Key Points

After the Ajanta period, few painted sites survived, but the tradition of painting on plastered cave and temple walls continued. Sculptures from this era were also commonly plastered and painted.

Badami, the capital of the Chalukya dynasty, features murals from 578-579 CE. King Mangalesha, a Chalukya ruler, patronized the excavation and painting of these caves, particularly Cave No. 4, known as the Vishnu Cave.

Badami paintings extend the Ajanta tradition, characterized by sinuous lines, fluid forms, and compact compositions. Faces have large, half-closed eyes and protruding lips, creating volume with simple lines.

In the 7th century, Pallava king Mahendravarma I, who held titles like 'Vichitrachitta' (curious-minded), patronized temples and paintings at Panamalai and Mandagapattu. King Rajsimha later patronized paintings at Kanchipuram.

The Pandyas patronized art in sites like the Jaina caves at Sittanvasal (9th century). The paintings here are visible on ceilings and verandas, famously depicting dancing celestial nymphs.

The figures at Sittanvasal are drawn with firm vermilion red outlines on a light background. A key feature is slightly elongated eyes that sometimes protrude from the face, a style seen later in the Deccan.

The most significant Chola paintings (9th-13th century) are in the Brihadeswara temple at Thanjavur, built by Rajaraja Chola. They were discovered under a later layer of Nayak-period paintings from the 16th century.

Chola murals depict themes related to Lord Shiva, such as Shiva as Nataraja, and portraits of King Rajaraja. The style shows artistic maturity with sinuous lines, supple modeling, and elongated figures.

The Vijayanagara Dynasty (14th-16th centuries) ruled from Hampi to Trichy. Important mural sites include the Virupaksha temple in Hampi and the Shiva temple in Lepakshi (Andhra Pradesh).

A defining feature of Vijayanagara art is the depiction of faces in profile with large, frontal eyes. Figures are two-dimensional with narrow waists, and compositions are often arranged in rectangular panels.

Nayaka paintings (17th-18th centuries) are considered an extension of the Vijayanagara style with minor regional changes. They are found in sites like Thiruparakunram, Sreerangam, and Tiruvarur.

Nayaka artists depicted episodes from the Mahabharata and Ramayana, as well as scenes from Krishna-leela. Figures are typically shown in profile against a flat background.

Kerala painters (16th-18th century) developed a unique pictorial language. Their style was influenced by Nayaka and Vijayanagara schools as well as local traditions like Kathakali and kalam ezhuthu (ritual floor painting).

Kerala murals are known for their vibrant and luminous colors and the three-dimensional depiction of human figures. Themes were often drawn from local versions of the Ramayana and Mahabharata.

Over sixty sites with Kerala murals have been found. Important examples are in the Dutch palace in Kochi, Krishnapuram palace in Kayamkulam, and the Padmanabhapuram palace.

The mural tradition continues today in various folk forms across India, often created by women for ceremonies. Examples include Pithoro in Rajasthan, Mithila painting in Bihar, and Warli paintings in Maharashtra.