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- Lepakshi Paintings
  March 31, 2018In honour of the ongoing Lepakshi Utsavam, today’s article is on an iconic style of painting deeply associated with both Andhra & the Vijayanagara Empire. Background The history of Lepakshi is, in many ways, the history of Andhra. It is rooted in the Puranas, enriched by the Sastras, yet connected very deeply with the Telugu soil. Though perhaps most identifiable for its nearby bull, this Andhra Heritage Site in Anantapur district has more epic origins. The legendary story of Jatayu fighting Ravana here, and later found wounded by Sri Rama, is known to most Andhras. Le pakshi, “Arise oh bird“, is the etymology of an heritage site for a region that must now rise again, after a long slumber. While kingdoms have risen and fallen, in the interim of millennia, one empire made its mark, literally and etymologically, on Rayalavariseema. The Vijayanagara Samrajya may continue to bring nostalgic memories to all Telugus (despite the competing claims from our Kannada cousins), but its impact and rich Andhra contributions can’t be denied. The Lepakshi temple stands today as a testament to the cultural efflorescence that accompanied economic, military, and political revival. Built on a rocky giri known as Kurmasailam, it is fragrant with Pauranic redolence from the outset. At present, it is deemed that this construction upon ‘tortoise hill’ dates back to the 1500s. Lepakshi was a centre of trade and pilgrimage. Its construction is credited to Viruppanna and Veeranna, who made their mark figuratively (and literally…) as one story about red marks goes. Nevertheless, tradition attributes the Veerabhadra temple to Maharishi Agastya. Historical background aside, the artistic character of this earthy earthly abode of lord Veerabhadra at once captures the attention and questions the conventional wisdom. A site for a fierce form of Shiva, the Lepakshi temple provides many avenues for understanding the art of the Andhras. One such channel was in the realm of chitra. “The Lepakshi temple also has the finest specimens of mural paintings of the Vijayanagar kings… the splendid Natya Mandapam or dance hall with its superbly sculpted pillars. The Kalyana Mandapam is another hall known for its artistic beauty. Among the many eye-catchers in this temple, the frieze of geese with lotus stalks in their beaks stands out.” The tendency of “uber-secularists” to demote Hindu royalty aside (as mere ‘kings’ rather than Kings of Kings), the significance of Lepakshi to the Legacy of the Empire, is seen here. While the hanging pillar and awe-strikingly reverberating sculpture may most deeply etch themselves in the minds of the masses, it is in the murals of this municipality that we see the distinctness of the art and tradition. Achyutadevaraya was an Emperor who appreciated artistic patronage. Characteristics While Ajanta and Amaravati enjoy greater notoriety for their ancient Andhra/Andhra-inspired Art, Lepakshi is a standout for the late medieval period. Most of the paintings at Lepakshi are damaged, and some erased by the passage of history. Nevertheless, there remains a substantial collection to demonstrate how this site is truly a cultural gem. “enough remains to show what considerable mastery the painters had attained over brush and colour and how well their mind worked in creating panels of charming portraits, the stories of Sivalila (Pl.12), the coronation of Rama, Arjuna fighting Kirata, Krishna as Vatapatrasayi and so forth.” Among the other specimens are the murals of the Bhikshatana, Kalari, Gangadhara (Fig.9) and Tripurantaka, which are considered to be dramatic and original in concept.” Perhaps the most captivating painting is the tremendous Veerabhadra mural on the ceiling of the mandapa at Lepakshi. This mandapa is common to the three shrines at this Rayalaseema village. Indeed, if Sthaapatya Veda is the branch of Classical Indic epistemology encompassing Architecture, Sculpture, and Painting, Lepakshi shows why. Being the presiding deity of the main shrine here, it is only natural that Veerabhadra Swami receives the painter’s pride of place. “We were informed that the 24 by 14 ft fresco of Veerabhadra on the ceiling before the main sanctum sanctorum is the largest in India of any single figure. ” “Parvati with her companions, Lepakshi, Andhra Pradesh, 16th century. This lively paintings reflects the cosmopolitan culture of the Vijayanagar empire. The rich and varied textiles are remarkable. The angular features and protruding eye exhibit the pan-Indian medieval traditions of painting.” The chitrakalaa at Lepakshi is an outlier for its outlined figures and numerous patterns. That such delicate forms in such an ephemeral medium endured reflects the sophistication of the Silpa Sastra practiced in the region. “The rest of the frescoes are also beautiful and show an impressive attention to detail with colours strikingly contrasted — black limework against an orange-red background with some green, white, black, and shades of ochre-gold and brown mostly applied to a stucco surface specially treated with lime. The Shiva-Parvathi kalyanam — an enduringly popular subject with traditional Indian artists — finds expression here. However, these frescoes are peeling off in many places and in need of better maintenance and expert restoration.” Legacy The Legacy of Lepakshi transcends murals. It is found in its temples and sculptures, in its imperial history, and its quintessentially Telugu story. And yet, it’s in the murals themselves that its impact is most felt. In 1930, Laurence Binyon, Director of the British Museum, wrote: “Whoever studies the art of China and Japan, at whatever point he begins, starts on a long road which will lead him ultimately to Ajanta.” Scholars in all Asian countries trace the roots of their classic paintings to the murals of India. Lepakshi is not Ajanta, yet the murals of this Anantapur jewel are part of the spectrum of Indic Art that begins in Sthaapatya Veda & Silpa Sastra. This is seen not only in themes, but also in techniques. Bharatiya silpa & kalaa is known best not in its outward representation but in its inner significance. The aim of art is to represent not the outward appearance of things, but their inward significance.https://t.co/gNH4Fgz61y #brainyquote pic.twitter.com/q0xubQHFix — BrainyQuote (@BrainyQuote) April 10, 2017 The Lepakshi Paintings demonstrate the impact of an Empire, and are a celebration of artistic culture. In a dharmakshetra such as Andhra, it is not often that the artwork outweighs the religiosity of the masses. And yet it is here, at the Veerabhadra temple that one of the fiercest of deities has shown the softer side of dharma. Silpa sastra is an intrinsic part of the spiritual tradition of Bharatavarsha. Each region draws from the spiritual marga while instituting a regional desi implementation. One sees just such a spirit in this cultural site of great antiquity, yet tremendous modern relevance. How do Telugus maintain their Indianness while preserving their Andhra-ness? The Paintings of Lepakshi point to one such focal point. References: http://www.thehansindia.com/posts/index/Education-&-Careers/2016-06-02/Origin-of-painting-in-India—Part-I/232347 http://www.thehindu.com/features/metroplus/travel/The-hanging-pillar-and-other-wonders-of-Lepakshi/article13383179.ece http://www.frontline.in/static/html/fl2021/stories/20031024000107000.htm Sivamurti, C. Indian Painting. New Delhi: National Book Trust. 2013...
- Talent: రసమయంగా ఉండాల్సిన నీ హృదయం
  February 27, 2018The following Post features a Poem spotlighting the Cultural Talent of @nasa_manasa. Along with understanding our culture as it was, is the need to build upon it by giving patronage to the future. Continuing our Series on Andhra Cultural Talent is another work by a returning guest contributor. Readers may recall the previous Poetry selections of a young talent named Manasa, titled Maanasa Manasa Kavitalu. Today we present the second selection of her efforts, in the form of the following Poem. ప్రేక్షకులు గుర్తుపెట్టుకోవచ్చు మన మానస ప్రథమ కవిత ఇక్కడ ప్రచురించాము. ఇవాళ తన ద్వితీయ కవిత ప్రయత్నం. § రేపటి చరిత్ర నా మనసు లో లేదంటే నేడు మిగిలిన ఆ చివరి క్షణం లోపు రంగుల లోకం నా కన్నులు తొడగాలని ఆఖరి లక్ష్యం అందుకోలేని తెలిసిన అందుకున్నాని నమ్మిస్తూ , ఎదో చెప్పాలన్న ఆత్రం గొంతు నరాలనుండి రాగాలుగా పైకి వస్తుందనుకున్నా అందమైనది నిజం కాదని తెలిసినా అందుకోవాలని ప్రయత్నం తెరలు లేని ఆ చిరునవ్వు నీలో చూడాలనుకున్నా నా కుటుంబం అనే ఈ ప్రపంచం రంగస్థలంపై నిజంగానే నటిస్తోంది నాది అందులో ఓ పాత్ర లేదా ప్రేక్షక పాత్ర …! రసమయంగా ఉండాల్సిన నీ హృదయం నాకు నచ్చక మిగిలిన భావాలుగా మారి నా అనుమతి కోసం నిరీక్షించిన కనికరించలేను అందమైన పువ్వు ఎన్నటికీ వాడకూడదు అనుకుంటా నలిగిపోతే నేనేమి చేస్తా నలిగిన పువ్వు వాడలేక దానివంక చూడటమే మానేశా కానీ దాని పరిమళం నన్ను వెంటాడుతూనే వుంది కాలంతో పాటు నా నడక ఈ నేలపై సాగుతోంది ఆ దారిలో ఎదురైనా ప్రతివారు ‘నిన్ను ఎక్కడో చూసినట్టుంది అని నవ్వుతు నాతో అంటారని ఆశ ఎవ్వరు ఒకేలాంటి జీవితం గడపలేరు ఏమిటో బతకడానికి ఎన్ని అడ్డంకులో నన్ను దాటి పరిగెడుతుంటారు ఇప్పుడు నేను వారిలో ఒకరిని కాదు ఈ నేల కు తెలియదు రాలే నీటి బిందువులు నా కన్నీరని ఓ హరివిల్లు ను నా కంటికి ఓ చల్లని మెరుపులా నన్ను చుట్టింది కానీ నాకు తెలుసు ఆ క్షణం దాటితే తనలో కలిసిపోతే అని అంత వరకు ఈ ప్రకృతి నేను చెప్పినట్టు వింటుందని చిన్న ఆశ అద్దం లో న రూపు అపద్దం ఇంచు అయినా మార్చలేను అందుకే ఆ అద్దని నెలకు బాదేశాను కిటికీ లో కనిపిస్తున్న ఈ వింత ప్రపంచం మార్చలేకున్నా మారుతుందని భ్రమిస్తూ పయనిస్తా కొత్త లోకానికి § Disclaimer: This article represents the opinions of the Author, and should not be considered a reflection of the views of the Andhra Cultural Portal. The Author is responsible for ensuring the factual veracity of the content, herein....

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