In , in a note written to the Chief Secretary of the state, Yediyurappa had stated that it was necessary to create a new district citing administrative reasons, and also in the note he added that some parts of the Ballari district were about km from the present headquarters. Singh has said that carving out a separate district will help promote tourism to places such as Hampi, near Hosapete, and overall development of the six taluks, as Ballari district is spread over a large region.
Many within the ruling BJP had criticised the move in , stating the decision to create a new district was being taken under pressure from Singh, in return for his role in BJP coming to power. Singh, one of the 17 disqualified MLAs whose rebellion led to the fall of the previous H D Kumaraswamy-led Congress-JD S coalition government, had cited the demand for a separate Vijayanagara district as one of the reasons for his resignation from the Congress.
The notification has come at a time when Singh is said to be unhappy with portfolios allocated to him during the rejig of portfolios last month, according to BJP sources. Singh, who was earlier the Forest, Ecology and Environment Minister, was first moved to Tourism and was divested of Forest, leaving him with Ecology and Environment.
This was again changed and he got Infrastructure Development, Haj and Wakf. A similar attempt had failed in October after the Reddy brothers threatened to withdraw support to the B S Yediyurappa government, which then had a thin majority, forcing the CM to defer the decision. The move is widely seen as an attempt to wrest control of the minerals-rich region from the hold of the Reddy brothers.
The move to create the new district was cleared after it received support of SC and ST Minister B Sreeramulu, who represents Ballari Rural in the Assembly and is considered a close associate of the Reddy brothers.
The Opposition party Congress strongly opposed the bifurcation of Ballari district claiming that it could lead to linguistic conflict between Telugu speaking and Kannada speaking people in the district. They were built on raised granite platforms with multiple tiers of mouldings decorated with carved friezes. Palaces usually spanned multiple levels and had tall flights of stairs flanked on either side by balustrades carved with yali and elephants.
Pillars and beams were made of wood and the roofs of brick and lime concrete. The courtly architecture of Vijayanagar was generally made of mortar mixed with stone rubble and often shows secular styles with Islamic-influenced arches, domes, and vaults. Vijayanagar sculpture can most commonly be seen in the reliefs, pillars, and monolithic statues of temples.
Its legacy of sculpture, painting, and architecture influenced the development of the arts in South India long after the empire came to an end. The mingling of South Indian styles resulted in a richness not seen in earlier centuries, including a focus on reliefs in addition to sculpture that surpassed that seen previously in India. Preferred for its durability, local hard granite was the building material of choice for architecture; however, soapstone, which was soft and easily carved, was commonly used for reliefs and sculptures.
While the use of granite reduced the density of sculptured works, granite was a more durable material for the temple structure. Because granite is prone to flaking, few pieces of individual sculptures reached the high levels of quality seen in previous centuries.
In order to cover the unevenness of the stone used in sculptures, artists employed brightly painted plaster to smooth over and finish rough surfaces. Sculpture was integrally linked with architecture in the creation of Vijayanagar temples. Large life-size figures of men, women, gods, and goddesses adorn the gopuram of many Vijayagara temples. Temple pillars often have engravings of charging horses or hippogryphs yali —horses standing on hind legs with their fore legs lifted and riders on their backs.
The horses on some pillars stand seven to eight feet tall. On the other side of the pillar are often carvings from Hindu mythology. Another element of the Vijayanagar style is the carving and consecration of large monolithic statues, such as the Sasivekalu Ganesha and Kadalekalu Ganesha at Hampi; the Gommateshvara Bahubali monoliths in Karkala and Venur; and the Nandi bull in Lepakshi.
Painting in the Vijayanagar Empire, which evolved into the Mysore style of painting, is best illustrated in the elaborate wall paintings of temples. In addition to architecture and sculpture, the Vijayanagar emperors were enthusiastic patrons of painting. The Vijayanagar school of painting was renowned for its frescoes of Hindu mythological themes on temple walls and ceilings. The rulers of Vijayanagar encouraged literature, art, architecture, religious, and philosophical discussions.
With the fall of the Vijayanagar empire after the Battle of Talikota in CE, the artists who were under royal patronage migrated to various other places such as Mysore, Tanjore, and Surpur. Absorbing the local artistic traditions and customs, the Vijayanagar school of painting gradually evolved into many styles of painting in South India, including the Mysore and Tanjore schools of painting. Mysore painting, an important form of South Indian classical painting, developed out of Vijayanagar painting and originated in the southern town of Mysore, in Karnataka, during the reign of the Vijayanagar emperors.
Mysore paintings are known for their elegance, muted colors, and attention to detail. Popular themes include Hindu gods and goddesses and scenes from Hindu mythology. The paintings are characterized by delicate lines, intricate brush strokes, graceful delineation of figures, and the discreet use of bright vegetable colors and lustrous gold leaf. More than mere decorative pieces, the paintings are designed to inspire feelings of devotion and humility in the viewer.
The ancient painters in Mysore prepared their own materials. The colors were from natural sources of vegetable, mineral, leaves, stones, and flowers. Brushes were made with squirrel hairs for delicate work, and for superfine lines, a brush made of pointed blades of a special variety of grass was used.
Due to the long lasting quality of the earth and vegetable colors used, the original Mysore paintings still retain their freshness and luster even today. Painted Ceiling, Virupaksha Temple : 15th century painting, depicting scenes from Hindu mythology in red and gold. The most famous of the manuscripts detailing the various nuances of the Mysore school is the Sritattvanidhi, a voluminous work of pages prepared under the patronage of Mummadi Krishnaraja Wodeyar.
This pictorial digest is a compendium of illustrations of gods, goddesses, and mythological figures with instructions to painters on an incredible range of topics concerning composition placement, color choice, individual attributes, and mood. The seasons, eco-happenings, animals, and plant world are also effectively depicted in these paintings as co-themes or contexts. Other Sanskrit literary sources such as the Visnudharmottara Purana , Abhilasitarthacintamani, and Sivatatvaratnakara also highlight the objectives and principles of painting, methods of preparing pigments , brushes, qualifications of the chitrakar the traditional community of painters , and the technique to be followed.
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