 A scene from Samava-sarana
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The Sittannavasal paintings carry on the
tradition of the well-known Ajanta frescoes (2nd century BC-6th century AD,
the Ceylon Sigiriya (Srigiri) frescoes of the fifth century AD and the Bagh
frescoes in Madhya Pradesh of the sixth and seventh centuries AD. Sittannavasal
is, therefore, an early example of the Ajanta (அஜந்தா) or post-Ajanta
period, and in merit it compares well with Ajanta and Sigiriya. We may safely say that Sittannavasal
is one among the earliest frescoes so far known in South India, and that they
are the only example of early Jaina frescoes.
The technique employed is what is known as fresco-secco, that is, the painting
is done on a dry wall. (In the Europe mural paintings are done on a moist wall
and are called fresco-bueno). In this process the surface to be painted is first
covered with lime plaster, then coated with lime-wash and the painting done
on it. The colours used are black, green, yellow, orange, blue, and white. In
1937-39, Maharaja of Pudukkottai had the paintings cleaned. After cleaning the
paintings, they applied a preservative coating, and strengthened the painted
plaster, wherever it was loose, by injecting suitable cementing material without
retouching any part of the paintings.
The walls, ceiling, cornice, beams and pillars were originally decorated
with paintings. Those on the walls have perished, and those on the ceilings,
beams and the upper parts of the pillars alone survive, albeit partly.
Of these, the remnants of the mostly disfigured paintings on the pillars
and the lotus pool scene on the ceiling of the ardha-mandapam (அர்த்தமண்டபம்)
and the carpet canopy on the ceiling of the inner shrine are the most
important.
It is inferred that the paintings found in the garbha-griham and those in
the ardha-mandapam may not belong to the same period.
PAINTINGS ON THE ARDHA-MANDAPAM
The paintings on a pillar
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The paintings on the ceiling of ardha-mandapam
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On the front face of the southern pillar is a beautiful picture of a dancer,
her left arm stretched out gracefully. She has her right arm bent at the elbow,
the palm held in the abhaya gesture. Her ears are adorned with patra-kundala
(known as olai in Tamil), rings set with gems, and her arms decked with bracelets
and bangles.
The Dancer (Line art)
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Apsara (line art)
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Even more graceful is the other dancer on the front face of the northern
pillar. She has her left arm in the gaja-hasta gesture suggesting trunk of an
elephant, while her right arm is bent at the elbow, the palm facing outwards
in the abhaya gesture. The headdress and the ornaments of this dancer are very
distinct. The hair is decked with pandanus (thazhai in Tamil) petals.
These two animated figures, with their broad hips, slender waists, and elaborate
ornaments, recall the beauty of the Apsara of mythology; their pose and expression
suggest rhythm and dynamic movement. The portraiture of dancers in Sittannavasal
must rank as one among the best in the whole of India.
Paintings on a pillar (Line art)
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The painting on the other face of the southern pillar represents a man and
a woman, possibly the founder, and one of his queens. The man has an elaborate
kiritam (கிரீடம், diadem on the head), a patra-kundala (rings set with gems)
in one ear and makara-kundala (மகரகுண்டலம், ring in the shape of a makara) in the other. His demeanor
and his diadem indicate his royal status. The other figure, unfortunately, is
now very indistinct. In front of these two is another figure in red, much defaced.
All these paintings, which would rank among the great paintings of India,
are unfortunately greatly disfigured, mainly due to vandalism with in the last
50-60 years.
There are also paintings on the corbels, beam and cornice. On the corbel
are scroll designs with lotuses. The painting on the cornice, which projects
in front of the mandapam, is made up of carpet designs with conventional lotuses.
The surface of the cornice in front of each of the two pillars bears a hamsa
(mythical swan). On the northern wall, below the cornice on a patch of plaster,
are the figures of a trident, fruits and flowers in yellow and red.
PAINTINGS ON THE CEILING
Canopies of different patterns are painted on the ceiling over the two images
in the ardha-mandapam (அர்த்தமண்டபம்). That over Parsvanatha (பார்ஸவநாதர்)
has both natural and conventional lotus flowers, the former in full blossom
against a lotus-leaf background. That over the acharya has only a
conventional lotus-pattern, now very much faded and defaced.
In the centre up to the borders of the carpet canopy is painted an exquisite
composition, ‘Samava-sarana’ (பார்ஸவநாதர்), a lotus tank with the arhat
collecting flowers and animals and fish frolicking.
The famous ‘Samava-sarana’ Composition
Bhavya-s in the tank
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The scenes of this composition are
from one of the most delightful of the Jain heavens. This heaven contains a
hall known as the Samava-sarana, to which the souls of the bhavya-s (பவ்யர்,
‘the faithful’) resort to hear the discourse of the Tirthankara (தீர்தங்கரர்).
Before entering this hall, the souls have to pass through a number of
regions in this heaven, one of which is a lotus pool where fishes, birds,
animals and men disport themselves. The painting shows bhavya-s diverting
themselves in a pool full of flowering lotuses. The flowers with their
stalks and leaves, and the birds, fishes, makara-s, bulls
and elephants are shown with a perfect simplicity, charm and naturalness.
The pose and expression of the bhavya-s shown in the picture have a charm
and beauty, which compel attention. Two of them are shown together in one part
of the tank. One is picking lotus flowers with his right hand and has a basket
of flowers slung on the other. He is represented in a deep red colour. His companion
carries a lotus in one had, the other is bent gracefully, the fingers forming
the mrigi-mudra (‘deer-gesture’). His colour is orange, showing the merit of
the soul. The third bhavya, an extremely beautiful figure, also orange in colour,
is apart from the others. He carries a bunch of lotus over his left shoulder
and lily over his right. The three figures are naked except for their loincloths.
The hair is neatly arranged and the lobes of the ears are pendant.
PAINTING ON THE CEILING OF GARBHA-GRIHAM
 A
repetitive design on the ceiling of the garbha-griham
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The painting above the three images in the inner shrine is intended to serve
as a canopy. The design suggests a carpet, with striped borders and irregular
squares and circles interlinked. Within the squares are conventional lotus flowers,
and inside the circles are crosses with bulbous ends. On the upper sides of
the horizontal arm of the cross are human figures and on the lower sides lions.
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