NCERT Class 11 Indian Culture Chapter 5: Later Mural Traditions in India YouTube Lecture Handouts

Doorsteptutor material for CBSE/Class-7 is prepared by world's top subject experts: get questions, notes, tests, video lectures and more- for all subjects of CBSE/Class-7.

NCERT Class 11 Indian Art & Culture Chapter 5: Later Mural Traditions in India

What It Meant?

Reconstruct the traditional paintings
Plaster & paint sculptures
Traditions of cave excavations
A mural is any piece of artwork painted or applied directly on a wall, ceiling or other permanent surface. A distinguishing characteristic of mural painting is that the architectural elements of the given space are harmoniously incorporated into the picture.

Capital of the western Chalukyan dynasty (after decline of Vakatakas)
Chalukya king, Mangalesha (son of Pulakesi I & brother of Kirtivarman I) patronized excavation of the Badami caves
Cave No. 4 – image of Vishnu (Vaishnava affiliation) – known as Vishnu Cave
Fragment of the painting has survived on vaulted roof of the front mandapa

Palace scenes with Kirtivarman, his wife and feudatories watching dance scene
At corner of panel – Indra and his retinue
Extension of mural paintings from Ajanta
Sinuously drawn lines, fluid forms and compact composition – exemplify proficiency and maturity
Graceful faces of kings and queens – eye sockets are large, eyes are half-closed, and lips are protruding. Volume was created with simple line treatment.

In South India
Pallavas succeeded Chalukyas in South were art lovers
Mahendravarma I in 7^th century built temples at Panamalai, Mandagapattu and Kanchipuram.
Mandagapattu mentions Mahendravarman I with titles such as Vichitrachitta (curious-minded) , Chitrakarapuli (tiger among artists) , Chaityakari (temple builder)
Now only fragments remain

Panamalai figure of female divinity is drawn gracefully
Kanchipuram temple were patronised by the Pallava king, Rajsimha
Somaskanda- Faces are round and large. Lines are rhythmic with increased ornamentation with elongated torso

Tirumalaipuram caves (fragmented layers of paintings) and Jaina caves at Sittanvasal (on cielings, shrine, verandas and brackets)
Dancing figure of celestial nymphs
Contours of figures are firmly drawn and painted in vermilion red on a lighter background – yellow body with subtle modelling, Supple limbs, rhythm in swaying movement with elongated eyes

9^th to 13^th century, maximum power in 11^th century
Temples of Brihadeswara at Thanjavur, Gangaikonda Cholapuram and Darasuram were built during the reigns of Rajaraja Chola and his son, Rajendra Chola
Natramalai – paintings on narrow passage of shrine with 2 layers of paint) ; upper layer in 16^th century Nayak period)
Narrations and aspects related to Lord Shiva, Shiva in Kailash, Shiva as Tripurantaka, Shiva as Nataraja, a portrait of the patron Rajaraja and his mentor Kuruvar, dancing figures

After decline of Chola in 13^th century; capital brought under its control Hampi to Trichy with Hampi as capital
Paintings at Tiruparakunram, near Trichy (14^th century)
In Hampi, Virupaksha temple with paintings on the ceiling of its mandapa narrating events from Ramayana & Mahabharata
Panels revealed Vidyaranya, spiritual teacher of Bukkaraya Harsha, being carried in a palanquin in procession and incarnations of Vishnu
Large frontal eyes and narrow waists

In Lepakshi, near Hindupur, in Andhra Pradesh on walls of Shiva temple
Pictorial language wherein the faces are shown in profile and figures and 2-D objects. Lines become still but fluid, compositions appear in rectilinear compartments.
Adopted by south artists in Nayaka period.

17^th & 18^th century – Thiruparakunram (14^th to 17^th century with life of Mahavira) , Sreerangam and Tiruvarur (story of Muchukunda) .
Episodes of Mahabharata, Ramayana, Krishna-leela
In Chidambaram there are panels of paintings narrating stories related to Shiva and Vishnu; Shiva as bhikshatana murti, Vishnu as Mohini
Sri Krishna temple at Chengam in Arcot District there are sixty panels narrating Ramayana
Extension of Vijayanagara style with modifications. Male figures are shown slim-waisted but with less heavy abdomen

16^th -18^th century – pictorial language of own with stylistic element from Nayaka and Vijayanagara School
Evolved a language taking cues from contemporary traditions like Kathakali and kalam ezhuthu using vibrant and luminous colors with 3-D human figures
Walls of shrines of temples and palaces
Narrations on episodes of hindu mythology in Kerala; oral tradition and local version of Ramayana and Mahabharata

60 sites with paintings in 3 palaces
Dutch palace in Kochi, Krishnapuram palace in Kayamkulam and Padmanabhapuram palace
Pundareekapuram Krishna temple, Panayanarkavu, Thirukodithanam, Triprayar Sri Rama temple and Trissur Vadakkunathan temple
Interior of houses and havelis by women for ceremonies or festivals to decorate home
Pithoro in Rajasthan and Gujarat, Mithila painting in northern Bihar՚s Mithila region, Warli paintings in Maharashtra

✍ Manishika