Sri Lanka and India are interrelated to each other. Both these nations are interlinked in numerous ways, especially in social, cultural religious and linguistic factors.
Sigiriya frescoes (paintings) are excellent in nature and unique treasures of Sri Lanka. It is stated that these famous Sri Lankan frescos belonged to the 5th century AD of King Kassapa’s regime.
The Sigiriya frescoes especially depict beautiful female figures. These female frescoes are exclusively adorned with beautiful jewellery such as bangles, armlets, necklaces and ear ornaments. Even the colour complex of the female figures is seen in different shades. The head dressings of these females are unique.
Generally, the scholars interpret these female frescoes, as divine females and female royal members. Different scholars interpret these exquisite paintings differently, mainly in accordance with their interpretation. Some scholars interpret and emphasise these female frescoes as Apsaras. Some of the scholars interpret these females are on their way to worship a shrine at Piduraangala.
The female painting figures were depicted and adorned with lower waist garments. These exceptional figures are not at all seen in full size. All the figures are depicted with low waist figures. The majority of these female figures are depicted with flowers in hand or holding traditional flower trays in hand to offer to the Gods.
All the female figures are depicted with different facial expressions, different eye focusing positions along with different head positions. Most of the scholars assumed that these female figures must be the royal females of the royal courts of King Kassapa. Still, these paintings reflect and reveal the nature of divine practices of royalty, lifestyle and atmosphere of the selective period.
Another world-famous similar frescoes could be seen at the Ajantha and Ellora caves of India. The Ajantha and Ellora caves are located in the western state of India, Maharashtra. These caves contain 29 rock cuts. It is stated that it belongs to the period of 2nd to 6th century A.D. These cave paintings reveal the divine Buddhist practices at that time.
These caves contain numerous rock-cut sculptures and exclusive paintings. These sculptures and paintings deeply reveal how the Buddhist cultural arts influenced the Indian arts during the selective time. According to historical evidence, these caves were built in two different phases.
The first phrase roughly belongs to the 2nd to 4th A.D century. The second phrase is considered from 4th century A.D to 6th century A.D. The Ajantha caves contain nearly 250 feet length of wall rock. These exclusive aspects of the sculptures and paintings portray the ancient Buddhist monastery and the nature of worship practices of Buddhism in the worship halls.
Another set of rock painting is seen nearly 62 miles away from Ajantha caves. These caves are named Ellora caves. Ellora caves contain the numerous frescoes and sculptures of Hindu, Buddhist and Jain themes. All the Sigiriya, Ajantha and Ellora cave paintings are considered as the contemporary period of Indian and Sri Lankan paintings. And all are closely linked to one another in the style, nature and figures.
Another set of Indian paintings belonged to the Pallava period paintings of South India. The Pallava period in the South Indian chapter reflected the continuations of earlier periods. There is no concrete evidence to support it. The paintings have been dated from the 7th century AD. Among the Pallava kings, Mahendravarman, who was celebrated as a famous painter was called ‘tiger among the painters’. Mahendravarman’s skill in painting was recognised according to a stone inscription. Mahendravarman wrote a thesis on paintings called ‘Thantchana Chithram’. During Mahendravarman’s reign by his order in the famous Chithannal caves, numerous paintings were painted.
Paintings related to dance were painted on the walls. One of the most celebrated paintings is that of Lord Nataraja, the cosmic dancer, at the entrance of the cave. And it is after seeing this painting that the saint Thirunavukarasar Nayanar sang ‘what else is there to see’. The paintings, during the Pallava period, still appear in the Kanchi Kailasa Nathar temple, and Mamandur caves. Following the Pallava period, the paintings received a boost. During the Chola period, in Thanjai Bragatheeswarar temple, numerous paintings were painted on the walls and the roof.
One of the paintings depicts Lord Shiva seated on a tiger skin and watching dance performance of the Apsaras. Another painting depicts, the cosmic dance of Lord Nataraja, watched by the devotees and by the Brahmins on one side, and on the other the ruler Raja RajaChola, and his three consorts enjoying the performance.
In most of these paintings, the expressions are very clear. Tragically the most famous paintings on the walls of the Thanjai Bragatheeswarar temple were damaged by a fire. But efforts were made to resuscitate.
Unlike sculptures and rock inscriptions, the paintings are likely to suffer damages and destructions, due to natural or man made causes. Yet the ancient Sri Lankan and Indian paintings and sculptures have close concrete links with each other.