The main sanctum of the Brihadisvara temple complex is so constructed that it is surrounded by two walls: an outer and an inner wall, separated by a 1.88 meters wide inner ambulatory passageway. On either walls of the dark and narrow passageway are found exquisite paintings. These paintings were discovered in the 1930’s and were dated as belonging to the Nayaka period. A closer inspection, however, revealed that the walls of the passageway consisted of not one but two layers of paintings belonging to two different historical periods. The original 11th century Cola paintings were superimposed by the later 17th century Nayaka paintings; the second layer had been performed without removing the original layer.

Today, the Cola paintings can be seen on the eastern wall of bay 7, northern wall of bay 5 and on either wall of the bays 9, 10 and 11. The paintings are in the form of panels, depicting various scenes of which some are still discernible- Panel depicting Siva as Daksinamurti set in a forest scene, ... More

The main sanctum of the Brihadisvara temple complex is so constructed that it is surrounded by two walls: an outer and an inner wall, separated by a 1.88 meters wide inner ambulatory passageway. On either walls of the dark and narrow passageway are found exquisite paintings. These paintings were discovered in the 1930’s and were dated as belonging to the Nayaka period. A closer inspection, however, revealed that the walls of the passageway consisted of not one but two layers of paintings belonging to two different historical periods. The original 11th century Cola paintings were superimposed by the later 17th century Nayaka paintings; the second layer had been performed without removing the original layer.

Today, the Cola paintings can be seen on the eastern wall of bay 7, northern wall of bay 5 and on either wall of the bays 9, 10 and 11. The paintings are in the form of panels, depicting various scenes of which some are still discernible- Panel depicting Siva as Daksinamurti set in a forest scene, the events in the life of Sundaramurti Nayanar, the worship of Siva as Lord Nataraja by Rajaraja Cola and his queens, Panel depicting Siva as Tripurantaka and a portrait of Rajaraja Cola with sage Karuvur Devar. The Cola paintings are in Fresco technique where the pigments are integrated into the lime plaster applied to the walls.

The paintings in the passageway of the Brihadisvara temple are the only remaining examples of Cola paintings that we have today. It is apparent from the lines, bodily postures and the expressions on the face in the Cola paintings that the artists were equally skilled in handling both human forms and nature.