">, though important mural sites also developed in <\/span><b>Tamil Nadu and Andhra Pradesh<\/b><span style=\"font-weight: 400;\">.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Early Vijayanagara murals (14th century)\u00a0 can be seen at <\/span><b>Thiruparankundram near Trichy<\/b><span style=\"font-weight: 400;\">, mostly on the <\/span><b>ceilings of mandapas<\/b><span style=\"font-weight: 400;\">, showing the formative style of the school.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Major themes<\/b><span style=\"font-weight: 400;\"> include stories from the <\/span><b>Ramayana and Mahabharata<\/b><span style=\"font-weight: 400;\">, events from <\/span><b>dynastic history<\/b><span style=\"font-weight: 400;\">, and <\/span><b>Vaishnavite subjects<\/b><span style=\"font-weight: 400;\"> such as the incarnations of Vishnu.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">A notable mural depicts <\/span><b>Vidyaranya<\/b><span style=\"font-weight: 400;\">, the spiritual guide of <\/span><b>Harihara and Bukka<\/b><span style=\"font-weight: 400;\">, being carried in a <\/span><b>palanquin procession<\/b><span style=\"font-weight: 400;\">, reflecting royal religious linkage.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b>Lepakshi Shiva Temple (Andhra Pradesh)<\/b><span style=\"font-weight: 400;\"> contains the <\/span><b>most significant Vijayanagara murals<\/b><span style=\"font-weight: 400;\"> which are painted on walls and ceilings.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Images are shown mostly in <\/span><b>profile<\/b><span style=\"font-weight: 400;\">, <\/span><b>large frontal eyes<\/b><span style=\"font-weight: 400;\">, <\/span><b>slender waists<\/b><span style=\"font-weight: 400;\">, decorative costumes, and <\/span><b>firm yet flowing lines<\/b><span style=\"font-weight: 400;\">.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Vijayanagara murals represent a <\/span><b>combination of Chola traditions and regional styles<\/b><span style=\"font-weight: 400;\">, marking a mature phase of <\/span><b>South Indian mural painting<\/b><span style=\"font-weight: 400;\">.<\/span><\/li>\n<\/ul>\n<h3><b>Under Nayaka<\/b><\/h3>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Nayaka murals developed between the <\/span><b>14th and 17th centuries CE<\/b><span style=\"font-weight: 400;\">, largely as a <\/span><b>continuation and regional expansion of the Vijayanagara painting tradition<\/b><span style=\"font-weight: 400;\">.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Important sites were <\/span><b>Thiruparankundram, Srirangam, Tiruvarur, Thiruvalanjuli<\/b><span style=\"font-weight: 400;\">, and the <\/span><b>Sri Krishna Temple at Chengam (Arcot region)<\/b><span style=\"font-weight: 400;\">.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Paintings depict stories from the <\/span><b>Ramayana, Mahabharata<\/b><span style=\"font-weight: 400;\">, and <\/span><b>Krishna Leela<\/b><span style=\"font-weight: 400;\">.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Some of the early murals at <\/span><b>Thiruparankundram (14th century)<\/b><span style=\"font-weight: 400;\"> display <\/span><b>scenes from the life of Mahavira<\/b><span style=\"font-weight: 400;\">, reflecting religious pluralism.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">The <\/span><b>Sri Krishna Temple at Chengam<\/b><span style=\"font-weight: 400;\"> has an extensive <\/span><b>Ramayana series in about 60 panels<\/b><span style=\"font-weight: 400;\">, reflecting strong narrative continuity.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">A famous panel at <\/span><b>Tiruvarur<\/b><span style=\"font-weight: 400;\"> depicts the legend of <\/span><b>Muchukunda<\/b><span style=\"font-weight: 400;\">, while the <\/span><b>Nataraja painting at Thiruvalanjuli<\/b><span style=\"font-weight: 400;\"> is a classic Nayaka masterpiece.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Images are mostly shown in <\/span><b>profile<\/b><span style=\"font-weight: 400;\">, with <\/span><b>thin waists, lighter abdomens<\/b><span style=\"font-weight: 400;\">, large expressive eyes, and <\/span><b>bold yet flowing lines<\/b><span style=\"font-weight: 400;\">.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Nayaka murals mark the <\/span><b>late medieval phase of South Indian mural painting<\/b><span style=\"font-weight: 400;\">, blending <\/span><b>Vijayanagara aesthetics with strong local Tamil elements<\/b><span style=\"font-weight: 400;\">.<\/span><\/li>\n<\/ul>\n<h3><b>Under Kerala<\/b><\/h3>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Kerala mural tradition contains elements of <\/span><b>Vijayanagara and Nayaka styles<\/b><span style=\"font-weight: 400;\">, adapted to local aesthetic and religious needs.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Strongly influenced by <\/span><b>Kathakali<\/b><span style=\"font-weight: 400;\"> (facial expressions, colour symbolism) and <\/span><b>Kalam Ezhuthu<\/b><span style=\"font-weight: 400;\"> ritual floor art traditions.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Images are rendered in a <\/span><b>three-dimensional form<\/b><span style=\"font-weight: 400;\"> with <\/span><b>bold contours<\/b><span style=\"font-weight: 400;\">, rhythmic lines, and <\/span><b>bright, vivid colours<\/b><span style=\"font-weight: 400;\">.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Subject matter includes <\/span><b>Hindu mythological themes<\/b><span style=\"font-weight: 400;\">, regional versions of the <\/span><b>Ramayana and Mahabharata<\/b><span style=\"font-weight: 400;\">, and local oral legends.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Paintings are executed on <\/span><b>temple shrine walls, cloister corridors, and palace interiors<\/b><span style=\"font-weight: 400;\">.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Prominent murals are found in the <\/span><b>Dutch Palace (Mattancherry) in Kochi<\/b><span style=\"font-weight: 400;\">, <\/span><b>Krishnapuram Palace (Kayamkulam)<\/b><span style=\"font-weight: 400;\">, and <\/span><b>Padmanabhapuram Palace<\/b><span style=\"font-weight: 400;\"> (former Travancore capital, now in Tamil Nadu).<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Some of the important temple murals include <\/span><b>Vadakkunnathan Temple (Thrissur)<\/b><span style=\"font-weight: 400;\">, <\/span><b>Panayannarkavu Temple (Pundareekapuram)<\/b><span style=\"font-weight: 400;\">, and <\/span><b>Thrikodithanam Sri Rama Temple<\/b><span style=\"font-weight: 400;\">.<\/span><\/li>\n<\/ul>\n<h2><span style=\"font-weight: 400;\">Previous Years Questions<\/span><\/h2>\n<p><b>Que. Consider the following historical places: (2013)<\/b><\/p>\n<ol>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Ajanta Caves<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Lepakshi Temple<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Sanchi Stupa<\/span><\/li>\n<\/ol>\n<p><b>Which of the above places is\/are also known for mural paintings?<\/b><\/p>\n<p><span style=\"font-weight: 400;\">(a) 1 only<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\">(b) 1 and 2 only<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\">(c) 1, 2 and 3<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\">(d) None<\/span><\/p>\n<p><b>[Ans &#8211; (b)]<\/b><\/p>\n<p><b>Que. There are only two known examples of cave paintings of the Gupta period in ancient India. One of these is paintings of Ajanta caves. Where is the other surviving example of Gupta paintings? (2010)<\/b><\/p>\n<p><span style=\"font-weight: 400;\">(a) Bagh caves<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\">(b) Ellora caves<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\">(c) Lomas Rishi cave<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><span style=\"font-weight: 400;\">(d) Nasik caves<\/span><\/p>\n<p><b>[Ans- (b)]<\/b><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Read about rich tradition of Indian Mural Paintings, their history, styles and techniques, featuring iconic works from Ajanta, Ellora, Bagh and Lepakshi.<\/p>\n","protected":false},"author":25,"featured_media":84973,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[786],"tags":[5100],"class_list":{"0":"post-85602","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-general-studies","8":"tag-mural-paintings","9":"no-featured-image-padding"},"acf":[],"_links":{"self":[{"href":"https:\/\/vajiramandravi.com\/current-affairs\/wp-json\/wp\/v2\/posts\/85602","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/vajiramandravi.com\/current-affairs\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/vajiramandravi.com\/current-affairs\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/vajiramandravi.com\/current-affairs\/wp-json\/wp\/v2\/users\/25"}],"replies":[{"embeddable":true,"href":"https:\/\/vajiramandravi.com\/current-affairs\/wp-json\/wp\/v2\/comments?post=85602"}],"version-history":[{"count":4,"href":"https:\/\/vajiramandravi.com\/current-affairs\/wp-json\/wp\/v2\/posts\/85602\/revisions"}],"predecessor-version":[{"id":85626,"href":"https:\/\/vajiramandravi.com\/current-affairs\/wp-json\/wp\/v2\/posts\/85602\/revisions\/85626"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/vajiramandravi.com\/current-affairs\/wp-json\/wp\/v2\/media\/84973"}],"wp:attachment":[{"href":"https:\/\/vajiramandravi.com\/current-affairs\/wp-json\/wp\/v2\/media?parent=85602"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/vajiramandravi.com\/current-affairs\/wp-json\/wp\/v2\/categories?post=85602"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/vajiramandravi.com\/current-affairs\/wp-json\/wp\/v2\/tags?post=85602"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}