Karnataka > Painting In Karnataka
The earliest paintings of Karnataka are of the pre-historic period around 2000-1000 B.C. The representations of animals, human figures etc., are painted beneath the projected rocks which formed the dwelling place of the prehistoric people. Such relics of the art of prehistoric man could be seen in the districts of Bellary, Bijapur, Bagalkot, Koppal, Raichur and Chitradurga. The rocks of Hirebenakal, Piklihal etc., contain figures of hunters with weapons, horse-riders, bulls, etc. Many coloured figures on mud pots are plentifully found in Brahmagiri, Chandravalli, Hemmige, Herekal, Maski and Bangalore. The art of painting and its existence in the historical period have been referred to in the contemporary literature and inscriptions. Roots of painting clearly encouraged in Karnataka may be traced to the days of the Chalukyan ruler Mangalesha and only traces of the paintings of his time are surviving in Cave III of Badami. Due to historical factors, there are gaps in the continuity of this tradition of painting in Karanataka. We come across illustrated manuscripts 'Dhavala' at Moodubidare belonging to the Hoysala period. The figures, settings and the postures are different from the Kalpasutra paintings of Gujarat, illustrating the same themes. The style is distinctly indigenous and leave an impression of the ornamentations in Hoysala sculptures. Many references to portraits and pictures are made by Kannada poets like Rudrabhatta. "Manasollasa' by Emperor Someshwara III has a section on this art.
A study of the paintings of the Vijayanagara period reveals that mural painting was practised on a large scale. The earliest such specimens are found on the ceilings of the Virupaksha temple at Hampi. A close study of the paintings in Karnataka indicates that instead of reflecting life as it was during those periods, the painters had adopted conventionalised settings, highly stylised postures, all bound strictly by the dictates of the Aagamas. The paintings seem to be pictorial versions of sculptures which are seen in abudance even today. Even secular themes followed these stylised postures. It is possible that almost all the major temples in Karnataka were decorated with such murals. The Mysore Gazetteer edited by C. Hayavadana Rao mentions many such temples where mural paintings are or were found in Karnataka. The Terumalleshwara temple at Hiriyur, Narasimha temple at Sibi, the Jaina Matha at Shravanabelagola, Mallikarjuna temple at Mudukutore, Virupaksha temple at Hampi, Prasannakrishnaswamy temple, Krishna and Varaha temples at Mysore and the Divyalingeshwara temple at Haradnahalli, Jaina Temple at Saligrama are among them. The Daria Daulat at Srirangapattana, Jaganmohan Palace at Mysore, the mansions at Nargund, Kamatagi near Bijapur and Nippani, Amminabhavi near Dharwad, Rama temple at B.K. Halli near Haliyal, private houses at Raichur, Guledagud have paintings.
From the later Vijayanagar period, the art of paintings seems to have split into two branches. The Vijayanagar rulers and their feudatories followed the ancient tradition bound by the Aagamas, while the rulers of Bijapur, Gulbarga and Bidar were resposible for the development of a distinct style known as the Deaccani style. The finest specimens of this school were produced at Bijapur. Though this school was heavily influenced by the Mughal style, it had strong indigenous strain. The southern parts of Karnataka continued the ancient style which was developed at Vijayanagar. After the fall of Vijayanagar, the court migrated to different places in the South. The rulers of Mysore extended patronage to art. A considerable section of artists settled in Srirangapattana under the partonage of Raja Wodeyar. The colourful paintings on the pillars, walls, roofs, etc., of the Dariya Daulat at Srirangapattana are of varied themes and subjects. Similarly traces of paintings are available in the palace of Tipu at Bangalore. In addition to murals, the painters were also commissioned to illustrate manuscripts. Such illustrated manuscripts with attractive and colourful drawings were in the possession of many old families. The most famous of such manuscripts is the 'Sritatvanidhi,' a voluminous work prepared under the patronage of Mummadi Krishnaraja Wodeyar. This manuscript has nine parts, dealing with different topics, such as Shaktinidhi, Vishnunidhi, Brahmanidhi, Shivanidhi etc. The paintings illustrate ancient knowledge in the branches of the Aagama, Shilps, Jyothisha, Tantra, etc. The Jaganmohana palace has portrait pictures of kings and other nobility and pictures relating to puranic themes either in water colour or oil colours on clothes, glasses, etc. Sundaraiah, Kondappa, Yellappa, Durgada Venkatappa, Narasihmaiah, Thippajjappa and others adopted and developed this style. In those days, the painter prepared his own materials. The colours were from natural sources and were of vegetable, mineral or even of organic origin. Gold leaf was applied on the gesso works and the hallmark of all traditional paintings of Karnataka. Besides paper, the painters painted on glass. Raja Ravi Verma in the early decades of the twentieth century influenced many painters of the day in Mysore. Introduction of the European style of painting as a course of study at the Sri Chamarajendra Technical Institute, Mysore, relegated the older traditional painting style to the background and produced a new generations of painters trained in the Western modes and style of painting.
Many painters were trained in different centres in India and even abroad, People like K. Venkatappa, Pavanje, K.K. Hebbar, K.S. Kulkarni, Almelkar, S.G. Vasudev, N.S. Subbukrishna, K. Keshavaiya, S.Narasimhaswamy, S. Nanjundaswamy, Y. Subramanyaraju, Dandavathimath and N. Hanumaiah are artists of outstanding merit and reputation.
Among other artists of the state, S. Nanjundeswamy of Mysore has made an impression by his renderings on all aspects of the art of painting. M. Veerappa, S.R. Swamy and H.S. Inamati are noted for their composition drawings and paintings, mainly of the Indian tradition. Shankar Rao Alandkar of Gulbarga is famous for his paintings which are intense with emotions. V.R. Rao, S.S. Kukke and R. Sitaram are adept at portrait painting. The composition paintings of Janab Sufi and the exquisite incorporation of the art of painting in inlay works by Mir Shoukat Ali of Mysore are memorable. Paintings of the historical episodes by Y. Subramanya Raju show an ideal admixture of Indian and Western systems of art. Ragamal Paintings of M.V. Minajigi and the technique of mixing of water colours by M.A. Chetti in his paintings are superb. M.T.V. Acharya was noted for his paintings based on puranic thems. The portrait paintings of S.N. Swamy in oil colours and his pencil sketches, landscape paintings of Tanksale, N. Hanumaiah and F.G. Yelavatti in water colours delight even a novice in art. Y. Nagaraju, B.H. Ramachadra, S.R. lyenger, D.V. Halbhavi, S.M. Pandit, S.N. Subbukrishna and M.H. Ramu were experts in portrait painting. Rumale Channabasavaiah, Shuddodhana, Subbukrishna, M.S. Chandrashekhar and P.R. Thippeswamy have a typical style of exposing the rural life in varied colours. P.R. Thippeswamy was also an expert painter of scenes of temples and shrines. Effective line drawings and caricatures are also another aspect of the art of Technical Education. Many private institutions have been established in centres of Karnataka. The government conducts examinations on modelling. The Karnataka Lalitha Kala Academy assumed its present format in the year 1977. This Academy arranges annual exhibitions and art shows. It has also instituted awards that are given annually to outstanding works of art. The Academy encourages holdings of art exhibitions and purchase of useful books by making liberal grants. The Academy has built up its own collection of works of art. Art camps are organised by the Academy in different centres of the state. Central Lalith Kala Academy is located at Delhi with its South Zone Cultural Centre in Chennai and South Central Cultural Zone in Nagpur. Bangalore city had the privilege of hosting many prestigeous art exhibitions. Several camps have been organised by the Zonal Centres in which artists selected from the state participated. The academies also conduct periodic seminars on art and bring out systematic publications on the subject. 'Kalavarth' is the magazine brought out by the Lalitha Kala Academy. Karnataka State.
Government presented a bus to the Academy which has enabled it to organise mobile art exhibitions. The vehicle moves in different places and works of art are exhibited in it. The exhibition is arranged at venues where the academy conducts its programmes like art exhibitions, art camps, seminars, symposia and during the Dasara and Sahitya Sammelanas.
Kondachari of Bellary, Purushottam, Agaram Krishnamurthy, Sherigar, Bayiri, T.K. Rama Rao and K.B. Kulakami of Hubli and others are famous for their line drawings. R.K. Lakshman, R.S. Naldu, R. Murthy, Ramesh, Gopal, G.Y.Hublikar, Ranganath, N.C. Raghu, Gujjar, Pa. Sa. Kumar, S.K. Nadig and others are famous for their caricature drawings. P. Subba Rao, R.M. Hadapad, G.S. Shenoy, S.G. Vasudev, Dandavatimath, Halabavi, M.C. Chetti, Vijayasindur, U. Bhaskar Rao, M.B.Patil, V.M.Sholapurkar, V.T.Kale, M.S.Chandrashekar, M.C.Chetty, Ravi Kumar Kashi, C.Chandrashekara, Babu Eswara Prasad, V.G.Anadani, Peter Lewis, V.B.Hiregowder, Usuf Arakal, M.S.Murthy, P.S.Kademani, Madhu Desai, Ramdas Adyanthaya, M.C.Chetty, John Devaraj, Shankar Patil, Chandranatha Acharya, J.M.S. Mani, E.G. Badigera, T.P. Akki, S.M. Pandit, Ramananarasaiah, Raghottama Putti, Goolannanavar, M.E. Guru, S. Kalappa, M.S. Nanjunda Rao, M.B. Basavaraj, Vishnudas Ramadas, Sunkad, Manoli and others have enlivened the art scene in the state. P.R. Kamalamma, Subhashinidevi, S. Dhanalakshmi, M.J. Kamalakshi, Sheela Gowda, Pushpa Dravid, Pushpamala, Shanthamani, Surekha, Renuka Markhande, Gayathri Desai etc., are among the noted lady artists. Siddalingaswamy, Nagendrasthapathi and Mahadevaswamy are noted artists in classical paintings and drawing of traditional themes.
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