Lepakshi Temple – Part 6: Murals Beyond the Ardha Mandapa

After exploring the celebrated ceiling paintings of the Ardha Mandapa in the previous part of this series, attention now turns to other painted spaces within the Lepakshi Veerabhadra Temple. Scattered across subsidiary shrines, corridors, and ceilings, these murals extend the visual narrative of the temple and reveal the richness of Vijayanagara imagination beyond the main hall.

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A Treasure of Color and Faith

Within the sacred precincts of Lepakshi lies a remarkable pictorial archive that chronicles both divine mythology and courtly refinement. The murals, executed during the reign of Achyutaraya (16th century CE) under the patronage of the temple builders Virupanna Nayaka and Viranna, represent one of the most accomplished phases of Vijayanagara painting. They combine devotion and artistic mastery in equal measure, blending mythic storytelling with minute ornamental detail.

Though centuries of exposure and occasional retouching have altered their surface, the paintings continue to radiate their original vitality, each figure, gesture, and motif still echoing the devotional spirit of the age.

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The Raghunatha Shrine

Among the most fascinating painted spaces is the Raghunatha Shrine, located adjacent to the Veerabhadra Sanctum. The roof of this shrine is arranged in three horizontal rows, each containing three panels. The themes are drawn from Vaishnava traditions and Avatars of Vishnu. Depicted across these panels are:

• Narasimha, the man‑lion who destroys Hiranyakashipu

• Parashurama, the warrior sage wielding his axe

• Rama, shown with bow in hand

• Krishna, engaged in playful grace

• Lakshmi‑Narayana, the divine couple

• Kurmavatara, the cosmic tortoise supporting Mount Mandara, and

• Matsyavatara, the fish incarnation guiding humanity through the flood.

These compositions combine serenity with motion: each form outlined in strong lines and softened by earthy tones, creating a rhythmic visual hymn to Vishnu.

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The Shayanagara

The ceiling of the Shayanagara, or resting chamber, is divided into three painted panels. The central panel depicts Uma‑Maheshvara, while adjoining scenes portray Shiva seated in sukhasana posture and a temple sanctum housing a Shiva Linga. The composition conveys repose and contemplation, qualities befitting the function of this chamber. The figures are large yet composed, painted against subdued ochre and red backgrounds that highlight the divine calmness of the setting.

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The Circumambulatory Path

Paintings also adorn the pradakshina patha that runs between the Veerabhadra Shrine and the Raghunatha Shrine. Though many are weathered, the surviving fragments retain their narrative force. The panels illustrate:

• Uma‑Maheshvara seated on Mount Kailasa,

• Shiva on Kailasha amid celestial beings,

• Narasimhi, a fierce goddess form,

• Venugopala, playing the flute amidst cowherds,

• Durga as Mahishasuramardini, slaying the buffalo Asura,

• Bhairava, the terrifying protector,

• Sadashiva, representing the eternal five‑faced form,

• Kaliya‑Mardana, Krishna subduing the serpent, and

• Ganesha, the auspicious remover of obstacles.

Together, these murals form a circumambulatory scripture in color, guiding the devotee through a path of visual meditation while walking around the sanctum.

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A Chronicle of the Vijayanagara Aesthetic

Across the Ardha mandapa and subsidiary shrines, the Lepakshi murals weave together episodes from the Ramayana, Mahabharata, and Puranas, transforming the temple into a vast illustrated manuscript of sacred history. Despite the passage of time, they preserve the distinctive Vijayanagara style,expressive eyes, flowing lines, rhythmic balance, and strong narrative focus.

These murals were conceived not merely as decoration but as acts of devotion, merging architecture, sculpture, and painting into a single artistic continuum. Each scene reveals the cultural sophistication, spiritual fervour, and technical brilliance that flourished under Vijayanagara patronage.

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Conclusion

The lesser‑known murals of Lepakshi, spread across the Raghunatha Shrine, the Shayanagara, the circumambulatory path, and even the carved pillars, expand the temple’s visual universe beyond the celebrated Ardha Mandapa. They remind the viewer that every corner of this monument, whether carved in stone or painted in lime, contributes to a unified vision of sacred art.

Through these enduring colors and forms, the temple continues to narrate the spiritual and artistic grandeur of 16th‑century Vijayanagara, standing as both a shrine and a gallery of divine imagination.

Happy travelling.

This is the part 6 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

Part 5 - The Ceiling Paintings of Veerabhadra's Ardha Mandapa