Lepakshi Temple – Part 5 - The Painted Ceiling of the Ardha Mandapa

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After exploring the origin of Lepakshi, the sprawling temple layout, and the majestic Veerabhadra and other deities in the previous parts of this series, we now turn our gaze upward...towards one of the most remarkable aspects of the temple: the ceiling paintings of the Ardha Mandapa.

Among the many wonders of the Lepakshi temple, the ceiling paintings of the Ardha Mandapa stand out as one of the most significant contributions to Vijayanagara art. These murals not only exemplify the religious fervour of the 16th century but also offer a rich visual record of themes drawn from Shaiva traditions, epics, and courtly life.

The murals were first recorded in 1912–13 by A. H. Longhurst, who noted their presence but lamented the lack of preservation. In subsequent decades, the paintings suffered deterioration due to leakage, dampness, and neglect. Despite the fading, they remain a critical artistic repository. Art historian C. Sivaramamurti considered them among the most important examples of Vijayanagara painting from the 16th century CE.

Depiction of Shiva in Multiple Forms

The entrance to the Ardha Mandapa is graced by an expansive ceiling panel that presents thirteen forms of Lord Shiva, arranged in sequence from left to right. Scholars differ slightly in their interpretations, but the commonly accepted list includes:

  • Lingodbhava-murti (also interpreted as Markandeya Anugraha-murti)

  • Andhakasura Samhara (Andhakantaka)

  • Yoga-Dakshinamurti

  • Chandesha Anugraha-murti

  • Bhikshatana-murti

  • Harihara (a composite of Shiva and Vishnu)

  • Chandrashekhara

  • Ardhanarishvara

  • Kalyanasundara

  • Tripurantaka

  • Gangadhara

  • Nataraja in bhujangatrasita posture (serpent-like arch)

  • Vrishabharudha-murti

  • and Parvati, who appears at the end of the sequence.

These forms are painted in vibrant natural colors, each with a distinct posture and iconographic detail, offering an encyclopedic view of Shaivite theology.



Fresco Technique and Color Composition

The ceiling paintings are executed on a stucco surface blended with lime water, a technique suited to the climate and surface. The base color is predominantly orange-red, against which the figures are outlined using black limework. The overall composition employs a limited but effective color palette, including ochre, white, green, brown, and golden yellow, contributing to a dramatic yet harmonious visual effect. The contrast between the background and the figures enhances the legibility and narrative strength of the murals.

Ramayana Panels on the Ceiling

Beyond the Shiva panel, the ceiling is divided into narrative sections, some of which portray scenes from the Ramayana.

  • The left-side panels near the entrance are badly damaged, though traces suggest early Ramayana themes.

  • On the right, the storytelling continues more clearly:

    • One section shows King Dasharatha seated on his throne.

    • Another three-tiered panel depicts the Putrakameshti Yajna, the departure of Rama and Lakshmana with Sage Vishvamitra, and further events leading up to the marriage.

    • A third panel, also divided into three rows, showcases the marriage of Rama and Sita in vivid sequence.

These narrative scenes resemble illustrated manuscripts in style but on a monumental scale, rendered directly onto the temple ceiling.

Additional Themes: Myths, Legends, and Royal Life

Other ceiling sections within the Ardha Mandapa contain diverse themes, such as:

  • A cheetah hunt painted in a dynamic composition

  • Forms of Shiva, Vishnu, and Veerabhadra

  • The abduction of Sita by Ravana

  • A celestial depiction of Uma-Maheshvara

  • The Ashta-Dikpalas shown on their respective vahanas

  • The story of Kannappa Nayanar, who offered his eyes to the Shiva Linga

  • The tale of King Muchukunda, and

  • A detailed royal procession featuring richly adorned figures and chariots.

These murals extend the visual narrative beyond the divine to encompass royal devotion, mythology, and human experience.

The Grand Mural of Veerabhadra

The most iconic of all ceiling paintings at Lepakshi is the massive panel in the Ardha Mandapa, portraying Veerabhadra, the fierce form of Shiva created to avenge Daksha’s insult. The mural, which spans 7.7 by 4.3 meters (approximately 24 by 14 feet), is considered to be the largest known mural of its kind in Asia. Veerabhadra is flanked by Virupanna and Viranna, the brothers and builders of the temple, shown in regal attire and devotional posture.

According to C. Sivaramamurti, this panel is even larger than the celebrated Tripurantaka fresco in the Brihadishvara Temple at Thanjavur. Scholar Gopala Rao also refers to this as Asia’s largest mural, further underscoring its artistic and devotional significance.


The ceiling paintings of the Ardha Mandapa offer not just a glimpse into Vijayanagara-era aesthetics, but a full-fledged visual scripture carved in lime and color. From the divine to the royal, from mythology to devotion, every square foot of the ceiling contributes to the living story of Lepakshi.

These murals remain a treasure trove for researchers, artists, and devotees alike, despite the ravages of time, they continue to speak in hues of reverence, grandeur, and imagination.

Happy travelling.


This is the part 4 of my series on Lepakshi Temple. You can read the previous part from the below link:

Part 1 - Lepakshi Temple

Part 2 - Layout of Lepakshi Temple

Part 3 - The Presiding Deity Veerabhadra

Part 4 - The Other Shrines and Deities

Location: Lepakshi, Andhra Pradesh 515331, India

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