Rama Paintings in Rama Mandiras

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 being consecrated recently (22 January 2024) will perhaps outshine many existing Rama temples by its sheer size and magnificence. 

The daily worship at a temple is an elaborate ritual involving the presence of several individuals as per hierarchy and the tasks assigned to them are multifarious and a high level of knowledge in customs and practices is essential. Many well-known temples have on roll, priests, cooks, musicians, attenders, so on and so forth. 

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, subedars, 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 devotees adhering to the tenets of the sect were allowed to offer prayers and perform small family functions. 

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 Havelis, the only difference being that the south Indian mandiras have independent entrance. 

These mandiras usually have a central altar wherein a painting of Rama is installed. The mandiras of Andhra Pradesh normally have a reverse glass painting of the Sitarama Kalyana, while the ones in Tamilnadu mostly have a Tanjavur painting of Kodanda Rama. The Rama Mandiras of Karnataka have paintings of Rama Pattabhisheka or Ekanta Rama in Mysore style. 

Music plays a major part of worship in Havelis; Rama Mandiras, down South, also patronise music as a part of service to the Lord. Hence, we see the tradition of music concerts 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’s family, Krishna with consorts, Exploits (Bala leelas) of Krishna, episodes from Mahabharata, Bhagavata, puranas and Ramayana. 

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 in the civilizational journey of India. 

Image 1: This is a simple yet brilliant depiction of King Dasharatha in conversation with sage Rishyashringa, inviting him to perform the Putrakameshti Yaga at Ayodhya. Dasharatha's queens Kaushalya, Kaikeyi and Sumitra stand behind the former with folded hands while the minister Sumantra is shown behind the sage. (Arya Vysya Rama Mandira, Shivarampet, Mysore) 

Image 2: 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) 

Image 3: 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. (Rama Mandira attached to the Hattu Janagala Garadi at Paduvarahalli) 

Image 4: Packed with dramatis personae involved in the last siege 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. The artist has very imaginatively and skillfully placed the characters one above the other as seen at royal events. (Kunchitigara Rama Mandira, Santhepet, Mysore.) 

Image 5: In this masterpiece by an unknown artist, 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. (Dodda Garadi Rama Mandira at Srirangapatna) 

Image 6: The painting of Sampoorna Ramayana depicted within the Sudarshana Chakra by artist Parashurama Alasingalachar is a masterpiece. The painting has a register 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 utsava murthy 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. (Karagam family, Melkote) 

Image 7: 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) 

Image 8: This painting depicts 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. (Rama Mandira, Talkad) 

Image 9: 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 form, Vishwaroopa. Thus, this interesting specimen of the Mysore school narrates a rare episode. (Javaratti Rama Mandira, Veeranagere, Mysore) 

Image 10: Among the most famous Rama Mandiras of the city is Bidara 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 20^th century. This is a fairly popular subject in the Mysore school. (Bidara Krishnappa’s Sri Prasanna Sita Rama Mandira, Mysore) 

Image 11: The grandeur of the coronation ceremony of Rama is well depicted in this painting. The artist has imaginatively placed maximum number of subjects within every available space in the painting. (Sri Venkateshwara temple, Tilaknagar, Mysore) 

Image 12: In this painting 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. (Thimmarasappa’s Rama Mandira, Bestageri, Nazarbad, Mysore) 

Image 13: After the coronation of Vibheeshana following the death of Ravana, Vibheeshana summons Pushpaka Vimana to ferry Rama, Sita, Lakshmana, Hanuman, himself and the huge entourage of the simian army who are eager to visit Ayodhya for the coronation. This painting by artist B.P. Ramakrishna captures the essence of the arial flight of this wonder of a vehicle which can comfortably accommodate any number of passengers. (Collection: Mrs. Pushpa Krishnaiyengar, Bangalore) 

All the paintings used in this article are in the Mysore school, housed at the mentioned Rama Mandiras (or otherwise), and the copyright is reserved by the respective individuals/Trusts/Mandiras. The paintings were photographed by H.S. Dharmendra Raghu between 2015-2020.

Turban Tales

 

Figure 1. Maharaja KRW and Yuvaraja NKRW are seen with the palace staff in this undated photograph. Almost all classes of officers sport a Mysore turban and sash. Collection: Ramsons Kala Pratishtana.

An ancient Indian sartorial tradition for a man of social standing was donning a turban. The widely practiced custom was prevalent among many classes of the society and continues in select regions even to this day. Most of these headgears are plain in appearance shielding the wearer against the tropical sun. While some are worn as an important accessory asserting social status as the occasion demands, others are a necessity as the particular religion demands the practice. A majority of the turbans consist of a gossamer thin cloth which is skillfully tied by the wearer while gripping one end of the cloth with his teeth. Elaborate headgear with tufts at both ends require the assistance of a professional turban tier. Another variety of turban is the one that is already tied, the layers are stitched and placed on the head like a hat which likely made its appearance during the reign of Mughals.

 

Turban Tradition

The practice among the several clans of Rajputs is that, a person selected by consensus to head the family is formally anointed to the job by the custom referred as ‘dastarband’ wherein the turban is tied in the presence of elders, tilak is applied and he is handed over the heirloom weapons in the family’s possession. Amongst the Sikh community, when a boy attains the age of eighteen, the rite of passage to adulthood is the ceremony ‘dastarbandi’ where a full turban (pagri) is tied at the Gurudwara with a joyous celebration including receiving of gifts followed by a sumptuous meal. The tying and sporting of a headgear continues to this day among several adherents of Islamic faith, especially scholars and the placing of a turban is referred as ‘dastaarband’.

 

Teeming Turbans

Miniature paintings from the famed Mughal ateliers gives one a vivid picture of the bewildering array of turbans that were in vogue during that era. Except monks and wandering minstrels, every person in the frame sports a turban. A few painting specimens give us an idea about the elaborate festivities associated with the event of placing a turban on the head of a prince, the exhaustive details are a visual treat of the grandeur associated with the ceremony. One painting from this genre is that of Shahjahan, in side profile seen in a flamboyant patterned turban with two spinel beads on a gold wire ending with a spray of seed pearls at the back of the head, a gem studded diadem divides the turban into two, seated on the Peacock throne placed on the balcony of the Diwan-e-aam of the Red Fort, witnessing his favourite son Dara Shikoh who in resplendent silken robes and fine Mughal jewellery is seen receiving a turban, in muslin with a tufted crest with osprey feathers, from a senior courtier on behalf of the emperor in the presence of the nobles, courtiers and important kinsmen. Each of the Mughal emperors in the paintings of their reign are depicted wearing a different kind of headgear emphasising a personal fashion statement.

 

The finely patterned fashionable Mughal turbans with jewellery are in sharp contrast to the plain coloured functional turbans worn by the Rajputs.  However, paintings from the later Rajput courts show the rulers in an array of turban styles which are today collectively referred as the Rajasthani Safas.

 

Turban Twist

In earlier times, removing a turban, especially in war, meant surrender. Removing one’s turban and placing it at the victor’s feet meant defeat. However, exchange of turbans meant that friendship was cemented and both persons were of equal stature. Forcible removal of a turban signified insult, humiliation and lowered the social status of the person, in turn conveying that the person is unfit to wear one, henceforth.

 

Turban Trick

In the book ‘Kohinoor’ authored by William Dalrymple and Anita Anand (2016), chapter - ‘The Koh-i-noor in Afghanistan’, the authors describe the meeting between Ranjit Singh and Shah Shuja, “Uttering words of friendship and unity, bringing a written document much to the same effect, dipping his hand into saffron water to print a palm mark on the treaty, swearing by his sacred book, the Granth, and by his Guru Baba Nanak, with his hand on the blade of his sword that any troops deemed necessary by His majesty for the reconquest of the province of Kabul and the punishment of the scoundrel rebels will be provided by the Sikh government. Then turbans were exchanged as a sign of perfect amity.”

 

Turban Trophy

In his well-researched book, Kohinoor, published 1994, author, former Iranian diplomat Iradj Amini describes how Persian warlord Nadir Shah extracted the diamond from Mughal emperor Mohammed Shah. “A courtesan had told Nadir Shah that the priceless diamond lay hidden in Mohammed Shah’s turban, citing an ancient tradition, the victor demanded an exchange of headgears, at last the diamond was his, or was it?

 

“Hastily, he undid the folds… wonderstruck at the gem’s size, brilliance and beauty he exclaimed ‘Koh-i-noor!”

 

Turban Trail

The focus of this article is the Mysore turban (Mysore peta) which has a visual recorded history since 1799, the year Krishnaraja Wadiyar III (Mummadi) aged 5 years was placed on the throne of Mysore with the signing of the treaty of Srirangapattana between the East India Company and Mahamatoshri Lakshmammanni (grandmother of the child king).

Figure 2. Raja Wadiyar. Vamsha Vruksha. Portrait Extract. Courtesy: Karnataka Chitrakala Parishath, Bangalore.

The devotional images of the earlier Wadiyar kings carved in stone as seen at the Trineshwara temple are shown with the hair tightly tied in a cloth in a side bun (turubu). However, painted portraits of the early Wadiyar kings are shown in Mysore turbans at the Chitramantapa – Subbarayadasa temple which was painted during the reign on Mummadi.

Figure 3. Ranadhira Kanteerava Narasaraja Wadiyar sports a side bun. Sketch by Kamalesh. Courtesy: Royal City, T.P. Issar

An oil painting by Thomas Hickey which is on display at the Rashtrapati Bhavan depicts a portrait of a boy king in a circular turban. The legend below reads Krishnaraja Wadiyar III at his installation. Similar turbans can be seen in the painting wherein two young sons of Tipu Sultan are being handed over to the officials of the East India Company as hostages by high-ranking nobles from Tipu Sultan’s court. All Indians are depicted wearing circular turbans.

Figure 4. KRW III. oil on canvas by Thomas Hickey. 1801. 75x61 cms. Collection: Rashtrapati Bhavan, New Delhi.

It is only later in the official portraits from 1820s of Krishnaraja Wadiyar III, the appearance of a distinct Mysore turban is seen. Over the years, portrait paintings by the gifted artists in the Mysore atelier record the emergence of the Mysore turban as it is recognised today.

Figure 5. Part of painting'Pandava Pattabhisheka' priests are shown in Mysore turbans. Collection: Ramsingh Museum.

Among the last four rulers of the Wadiyar dynasty, Krishnraja Wadiyar III is seen in innumerable paintings sporting a variety of large turbans which are not uniform in shape or style. This gives us a clue that the turban was mostly tied on a daily routine. It is mostly in coloured lithographs which form the frontice piece of his books that the king is shown in the same type of an elegant, ready-to-wear turban which was tied beforehand and the folds hand-stitched to stay in shape.

Figure 6. KRW III Mysore painting 51x61 cms. Collection: Karnataka Chitrakala Parishath, Bangalore.

Krishnaraja Wadiyar III can be considered a trendsetter who experimented with the Mysore turban. Murals at the Jaganmohan palace depict many of his important courtiers in a variety of colourful turbans. An album in a personal collection containing painted folios of the persons employed at the palace depicts many in turbans. What is of importance is that, each portrait has a legend identifying the name of the person and the nature of  his job.

Figure 7. From the album of palace employees. Devasthanada Munshi Shamanna. Accountant of temples Shamanna. Collection: Private.

Figure 8. KRW III. Painted Lithograph of KRW III in a ready turban. Frontice piece - Sankhya Ratna Kosha. Collection: Private.

Chamarajendra Wadiyar was adopted by Mummadi in 1865 but was given ruling powers in the year 1881. In an official portrait the young Maharaja is seen being heavily weighed down by the turban with its enormous load of jewellery. In an oil painting by Raja Ravi Varma done a few years later, the handsome Maharaja looks dapper and elegant in a similar turban and jewels. In another striking portrait by the same artist, in three-fourth profile, Chamarajendra Wadiyar is shown wearing a royal blue coloured turban with jari patterns matching his close-collar coat. In another painted photograph, the Maharaja is seen wearing a Rajput style angarkha, a necklace of two strands, a pair of diamond ear studs and two rows of clasped collets ending with a bunch crossing the chest from left to right.

Figure 9. CRW in angarkha. Collection: Private.

The refinement of the dress is matched by a tastefully tied turban. The two jari borders overlap each other instead of criss-crossing. The picture is a perfect example of exquisiteness. It is only in the headgears of this particular king that one sees he was bold enough to experiment with textiles having polka dots, zigzag lines, checkered boxes, pinstripes, etc.  He was undoubtedly flamboyant when he showed off the headgear.

Figure 10. CRW in regal finery. 1877. Source: Wikipedia.

When one examines the photographs of the next Maharaja Krishnaraja Wadiyar IV (KRW) and his brother Yuvaraja Kanteerava Narasimharaja Wadiyar (NKRW), the difference in the headgears is strikingly evident. While the Maharaja’s turbans are of the classical ready type, the Yuvaraja chose a separate style of turban which was mostly tied.

Figure 11. CRW. Oil on canvas by Raja Ravi Varma. Picture courtesy: Raja Ravi Varma Painter of Colonial India. Rupika Chawla.

In the earlier pictures of KRW, he is seen in a variety of turbans with dazzling jewellery, especially his wedding portrait by Raja Ravi Varma. After 1927, the year that commemorated the silver jubilee of his coronation, he chose a modish headgear which was broader at the crown, a prominent jari band which added a courtly elegance but was shorn of all grandeur. In sharp contrast his younger brother is mostly seen in the headgear type of the present-day Kalyana Karnataka region. Till date it is popular amongst the wrestlers, especially during Dasara.

 

In fact, in the year 1895, sepia toned photograph of the two brothers, the Maharaja designate is seen in a Mysore turban while the Yuvaraja designate is seen in one that is not from the Mysore region. In signed official portraits of the Yuvaraja, he is mostly seen in Jodhpuri coats, western suits with ties or bows but with his usual non-Mysore-type turban.

Figure 12. KRW and NKRW. Picture courtesy: Dance of the Peacock. Usha Balakrishnan.

The last Maharaja Jaya Chamaraja Wadiyar (JCW) has been photographed extensively in his lifetime, thank s to the use of cameras to document the milestones.

Figure 13. KRW IV. Painted photograph. M.N. Murthy. Collection: Ramsons Kala Pratishtana.

Figure 14. KRW IV. Undated photograph. Collection: Ramsons Kala Pratishtana.

Figure 15. Left:  KNRW. Textile label from Manchester Mills 15x10 cms. Right: Official portrait of KNRW. 18x13 cms. Collection: Ramsons Kala Pratishtana.

One early photograph of his Upanayana, he is pictured in the regular Mysore turban, a 1938 picture of the Kashi Yatre ritual of his wedding, he is sporting a tied turban rarely seen later in public.

Figure 16. JCW during Kashi Yatre. From the wedding album of 1938. Collection: Ramsons Kala Pratishtana.

In his graduation picture for the convocation, the young prince complements his western suit with a chic Mysore turban.

Figure 17. JCW at graduation. Painted photograph. Artist: S. Shankara Raju. Collection: Ramsons Kala Pratishtana.

In the 1940 coronation pictures, the Maharaja is seen in all opulent finery. The select jewellery and headgear gives one a peak into the celebration and the lavishness associated with the event. A 1945 official portrait of the Maharaj in GCSI (Knight Grand Commander of the Most Exalted Order of the Star of India) robes, he sports a finely shaped Mysore turban which has a bejewelled Gandabherunda brooch at the apex topped with an Osprey tuft, perhaps signifying that the emblem of his state was above the medallion pinned to his tunic by the powers to be – British.

Figure 18. JCW in GCSI robes. This is the reference picture used for his full bodied portrait sculpture installed at JCW circle, Mysore. Offset print. Collection: Ramsons Kala Pratishtana.

Later on, as the Raja Pramukh and Governor of Mysore and Madras states, the Maharaja is mostly seen black, white or cream coloured long coats complemented by flamboyant turbans minus the jewellery.

Turban Torment

Archival records pertaining to the Dasara durbars and birthday celebrations (of the king) at the palace list-out strict guidelines in the invitations for the dress code to be followed, the colour of the coat and trousers, length and width of the sash is specifically mentioned and of course the mandatory turban. Only the visiting dignitaries were spared the ordeal. However, it is learnt that invited musicians, especially from Tamil Nadu found the dress code with the turban, quite uncomfortable. From correspondence addressed to the Durbar Bakshi, a few of the musicians sought exemption from the rule stating that traditionally the Ghatam players performed bare chested, but as correspondence and photographic evidence suggests, the request was turned down and nobody was given permission to enter the Durbar sans the prescribed attire. In the end, the whole episode was an exercise in futility.

Figure 19. Turbaned musicians perform for the Yuvaraja on his birthday at Durbar hall. Collection: Private.

Turban Trivia

There are two museums dedicated to turbans in India. One, located in Jaipur, Rajasthan which is a tribute to the colourful safas draped in western India, particularly Gujarat and Rajasthan. Occupying pride of place in the display cases are Jaipuri turban, Bikaneri safa which forms a part of the uniform of the Camel Corps of the Indian army. The Jodhpuri safa is a favourite among politicians and the armed forces. It is worn during informal events. Jallori from Jalore, Bhatti from Jaisalmer are distinct drapes. The Kotah-Bundi variation (Kotah paag) which has a voluminous back part which has to be held in place with near invisible strings attached to the forehead ornament (sarpech) and aigrette (kalgi) which in turn was attached to the Osprey feather (turrah) below which dangle strings of fine pearls (latkan). On display at ‘Bagore ki Haveli’ in Udaipur is a turban (pagri) which is claimed to be the world’s biggest measuring 150 meters and weighing 30 kilograms.

 

The other museum is located at Amritsar, Punjab, which highlights the turban tying tradition amongst the Sikhs. On display are the specimens of the warrior clan - Nihang turbans in characteristic blue colour, the variation of the Sikh turban as draped by the Dogras of Jammu, the turban types of the rulers of the Hill states like, Chamba and Mandi, the stylish pointed turbans of the Maharajas of Patiala, Kapurthala and Jind.

 

A miniature sheet consisting of many individual stamps issued by the Department of Posts, Govt. of India, has different headgears from across India. A Rupee ten issue has a legend Mysore Peta. But the wearer is shown donning the very distinctive Kodava turban, the designer of the stamp who has selected the image has missed the subtle differences between the two styles which look deceptively similar. The Mysore turbans have a tight wrap forming a semi-conical top which takes the shape of the crown of the head normally, a single jari border intersects at the forehead forming an apex, whereas, the Kodava turban is flat on the top mostly with two slim jari borders overlapping each other.

 

At the famous camel fair of Pushkar held in honour of Lord Brahma, one highlight of the event is a turban draping/tying contest followed by a fashion show of the award-winning turban designs. The judges decide the winner based on the elegance of the headgear, the material used, the speed of draping, the perfection of the twist of the cloth, the neatness of the pleats and finally, the curling of the tuft ends which have to be properly held together without tying a knot or any external ornamentation tied with a string.

 

The Mysore turban has gained much importance as it is presented to visiting dignitaries to the state. It is mandatory to be given at all state award presentation like the Rajyotsava and various honours given by the academies on behalf of the Department of Kannada and Culture, Government of Karnataka.