Mysore Style Painting

Family of Traditional Artists

2011-02-10T22:02:00.000+05:30

Tirupalli Raju

K. Venkataraman

student of Tirupallayya

K.V. Seetaraman

son of K. Venkataraman

Sri K.S. Shreehari

son of K.V. Seetaraman

This four generation of artists are custodians of the traditional Mysore style painting; they hail from T. Narasipura, Mysore district in Karnataka, a town at the confluence of the rivers Kaveri (Cauvery), Kapila (Kabini) and an unseen legendary Sphatika Sarovara.

Sri K.S. Shreehari

Tirupalli Raju was a master artist who decorated the temple of Nanjangud with murals during the late 19th century. Possibly, he could be the descendent of Tirupalayya, one of the painters who worked under Mummadi Krishnaraja Wodeyar's patronage. One among his apprentice trainees was K. Venkataraman of Tirumakudlu Narasipur on the banks of Kapila-Kaveri about 30 kms from Mysore City. His father Kullaiyya Raju was also a painter. After serving under the master for several years and acquiring sufficient expertise, Venkataraman returned to T. Narasipur and started his avocation. But from what we learn, his talents did not get due recognition and patronage. His son K.V. Seetharaman though inherited this art was not much of a success because of the loss of interest in these traditional paintings in the public and the family went into bad times. It was his son Shreehari who tried to revive and establish the family heritage in a more concrete manner.

K.S. Shreehari was born on 12.01.1968 at T. Narasipur. Being a graduate from the University of Mysore, he had his own dreams and ambitions but could not achieve any of them due to adverse economic factors. Meanwhile people started evincing greater interest and even pride in this noble heritage, thus creating a demand and also a market for these paintings. This enabled Shreehari to come into the focus of art lovers. Commissions for these paintings started coming in.

Apart from the subjects like Raja Rajeshwari, Sri Rama-pattabhisheka, Kodandarama, Tripuraasura Samhaara, 32 forms of Ganesha and familiar themes of traditional painters of Mysore, Shreehari proved his expertise in the paintings of such exotic themes like a zigzag puzzle like 'Panchanaari-Turaga', i.e., figure of horse comprising five female figures and 'Navanaari-Kunjara' i.e., figure of elephant comprising nine female figures. Another work given below entitled 'Virata Vishwaroopa' testifies to his eye for minutest details and a fecund imagination, it represents a form of Vishnu embodying the entire universe with all its animate and inanimate objects.

In recognition of his service to traditional painting, Shreehari received the Kamaladevi Chattopadhyaya Vishwakarma award of the craft council of Karnataka in 1994 and Rotary Ramsons Kala Pratishtana award for the best craftsperson in 1996.

He is a recipient of Mysore Dasara Art Exhibiton's first prize in Traditional art for years 1986, 89, 90, and 93. Apart from his participation in various traditional painting workshops held at Honnavara, Nagpur, Mysore, and Gwalior, he has held one man exhibitions at ANZ Grindlays Bank Art Gallery and Kamalnayan Bajaj Art Gallery, Bombay. His artistic masterpieces adorn the Karnataka Lalithakala Academy, Bangalore, South Central Zone Cultural Centre, Nagpur, Ravindra Niketana, Tumkur, Taj Hotels at Bombay and Madras and Museum of Sacred Art, Belgium. Ramsons Kala Pratishtana of Mysore has a major collection of Shreehari's paintings.

His private patrons are Dr. Veerendra Heggade, Dharmadhikari of Dharmasthala (D.K.), Dr. Saryu Doshi, Bombay, Dr. Norman Sjoman, Canada. Rajasaheb of Nabha, New Delhi, His Highness Maharaja Virabhadrasinhji of Bhavanagar, Maharajkumar Vishnudevji of Dharmapur, Maharaj Kumar Girirajsinhji of Gondal and Mr. Alain Grandlcolas, France. Thus his works have become collectors' items in both India and abroad and thus he has created for himself a good number of admiring lovers of art.

-BVK Sastry

Another Article on Mysore Style

2011-01-31T20:57:00.000+05:30

Saritha Rao Rayachoti has written an article on Mysore style paintings. You can read it at her blog here.

Artist Girija M

2010-11-11T14:41:00.000+05:30

Mr. Shoaib Khan has written in his blog about artist Girija of Mysore who paints in Mysore style. You can read about her here.

Satyanarayana

2010-05-05T13:10:00.001+05:30

This is a Mysore style painting of Sri Satyanarayana. This painting is probably done in 1914. The artist has not signed. The size of the painting is 20"x24". Copyright of this image rests with Ramsons Kala Pratishtana, Mysore.

The central figure of Narayana dominates the painting. With a faint smile, he is seen holding Shankha (conch - Panchjanya) and Chakra (discuss - Sudarshana) in the top two hands while he holds a Gada (mace - Kaumodaki) and Kamala (lotus) in the lower two hands. His right chest is the abode of his consort Sri Lakshmi (shown as a small circular pendant on his right chest) which is called as Srivatsa. He wears a flowing Peetambara and a garland of lotuses. Observe the slender stylised fingers of Satyanarayana which strictly follows the idiom of Mysore style painting.

The main figure is flanked by two smaller figures of Narada (the one with a beard) and Tumburu (the one with a horse face)

A green solid background is typical to Mysore style paintings. The top has an arched canopy decorated with 24 lotuses.

Mysore Traditional Paintings

2010-03-26T12:35:00.000+05:30

The history of traditional Mysore paintings begins in the second half of the16th century during the rule of Raja Wodeyar (1568-1617), the first powerful ruler of the rising Wodeyar dynasty. It is known from literary sources that a large number of artists and their families, made homeless after the fall of the mighty Karnataka Empire of Vijayanagara in 1565, were rehabilitated and employed by him. An old temple dedicated to the goddess Nimishaamba, family deity of the Chandravamshi Arya-kshatriya Raju community to which most of the artists belonged, still stands on the banks of the Cauvery (Kaveri) near Srirangapattana, the then capital of the Wodeyar dynasty. Raja Wodeyar's successors were also generous patrons of the arts and employed artists to decorate palaces, temples and manuscripts. Unfortunately very little is known of this early phase of Mysore paintings as very few examples have survived the constant battles and generations of neglect and vandalism. But one can safely presume that this early style followed the Vijayanagara idiom, perhaps with minor changes to suit the taste and culture of the new patrons.

The Mysore style was again revived in early years of the 19th century under Mummadi Krishnaraja Wodeyar (1799-1868). Some of the most beautiful and refined work was produced during his rule as the king himself took a very keen and personal interest in the art of painting. The illustrations in the manuscript of the famous cultural encyclopedia 'Sri Tattva-nidhi' are examples of the king's sophisticated taste and patronage.

By the middle of the 19th century, traditional paintings became quite popular. Many rich merchants and palace officials wanted paintings to decorate their homes and domestic shrines. To meet this demand, traditional artists began to paint small, intimate groups of gods and goddesses set within decorative niches in the manner of portraits. Mysore paintings of the 19th century were generally done on paperboard or cloth using both mineral and vegetable pigments. Jewellery, textile patterns and architectural features were done in low relief using gesso work covered with gold leaf.

The subject chosen were mostly from the rich heritage of Indian mythology. Some of the favourite themes were: the coronation of Sri Rama (Rama pattabhisheka), wedding of Shiva and Parvati (Girija kalyana), Sri Rama with bow and arrows (Kodanda-Rama), Sri Krishna with his foster mother (Yashoda-Krishna) and the goddess Chamundeshwari, the family deity of the Mysore royal house. Occasionally portraits of the king and his family were painted.

Though the subjects were religious and mythological, the models were from real life. The delicate and fleshy oval faces depicted in the paintings can still be seen among members of the old nobility. And the architectural backgrounds of many paintings are faithful copies of the architectural features of the Mysore palace.

Though a dying art form now, a few artists still paint in the traditional Mysore style even though the technique involved is long and labourious and the market limited.

- Swami Sivapriyananda

Surpur Style Painting

2010-03-25T12:21:00.001+05:30

The painting above is that of 'Mahisha Mardini' in traditional Surpur style (size: 20"x24"). Noted artist in this style, Vijay Hagargundgi said that this must have been painted by Banayya Garudadri.

This painting is housed in Bharat Kala Bhavan, Benaras Hindu University, Varanasi. But interestingly this painting has been wrongly listed as being a Mysore style painting. When we were there in 2007, we gave an oral complaint and brought the discrepancy to the concerned authorities there. But they were least bothered and asked us to write the complaint in the visitor's book. We did write but I doubt if anybody would even bother to read our complaint.

Ramanavami

2010-03-24T18:48:00.000+05:30

Today is Ramanavami, the birthday of Lord Sri Rama. Following is a finest specimen of Mysore style painting depicting coronation of Rama 'Rama Pattabhisheka'. This painting (size: 24"x20" ) is in the collection of Ramsons Kala Pratishtana, Mysore.

Starting from today, Mysoreans celebrate Lord Sri Rama's birthday with music. Many Rama mandiras and bhajana mandiras across the city organise week long or 10 day music concerts by well known artists of classical carnatic and hindustani music.

Private Residential Museum

2010-03-22T17:58:00.000+05:30

If one wants to look at the private collection of Mysore paintings of royal family of Wodeyars, then the best place in Mysore is the Private Residential Museum. This museum is inside the premises of Mysore palace, just behind the main palace, near Kille Venkataramana temple.

I went there yesterday after a gap of almost 12 years to have a look at the paintings. The entry fee is Rs. 25 (Rs. 200 for foreign nationals, I find this ridiculous). Exhibits there contain many things, objects, furnitures etc., that were used by the royal family. But my main interest was Mysore paintings which are in quite a good number.

The first gallery is around an open-to-sky hexagonal thotti. At the far end of the thotti, the walls are adorned with paintings from Bhagavata illustrating the childhood and leelas of Krishna. Unusual thing is that these are done on canvas with oil colours. The sizes of canvas vary and seems to me that these were made for decorating the walls of a temple.

Adjoining this thotti is a big quadrangle, once again the center is open to the sky. All four walls have wooden galleries for royal ladies to sit and see the proceedings in privacy. Royal robes, accessories, palanquins are on display in this hall. Two narrow rooms adjoining this central hall have Mysore style paintings. The first of these two rooms have smaller paintings. There are two paintings which are round in shape which is quite unusual. One of the corner room has a painting by palace painter Y. Sundaraih which depicts Bheema receiving the blessing of Shiva. One painting depicts Nagas (snakes) which is very unusual. All snakes bear names.

In the second narrow room there are three paitings. One is Chakra which depicts Ramayana in small niches within. The second is Tripundra with Dashavatara and Lakshmi. Third painting is Shankha depicting Krishna leela from Bhagavata. As you move away from this painting I was awe struck with a painting of Saraswati. My mind is still reeling with the minute detailed work all over this painting. Artist has not stopped with the canvas, he has painted even the frame with same finesse and detail. Undoubtedly this is a masterpiece done by a master artist. Hats off to the artist. Another painting (Mahisha Mardini) of the same artist adorn the next frame. My day was made by these two paintings.

After this I just glided through to the exit.

Bahumukhi Article

2010-01-12T19:19:00.000+05:30

Following are the scanned pages of an article on Mysore style painting by Dr. Mysore Nagaraj Sharma which was carried in the book 'Bahumukhi', a commemorative volume on the auspices of 60th birthday of well known photographer of Mysore Sri S.M. Jambukeshwar.

Here the author seems not entirely neutral in his views. Some times the views expressed therein hint of a prejudiced stance. Well, this article is not the last word on Mysore paintings. I have added it in here only to bring all written material on Mysore paintings together in this blog.

Mysore Paintings in World Wide Web

2009-12-06T20:49:00.000+05:30

I have come across few web sites and web pages about Mysore style paintings and even websites of artists who practice this art form. Following are the links.

Comparison between Tanjore and Mysore styles
Artist B.B. Raghavendra of Bangalore
Artist Anu Pavanje of Mumbai

I will be updating this post as and when I come across new and informative websites.

Traditional Mysore Style Painting

2009-01-08T17:19:00.000+05:30

Mysore school is a part of the great Indian tradition in painting, as described in ancient works like the Vishnudharmottara-purana, Manasollasa, etc. and also it was practised in ancient Karnataka. Caves at Ellora, Ajanta, Badami contain some specimens of such paintings by ancient Chitrakars or painters from this region. The present forms were developed at Vijayanagara under the patronage of several enlightened monarchs. After the fall and destruction of the Karnataka Empire at Vijayanagara, painters who had flourished under the Rayas' patronage migrated to more peaceful and hospitable places in South India. They found shelter in several kingdoms, royal principalities and also institutions and were instrumental in propagating and popularising those ideas and forms in the entire South India.

In due course, the traditional art of painting acquired some sub-regional influences too, leading to the emergence of various schools like Mysore, Tanjavur (Tanjore), Surpur, Kerala and so on. Though the painters of these schools followed the concepts and techniques originally developed at Vijayanagara, on closer scrutiny one could also discern slight differences which give a sub-regional tone something like different dialects of the same language to the paintings.

Though there is a marked resemblance between Mysore and Tanjavur (Tanjore) paintings (because they are born of the same roots) a careful observation reveals a difference between the two in many respects. Though artists of both schools start the base with wood covered with cloth, Mysore painters further cover it with paper. White lead carbonate (safeda) and gambose (distilled from vegetable sources and which gives the golden hue) are used by Mysore painters in the gesso work. The gesso work of Mysore painters is in low relief. And instead of gold coated over leaf, Mysore painters use pure gold leaf itself to cover the gesso work. The process of fixing gold leaves is very old. It is described in the monumental work Manasollasa written by the Chalukyan Emperor Bhulokamalla Someswara in the 12th century.

Thus the gold leaf covered portions like jewellery, dress, etc. in Mysore paintings are always lustrous. And this lustre is long standing and will not fade even after centuries. Faces of figures whether Gods or human beings are mostly round in Mysore paintings. But there is slight departure in respect of major Gods and Goddesses whose faces are slightly oval. The architectural details resemble the palaces and mansions of old Mysore of the 18th-19th century and the throne in some of the paintings is a prototype of the Simhasana used by the Mysore rulers and which is believed to have come from Vijayanagara.

The term 'traditional' in relation to painting means a continuity of time honoured practise based on ancient concepts, themes and bound by canons of Chitra as enunciated in ancient texts.

The subjects are mainly mythological, religious and most of the works are treated as objects of worship. The distinctive feature of the traditional painting is the harmony of ideology and form; creation of a superhuman atmosphere not seen in the non-traditional paintings.

Technique - Colours
Colours used are mostly of natural sources and of mineral origin. They are prepared through a process whose knowledge has been passed on from one generation to the next. The colours are ground to form paste like substance and applied on the base. The base itself is formed by first pasting a cloth on a wooden board which is again pasted over with paper in the second stage. After this it is coated with a thin layer of white lead (safeda). On this board the painter draws the outline of the picture he has to prepare.

After finishing the drawing, he starts the gesso work which is to cover all those parts depicting jewellery worn by the Gods and other figures and also the architectural details to bring up an elevation to make those parts conspicuous. Next he starts applying the colours in a particular order again following the process transmitted from generation to generation.

The Painters
The migrant painters who came towards Mysore arrived at Srirangapatna which was the capital of the kingdom. The kingdom was then ruled by Raja Wodeyar (1578-1617). He gave shelter to these painters, provided facilities for practising their vocation and also built a temple for their tutelary deity - Goddess Nimishamba. Under his patronage they carried their vocation, by decorating temples, palaces and mansions with murals, preparing paintings of gods and goddesses for worship and also decorating the interiors of homes. They seem to have prospered fast, because of poetical work written a century later during the reign of Kanthirava Narasimharaja Wodeyar mentions an area in the capital, Srirangapatna, exclusively populated by Chitrakars or painters. This must have continued without any hindrance during the rule of successive Rajas.

But unfortunately no works of this period (barring one or two murals) have survived because the state became a virtual battlefield of the armies of the British, Hyder Ali and Tipu Sultan, the Nizam, and Marathas. The kingdom was ravaged and suffered enormous destruction. It was only after the death of Tipu Sultan (1799) and the restoration of the kingdom to the Wodeyar royal family, peaceful conditions returned as to stimulate the development of arts.

Mummadi Krishnaraja Wodeyar who was restored as the Maharaja of Mysore State, was a scholar, lover of art and literature. His rule ushered in a cultural renaissance. He built many temples and restored old ones that had suffered damage. And he got their walls decorated by murals depicting episodes from mythology and epics. In addition he built or enlarged old palaces and got a large number of works on various subjects relating to ancient knowledge written by scholars. Most of them were illustrated with drawings and some with colourful paintings. Naturally there was a demand for a large number of skillful painters who worked in the palace under his direction. Emulating the Maharaja, many nobles and rich patrons and lovers of art in other important towns also encouraged painters. In turn this led to the development of a distinct Mysore style of painting.

B.V.K. Sastry

Former Member & Art Critic

Sangeeta Nataka Academy

Lalita Kala Academy, New Delhi
The author was an advisor to the Ramsons Kala Partisthana.