[This is the third article in the series.
This article and its companion posts may be treated as an extension of the series I posted on the Art of Painting in Ancient India .In the present set of articles , I propose to talk , briefly, about the influence of Chitrasutra – its outlook, its theories and its recommended practices – on the Indian mural paintings. In this process I propose to cover some , not all , of the main mural paints of India that succeeded Ajanta , such as : Pitalkhora (c.6th century), Badami (c, 6th century), Sittannavaasal (c.7th century), Pannamalai (7thcentury), Kailasanatha – Kanchipuram (8th century),Brihadeshwara – Tanjore (11thcentury), Lepakshi (16th century), Mattancheri (c.17th century) and Padmanabhapuram palace (18th century).I propose to round it up the discussion with a note on the sublime paintings of Shri S Rajam , who kept alive the tradition of Chitrasutra in the modern times.
The first article was meant to serve a brief introduction to the subject outlining the characteristics of the Chitrasutra tradition.
The present article attempts to give an account of the murals at Badami.]
Continued from the Legacy of Chitrasutra- Two-Pitalkhora
8.1. Badami, along with Aihole, Pattadakal and some other sites in and around the valley of the River Malaprabha in Bagalkot District of Karnataka, contain some of the earliest temples built in stone in the regions of Southern India. Badami known as Vatapi in the earlier times, founded in 540 AD by Pulikeshin I was the capital of the early Badami Chalukyas from 540 to 757 AD.
The rock-cut cave temples of Badami located in a ravine at the foot of rugged sandstone rock formation were carved and sculpted mostly during the 6th and 8th centuries. However, the history of construction of monuments in stone go back much farther in time, as evidenced by the large number of megalithic monuments that are distributed at several sites in the Malaprabha Valley.
The ceiling designs in the Badami temples are highly intricate; and, are decorated with stylized padma-vitāna, lotus-ceiling involving radial symmetry, and concentric borders enclosing lotus motifs.
The four cave temples depict the art of Hindu, Buddhist and Jain religious inclinations, evidencing the secular outlook and religious tolerance of the ancient Kings of Badami. The rock cut temples at Pattadakal (UNESCO world heritage monument), Badami and Aihole are among the most celebrated monuments of ancient India.
8.2. It is said; the cave temples of Badami influenced the development of the rock-cut structures of Mahabalipuram. Rev H Heras SJ in his ‘Studies in Pallava History’ (SG Paul and Co, 1933) discusses in fair detail the similarities between the two groups of sculptures and traces certain features of the statues and sculptures at Mahabalipuram to the caves of Badami. According to Rev Heras, soon after his accession to the throne the Pallava king Mahamalla Narasimhavarman I (ruled 630-668 AD), in retaliation, successfully attacked Vatapi (Badami) the capital of the Chalukyas. While at Vatapi, Mahamalla was greatly impressed by its extraordinarily well executed cave-temples; and particularly by cave No.3 the largest and most ornamented of all the Badami caves.
Narasimhavarman was struck with admiration at the beauty in the architectural concept and the perfection of its execution in those elaborate cave-temples. Rev Heras asserts it is beyond doubt that the Pallava king studied the Chalukya style of cave building took designs of some of the architectural elements and motifs of ornamentation. He also broadened his views on stone carving and fostered in his mind new ambitious projects to emulate the artistic achievements of his enemies. And he did succeed.
8.3 .Rev Heras points out striking similarities between the pillars the Varaha Mantapa of Mahabalipuram and the pillars in the veranda of Cave No.1 of Badami:” The same prismatic appearance; the same bulbous lotus-like development of the capital; the same interruption of the fluting by a band of filigree work; the same rosary-like garlands “. He also points out that Mahamalla adopted the Badami style of decoratively covering the side-walls with large sculptural panels displaying elaborate figures that resemble the Badami depictions. For instance Varaha, Vamana, Gaja-Lakshmi and Durga in Cave No. 2 and Cave No. 3 of Mahabalipuram closely follow in their depiction the figures of the Badami caves. Rev Heras remarks; the statues and sculptures of Mahabalipuram are plainer than those of Badami; there is neither profusion of ornamentation nor richness of details. But the figures of Mahabalipuram seem richer with their’ naturalness s and freshness of the poses ‘that is not found in the more conventional panels of Badami.
8.4. It is remarkable; while the cave temples of Badami influenced the carved structures of Mahabalipuram, about a century later the Pallava temples influenced the style, structure and depiction of the Chalukya temples. Over a period the two rival schools enriched each other giving place to composite styles of sculpture and architecture.
9. Though its exquisite carvings and sculptures are fairly well preserved, the murals in the Badami caves have all but vanished. Only a few fragments of the paintings tucked away in the concave surfaces of the vaulted cornice of the 3rd and 4tn cave have survived. They are perhaps the earliest surviving specimens of the Hindu wall paintings.
An inscription dated 578 AD records, in Kannada language; the caves were completed during the reign of King Mangalishwara (aka Mangalesha) son of Pulikeshin I. The wall paintings might therefore have been executed during that period. Some other paintings in cave 4 might belong to a later period (6-7th century) as they appear related to paintings in Cave 1 of Ajanta, depicting the visit of a Persian emissary to the court of Pulakshin in 625 AD.
10. It is likely that the caves were earlier painted and fully decorated. The fragment remains of the Badami murals still evoke the images of splendour and magi of the bygone eras. The remains of the Shiva and Parvathi murals, and of other characters from the Puranas ( in cave 3) strongly resemble the figures painted in Ajanta .
The mural in cave 4, dedicated to Adinatha Thirthankara, depicts Jain saints relinquishing the world for attainment of knowledge , is truly uplifting.
Pen-and-ink drawing of two sculptures from Cave I, Badami, depicting Harihara and Ardhanarishvara, by an unknown Indian draftsman, dated 1853.
Pen-and-ink and wash drawing of two sculptures of Vishnu as Trivikrama and Varaha from Cave II, Badami
11. The secular paintings too closely resemble the Ajanta paintings, thus carrying forward the tradition of the Chitrasutra. Shri SM Sunkad an artist from Hubli (Karnataka) has attempted reproducing a mural each from Ajanta and Badami and illustrating how closely they resemble in style.
This was the commencement of Chalukya style of architecture and a consolidation of South Indian style.
All pictures are from Internet