Madanpur is an ancient town on the southern edge of Lalitpur
district, Uttar Pradesh, India. The town is known for a large tank built in
medieval times and series of ruined temples and inscriptions under the
protection of the Archaeological Survey of India. Nine protected
monuments appear in the List of Monuments of National Importance in
Lalitpur district, India.
There are few traces of medieval wall-paintings left in western and Central
India, and, therefore, the Panchatantra stories painted on the mandapa of
the Vishnu temple at Madanpur, District Lalitpur, Uttar Pradesh, known as
Chota Kachahari, are of special interest.
Choti Kacheri and Badi Kacheri. Two ruined temples stand beside the
large medieval tank, Madan Sagar, and are protected monuments dating to
the twelfth century. They are locally known as Choti Kachari and Badi
Kacheri. One of these structures is notable for a unique painting on the
ceiling showing dancing figures and peacocks.
The large lotus in the centre
of the ceiling is a painted version of the carved lotuses that are found
at Khajuraho and other sites. The paintings were first reported in the late
nineteenth century by P. C. Mukherji. A series of inscriptions are found
inside these buildings. From the historical point of view, the most
important records are those mentioning Prithviraj Chauhan (c. 1166-1192).
Madanpur (Lalitpur district, UP). Painting on maṇḍapa ceiling dating to
the 12th century.
The temple also have a number of pilgrim and donative records.Temple
was built at the time of Raja Madan Verma (1130-1165). The town is
notable for three Jain temples on a hillock and has numerous ruins,
reminiscent of the Chandela dynasty. Besides, there is a Vishnu Temple of
12th century with beautiful mural paintings on its walls.
The paintings were
added later.
Dr. Stella Kramrisch, while describing these paintings, observes in a note
that they are more related to Western Indian miniature paintings of twelfth
to fourteenth century. Their chief interest lies in the angularity of
drawing, pointed nose and the protrusion of farther eye into space. These
features, together with the characteristic mode of wearing bun-like
coiffeur, well trimmed beard and the conventional treatment of trees,
birds and animals, share with the Western Indian miniatures of 12th to 14th
century.
The angular flying figures are shown with pointed noses, extended
eyes and dressed in patterned tight fitting costumes, have affiliations with
Jain characters in Medieval palm leaf Kalpasutras also with eastern Indian
palm leaf Manuscript paintings. The conventional lotus, peacocks and
other decorations are also similar to those in medieval paintings.
Madanpur figures are static, though thickly crowed in Hindu
manner. They move around the main static design of the ceiling almost
like apsaras of Ajanta.
Features and Techniques of Mural Paintings
1. These Mural Paintings are comparatively different from all other
forms of illustrative art. The two major characteristics which make
them significant are their organic relation to architecture and broad
public importance. They are rich in expressive practicality.
2. The utilization of colour, design, and thematic treatment in these
paintings has the capability to bring about an extreme change in the
sensation of spatial proportions of the building. These Paintings are
the only form of artwork which is truly three-dimensional, since it
modifies and shares a given space.
3. The colour materials on these paintings were derived from the
natural materials like terracotta, chalk, red ochre and yellow ochre
mixed with animal fat. The subjects included the figures of human
beings and animals, birds, dance scenes, deities. The ancient
painters did these murals with expert hands and observant eyes.
This is evident from these paintings having decorative motifs,
crowded compositions, figure types and details of costumes and
jewels.
4. Mud plaster had been applied in two coats – the first was rough
in order to fill in the pores of the rocks and then a final coat of lime
plaster is applied over it. These paintings took place in stages. The
line is drawn in red ochre the colours are applied & the contours are
renewed in brown, deep red or black. The pigments that were
required for the paints were from local volcanic rocks with the
exception of lamp black. Animal glue and vegetable gums were also
used.
The facial expressions were highlighted by patches of light
colours. In order to create illusion of depth various methods were
used.
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