Chapter XIII CULTURE - Government of Karnataka

Culture 513
C. Hayavadana Rao mentions many such temples where mural paintings are
or were found in old Mysore prevence. 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 and Guledagud too
have paintings.
From the later Vijayanagar period, the art of painting 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
Chitra Santhe, Bangalore