The Surapur style of painting is a unique artistic tradition of the Kalyana Karnataka region, which comprises seven districts in the northeastern part of Karnataka. Artist and history lover Rahman Patel says, its history is about 400 years old. “It emerged during the reign of Bedar Nayak, who ruled the Surapur kingdom between 1636 and 1858. From the founding king Gaddi Pidda Nayak to the Surapur kings and their successors such as Hasrangi Pamanayaka, Immadi, Venkatappa Nayak and Mummadi Devendra Venkatappa Nayak encouraged the art in their courts,” he says.He says this tradition was at its peak during the reign of King Nalawadi Venkatappa Nayaka, who ruled the state between 1843 and 1858. He further said, “After 1858 this art lost its patronage.” The roots of original Surapur (or Shorapur) painting are a fascinating blend of survival, royal patronage, and a unique “hybrid” aesthetic. Shorpur or Surpura is a historically important town in Yadgir district, known for its role in resisting British rule. Surapur painting did not emerge in a vacuum, but was probably the result of artists fleeing the crumbling empire to find a new home in northern Karnataka.“These paintings are believed to have gained popularity in the region when a group of painters moved there after the disintegration of the Vijayanagara Empire following the Battle of Talikota in 1565,” says the online encyclopedia managed by the Bengaluru-based Museum of Art and Photography (MAP). According to the MAP website, the painting style is very similar to the Mysore and Tanjore styles, including the use of gesso, bright colors and embellishments such as gold leaf and semi-precious stones. The convergence of styles may have occurred in the turbulent years following the Battle of Talikota. When the Vijayanagara Empire declined, its leading artists dispersed and sought new courts to support their art. It is possible that Mysore welcomed some, Tanjore welcomed some, and a significant contingent eventually reached Surapur.Surpur paintings were initially created as murals or miniatures on white paper, wood and other surfaces. “Natural colours, stones, leaves and clay were used to make the miniatures. These were brought from Rajasthan. Now this is also done on canvas, usually in 6×8 size, using acrylic paints,” says Rahman. He further said, although the heroes gave priority to paintings of themselves and the gods, scenes from the Ramayana and Mahabharata also received priority in the works of his time.Banaiya Garudadri, considered to be the master of Surapur painting, was a prominent artist in the court of King Venkatappa Nayaka. His works are displayed in various museums. Rahman explains, “Scholar Jaya Appaswami has recognized his legacy in his works. The Surapur style shaped by Garudadri blends Deccani, Mughal and South Indian aesthetics, distinguishing itself from the Mysore and Thanjavur traditions through its spiritual depth and distinctive visual language.”The second Banaiya Garudadri was posthumously awarded the National Award for Master Craftsmen by the President of India in 1967.Artist Vinod Raghuveer says that Surpur art was studied by veteran artists like Vijay Hagargundagi for decades. “Despite its limitation of being practiced by only a few artists, Surapur painting can be seen hanging in the Salar Jung Museum of Hyderabad, the Jaganmohan Palace of Mysore and the National Crafts Museum of Delhi.”The office of the Development Commissioner (Handicrafts) brought out a coffee-table book on Surpur paintings in 2025.