kerala Traditional Mural Paintng
1
2
kerala
Traditional
Mural paintng
3
Documented By Priya.H Photography By: Priya.h Guruvayure Mural painting Institute Vanamali Mural Kerala State Institute Of Design 2020 4
Kerala State Institute of Design (KSID) was found to
create
new
designs
to
enhance
the
work
of craft men and find a new market for their products. It creates a vibrant design community in Kerala, India through a synergistic partnership between artisan community, professional designers and the general public. T his project establishes an understanding and appreciation of India’s rich
PREFACE
cultural heritage and vast vocabulary of craft techniques. T his
also
evaluates
the possibility
of extending the traditional craft techniques to contemporary application. T his is documentation made on the traditional mural painting of Kerala by visiting multiple worksites and directly interacting with craft persons. T he area has to be focused in Guruvayur. T his study is limited by restricted entries
in
temples
and
time
constraints.
T he
authenticity of content can be questioned as data is collected by word. Even-thing is true to my knowledge and understanding.
5
AKNOWLEDGEMENT
6
Research on the mural painting was a door to a new world of colors and wonders. I landed into a world of travels and stories. T hen I love to thank everyone who helped me to complete this document and shared their knowledge and experience. K U Krishna Kumar, Guruvayur Devaswom Institute of Mural Painting, Abhilash Swastik Mural Painting, Vijin Govind, Shyla Kunnuppalli Mural artist, Panilckassery, Sas’, Indian school of arts, Babau T hurathil, Kaladi Sree Sarvakalashala of mural painting institute. Google maps helped me to plan my trips. I like to thank all who gave food and accommodation during my journey in search of this wonder. Especially, Abilash and Safallya, Babu Chettan and my parents who trusted and supported me for my journey. I thank KSID for giving me this chance to explore and learn.
7
contents Introduction
11
Indian paintings
13
T he History of MuraPainting About Kerala murals
17
Revival
19
Traditional Painting Methodology
28
Tools used in mural painting
29
30
Wall making process Application of each
colour
33
T he Types of Brushes and process of making
41
Painting Process
50
Six stages of painting 8
14
52
Men and women in mural painting
59
T hemes and Styles
60
Contemporary Painting Methodology
65
guruvayur mural painting
66
Behind Guruvayur mural painting
68
History and myths of guvayurtemple
70
through mural painting Institute of Mural Painting
76
Mural Artists
87
Ornaments and their character
96
Understanding about mural painting
115
Observation
118
Conclusion
119 9
Kerala mural paintings are the frescos depicting Hindu
INTRODUCTION
mythology and legends, which are drawn on the walls of temples and churches in South India, principally in Kerala. Ancient temples and palaces in Kerala, South India, display an abounding tradition of mural paintings mostly dating back between the 9th to 12th centuries CE when this form of art enjoyed royal patronage. Latterly, Christian churches near BVM college Cherpunkel in Kerala have commissioned mural paintings with Christian subjects in the local style. T he scriptural basis of these paintings can be found in the Sanskrit texts, Chithrasoothram by Vishnudharmottara of the sixth century, Tantrasamuchaya, the fifteenth century text authored by Narayanan, Abhilashitartha Chintamani of the twelfth century and Silparatna by Sreekumaran of the sixteenth century.Iconography of the mythological character
10
in
murals
are
based
on
the
Dhyanaslokas
T he mural paintings of the Guruvgyiir temple are the besttraditions of the Hindu temple art. T he Kerala region has shared in thedouble discovery with difference that this era of neglect has vbeen much shorter than that of other regions. Occasional items have beenfound there going back to ninth century A.D.T hough comparativelyrecent in age, these murals have a special significance. In that theybelong to an exclusive school of artists, whose technique andworkmanship is considerably different from other regions.
11
INDIAN PAINTINGS
Art @ Abhilash kodissery 12
In Ajanta we can see seven caves each having 60 sq.ft. area. T he ancient paintings of Ajanta is believed to have been taken place around BC 200 after the decline of Mourya dynasty. By this time Satavahanas had become strong powers here. We have got some proof to the effect that the paintings of Ajantha pertains to 1200 or 1300 B.C. T he inheritance of Ajanta is believed to be procliamaing the remains of a golden era. T he Ajantan caves were discovered by a retired British Army Captain in the year 1819 while he went out for hunting to the near by forest of 127 the State of Maharashtra. T hese caves must have been utilised by the Budda monks for meditation. Not only on the wall but also in the chambers and even on the pillars the paintings have been effected.
13
HISTORY OF
“
i MURAL PAINTING Mural is delivered from the latin word murus which means wall , .Mural painting refLects
When
14
we
the feeling of Indian spirituality , through the age of old mythologies
examine
the
phase of time some changes
history of Indian portrait we
took
can see that those portraits
portrait.
were drawn by ancient people
included the acquainted figure
on
interior
of different animals and such
places of the dwelling houses.
other objects. T he portraits
Later due to the transitional
which are found out in certain
the
cave
walls,
place
in T he
the
art
of
portraits
places 1880 the
near are
Mirzapur
supposed
ancient
portrait
to
“ in
be
based
on some available evidences to
that
effect.
India
mainly
on four centres there were a large number of caves.
.
T he first rock painting was found
out
from
Quarry
Admagarh
Shelter
near
Hoshanagabad . Such paintings
were
available
from
50 different centres which were inhabited by our ancestors.
T hese
places
are
located around Pochamadhri known
as
Mahadev
Hills.
T he figures of Singanpur and Kabrapahar were found out from Madhaya Pradesh. Such examples
have
been
found
out from the river banks of
Likhunia, Khobar, Mahrara, Bijayagarh and Bhaldaria in Uttarpradesh and also from Suavely in Mirsapur and
Mankipur
District.
in
Flat
stones
where
Bonda shining
ordinarily
seen in T he Vindhya mountains. the
T hese
redoxide
stones of
washaematite 115
used
T he tilings jected
to
in
pigment where
mix
paintings which
and
paints. included
wer6
pro-
ordinary
life.
“
A
picture
received
from
Likhunia
indicates a man who is
hunting
elephant a
horse
also
a
wild
sitting back
another
on
and
man
latching a large bird. In Mahararia Shelter a
pig
wounded scene
wild
painted.
“ 15
Art @ Abhilash kodissery 16
ABOUT
KERALA Kerala, known as “God’s own country”, is
situated
coast
Kerala
of
religious
has
on
the a
the
Indian
rich
influence
south-western
subcontinent.
assortment
in
the
of
crafts
which is continued and secured for traditional and cultural retention.
It
holds the second place in having the
largest collection of archaeologically significant mural sites after Rajasthan.
17
Kerala
mural
paintings
are
the
frescos
maintained an unequal mastership on the art
depicting Hindu mythology and legends, which are
drawn
on
the
walls
of
temples
which is primarily brought out through the
and
rock
churches in South India, principally in Kerala.
Christian
patronage.
churches
Cherpunkel
in
near
Kerala
BVM
have
Latterly, college
commissioned
mural paintings with Christian subjects in the local style. T he scriptural basis of these paintings can be found in the Sanskrit texts, Chithrasoothram the
sixth
by
century,
Vishnudharmottara Tantrasamuchaya,
of the
fifteenth century text authored by Narayanan, Abhilashitartha Chintamani of the twelfth century and Silparatna by Sreekumaran of the
sixteenth
century.Iconography
of
the
mythological character in murals are based on the Dhyanaslokas We can see a unique history of the art of paintings in Kerala. In 18
olden
days
the
people
of
Kerala
had
belongs
example of mural paintings found in Kerala
9th to 12th centuries CE when this form royal
which
the ancient examples in this regard. T he first
paintings mostly dating back between the enjoyed
paintings
T hiruvananthapuram district are treated as
India, display an abounding tradition of mural
art
T he
to Mesolithic age, found in Perumkidavilla of
Ancient temples and palaces in Kerala, South
of
carvings.
pertains to Marayoor rock paintings in Idukki
KERALA
MURALS
district. As to the period of these paintings the historians hold different opinions. But the period is supposed to be from upper Paleolithic to early historic period. T he surface had not been arranged before painting during those days. T he paintings had been done without any preparation of surface. T he paintings of 8th century A.D. found in Tirunandikara cave walls are considered as the best paintings. Since Tirunandikara paintings, we see a wide gap of five centuries as the subsequent paintings are seen taken place after five centuries. Paintings belonging to 14th and 15th centuries are available subsequent to this period. In 17th and 18th centuries the art of paintings reached its climax. But in 18th century the
history of paintings is seen disrupted to a certain 81 extent. In 19th century this art is seen completely disappeared which makes us assume that the social structure during those days boycotted the artists and they sought some other jobs for livelihood. Miniature paintings and oil paintings became popular in those days. T he paintings of Rajaravivarma (1848 - 1906) and K.C.S. Panicker were highly popular. Mineature and oil paintings were the means of earning money in those days
Art @ Abhilash kodissery 19
20
T he mural paintings were done by collective
partment of India in 56 different centres
18
efforts not as a result of a solitary effort.
enlightened the various factors in this
18
T he paintings of Gajendramoksha belonging
regard. In Kerala the survey has been
Taliyil 17-18
to
18th century seen in Krisnapuram is
taken place in the following centres. 1
nam 17-18 84 . Aymanam
an example for excellent paint ings in the
Padmanabhapuram Palace T hucklay 16th .
temple
16-17
Vasudevapuram
history of paintings in Kerala. In the half
Rock cut cave T hiruandikara 9th century
temple Aymanam 17-18
Govindapuram
of 20th century Guruvayoor and Aranmula
Vishnu Temple T hiruvattar 15th century
Temple
devaswom opened study centres for the
. Sreekrishna temple Neyyattinkara 13th
temple Ettumanoor 17-18 Si. Subrahmania
uplift of learning the art of mural paint-
C
swamy temple kidangoor 17
ings. T his traditional art of paintings are
Brahama Temple Mitranandapuram 16thC
puram
now a days taught to the students who
. Vishnu Temple Mitranandapuram 18thC .
17 . Mahadeva temple, Vaikom 14-16 .
have deep interests in that field on the
Padmanabhaswami temple 14thC . Krish-
Pazhur Siva Temple, Piravam 17
basis of a study package. T he remainings of
napuram Palace Kayamkulam 18thC 1. An
tanchery
the mural paintings are being protected by
Article M. Velayudhan Nair, Conservation
wamy temple Elankunnapuzha - Vypen
Government agencies such as Archeologi-
Offier, Regional Conservation Latrartory,
17
cal Department of Kerala and Archeological
Trivandrum. 83
Narasimhaswami temple
ple, Cheranallur 16,17 . Sankara narayana
Department of India on parallel lines. T he
Munnoothimangalam Niranam 16th & 18th
temple Nayathode, Angamaly 17 . Syrian
said agencies protect t . For want of prop-
C . Panayannarkavu temple Mannar 16th
Jacobite Church Akparamb, Angamaly 16
er protection some paintings are completely
& 18th . Siva Temple Mannamcherry 17th
. Kafijoor church 17-18 . Orthodox Syrian
ruined. A new generation that deeply loves
. Parathasarathy temple T hiruaranmula,
Church Mulanthuruthi 13 . Syrian Catholic
and understands the significance of the art
Chengannur 17th
Church Udoyamperoor i6 . Kunnumpuram
of mural paintings has to come up. T he sur-
Church Chepped 13th
vey conducted by the 82 Archeological De-
. Subrahmanyaswami temple perunn 17-
T hrivikramangalamT hamalam 18thC .
St. Georges Orthodex Pallyakkara church
Vishnu temple Gauthamapuram 17Cheriya palli, Kottayam
Siva Temple
Vishnu temple T hrikoditha-
Arpukara
Kudavechoor
Vislinu
Valkom
temple
Palace
Subrahmanya
17
Siva
Pundreeka-
T haleyoaparambu
16-18
Mat-
Subrahmanias-
Vishnu Temple 18 85 . Durga Tem-
Church Fort Cochin 18 .• Sankaranarayana temple Peruvanam 18
Vadakkumnath
temple 86 T hrissur 16-18
Siva temple,
Chemmanthita 16. Muduvara temple Puzhakkal 16. Krishna temple, Narayanakulangara Vadakkumuri 17 Vettikkavu temple peramangalam 19 Siva temple Mundur 19. Sri Rama temple Triprayar 17-18 Vishnu Temple Panjal 18 Siva temple Panjal 17 Siva temple, Cherukannapuram Vadakkanchery 18 biva temple 87 Killikurrissimangalam 17-18 T hiruvegapura temple 18 Bhagavathi temple T hirumadamkunnu Angadippuram 18 / . Siva Temple Kottakkal 18 Bhagavathi temple Kollam, Quilandi 17-18 Bhagavathi temple Balusseri 17-18. Pisharikkavu temple 14-16 Kalliampalli temple 14-16 ) Sreekrishna tWemple Timhambaram, 17-18
Taliparambu
WWWTemple
at
Taliparambu T hoodeekalam
17-18 he paintings by adopting various chemical methods and analysis and other useful methodsComparing to Ajantan paintings tliese paintings are excellent in colours they are beautiful in line sketch.
T his
art
was
made
prosperous
and
extensive with helps of various factors. T hese factors may be political, social, communal,
religious
etc.
T he
art
developed mainly in peaceful atmosphere under
the
eminent
rulers
who
loved
various arts including the art of niural paintings. Comparing to costal area and mountain places excellent paintings are mostly seen in central part. T he impact of bhakti movement is seen behind this progress to a certain extent and even amidst
of
the
conflicts
between
local
rulers and the foreign invasions. T hough in 16th and 17th century we can see a rapid progress in the field of paintings. In
the
sudden
18th
century
depression.
there After
destines the
a
invasion
of Tippu Sultan the major revenue of temples
were
controlled
by
British
rulers. T hese resulted in a poor economic conditions as far as the temples are concerned. T he encouragements of arts
Art @ Abhilash kodissery 21
22
became drastically impossible due to
for the protection of the painting.
the above negative forces. Due to the
For encouraging the art of painting
unfavourable
the
in Aaranmula and Guruvayoor two
paintings were wet and got ruined.
academic institutions were started.
T he lack proper maintenance resulted
T he
in heavy loss of their beauty and the
was
paintings on the temple walls thus
form
lost
Ramayana
for
climatic
ever.
T he
conditions
loss
was
also
mural in
paintings
existence
of
art.
as
T he
and
a
Kerala
traditional
legendaries
Mahabharata
whether
of temples and palaces. T he theme
were
done
adequate details are propounded by
churches centres round the stories
various literary works. T hough various
of Bible. T he lifestyle as well as art
techniques
activities
in
those
of
the
the
people
walls
of
Kerala
had
conclusion that the same techniques
by epic stories like Ramayana and
had
Mahabharata.
put
to
use
at
the
time
of painting. T he raw materials used
paintings
were often disfigured and discoloured
of
due
these
tremendously
of
books, we have no proof to come to a been
been
on
walls
of
narrated
seen
the
using the same method as to 89 which
are
paintings
on
are
mostly
paintings
painted
of
resulted by old age. We do not know the
seen
in
T he
included stories.
influenced
theme the In
of
the
characters Kerala
cast
independence,
system and untouchbility had been in
the Central Government and State
previlence. Even then the influence of
Government took adequate measures
Hindu thoughts were highly extensive.
to
okJage.
After
Regardless culture and education the
,
low class people as well as high class
Krishnanattam,
people had choosen different stories
are had become popular. T he mural
in accordance with their standards
paintings are the exposition of some
and
paintings
etc.
fabricated stories ot rural legendaries. Imaginary goddess and asuras were
songs
incarnated
different
kinds are
of
basing
T hirayattam,
Raman�attam
on
ornaments
done
T heyyam,
this stand- 90 ards. In the devotional and
were
Kathakali,
adornments
narrated.
T he
Among
through
these
murai
paintings
paintings.
the
birth
of
thoughts of all artists were more or
Rama, Bheema, Hanuman Siva in the
less the same. Religions were made
form of Kirata, T he Jealousy of Ganga
friendly for the subsistence art and
and Uma etc. T he art forms existed
literature. Places attached to temples
in temples got enormously developed.
were choosen for art exhibition^ T he
From
walls
of
mural
mural
paintings.
temples
were
Many
choosen
for
them
century
paintings
B.C.
the
originated
in
art
of
Kerala
had
and reached its zenith in the 16th
been ruined. Some of them are still
and 17th centuries. T he art of painting
kept in tact. In Kerala different kinds of
and the art of culture got developed
focal and imaginary. stories had been
paraH^.
spre^dedTsome
expand eyes due to heroism, love and
of
of
10th
them
relates
to
T hey
were
dramatical.
T he
the Kirata story of >6iva, Arjuna, T he
hatred
Story of Bhima. Hidimba etc. Relying
which 1. Stella Kramsisch. T he Arts
on
of
these
stories
leather
toy
play
were
Kerala
the
usual
Kshatram,
expressions
Paico
Publishing
23
House, Madras 1970. P.48 91 had been
Most of the legendary characters had
conveyed
worn crown ornaments bangles etc. like
T hese
to
us
paintings
uniformity
in
had
all
paintings. a
the characters seen in Kathakali. But
India
the expressions P^e^TKajKi, “fedf^e not
claimed
part
of
variations
seen given to these characters. T his is
due to local touch and influence. In
the notable difference seen in Kathakali
Kerala they were unique with certain
and
modifications
conducted by the Central Archeological
irrespective
of
certain
Bhima
and
Hanuman
paintings.
According
to
a
survey
the
Department about 60 characters are
story Kalyanasaugandhikam. So also
found out in Kerala. Many of them are
the Goddess Parvati become jealous
highly attractive. Some characters are
where
seen
were
treated
the
as
brothers
Mohini
in
incarnation
of
repainted
and
some
others
are
Vishnu joined with Siva. T he same
blurred. Basing on the themes the mural
jealousy
paintings of Kerala can be classified into
she on
24
through
occurred
found his
Siva
head.
in
Uma
carrying
Parasurama
when Ganga
created
4
categories’.
1.
Kapila
Vatsyayan
-
T he Arts of Kerala Kshetram. Published
terror towards Srirama. Siva who
by
rendered Arjuna to testing, the slain
College
Sriramavarma
of
Committee,
Govt.
Sanskrit
Tripunithura
1989
who
P. 17 92 1. T he incidence of Ramayana
incarnated in the form of Narasimham
) 2. Siva, Vishnu in the form of Mohini,
are the main incidents of paintings.
Parvathy who stares ai oiva anu oanya
T he wall surfaces of temple are seen
with
used to narrate the above stories.
On the southern sides of inner shrine
Hiranyakasipu
by
Vishnu,
anger,
Narasimha
and
Hiranyal.
different l<inds of pictures are painted. T he
God
Sadasiva
with
five
heads.
Kiratasiva, Akhorasiva, Bhil<satanamurti, Ardhanarisvara,
Bairava
are
different
forms of Siva which are made subject to the theme of paintings. So also the
â&#x20AC;&#x153;the art of mural paintings originated in Kerala and reached its zenith in the 16th and 17th centuriesâ&#x20AC;?.
stories of Dasaradha and the object of each incarnation of Visnu are exhibited in of
Vaisnava Sri
painted.
paintings.
Padmanabha
T he are
pictures differently
Santanagopala
Guruvayurappan,
moorthy,
f^ahalaksmi,
Vishnu,
Gajendramoksam etc. have been painted. T he praising of Srirama, Srikrisnalila play of
Krisna
the
incidence
of
Ramayana
from birth to coronation are among the paintings. From the above it is to be assumed that Uthararamayana has been abandoned for the purpose of painting. Putanamoksam,
Kaliyamardanam,
iifting
of Govardana Mountain, stealing of the robes of Gopa ladies are painted.
25
26
Art @ Abhilash kodissery 27
Revival Although the traditional mural artisans were under
the
patronage
of
various
rulers
in
Kerala, under British administration the art form suffered enormously, even at the danger of
extinction.
After
Indiaâ&#x20AC;&#x2122;s
independence
in
1947, a revival of mural tradition in Kerala took place as major temples in Kerala. T he Centre for Study of Mural Paintings, a school established by Guruvayur Dewaswom Board in the T hrissur district of Kerala under the chief
instructorship
of
Mammiyoor
Krishnan
Kutty Nair, represents this revival phase, as does the Sree Sankara Sanskrit College in Kalady .
28
28
Traditional Painting Methodology: T he
wall
and
the
is
prepared
images
are
for
painting
sketched
out
free-hand using cow dung ash mixed with coconut water or water. outlines
were
originally
done
T he with
cow dung pencils, called Kittalekhini. T he by
shading
is
symbolizing
adeptly the
colorized
characteristics
separately for each god. T he colors are
indigenously
obtained
from
the
extracts of the leaves, roots, earth, and stones. T he colors are generally painted beginning with lighter colors.
red, green, blue and brown (mixed red and yellow). White is by no means used, except for the prevailing white spaces which are retained during the initial
coating.
On
shading,
black
is
used to delineate and bring life to the portrayal. T he painting is over-coated with
pine
resin
and
oil
for
sheen
and protection. T he five fundamental colors used for painting of murals are prepared from mineral pigments and vegetables like leaves, fruits, stones, and ores.
T he order of coloring is firstly yellow,
29
also eco-friendly due to the materials used in the T he five fundamental
colors used for painting of murals are prepared mineral
pigments
and
leaves, fruits, stones, and ores. blended
in
a
wooden
bowl
vegetables
like
T he colors are
along
with
tender
coconut water and extracts of the Neem tree. T he wall is prepared by application of various coatings for a durable, robust and clear layout, set for painting the mural. materials
used
for
require the following,
30
painting
T he tools and raw of
Kerala
used are yellow, red, green, Kadukka
murals
black and white
(Mussels)
• Wooden bowl for mixing of
• Burnt husk
colours
• Tender coconut water
Kerala Murals are aesthetic in appearance and
the
• Five colours or Panchvarna
• Extracts (Juice) of
mural painting
from
painting)
sand • Water
Tools used in
various stages of painting.
• Plaster consisting of lime and
• Extracts of Neem tree • Turmeric powder • Soot • Acrylic Paints (contemporary
Green is obtained from the extracts of a local plant called Eravikkaraor from mixed dried and powdered red leaves of Neela Amari (Indigofera) (blue in colour) and Eruvikkara leaves (yellow in colour) are used in different proportions for shades of green. Black, from the soot of the sesame oil which is collected inside a mud pot or burnt husk.Yellow is obtained from turmeric powder or from fine ground laterite stones which is used for yellow and red, which is filtered and dried. Red from the minerals like a mixture of lime and turmeric powder.White is obtained from lime.
31
2 32
Preparing the Wall A mixture of crushed limestone and sand is stored for about three to four days. T here are three stages of the preparation of the wall. First Stage: T his mixture is blended with water and a molasses solution. T his mixture of lime, sand, water, molasses solution (dissolved jaggery) and juice ofKadukka (mussels) is mixed well and this rough plaster is evenly applied on the wall.
33
34 4
for the preparation of the wall, first, we have to clean the sand and lime.then it mixed, after mixing and water contains jaggery, the juice of Marabulam, and the extract of Sicius Coka
called
â&#x20AC;&#x153;Oonjalvalliâ&#x20AC;?
on
malayalam.then
the mixture beats it well.it kept wet for a week. during plastering the wall, the mixture is applied as the first stage.
35
36 6
for
the
second
layer
preparation, the sand and lime mixed and it grinds well, cotton is added to make the mixture smooth. then ground well to make it smooth, cotton absorbs the
pigment
applied plastering
when
.and from
it
is
prevents peeling
off.
37
getting the paste of sand, lime, and cotton. when
the
first
layer
of plastering is dried, the
second
done.wall
is
stage
is
allowed
to dry, tender coconut and
lime
wash.
8 38
for
a
third
39
10 40
Mural and punchavarrna In history, architecture and murals date back to the same period.it was mainly seen on the walls of the palace and temples.for this painting they prefer natural colors that extract from the leaves and vegetables.mainly they using five colors for mural painting. T hese colors are known as Panchavarna.each color of Panchavarna replicates the Panchabootham like yellow for fire, red for the earth, green for water, white for air, blue for the sky. T he preparation of walls and colors as well for mural painting. the colors are obtained from generally three different sourses, minerals, plants, and chemicals. here there is a sequence for applying colors such as yellow,red, green, blue, black.
41
T he yellow pigment obtained from the stones or turmeric and which grinded thoughly and mixed with water.
12 42
43
T he red pigment obtained from the stones and which ground thoroughly and mixed with water.
44 14
45
16 46
the green pigment obtained from the leaves of Neela Amari which is mixed with Eravikkara gum.
47
black is obtained from a cotton
wick
which
im-
mersed in oil, and it burnt
48 18
49
Application of each
colour
White: white color is the wall color itself. while painting they maintain the white blue and green color they never use white paint during their painting process.it mainly used for highlighting and ornamental details.in the mural, some Murthies have the white color. Red
and
yellow:
red
and
yellow
obtained
from
the
stones
and
washed
thoroughly and ground maximum manually on a grinding stone it mixed with water, which is decanted slowly the remaining part of the pigment again mixed with water and process of decantation done repeated and make sure that there is no unwanted residue along with the pigment. then the solution is kept undisturbed for a sufficient time to get separated as water on the top and pigment at the bottom. without disturbing the pure residual pigment at the bottom, the water is poured out.the residual pigment dried and ready for use. the prepared powder pigment kept separately
.the quality of color
essentially depends on the selection of stone, accuracy, proper cleaning and decantation.yellow color has been used in all type murals at the earliest time.
50 20
blue and green blue is obtained from the leaves like Neela Amari (indigo) mixed with eravikkara get the green colour.it leaves are squeezed and squashed well to get a guice that dried up for use it having greenish-blue color.it mixed with eravikkara.for getting deep green eravikkara added should be more, for light green eravikkara added is more.green color can be prepared by mixing Chinese blue(kattaneelam) with
eravikkara
instead
of
the
indigo
plant.
Black Black is the basic principle color of mural painting.it is the only non-mineral coloure which is effectively used in mural painting.in mural paintings, black outline or patches of black or black outline is used in indicate eyes, hair, outline of the figures and objects etc.black is obtained from a cotton wick which immersed in oil, and it burnt the smoke of the oil is collected inside the surface of an earthen pot kept upside down over the flame. the lamp black deposited on the surface and it scratched it out and it mixed with the appropriate quantity of water and neem glue before the painting is done. the neem glue is obtained from the neem bark by making cut on the stem.which is left and unused for a week. 51
T he Types of Brushes Used Originally were:
T he brushes the artists use also have their characteristics. T hey use only three types of the brush- flat, medium and fine. To make the flat brushes, hair behind the ear of calves is used. T he medium brush is made from the bottom of the goatâ&#x20AC;&#x2122;s belly and fine brush from delicate grass. Grass-like, Eyyam Pullu, a local leaf is treated. Currently, animal hair brushes are used.
22 52
53
54 24
For the traditional mural painting of Kerala. the brush is made of arrow grasses .the grass is mostly found in a less populated area, like near the lake or mud. it can be found outside Kerala also. the soft arrow grass is collected and moistened.this grass is collected at a particular age. then it is boiled in cow milk.it has to be dried in shade.
55
56 26
57
28 58
Painting Process T he wall is ready for painting and the image is sketched out. T he sketching is done using cow dung ash mixed with coconut water or water. Outlines were originally done with cow dung pencils. T he pencil is made from cow dung called Kittalekhini.
Bamboo
sticks
are
used
for outlining and grass blades and tree roots are commonly used as a brush. T he size of the brush varies as per requirement T he shading is adeptly colorized by symbolizing the characteristics separately for each god.
T he col-
ors are indigenously obtained from the extracts and
of
stones.
the T he
leaves, colors
roots, are
earth,
general-
es which are retained during the initial coating. On shading, black is used to delineate and bring life to the portrayal. T he painting is over-coated with pine resin and oil for shine and protection. T he traditional methodology of drawing mythical figures on the floor was called Dhuleechitramor powder drawing, using natural pigments, which is called Kalam (Kalamezhuthu). T his ritual art is practiced in temples and the sacred grove of Kerala with symbolizing the idols like Kali, Lord Ayyappa, etc which are made on the floorings, commonly using five colors. T here are about six stages to Kerala Mural paintings, they are as follows:
ly painted beginning with lighter colors. T he order of coloring is firstly yellow, red, green, blue and brown (mixed red and yellow) White is by no means used, except for the prevailing white spac59
s
ix
stages
of
mural painting
30 60
It
takes
T he es ma,
six
mural are
stages is
Lekhya
Vartana
for
created Karma,
Karma,
a
mural
painting
systematically. Rekha
Lekha
Karma,
Karma
to
T he
and
complete. six
Varna Dvika
stagKarKarma.
T he sketch for the whole painting is made in the first stage and the second stage is for enhancing these outlines. It is in the third stage of the painting where all the colors are filled, making it look alive. T he fourth stage deals with shading and the fifth one deals with final outlines. T he last stage is exclusively for giving the painting some finishing touches.
First Stage: Lekhya Karma â&#x20AC;&#x201C; Stage of sketching using a pencil or crayon. initially yellow used fifor outlining after red used to detailing the sketch
61
Second Rekha
Stage: Karma
â&#x20AC;&#x201C;
Outlines made on T hird Stage: Varna Karma - Painting with colours of the human figures depending on the characters and common qualities. divine 62
and
noble
Green is used to represent
characters
(Saatvik);
the sketches
T here order
is
in
an
mural
painting
.yel-
low,red,green,blue and
black.black
used
for
is
outlining
the figure, its called â&#x20AC;&#x153;mashiezhuthuâ&#x20AC;? malayalam. of
red
in
shades
represents
power and wealth (Raajasik), mean
lowly
characters
(tamasik)
are
depicted in
white
and demons in black. Spice grains
and are
Paddy also
used for colouring.
63
Fourth Stage: Vartana Karma - Shading is done. Fifth Stage: Lekha Karma usually painted in
-Final outlines of
the
painting,
black.
Sixth Stage or the Final Stage: Dvika Karma - T he final and the finishing touches are done to the painting. mural artists they prifering shades in different ways. most of the mural shadings are based on the dot way .(colour is pointing by using the edge of the brush.),the fifinal process isthe eye opening.in malayalam “kannutheliyikkal”fi A painter depicts images of gods and goddesses embodied in myths, texts, hymns, meditations, etc., in order to create an image, with the dimensions and colors necessary for them. T here is much to be done while doing the painting of god.it is said in our puranas that we must obey these rules. T hus creating paintings in this way the artist could have good things in the future else it can harm the same. “Salakshanam chithramushanthi danyam Deshasya karthurvasudadipasya T hasmath prayathnena salakshanam thath Karyam naraithna parairathavath”
64
Men and women in mural painting T he mural depicts five masculine features and four female features
depicted in the sree
Vishnu Dharmarotta Purana .padmini, chithrini, shangini, and hasthini are used in the female sketching.the female characters belonging to the padmini category has narrow breast . characters in Ashtalaksmi, saraswathy,Parvathy etc comes in thesecategory.T he characters in chithrini category has narrow waist and round breast .dancers ,sakunthala ,seetha devi ,hamsadamayanthi etsbelongs these category.T he characters in shangini category has longface and
Neck with conical shape and strong body.women in
the ajantha paintings belong these category.T he characters in hasthini category has fat body is natural.dwara kali,the monsters are belong these category.Hamsam ,badram, malavyam, ruchakam, etc are the male featers.Hamsam chategory of men belongs to attractive colored eyes, moon-colored and round hands, a beautiful face, a beautiful waist and a strong body.A man of good fortune is a man with a lotus flower, rounded hands, bearded hair and a noble face belong to the badra category .ministers , gandarva,gods etc are in these category. Dark complexion, hands reaching up to the knees, a fat body and a puffy nose are belongs to malavyam category. T he monsters,kinnara etc are example of these category.A man with white face and curly neck, strength, intelligence and integrity are belongs to ruchaka category. Danavar, yakshn etc are example. Red eyes, red eyes, red eyes and intelligence male belongs to sasaka family. Premauga individuals, Vaishyas are example.
65
T hemes and Styles
T he portrayal of the Hindu pantheon of gods and goddesses were drawn from their metaphors in the invocatory verses or
‘dhyanashlokas’.
T he
backdrops
of
these paintings were greatly embellished with flora, fauna and other aspects of the nature.
Anantasayanan,
Krishna
with
Lekshminarayana,
Gopis,
Nataraja
as
• T he common themes are of various Vishnu,
Ganesha
and
manifestations of Siva. • Characters and scenes from Christian mythology. • Scene of the battle fought between the
armies
of
Tipu
Sultan
English East India Company. 66
with indigenous colours, the order of painting the mural with limited colours and the outlines of “Ra Ra Ra” of the gods and goddesses from the Hindu pantheon are a treat to the eye.
volumes.
Dakshinamurthi, Sastha on hunt etc. incarnations
T he peculiarities of Kerala Murals are the process of making the colours
• T he peculiarity of Kerala Murals is the elaborate eye which speaks
Few T hemes noted are: •
Style:
and
the
• Shading is predominantly packed with dots depending on the shading pattern. • Merely five colours are used; although now blue is introduced. • T he backdrop is constantly red. • T he background painted in red is coated as per the required shade and is dotted with a mix of red and brown. • T he white area is for all time retained with the background coat itself. • T hroughout the image as well as at the borders a particular design is used called “Ra Ra Ra”.
Contemporary Painting
Methodology:
In
due course of time,this art has
transformed
with
easily
available
brushes purchased from the commercial market and the shading of the original colours can be distinctively noticed. T he use of blue colour is also noticed over the passage of time.
A shift from the
walls to asbestos, plywood, cloth, paper and other frames can be noticed for aesthetics and effortless rationale.
T he
contemporary mural painting consists as
follows:
• Turmeric powder
• Availability of ready-made canvas
• Soot
• T he drawing is traced out
• Acrylic Paints (contemporary painting)
• T he outlines are drawn with red (on
• Five colours or Panchvarna used are
the canvas)
yellow, red, green, black and white
• Ready-made acrylic colours are used
• Wooden bowl for mixing of colours
Water • Extracts (Juice) of
Kadukka (Mussels)
• Burnt husk • Tender coconut water • Extracts of Neem tree
67
G uruvayur 78
T he mural paintings of the Guruvgyiir temple are the best traditions of the Hindu temple art. T he Kerala region has shared in the double discovery with difference that this era of neglect has vbeen much shorter than that of other regions. Occasional items have been found there going back to ninth century A.D.T hough comparatively recent in age, these murals have a special significance. In that they belong to an exclusive school of artists, whose technique and workmanship is considerably different from other regions.
69
Behind the guruvayur mural painting
T he techniques of this painting differ from place to place, from people to people, from time to time. It mainly depends on the materials found in the vicinity of the worker and on the capacity to make use of them. T he mural paintings of the Guruvayur temple are the one of the traditions of the Hindu temple art. T he Kerala region has shared in the double discovery with difference that this era of neglect has been much shorter than that of other regions. Occasional items have been found there going back to ninth century A.D. T hough comparatively recent in age, these murals have a special significance. In that they belong to an exclusive school of artists, whose technique and workmanship is considerably different from other regions. T he mural painting of the Sanctumâ&#x20AC;&#x2122;s exterior wall profusely covers the Mahabharata stories. Parts of its left front face painting is fadeless looking on which mark the name of its own painter. It is to take on the basis of its niches idols as like of the Vishnu on the north. . . Siva on the south, and the distinguishing 70
features of Vishnu on the west. T he figure of Vishnuis
71
in a fully grown diverse scene of His Avatars’. It covers the early life of Kashna ; sleeping back of the guards in the palace ; as a baby lying in the cot looking at the mother; Yashoda’s action of taking Him ; lying on a baniyan leaf sucking the toe of His leg held by the hand ; as a winsome boy ; full of fun ; Krishna . a is surrounded by the friends ; stealing milk and butter from the neighboring cottages ; fighting with the elephant ; (kdiyamardhanam); stealing the garments of the gopis ; represented as comfortably seated on the apex of the tree, and the slaying of asura by the infant Krishna. T hen on the western side the painting includes Krishna’s killing of Kamsa, an elite group which includes Vasudeva, Devaki and Brahmans. T he peaceful looking painting of Bhisma’s is in an extremely beautiful sight. T he journey of rakurama with the axe painted in a true way. Among these, the picture of the writer of this story - Vylsamuni is done in a good manner. T he figure of Vaisqavi with four hands in which the lower right hand and left hand hold the lotus and the upper right hand chakra, the left hand sanka are also taken in both west and south walls. T he landscape full of trees and ponds, is attractively pictured. T he concluding stage of the Yaga is 72
73
depicted. More rituals and ceremonies are shown. Garuda, the vehicle of Vishnu, is clumsily presented. While turning towards the south we can see the figures of the goddess. T he painting of the Kali is in an extreme divinity. Saraswathi striking the best music instrument Veena in a soft manner, and then ) the sacrament music instrument of the god Siva are all a good picture. siva is painted here as like the nicheâ&#x20AC;&#x2122;s idol. sivaâ&#x20AC;&#x2122;s standing under the tree showed a safari look. T he goddess Vaisnavi of the same manner of the west is also painted here. All the pictures are excellent and are suited to the idols 1 niche. T he vahana of Siva is fully satisfactory in its appearance. T he dress, eagerness, anxiousness, quiteness, sizes
of
all
are
proportional
to
its
colour,
body
and
climate. T hat is the reason for its interest way of looking. T he traditional colours used in this art are red ochre, yellow, green, blue, white and black. Sometimes blue is also
used.
T his
traditional
style
mural
art
form
uses
natural pigments and vegetable colours. T he subjects for the painting, derived from various Vedic texts, are not a fanciful representation but drawn from the description in the invocatory verses or dhyana slokas.
74
75
History and myths of Guvayur Temple
T hrough mural painting
76
T he city dwaraka was submerged in the flflesh deluguethat set in. T he idol Worshiped by Vasudeva and Devaki Was seen directing in the Watertossed up and down by the mountanious waves .At the approch of Guru angd vayu , the god of the seas varuna withdraw the water leaving the idole ashore .Guru picked up the idole and placed up the varuâ&#x20AC;&#x2122;s shoulders. and they set out in search of asuitable sacred place.they met parashurama on their way.T hey arrived at the rudra theeram.lord sivs and Parvathy was already there.
siva asked both
Guru and vayu to
install the idol and he said this place will known as â&#x20AC;&#x2DC;GURUVAYURâ&#x20AC;&#x2122;
Sangaracharya
Parasurama
77
poonthanam namboothiri(AD 1547-1640),Auther
of ‘NJANAPPANA’......Great
devottee of sree Guruvayurappan...and as a writer of pure malayalam he stand next to cheiussereri
Manjula was a veru pious Girl belonging
to
the
varier
cast
.every
night
she used to comre to the
temple with Garland to the Lord
korooramma
great devote of Krishna .Born in the
village of paraurAD1570-1640
78
Melpatture sanskrit
NarayanaNa
Scholar
‘NARAYANEEYAM’
,poet
Battathiri(AD1559-1632) angd
the
Auther
of
the big temple fire that was happened in the year 1970 nov 29
Chembai
vaidyanatha
Bhagavadar....
great karnatic singer and musician.
Prince Manavedan of kozhikkode great scholar and ruler.who composed nad wrote KRISHNANATTAM
79
Guruvayur Keshavan
80
few paintings of Guruvayur
81
Institute of Mural Painting T he
Guruvayur
Devaswomâ&#x20AC;&#x2122;s
Institute
of
Mural
Painting
was established in the the year 1989. National Diploma is awarded to students on successful completion of training for 5 years. Students are given stipend. At present the center is functioning in the Sathram Canteen Block. It was a fire mishap in the Guruvayur Temple Complex in the year 1970 that actually paved the way for the setting up of this institution. T he fire damaged the Sreekovil ( Sanctum Sanctorum) and the paintings on the three walls were also destroyed in the incident. When the walls were to be decorated again with paintings as a part of the renovation, the authorities found that artists who could do such work were few. However those artists who were deputed to do the work like veteran Mural Painters Mammiyur Krishnankutty Nair,
Pattambi
Krishna
Varier,
M.K.Sreenivasan
and
K.K.
Varier completed the job satisfactorily. T he authorities, art lovers and artists got together to think of ways of preserving the mural paintings. T he result was the establishment of the Institute of Mural Painting by the Guruvayur Devaswom. T he Institute of Mural
82
Painting at East Nada of Guruvayur temple gives coaching in mural painting in the traditional Gurukula Pattern. T he five year National Diploma Course offers training in Fine Arts for the first two years as a preparatory course after which the students are given three years specialized coaching in traditional Kerala Mural Painting. T he qualified candidates are selected after an aptitude test and interview. T he selected students are given scholarships and also have free hostel and mess faculties. T he admission to each batch is restricted to ten students. Along with studio and practical work, the prescribed syllabus includes Art history( Indian and Western) Aesthetics, Sanskrit and silpa Texts. Dhyanasloka classes are also conducted. Teaching aids include slide films and visual props. Periodical exhibition of paintings, camps, workshops , seminars, discussions, study tours etc also form the part of the curriculum. T he Institute has a good library. T he late Sri. Mammiyur Krishnankutty Nair, a well known Mural Artist, was the first principal of the Institute. After his death, Sri.M.K.Sreenivasan succeeded him.. Now, Sri.K.U.Krishnakumar is the Principal and Chief Instructor of the Institute. T he course has been intended to revitalize the invaluable tradition of Mural Art. these exquisitely painted panels adorns the walls of the institute. T he A collection of
83
artists of this Institute have been participating and working at national level exhibition and camps. T he authorities also accept commissioned work keeping the rules and regulations of guruvayur devaswom. T he Institute played an active role in repainting many Murals as a part of ongoing renovation and restoration work. Address: Guruvayur Devaswom Institute of Mural Painting ( Chumar Chithra Padana Kendram) East Nada Guruvayur Guruvayur Institute Mural Paintings
84
Guruvayur Devaswom Institute Of Mural Painting
Bali sugriva ydham
Surasa, Hanuaman
Lankadahanam Hanuman
85
86
Mammiyoor Mammiyoor Krishnan Kutty Nair. Mr. Nair spearheaded the revival of mural art in Kerala. Popularly known as Krishnan Kutty Asan, Mr. Nair was the founder-principal of the Institute of Mural Painting under the Guruvayur Devaswom (managing authority of the Guruvayur temple). T he setting upof the institute was prompted by the difficulties faced by the Devaswom inrepainting the fire-damaged ancient murals of the temple. It was Mr. Nair who led the team that repainted these murals.T he paintings and drawings done by Mr. Narare displayed in themural institute. Established in 1989, the institute has produced several young talents.T he institute is located near the eastern entrance of the Guruvayur temple. T he temple, an important pilgrim centre of South India, is in the T hrissur district of Kerala.
87
K.U. Krishnakumar,
principal of the Institute of Mural Painting in Guruvayoor
“In Kerala, to some extent, art kept religious dissensions at bay,” says mural artist K.U. Krishnakumar. “For example, at a Siva temple in T hrissur, you see mural paintings with Vaishnavite themes. Similarly, at a Vishnu temple in Guruvayoor, there are scenes from Siva Puranam.” “In 1970, a fire damaged the murals at the Guruvayoor temple. When the temple authorities tried to get them fixed, they found there were very few mural artists left, with whose help the paintings were restored. But the Devaswom felt more people had to be trained in the art. So in 1989, with help from the Kerala Government, the Devaswom started
88
the Institute of Mural Painting. Here, a five-year diploma in Fine Arts is offered, of which two years are dedicated to Kerala mural painting.” Krishnakumar, who belonged to the first batch of students, is now the principal of the Institute. His guru was Mammiyoor Krishnan Kutty Nair. “One of the earliest murals in South India is seen in the Tirunandikkarai temple in Kanyakumari district, dating back to the 8th century,” says Krishnakumar. “T he period between the 14th to 16th centuries is said to be the golden era of mural painting in Kerala. In fact, critics such as Stella Kramrisch, Ananda Coomaraswamy and Sivarama Murthy have marvelled at Kerala murals.” (painting on progress) 89
90
Both pictutre indicating the same moorthees but the nature of painting is different.one using achrylic and one using natural colour.Here, the medium also changed.
91
Five layers
T he architecture in Kerala temples follows the â&#x20AC;&#x2DC;panchamalaâ&#x20AC;&#x2122; pattern. T he mandapam of the sanctum sanctorum, or the Sreekovil as it is called, has five layers. T he first layer is the Bhoothamala, with carvings of ogres and demons. It also shows human beings engaged in daily activities. T he mrigamala shows animals foraging for food, fighting with each other, mating and tending to their young. T he pakshimala is a depiction of birds, and the vanamala has scenes of the forest. Below these four layers, and between the carved wooden pillars, is the space that is covered
92
by mural paintings â&#x20AC;&#x201D; Chitramala. Talking about the process involved, Krishnakumar explains that the walls have to be first prepared before one does the murals. T he walls are given a rough plastering with a mixture of lime and sand, the juice of kadukkai or the juice of a creeper called chunnambuvelli and dissolved jaggery. T hen a smooth plaster is applied. T he ingredients are the same as in the case of the rough plaster, except that at this stage, cotton is ground together with the other ingredients. After 10 days, 25 to 30 coats of a mixture of quicklime and tender coconut water are applied.
93
94
T he
T hemes “Murals can be seen in churches and palaces too. In
the
palaces
at
Pad-
manabhapuram,
Krishnapuram,
Kayangulam
in
and
the
Dutch
palace at Mattanchery, one can find exquisite murals. In churches, the T he method of Kerala mural painting is described in
Narayanan’s
and
Tantrasamuchaya
Sreekumaran’s
Silparatna
(15th (16th
century) century).
“T he themes aren’t always religious,” he explains. “Sometimes, there are scenes from Kalidasa’s Abhignyana Sakuntalam.” “T here are temples with mural paintings in almost every district of Kerala,” Krishnakumar says. He has done mural paintings for the T hiruvanantha-
themes
are
exclusively
Christian. You can see murals in the churches at Velur, Kanjur, Angamali, Koraty, Ollur, Pazhanji, Akapparambu,
Kothamangalam
and Kottayam.” Kerala mural painting started as temple art, but took a secular route,
showing
that
art,
like
music, is a unifying force .
puram museum and the Indian Navy at Cochin. 95
Image ( chithra)is the natural expression of all the entities in the trilogy.these are three type, Shapes made so that all members can see from all sides called chithra. Built on a wall
ORNAMENTS AND THEIR
CHARACTERS
that looks half as tall as the wall surface these type shapes are called
artha chithra.
For flat-painted forms that look like a picture called predibhasam Paintings and semi-paintings of wood, metal, lime, brick, stone, etc., were acquired by artists who learned and learned from their surroundings. T he paintings, called â&#x20AC;&#x2DC;Chitra Bhabasamâ&#x20AC;&#x2122;, were painted to match the color of the painting on the limestone pradala. Eye makeup has great advantages in male and female form. T here are five types
of eyes ophthalmologically.
chapakrithi,malsyodaram, ulpalapathram,pathmapathram these are the five type of eyes.
95
chapakrithi
malsyodaram
ulppalapathram
shangakrithi
pathmapathram
97
Preciousness is also in the composition of the hair .T hick, dark and embellished hair. kunthalam,thrangam,dakshina,vartham,vardaram,juddasarm,simha,kesaram these are the different type of haires.
98
Decorations were used as part of beauty in Kerala murals. T he paintings used by ancient people as part of their aesthetic concept were later utilized in painting.muthumala,kathila,pushpamala,vanamala these are some ornaments. T he neck decoration was modified according to the authorâ&#x20AC;&#x2122;s design.for this they using round face and fioval face. Manima la is also used as a border design to distinguish each image. e form.
99
Ornaments T he decorations used in the Kerala murals based on the dhyana slogas. T his included periodic changes and decorations.ornaments, crowm,nagafanam,manimala, mashippuvu,veeralippattu etc are used in mural paintings. Also, once the image is painted, some suitable shapes are drawn. Elephants, horses, cows, bulls, apes, deer, lions, tigers, mice tese animals and birds like Peacocks, parrots, flamingos, and trees ,lush ,sea ,skyand lotus creasing the beaty.some decorating ornaments are given below.
100
are also used for in-
101
102
103
104
105
106
107
108
kachavaal
kathilpoove
ottanakku
109
110
11
112
113
Finishing process
(kannu theliyikkal) unmeelanam
is the last and fififinal ritual of mural painting.drawing of eye is
a life-giving ceremony
of murthy or form of main subject of the picture. T he
painter is given a brush ,Is said to do the unmeelanm on the painting. When this is done in temples, there will be jingles, karpuradana and namajapa will happen.
114
Understanding about mural painting Today
people
painting
to
refer
any
to
mural
painting
which
is painted in style of old mural painting.
It
can
be
on
canvas,
paper, wall, day or cloth. Even the medium has changed from natural colours
to
acrylic,
watercolour
or oil painting and brushes from natural to synthetic. T hey started to use more colours other than basic
five
colours
of
traditional
painting.” ““ “T here is limitations on paintings which can be placed at
home. Paintings with idea of
anger for
and
houses.
war
is
not
Sringaram
suitable (Krishna
and
Raclin),
Athbhutam
and
Santham are the ones which is used at houses. Veeram has
to
be
(Shiva)
worshipped.T here
specific directions
is
assigned for
paintings in temples. According to Marlcandevan, there is nine Rasam (emotions) in painting. ‘Sringaram”, `Karunam”,
‘Hasyam”, ‘Veeram”,
“Raudram”, “Bheevalsyane,
“Bhayanakam”, *Atbhutam”
and
“Santham”. Emotion of character can be read from the eve. For example those who
are in fear
or needy will have eyes in shape of lotus petal.
T hose who are
in anger and pain will have eyes in shape
of “Sangu”. Kunthalam
(straight), dakshivartham (wavy), tharangam (curly), simhakesaram (spread), vardharam dasaram
are
different
hairs. Eyes can “Chapam” (fish), lilly
(bow),
“Ambal petal),
and jooda kinds
of
be in shape of “Malysodaram” dalam”
(water
“T hamara
dalam”
(lotus
petal) and ‘Sans* (conch).
Each
body
pan
has
assigned
measurements for male and female. T he basic structure of characters in the painting are the
same.
Characters has different colours 115
assigned to them.
It is based
everyone. T his prominent character
Kerala murals were simply based
on their `Gunam” or “Bhavam”
is highlighted for the person. “
on
(quality).
“Temple
subjects
Gunam is fundamentally
paints
the
dedicated
this
iconography. like
Similar
Annapoorneswan;
divided into three, T hamogunam,
gods according to the description
Krishnan and Vishnu can be found
Swathika gunam and Rajo gunam.
in .dhvanashlokas”. Dhyanashlokas
in different places in Kerala. But
gunam”
are
the
is
represented
with
white colour. Kali and Shiva
praises
to
God.
It
was
style
is
different
are
initially written in Sanskrit and
churches
associated with this.People with
came to Malayalam. It describes
stories
like
`Swathika
be
the weapons and number of hands
Painter
takes
Ganapathi
of God. Weapons which are used
painting based on stories. Fishes,
it is represented
to attack will be in right hand
snakes, tortoises and lotuses are
in green colour. People with higher
and those for protection will be
drawn to represent water body.
‘Rajogunam” will have anger and
on
In
proud.
with
and “shoolam” will be in right hand
might
kings. And they are represented
and shield will be on left hand.
in
in red colour. Vishnu is believed
It also gives hints on where the
are highly ornamented. Shiva is
to have rajo gunam. Everyone is a
god is situated, whether he is
with
mixture all these three gunams. It
on seat or flower. T his picture
ring), Vishnu and every god with
is just that one will be prominent in
represents the God and temple.
“vaishnavamsam”
calm
and
gunam”
quite
and Muni. And
116
T his
is
like
would
associated
left
hand.
`marlate,
sword
may
Christian
church not
temple
have
baptism more
paintings, have
Christ
freedom
in
characters
ornaments.
paintings,
“sarpa
of
biblical
But
characters
kundalam”
(snake
(element
of
Vishnu) (Fish
with
ring),
kundalam have ring)
Durga
and
“gaja or
“makara
kundalam’
the great sage Narada. Insulted
are mighty heave, little Krishna
normal
by this behaviour, Narada cursed
pulled it forward; the force of the
might
them thus: You shall remain as two
pull uprooted the aces and they
(elephant
trees in Gokula forever.’ Hearing
crashed to the ground.
with
Bhadrakali
kundalam’
“simha
(lion
this, the wives of Nalakubera and
ring). Vishnu with manja (yellow)
Manigreeva fell at the sage’s feet
pattu , Shiva with yellow and
and asked him to forgive their
green pattu and Devi with yellow,
husbands and take back his tune.
green
pattu.”
Narada relented and said, ‘Acura
““ ““ “Sri Krishna liberated from
once given cannot be retracted. It
two Arjuna trees, the two tom
can only be modified or lessened.
of Knbera who in their previous
Your husbands will be released
lives, had been turned into trees,
by Lord Vishnu himself when he
by Naiads% curse. T his it their
incarnates
store
happened
was dragging the wooden-mortar
that these two brothers named
to which he had been tied by his
Nalakubera and Manigreeva were
mother Yarhodha. Ar. he passed
so enamored of their wives that
between
they did not notice the arrive/ of
are
and
“
red
“Once
kundalam”
veerali
it
so
a:
the
stuck
in
Krishna.”
trees,
“Krishna
the
between.
roots
“ ““Temple paints the dedicated gods according to the description in .dhyanashlokas”.”
Walls 117
OBSERVATION With time, most of the traditions mural artists followed were lost. Artists began to use colors and brushes easily available in the market. Even the use of colors other than â&#x20AC;&#x2DC;Panchavarnaâ&#x20AC;&#x2122; has been noticed. Along with this, themes are also changing.
However,
there
are
some
studies
and research work going on at the School of Arts, guruvayure , to revive the lost tradition of using natural colors and brush. T he studies are showing results and the tradition is on the path of revival.
118
CONCLUSION Modernization has influenced the art and artist to a large extent. In olden days these mural paintings were painted on the walls of temples, palaces and churches, now, it can be done on any surface, like paper, canvas, TFT boards and are being tried on terracotta .T he mural art drawings or designs have retained their traditional styles, all though the medium has been shifted to synthetic paints instead of natural colours. T his change is due to the time consuming preparation of the pigments and availability of raw materials in the market. T he unique feature noted in the mural is the excellent colour combination which influences the overall aesthetic appeal. T he entire process of mural involves meticulous balancing of various components. T he art displayed in these paintings reveal a wonderful vitality and intensity of feeling, meditative charm, divine majesty, decorative delicacy, unique verisimilitude, subtle charm of colours, fine texture and marvellous creativity.
119
References https://en.wikipedia.org/wiki/Kerala_mural_painting#Wall_preparation
http://www.dsource.in/gallery/kerala-murals Keralathile chuvarchithragal by M.G sasibooshan panchavarnangal by sunija k.c
Traditional Mural Painting Of Kerala
Mural Painting are the part Kerala Culture and Tradition,T he techniques of this painting differ from place to place, from people to people, from time to time. T his book covers the traditional to current trent in mural painting.