Lepakshi Temple – Part 7 - Storytelling in Motion: Paintings of the Natya Mandapa

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Following the vivid ceiling murals of the Ardha Mandapa and the painted narratives spread across other shrines and corridors, the focus now shifts to the Natya Mandapa, the dance pavilion of the Lepakshi Veerabhadra Temple. Far more than a stage for performance, the Natya Mandapa is a theatre of visual storytelling, where mythology, legend, royal memory, and cosmic drama unfold in sequential panels across its ornate ceiling.



The Manu Needhi Cholan Panel

Occupying the entrance ceiling of the Natya Mandapa is one of the largest continuous murals in the temple, measuring approximately 18.5 metres by 2 metres. This sprawling panel depicts the famous Manu Needhi Cholan episode, a legendary story of justice associated with the Chola king at Thiruvarur.

According to the legend, the prince, while driving a horse cart, accidentally crushed a calf under its wheels. The grieving mother cow walked straight to the palace gates and rang the royal bell of justice. Upon enquiry, King Manu Needhi Cholan discovered that it was his own son who had caused the calf’s death. In an extraordinary act of impartial justice, the king ordered that his son be crushed under the same chariot, thus sharing the suffering of the cow.

Moved by this unparalleled act of righteousness, Lord Shiva and Parvati descended to the scene and restored both the prince and the calf to life, blessing the king for his unwavering sense of dharma.

The panel features:

  • The calf’s body placed over a six-wheeled chariot driven by two horses

  • The cow standing behind the cart

  • The prince lying in front of the chariot wheels

  • The divine descent of Shiva and Parvati on Nandi

  • And the royal couple, Manu Needhi and his queen, standing in devotion.

The narrative is rendered with clarity and emotional depth, demonstrating the Vijayanagara artist’s mastery in composing large-scale murals without losing iconographic precision.



Draupadi's Svayamvara and Arjuna's Archery

The central ceiling panels of the Natya Mandapa continue this tradition of narrative storytelling. The leftmost section presents scenes from the Mahabharata, specifically the Svayamvara of Draupadi.

  • Kala Bhairava, with eight arms, holding a severed head and bowl, is shown being worshipped by King Drupada.

  • Drupada is seated with Draupadi in his lap.

  • Arjuna is depicted shooting the matsya-yantra by looking at its reflection in water, a scene capturing both skill and destiny.

  • The final part of this sequence shows the marriage of Arjuna and Draupadi.

The layout unfolds like a scroll, guiding the viewer through the sequence of events from ritual preparation to heroic triumph.



Krishna, Virupanna’s Retinue and Shiva’s Wedding

The next section juxtaposes two major themes:

  • On the left, the Vatapatra-shayi Krishna is shown in his infant form, reclining on a peepal leaf and sucking his toe, symbolic of divine play at the dawn of creation.

  • On the right, the temple patrons, Virupanna and Viranna, are shown worshipping Veerabhadra, accompanied by their extended family and attendants.

Following this is a spectacular multi-figure panel depicting the marriage of Shiva and Parvati.

  • Parvati is seated on a raised platform, surrounded by six maidens.

  • Two women with tamburas face her.

  • In the central wedding scene, Shiva and Parvati hold hands, flanked by:

    • Brahma, the officiating priest

    • Ashta Dikpalakas, directional guardians

    • Himavan and his consort, performing the kanyadana

    • Vishnu, with four arms and divine regalia

    • Sadashiva, with five heads and third eyes

    • And an assembly of rishis and deities, all witnessing the celestial union.

The scale and density of this composition make it one of the grandest visual interpretations of Shiva’s wedding in South Indian mural traditions.

Kiratarjuniya: Arjuna’s Penance and Encounter with Shiva

Panels along three sides of the central Natya Mandapa narrate the famous Kiratarjuniya episode from the Mahabharata.

  • Yudhishthira is shown seated in his court with Bhima, Nakula, and Sahadeva.

  • Arjuna, having received his brother’s blessings, departs for the Himalayas to perform penance.

  • A sequence of scenes follows:

    • Arjuna’s interaction with Gandharvas

    • Guidance from Indra

    • Arjuna’s intense tapas

    • Concerned gods approaching Shiva

    • Shiva and Parvati appearing as a hunter and huntress

    • A wild boar appearing; both Arjuna and Shiva shooting it

    • A fierce duel between the two

    • Arjuna’s realization and surrender

    • And finally, Shiva bestowing the powerful Pashupata Astra to Arjuna.

The dynamic poses and dramatic tension in these panels are a testament to the Vijayanagara artist’s ability to blend spiritual allegory with narrative force.

Muchukunda, Chess, Nataraja and the Coronation of Rama

At the centre of the Natya Mandapa ceiling, a mural shows King Muchukunda, the monkey-faced Chola monarch associated with the origins of Thyagaraja worship at Tiruvarur.

To the right of centre, Shiva and Parvati are depicted seated on a pedestal, playing a game of chess, a scene of divine play and cosmic strategy. They are surrounded by sages and gods, observing the game in silence. Next to this is an image of Shiva in his Dakshinamurti aspect, the eternal teacher.

In the adjacent panel, Nataraja is shown dancing within a prabhavali, accompanied by ashta dikpalas and celestial musicians playing flutes, drums, and cymbals.

The final panel at the rightmost end portrays the Coronation of Rama after his return from Lanka:

  • Sage Vashishtha is seated next to Hanuman

  • Sita is seated beside Rama, sharing the royal pedestal

  • Lakshmana, Bharata, and Shatrughna stand in orderly reverence

  • A crowd of vanara chiefs witness the royal ceremony.

Though partially damaged, the panel retains the grace and reverence of this important episode.

Conclusion

The Natya Mandapa of Lepakshi is not merely a performance pavilion; it is a painted epic, where every square foot of ceiling captures a moment from the sacred, the legendary, and the royal. From the justice of Manu Needhi to the Kiratarjuniya duel, from Krishna’s cosmic infancy to Shiva’s divine marriage, these murals exemplify the narrative power of Vijayanagara mural art at its zenith.

The artists, with masterful composition and enduring pigments, transformed this mandapa into a vibrant archive of dharma, devotion, and divine play. As with every part of Lepakshi, the paintings of the Natya Mandapa invite not just admiration, but contemplation.

Happy travelling.

This is the part 7 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

Part 6 - Murals Beyond the Ardha Mandapa 

Location: Lepakshi, Andhra Pradesh 515331, India

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