1. Badami:

• One of the examples of later Mural tradition is Badami, Karnataka.
• It was the capital of the western Chalukyan dynasty, which ruled the region from 543 to 598 CE.
• With the decline of the Vakataka rule, the Chalukyas established their power in the Deccan.
• The Chalukya king, Mangalesha, patronized the excavations of Badami caves. He was the younger son of the Chalukya king, Pulikeshi I, and the brother of Kirtivarman-I.
• The cave No. 4 is popularly known as Vishnu cave and in the inscriptions patron (Mangalesha) records his Vaishnava affiliation.
• One of the paintings shows Kirtivarman, the son of Pulikeshi I and the elder brother Mangalesha, seated inside the palace with his wife and feudatories watching a dance scene.
• Stylistically the painting represents an extension of the tradition of mural paintings from Ajanta to Badami in south India.
• The sinuously drawn lines, fluid forms and compact composition exemplify the proficiency and maturity the artist had achieved in the 6th century CE.
• The gracefully drawn faces remind us of the style of modelling in Ajanta.
• Their eye sockets are large, their eyes are half closed, and their lips are protruding.

2. Murals under Pallava, Pandava and Chola kings

• The tradition of painting extended further down south in Tamil Nadu in the preceding centuries with regional variations during the regime of Pallava, Pandya and Chola dynasties.
• The Pallava kings, who succeeded the Chalukyas in parts of south India, were also patrons of the arts.
• Mahendravarman (Pallava) who ruled the 7th century CE was responsible for building temples at Panamalai, Mandagapattu, and Kanchipuram.
• The inscriptions at Mandagapattu mention Mahendravarman I with numerous titles such as Vichitrachitta (curious-minded), Chitrakarapuli (tiger among artists), Chaityakari (temple builder), which shows his interest in art activities.
• Paintings in Kanchipuram temple were patronized by the Pallava king, Rajasimha.
• Increased ornamentation was a notable feature of these paintings when compared with the paintings of the earlier period.
• When the Pandyas rose to power, they too patronized art.
• Tirumalaipuram caves and Jain caves at Sittanvasal are some of the surviving examples
• The tradition of building temples and embellishing them with carvings and paintings continued during the reign of the Chola kings who ruled over the region from the 9th to the 13th
• But it was in the 11th century when the Cholas reached their zenith of power, and the masterpieces of Chola art and architecture began to appear.
• The temples of Brihadeswara at Tanjore, Gangaikonda Cholapuram and Darasuram were built during the reign of Rajaraja Chola and Rajendra Chola.
• The important paintings of the Chola period can be seen at Nartamalai and Brihadeswara temples.
• In Brihadeswara temple, the paintings were executed on the walls of the narrow passage surrounding the shrine.
• Two layers of paint were found when they were discovered.
• The upper/outer layer was painted during the Nayaka period, in the 16th century.
• The Chola paintings at Brihadeswara are showing the aspects related to the Lord Shiva, Shiva in Kailash, Shiva as Tripuranartaka, Shiva as Nataraja, a portrait of Rajaraja and his mentor Kuruvar, dancing figures, etc.

3. Vijayanagara Mural

With the decline of the Chola dynasty in the 13th century, the Vijayanagara dynasty captured and brought under its control the reign from Hampi to Trichy with Hampi serving as its capital.

• The paintings at Tiruparakunram, near Trichy, done in the 14th century represent the early phase of the Vijayanagara style.
• In Hampi (Karnataka), the Virupaksha temple has paintings on the ceiling of its mandapa narrating vents from dynastic history and episodes from the Ramayana and Mahabharata.
• Among the important panels is the one which shows Vidyaranya, the spiritual teacher of Bukkaraya Harsha.
• In Lepakshi, near Hindupur, in present-day Andhra Pradesh, there are glorious examples of Vijayanagara paintings on the walls of the Shiva temple.
• The stylistic conventions of the proceeding centuries were adopted by artists in various centres in south India as can be seen in the paintings of the Nayaka period.
• Nayaka paintings in the 17th and 18th centuries are seen in Thiruparakuram, Sreerangam, and Tiruvarur (all in Tamil Nadu).
• In Tiruparakunram, paintings are found of two different periods – the 14th and 17th Earlier paintings depict scenes from the life of Vardhamana Mahavira.
• The Nayaka paintings depict episodes from the Mahabharata and Ramayana and also scenes from Krishna Leela.
• In Tiruvarur, there is a panel narrating the story of Machukunda.
• In the Srikrishna temple at Ehengam in Arcot District there are 26 panels narrating the story of the Ramayana, which represents the late phase of the Nayaka paintings.
• From the examples, it suggests that Nayaka paintings were more or less an extension of the Vijayanagara style with minor regional modifications and incorporations.
• The figures are mostly set against a flat background and the male figures are shown with slim waists but with less heavy abdomen as compared to those in Vijayanagara.

4. Kerala Mural

• Kerala painters (16th to 18th century) evolved a pictorial language and technology of their own while discriminately adopting certain stylistic elements from Nayaka and Vijayanagara schools.
• The painters evolved a language taking cues from contemporary traditions like Kathakali and Kalam Ezhuthtu using vibrant and luminous colours, representing human figures in three dimensions.
• Most of the paintings are seen on the shrine walls, cloister walls of temples and some inside the palaces.
• Thematically too, paintings from Kerala stand apart.
• Most of the narrations are based on episodes from Hindu mythology which were popular in Kerala.
• The artist seems to have derived sources from oral traditions and local versions of the Ramayana and the Mahabharata for painting narrations.
• More than 60 sites have been found with mural paintings.
• The important palaces where mural paintings can be found are the Dutch Palace, Kochi, Krishna Puram Palace, Kayamkulam and Padmanabhapuram Palace.
• The mature phase of Kerala’s mural tradition can be seen at Pundareekapuram Krishna Temple, Panayanarkavu, Thirukodithanam, Tripayar Sri Rama Temple and Thrissur Vadakkunnatha Temple.

5. Some of the other traditional Murals are

5.1. Pithora – Rajasthan and Gujarat

• The Pithora painting form is traditionally performed on walls inside the homes of the Rathvas tribe.
• In times of difficulty, Rathva seeks the guidance of Badva, the chief priest or shaman of the village.
• Badva performs readings based on the skills he has acquired through ancestral schooling and recommends undertaking a vow to paint Pithora in the home to gain a boon from Baba Pithora.
• The person who undertakes the vow is known as Ghardhani, or in simple terms, the home owner.

5.2.Maithili – Bihar

• Mithila painting is folk painting practised in the Mithila region of India (especially Bihar) and Nepal.
• It is also known as Madhubani paintings which mean ‘forest of honey’.
• It has been mentioned in ancient Indian texts like Ramayana.
• It originated in a small village known as Maithili in Bihar.
• Initially, women from the village drew paintings on freshly plastered mud walls of their homes as illustrations of their thoughts, hopes and dreams using fingers and twigs forming two-dimensional imagery using a paste of powdered rice.
• With time, it became part of festivities and special events like marriage.
• It was made from a paste of powdered rice.
• It also used colours derived from vegetables and plants.
• Now they are also painted on cloth, handmade paper and canvas.
• The central themes of Mithila paintings are based on Hindu Gods and Goddesses.
• Its main theme is supported by traditional geometric patterns.

5.3.Warli – Maharashtra

• Origin: Warli paintings are traditional tribal art forms originating from the Warli tribe in the mountainous and coastal areas of Maharashtra, India.
• Cultural Significance: These paintings are an integral part of the Warli tribe’s cultural heritage and are characterized by their simplicity, vibrancy, and depiction of rural life.

Characteristics of Warli Paintings:

1. Style and Technique:
   • Monochrome: Primarily executed in white pigment on mud walls, depicting scenes from daily life, rituals, and celebrations.
   • Geometric Shapes: Utilize basic geometric shapes—circles, triangles, and squares—to form human and animal figures, representing communal activities.
   • Linear Forms: Characterized by linear representations—human figures with curved shapes and straight lines, portraying various activities and occasions.
2. Themes and Subjects:
   • Rural Life: Illustrates agricultural activities, hunting scenes, fishing, festivals, and social gatherings within the village.
   • Cultural Traditions: Depicts rituals, dances, marriages, and other customs prevalent in the Warli community.
   • Connection with Nature: Emphasizes the relationship between humans and nature, often portraying trees, animals, and celestial elements.

Significance and Impact:

• Cultural Identity: Warli paintings symbolize the tribe’s identity, heritage, and storytelling traditions, passing down from generation to generation.
• Preservation of Folk Art: These paintings have gained recognition globally and contributed to the preservation and promotion of India’s rich folk art traditions.
• Tourism and Commerce: The popularity of Warli art has led to its commercialization, boosting local tourism and providing economic opportunities for Warli artists.
• Cultural Heritage: Warli paintings serve as a significant cultural artifact, reflecting the simplicity, harmony, and communal life of the Warli tribe.
• Artistic Value: Their simplicity and timeless appeal have garnered admiration not only within India but also across the world, showcasing India’s diverse and rich artistic heritage.

Warli paintings hold immense cultural, historical, and artistic significance, offering a glimpse into the vibrant cultural tapestry of India and its indigenous tribes