NCERT Class 11 Fine Art An Introduction to Indian Art Part-I: Chapter 5 — LATER MURAL
This chapter, 'Later Mural Traditions,' from NCERT's 'An Introduction to Indian Art Part-I' for Class 11 Fine Art, explores significant mural painting sites that followed the Ajanta tradition. It highlights Badami in Karnataka, the capital of the early Chalukyan dynasty, where King Mangalesha patronized cave excavations. A surviving fragment in Cave No. 4 depicts palace scenes, including King Kirtivarman and his queen, showcasing the continuation and evolution of mural painting techniques from Ajanta. The chapter also touches upon the painting traditions under the Pallava, Pandya, and Chola kings in Tamil Nadu, noting regional variations and the patronage of arts by rulers like Mahendravarma I. The text emphasizes the stylistic elements like sinuous lines, fluid forms, and compact composition, demonstrating the artistic maturity achieved by the 6th century CE. This chapter helps students understand the post-Ajanta developments in Indian mural art and their regional manifestations.
Quick info
| Board | CBSE / NCERT |
|---|---|
| Class | Class 11 |
| Subject | Fine Art |
| Book | An Introduction to Indian Art Part-I |
| Chapter | Chapter 5 — LATER MURAL |
| Language | English |
| PDF type | NCERT Textbook |
| Session | CBSE 2026 |
| Reading time | 3 minutes |
| Word count | 464 |
Learning outcomes
- Identify key sites of later mural traditions in India.
- Understand the historical context and patronage of murals in Badami and Tamil Nadu.
- Analyze the stylistic features and evolution of mural painting after Ajanta.
- Recognize the contributions of Chalukya, Pallava, Pandya, and Chola dynasties to mural art.
Vocabulary
| Word | Meaning |
|---|---|
| Mural | A painting or other work of art executed directly on a wall, ceiling, or other large permanent surface. |
| Patronised | Supported or encouraged by a patron (a person who gives financial or other support to a person, organization, cause, or activity). |
| Excavations | The action of excavating something, especially an archaeological site. |
| Vaishnava | A devotee of Vishnu. |
| Vaulted roof | A roof in the form of an arch or a series of arches. |
| Mandapa | A pillared hall in Indian temple architecture. |
| Feudatories | A person granted land by a feudal lord in return for loyalty and service. |
| Sinuous | Having many curves and twists; indirect. |
| Fluid forms | Shapes that appear smooth, flowing, and graceful. |
| Compact composition | An arrangement of elements in a painting that is densely packed and well-organized. |
| Modelling | The technique of representing three-dimensional objects on a two-dimensional surface by means of shading, so as to produce an illusion of volume. |
| Contours | The outline, or shape, of a form. |
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Practice questions
- Which dynasty ruled Badami when it was their capital? Answer: The early Chalukyan dynasty.
- What is the approximate date mentioned in the inscription in Cave No. 4 at Badami? Answer: 578–579 CE.
- Name one ruler from the Pallava dynasty mentioned as a patron of arts. Answer: Mahendravarma I.
- What stylistic features of the Badami paintings remind us of Ajanta? Answer: The sinuously drawn lines, fluid forms, compact composition, and the gracefully drawn faces with similar modelling.
Practice MCQs
Q1. Badami was the capital of which dynasty?
Explanation: Badami served as the capital of the early Chalukyan dynasty.
Q2. The inscription in Cave No. 4 at Badami mentions the dedication of the image of which deity?
Explanation: The inscription dedicates the image of Vishnu, leading to the cave being popularly known as the Vishnu Cave.
Q3. Which king patronised the excavation of the Badami caves?
Explanation: King Mangalesha, the younger son of Pulakesi I, patronised the excavation of the Badami caves.
Q4. The painting fragment in Badami depicts palace scenes, including a dance scene watched by:
Explanation: The painting shows King Kirtivarman seated with his wife and feudatories observing a dance performance.
Q5. Which of these is NOT a stylistic feature mentioned for the Badami paintings?
Explanation: Geometric patterns are not mentioned as a stylistic feature; sinuous lines, fluid forms, and compact composition are highlighted.
Frequently asked questions
What is the significance of Badami in the context of Indian mural traditions?
Badami is significant as a site that continued the tradition of mural painting after Ajanta, showcasing the early Chalukyan artistic achievements with unique stylistic features.
When did the Chalukyas rule the region where Badami is located?
The early Chalukyan dynasty ruled the region from 543 to 598 CE.
What does the inscription in Cave No. 4 at Badami tell us?
The inscription mentions the date 578–579 CE, describes the cave's beauty, and dedicates the image of Vishnu, indicating the cave's excavation era and the patron's Vaishnava affiliation.
What are some stylistic similarities between Badami and Ajanta paintings?
The gracefully drawn faces of the king and queen in Badami paintings remind us of the Ajanta style, particularly in the modelling, large eyesockets, and protruding lips.
Which South Indian dynasties were also patrons of painting traditions after the Chalukyas?
The Pallava, Pandya, and Chola dynasties in Tamil Nadu continued and developed the tradition of painting with regional variations.
Who was Mahendravarma I and what is his connection to art?
Mahendravarma I was a Pallava king who ruled in the seventh century and was responsible for building temples and patronizing arts.
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NCERT Class 11 Fine Art — An Introduction to Indian Art Part-I — Chapter 5 — LATER MURAL. Verified by NCERT Help Editorial Team. Reviewed on 29 Jul 2026. Last updated 10 Aug 2026.