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[Full title: Venugopala, Vijayanagara, Tiruvilimilalai/Thiruveezhimizhalai, 16th century]

Cf. Plate 22.

The second panel is another favourite theme, °­á¹›á¹£á¹‡a as ³Õ±ðá¹Ðê²µ´Ç±èÄå±ô²¹ playing the flute with his right leg crossed against the left. The weight of his body is resting on the left foot, the ³Ù°ù¾±²ú³ó²¹á¹…g²¹ or the tri-bend of °­á¹›á¹£á¹‡a making the figure very charming. The face is exquisite and the entire delineation is done with great charm. The kalpa tree, almost twining around, forms as it were an arch above the head as a half creeper and half tree, a combination of °ì²¹±ô±è²¹±¹á¹›ká¹£a and °ì²¹±ô±è²¹±¹²¹±ô±ôÄ« as a favoured mode in many Vijayanagara and ±·Äå²â²¹°ì²¹ representations of ³Õ±ðá¹Ðê²µ´Ç±èÄå±ô²¹. The rapt attention with which the cows and calves listen to the divine music, with the face turned towards the divine musician in a deep gaze, standing still without the least movement, is indeed a commentary on the melody of the celestial music.

Gallery information:

This plate is contained in the book “Vijayanagara Paintingsâ€�, a valuable aid to the understanding of Indian iconography (also known as Å›¾±±ô±è²¹Å›Äå²õ³Ù°ù²¹). The Vijayanagara empire was established in 1335 by Harihara, Harihara, Kaṃpa and Bukka (sons of Saá¹…gama) and grew to be a dominant power in the South. Painting has been considered in the CitrasÅ«tra of the Viṣṇudharmottara, the early standard text on painting, as the premier art.