MURAL TREASURE HOUSE oF SETHUPATHIES
The Sethupathi bore the responsibility of protecting the
Ramalinga Vilasam is the important landmark in reflecting our Indian culture. Tradition has it that the pilgrims, who make a visit to Rameswaram, necessarily pay a visit to this palace to complete their religious bows.
Ramalinga Vilasam displays on its wall murals datable to 18th century which are still extents. The front’s portions of the Palace houses a Mahamandapa in front and inter connecting Mukhamandapa beyond which lies the Palace portions of royal personages. All are situated in the Ground Floor.
A flight of steps leads to the first floor. The first floor houses a larger room and other flight of steps leads to second floor and to the terrace. On the walls and ceiling of ground floor arches one can see many panels of colorful murals. They represent various facets of historical details in color.
The art of painting has been referred to it sangam literature variously as screen painting, wall painting etc. Of these; those picturised in the wall remains in the fore front. In deed they are a real challenge to the present day painting. The paintings of yore were a true reflection not only of the art of those days but also in true picturisation of historical events. The painting one seen in the temples represent the mythological aspects in great details. Hence they are religious in content rarely do we come across historical details and social aspects.
The mural of Ramalinga Vilasam however represents faithfully the life and times of Sethupathi Kings, the wars they participated, their queens and some representation of their private lives too
In these murals the portrait of one particular Sethupathi king has been repeated several times and he identified as Muthu vijaya regunatha Sethupathi in the labels. The artist who painted these murals gave priority first to creating the scenes and the explanatory labels were written only later. The scripts were written either on the top and bottom of the concerned panels first in black and then in white.
In certain panels the labels were in red oxide. The labels were written in running fashions. On the completion of sentences certain marks were shown. These shows that the label notes were the handy work of several people. In places were Sanskrit words were used, the corresponding Tamil phonetics were written in conversational style.
SELECT MURUALS FROM THE PAINTINGS
A. HISTORICAL INCIDENTS
On the left wall of Maha mandapa is picturised a battle scene between Tanjore Maratha king Serfojee and Muthu Vijaya Regunatha Sethupathi. Both are waging the war seated on their elephants, Sethupathi nephew Suryanarayana Devar is fighting on horse back. Cannons were used in the battle. Each cannon has a separate name engraved on it. The next panel soldiers use their rifles. Another panel depicts a Britishers operating the cannon. In the next panel portion, Vijaya regunatha Sethupathi is shown riding the bedecked horse with spear in his hand.
In the next scene Vijaya Regunatha Sethupathi and his queen are shown seated on their throne. Three English men are sitting before them. Their hats and coats are drawn in Western European style. These scenes represent a conversation between the king and foreigners. Beneath this panel is portrayed the welcome accorded to the Christian missionary in his traditional dress by a soldier of the king.
Another panel depicts Muthu Vijaya Regunatha Sethupathi welcoming a royal figure. They were shown seated each carrying a flower in his hand. The royal personages were shown in rich decoration. Two soldiers are shown carrying diamond ornaments on golden plates.
A panel in the interior pictures Muthu Vijaya Regunatha Sethupathi seated on a throne. The Madurai Nayak king Vijaya Regunatha Chokkanatha Nayak showers rubies on the Sethupathi
B. RELIGIOUS SCENES
The various temples the Sethupathi kings patronized like
In the intermediate Muhamandapa the tales of lord
Scenes from the Bhagwat Purana were done in the left side western wall of Maha mandapa and Scenes from Ramayana were done in Muha mandapa wall. Scenes like the birth of lord
The centre Ramar piths have several arches and all sides’ carry paintings.
The Ramayana panels do not portray the parasurama episode in balakanda and it concludes the portrayal of Rama’s marriage with sita. Probably the subsequent scenes of pathos should not be portrayed. The artist should have though in that fashion.
The Ramayana panels commence from the east. The important panels like the arrival of sage rishyasringa, the yaga scene for the birth of a son, the birth of four Princes , their education , their mastery in archery, the arrival of sri Viswamitra, Rama and Lakshmana following the sage Viswamitra to the forest ,death of Tadaka, Ahalya’s emanicipation etc and ends with Sita’s marriage.
C. SCENES FROM SETUPATHIES LIFE
A scene depicts Regunatha Sethupathi receiving the scep’ter from his titular deity Rajarajeswari. The attire and ornamentation of the king is done in Mughal pattern. Beside him is ported the queen. The throne of Rajarajeswari is done is European Fashion. The son of Sethupathi is also shown.
Another panel shows the sethupathies worshiping Lord Vishnu. The deity is shown with four hands and Lakshmidevi is standing beside Lord Vishnu. The king along with his queen is shown worship being the deity bare headed.
Another panel depicts Vijaya Regunatha Sethupathi hearing the story of Ramanaya from an elderely person. A palm leaf in front of Sethupathi beats legend Sri Rama Jeyam in Telugu character. In each and every panel Muthu Vijaya Regunatha Sethupathi is shown in different dresses. Once scene shows the king enjoying the dance performance. Both the king and dance were dresses in Mughal pattern. A panel shows the king being carried on in a palan quin by female attendants.
Music and dance parties was shown preceding the Palanquin. The next panel picturised the sethupathies as Manmatha (Lord Cubid) carrying a sugar cane bow. He is aiming an arrow made of flowers at his concert who is decorated like Rathi seated on a swan.
Next panel shows the king seated on the throne, Two European shows there respect to the king. One of them is saluting the king in that fashion by removing his cap and the other is carrying royal tribute on a plate.
The next on shows the lady decorating herself in front of a large mirror and a servant maid is shown holding the mirror
The bed room murals portray Vijaya Regunatha Sethupathi enjoying sexual pleasure in various poses.
One panel shows the king enjoying the water sports in a tank swimming with the company of girls.
One panel depicts the king performing the Kolatum dance with the company of girls. Yet another panel portrait the king and the queen as Rathi and Manmahtan seated on parrot and swan. The pecularity in the scene is that the parrot and swan are made up of lady attendants.
A scene depicts the queen drawing the figures of yali and the king admiring the painting.
One Interesting scene shows the king enjoying the drink along his queen. The bottles in different shape sizes and colors are quite musing. A scene shows three ladies performing the veena recital in front of the king and queen.
Two girls are doing dance performances. Another three girls are playing other musical instruments. The episode of Sethupathi kissing a sweet heart in various poses is also portrayed.
Another panel showing the Sethupathi in the garb of a hunter and the lady attenders spraying water colors on one another.
The fighting episode of Sethupathy along with his queen is also neatly done.
Such a treasure houses of 18th century mural painting hosted a confrontation between Kattabomman and Jackson.
Due to ravages of time and ignorance of visiting public the painting to has received a drubbing and disfigurement.
The Tamilnadu states Department of Archaeological took over the Treasure house from the late Ramanatha Sethupathi to preserve it for posterity. Now, the treasure house stands in majestic splendor and open to public.
Courtesy: TNSDA
Paintings found in Ramalinga vilasam
