Rama Paintings at Rama Mandiras in Mysore and Melkote
January 23, 2024
By R.G. Singh
Worship of Rama, the seventh incarnation (avatar) of Vishnu, is widespread in Hinduism. He is the only deity in the Hindu pantheon who is considered as a king. Temples dedicated to Rama are found across India varying in size and grandeur. The temple at Ayodhya consecrated yesterday will perhaps outshine all existing Rama temples by its sheer size and magnificence.
During the Bhakti movement of the 15th and 16th century, there developed a parallel mode of worship and personal devotion to the chosen deity. In north and central India, wealthy businessmen and landlords (zamindars, talukdars and jagirdars) patronised a distinct but unique form of worship of Rama and Krishna shorn of grandeur and the imposing temple structures. Large mansions and grand residences housed a shrine dedicated to the Lord, these are referred to as ‘Thakurji ki Haveli’ (house where the Lord resides). The havelis had a private section where the householders resided and a public section (called as ‘baithak’) where the common man was allowed to offer prayers and perform family functions.
A classic masterpiece by an unidentified artist is the naming ceremony (namakarana) of the four little princes. Dasharath is seated in the centre, to his right queen Kaushalya is cradling the baby Rama and on the King’s left, queen Sumitra holds the twins Lakshmana and Shatrughna and on the far left, queen Kaikeyi cradles Bharata. Royal priests and sages with hands raised, bless the royal family. (Private collection)
The Thakurji ki Haveli among many distinct practices, patronised the Haveli Sangeet – musical renderings extolling the virtues of the Lord sung by vocalists to the accompaniment of musical instruments. A similar tradition of Bhajana Mandira and Rama Mandira was prevalent in parts of Karnataka, Tamil Nadu and Andhra Pradesh. The mostly inconspicuous structures are akin to the north Indian Haveli tradition, the only difference being that the south Indian mandiras have independent entrance.
Music is a major part of worship in Havelis, Rama Mandiras also patronise music as a part of service to the Lord. Hence, we see the tradition of music festivals conducted during the Rama Navami festivities.
Most of the Rama Mandiras have on display, paintings depicting other Hindu divinities, the popular ones are Rajarajeshwari, Lakshmi, Saraswati, Shiva Parivara, Krishna with consorts, Bala leelas of Krishna, episodes from Mahabharata, Bhagavata, puranas and Ramayana.
Attached to the Hattu Janagala Garadi at Paduvarahalli is a quaint little structure of a Rama Mandira housing this magnum opus, the wedding (kalyana) of the four princes of Ayodhya. The painting effectively illustrates the grandeur associated with the celebration in the central panel which divides into four individual mantapas where the weddings are being performed simultaneously. The lower register has episodes from Ramayana culminating up to the Seeta swayamvara while the upper register depicts the event of the swayamvara.
This article examines a few interesting and unique paintings on display and worship at important Rama Mandiras in and around Mysore. The array of subjects and the artists involved in creating these stunning specimens and the devout patrons who were instrumental in leaving behind this rich legacy, are to be remembered on this important day in the civilizational journey of India.
All the paintings are in the Mysore school, housed at the mentioned Rama Mandiras (or otherwise), and the copyright is reserved by the respective Trusts/Mandiras.
Packed with dramatis personae involved in the lastsiege and defeat of Ravana, this classic jewel of a painting depicts the worship of Shivalinga at Rameshwaram by Rama and Sita as atonement for the killing of Ravana. The heavily decorated ornate arch and pillars are reminiscent of the Mysore palace. (Kunchitigara Rama Mandira,Santepet, Mysore.)
In this masterpiece by an unknown artist, worshipped at the Dodda Garadi Rama Mandira at Srirangapatna, Rama and his huge entourage await the arrival of Pushpaka Vimana along with Vibhishana to depart the hermitage of sage Bharadwaja. Hanuman, the wise Jambavan and the other simian generals with folded hands thank the sage for having served them with sumptuous meal provided by the grace of wish fulfilling divine cow, Nandini, the daughter of Kamadhenu, seen at the top left corner.
The Karagam family at Melkote have displayed a few paintings in the main hall of their home. The painting of Sampoorna Ramayana depicted within the Sudarshana Chakra by artist Parashurama Alasingalachar is a masterpiece that one will never miss to notice. The painting has a pigeon-hole style of story narration. On the top left corner, Vishnu is shown reclining on the serpent Adishesha in Vaikunta, the right-side corner depicts the ancestral deity worshipped by the Ikshvaku clan. Rama and his three brothers offer flowers to the moolamurthy and the utsavamurthy of Ranganatha. The bottom left depicts Brahma flanked by Saraswathi and Narada while on the right, Narada narrates the story of Rama to sage Valmiki.
The direct confrontation between Rama and Ravana at Lanka is the subject of this painting. Taking aim at each other with the extended bow, a faint smile on Rama’s face perhaps signifies the outcome of this duel. Here, Rama is shown bigger than Ravana, in size, to emphasise the divinity of Rama. (Bestara Rama Mandira, Tilaknagar, Mysore)
This painting from the Rama Mandira at Talkad has the twins Lava and Kusha ensconced on their parents’ lap with their uncles in attendance. Raja Guru, Maharshi Valmiki presents the horoscope (jataka) and Hanuman pays obeisance to their lordships. This is a fine specimen of Mysore painting with superb gesso and gold work by artist Durgada Krishnappa.
Shivageeta is one of the esoteric books which focuses on an episode from Ramayana where Rama and Lakshmana are searching for the abducted Sita in the forest and they visit several hermitages and meet sages. The brothers are accorded darshan by Shiva and Parvati and in one instance Shiva reveals his cosmic Vishwaroopa form. This interesting specimen of the Mysore school is being worshipped at the Javaratti Rama Mandira, Veeranagere, Mysore.
Among the most famous Rama Mandiras of the city is Bidara Krishnappa’s Sri Prasanna Sita Rama Mandira having one of the most magnificent interiors and a fine collection of paintings. This painting of Kodanda Rama by an unknown master is a fine specimen from the early 20th century.
The grandeur of the coronation ceremony of Rama is well depicted in this painting being worshipped at Sri Venkateshwara temple at Tilaknagar. The artist has imaginatively placed maximum number of subjects within every available space in the painting.
In this painting at the Thimmarasappa’s Rama Mandira (Bestageri, Nazarbad, Mysore), the artist has beautifully captured the anointment of Rama during the coronation ceremony (pattabhisheka). Two sages pour the consecrated water on Rama while five sages seated below chant benedictory verses. In front of Rama with folded hands are his siblings and behind Sita are their spouses.
After the coronation of Vibheeshana following the death of Ravana, Vibheeshana summons Pushpaka Vimana to ferry himself along with Rama, Sita, Lakshmana and his huge entourage of the simian army who are eager to visit Ayodhya for the coronation. This painting by artist B.P. Ramakrishna in the collection of Mrs. Pushpa Krishnaiyengar captures the essence of the arial flight of this wonder of a vehicle.
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