தஞ்சை பெரிய கோவில் ராஜராஜ சோழன் காலத்து ஓவியங்கள்

Описание: The Murals
Their Discovery and Documentation
By
Prof. S.K. Govindaswami of Annamalai University, Chidambaram




South Indian painting, For I
Chöla M
glorious reign of Raja Raja the Great, and contemporary with the building of the Great T
of Tanjore.
Within a few months, in June 1931, he again wrote an extensive article delineatin
significance of the painting, titled "A New Link in Indian Art" in The Hindu llustrated W
the magazine edition of same newspaper. He examined various facets of the paintir
noticed the absence of a clayey layer and opines that the painting was executed
'combination of the tempera and fresco' technique. He goes on to appreciate the intr
of the execution of figures and the brilliant use of lines and colours to infuse a ser
volume to the figures by the painter. The themes, he rightly concluded, are Saivit
śiva in his several manifestations, particularly the depiction of Nataraja in the "G
Hall" at Chidambaram. He was able to identify the portrayal of the Story of Sundarantaneous unaerstariuiriy auoue tne agcan
eminent scholarship
.The discovery of these paintings is of great importance to the history of South Indian
art, Hitherto the Pallavas held exclusively the palm for mural paintings in the Tamil
country. The Cholas may now be believed to divide the honours equally with the Pallavas
not only in #SouthIndianarchitecture and sculpture but also in South Indian painting. For I
the drawings, the colour scheme and the
have little doubt judging from the excellence
fresco technique that these paintings belong to the best period of Chola rule, to the
53
Chöla M
glorious reign of Raja Raja the Great, and contermporary with the building of the Great Temple
of #Tanjore'.
Within a few months, in June 1931, he again wrote an extensive article delineating the
of the painting, titled "ANew Link in indian Art" in The Hindu illustrated Weekly,
the magazine edition of same newspaper.' He examined various facets of the painting. He
noticed the absence of a clayey layer and opines that the painting was executed in a
'combination ofthe tempera and fresco' technique. He goes on to appreciate the intricacy
of the execution of figures and the brilliant use of lines and colours to infuse a sense of
volume to the figures by the painter. The themes, he rightly concluded, are Šaivite and
Siva in his several manifestations, particularly the depiction of Nataraja in the "Golden
Hall" at Chidambaram. He was able to identify the portrayal of the Story of Sundarar. He
curiously identified a dark-complexioned figure as that of Räjaräja. He was on the dot
when he dated the paintings to be contemporancous with the construction of the temple.
He concluded that the discovery dispelled the misconception that there was discontinuity
in the painting tradition. The discovery disproved the contention that 'the pictorial art
was largely practiced only when Buddhism was in its halcyon days that with the forward
march of Hinduism the plant of indian pictorial art had pinned and perished'. Another
interesting aspect of this article is the reproduction of several scenes from the Story of
#Sundarar panellike the cooking scene (captioned'a busy domes tic scene'), Cheraman riding
his horse (A Royal Rider), Siva's production ofthe original document (A panel illustrating the
Story of Sundaramoorti #Nayanar) and the divine dancers (The Divine Dancers). Following his
report of the discovery in The Hindu, Govindaswami publishedtwo articles."
தஞ்சை பெரிய கோவில் ராஜராஜ சோழன் காலத்து ஓவியங்கள்