kerala Traditional Mural Paintng

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kerala

Traditional

Mural paintng

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 Documented By

Priya.H

Photography By:

Priya.h

Guruvayure Mural painting Institute

Vanamali Mural

Kerala State Institute Of Design

2020

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 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

cultural heritage and vast vocabulary of craft

techniques. T his also evaluates the possibility

PREFACE

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.

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 AKNOWLEDGEMENT

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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 Sarvakalasha-

la 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.

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 contents
Introduction 11

Indian paintings 13

T he History of MuraPainting 14

About Kerala murals 17

19
Revival

Traditional Painting 28
Methodology

Tools used in mural 29

painting

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Wall making process

Application of each colour 33

41
T he Types of Brushes and process of making

Painting Process 50

52
Six stages of painting

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 59
Men and women in mural painting

T hemes and Styles 60

Contemporary Painting Methodology 65

guruvayur mural painting 66

Behind Guruvayur mural 68

painting

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

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 Kerala mural paintings are the frescos depicting Hindu

mythology and legends, which are drawn on the walls of

temples and churches in South India, principally in Kerala.

INTRODUCTION
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 in murals are based on the Dhyanaslokas

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 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.

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 INDIAN PAINTINGS

Art @ Abhilash kodissery

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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.

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 HISTORY OF
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MURAL PAINTING

“ Mural is delivered from the latin word murus which means wall , .Mural painting

refLects

When we
the feeling of Indian spirituality , through the age of old mythologies

examine the phase of time some changes places near Mirzapur “

in

history of Indian portrait we took place in the art of 1880 are supposed to be

can see that those portraits portrait. T he portraits the ancient portrait based

were drawn by ancient people included the acquainted figure on some available evidences

on the cave walls, interior of different animals and such to that effect. India mainly

places of the dwelling houses. other objects. T he portraits on four centres there were

Later due to the transitional which are found out in certain a large number of caves. .

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 T he first rock painting was

“
Likhunia, Khobar, Mahrara,

found out from Admagarh Bijayagarh and Bhaldaria

Quarry Shelter near A picture received

in Uttarpradesh and also

Hoshanagabad . Such paint- from Likhunia

from Suavely in Mirsapur

ings were available from indicates a man who

and Mankipur in Bonda

50 different centres which is hunting a wild

District. Flat shining

were inhabited by our an- elephant sitting on

stones where ordinarily

cestors. T hese places are a horse back and

seen in T he Vindhya moun-

located around Pochamadhri also another man

tains. T hese stones and

known as Mahadev Hills. latching a large bird.

the redoxide of pigment

T he figures of Singanpur and In Mahararia Shelter

washaematite where

Kabrapahar were found out a wounded wild

115 used to mix paints.

“
from Madhaya Pradesh. Such pig scene painted.
T he paintings included

examples have been found tilings which wer6 pro-

out from the river banks of jected in ordinary life.

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 Art @ Abhilash kodissery

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 ABOUT

KERALA

Kerala, known as “God’s own country”,

is situated on the south-western

coast of the Indian subcontinent.

Kerala has a rich assortment of

religious influence in the 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.

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Kerala mural paintings are the frescos maintained an unequal mastership on the art

depicting Hindu mythology and legends, which which is primarily brought out through the

are drawn on the walls of temples and rock carvings. T he paintings which belongs

churches in South India, principally in Kerala. to Mesolithic age, found in Perumkidavilla of

Ancient temples and palaces in Kerala, South T hiruvananthapuram district are treated as

India, display an abounding tradition of mural the ancient examples in this regard. T he first

paintings mostly dating back between the example of mural paintings found in Kerala

9th to 12th centuries CE when this form pertains to Marayoor rock paintings in Idukki

of art enjoyed royal patronage. Latterly, district. As to the period of these paintings

KERALA
Christian churches near BVM college the historians hold different opinions. But the

Cherpunkel in Kerala have commissioned period is supposed to be from upper Paleolithic

mural paintings with Christian subjects in to early historic period. T he surface had not

MURALS
the local style. T he scriptural basis of these been arranged before painting during those

paintings can be found in the Sanskrit texts, days. T he paintings had been done without any

Chithrasoothram by Vishnudharmottara of preparation of surface. T he paintings of 8th

the sixth century, Tantrasamuchaya, the century A.D. found in Tirunandikara cave walls

fifteenth century text authored by Narayanan, are considered as the best paintings. Since

Abhilashitartha Chintamani of the twelfth Tirunandikara paintings, we see a wide gap

century and Silparatna by Sreekumaran of of five centuries as the subsequent paintings

the sixteenth century.Iconography of the are seen taken place after five centuries.

mythological character in murals are based Paintings belonging to 14th and 15th centuries

on the Dhyanaslokas We can see a unique are available subsequent to this period. In

history of the art of paintings in Kerala. 17th and 18th centuries the art of paintings

In olden days the people of Kerala had reached its climax. But in 18th century the

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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

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 T he mural paintings were done by collective partment of India in 56 different centres 18 Vishnu temple Gauthamapuram 17-

efforts not as a result of a solitary effort. enlightened the various factors in this 18 Cheriya palli, Kottayam Siva Temple

T he paintings of Gajendramoksha belonging regard. In Kerala the survey has been Taliyil 17-18 Vishnu temple T hrikoditha-

to 18th century seen in Krisnapuram is taken place in the following centres. 1 nam 17-18 84 . Aymanam Subrahmanya

an example for excellent paint ings in the Padmanabhapuram Palace T hucklay 16th . temple Arpukara 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 Kudavechoor Valkom 17 Siva

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 T hrivikramangalamT hamalam 18thC . swamy temple kidangoor 17 Pundreeka-

ings. T his traditional art of paintings are Brahama Temple Mitranandapuram 16thC puram Vislinu temple T haleyoaparambu

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 Mat-

basis of a study package. T he remainings of napuram Palace Kayamkulam 18thC 1. An tanchery Palace 16-18 Subrahmanias-

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 Vishnu Temple 18 85 . Durga Tem-

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 St. Georges Orthodex Church Udoyamperoor i6 . Kunnumpuram

of mural paintings has to come up. T he sur- Church Chepped 13th Pallyakkara church Church Fort Cochin 18 .• Sankaranaraya-

vey conducted by the 82 Archeological De- . Subrahmanyaswami temple perunn 17- na temple Peruvanam 18 Vadakkumnath

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temple 86 T hrissur 16-18 Siva temple, T his art was made prosperous and

Chemmanthita 16. Muduvara temple Pu- extensive with helps of various factors.

zhakkal 16. Krishna temple, Narayanaku- T hese factors may be political, social,

langara Vadakkumuri 17 Vettikkavu tem- communal, religious etc. T he art

ple peramangalam 19 Siva temple Mundur developed mainly in peaceful atmosphere

19. Sri Rama temple Triprayar 17-18 Vish- under the eminent rulers who loved

nu Temple Panjal 18 Siva temple Panjal various arts including the art of niural

17 Siva temple, Cherukannapuram Vada- paintings. Comparing to costal area and

kkanchery 18 biva temple 87 Killikurris- mountain places excellent paintings are

simangalam 17-18 T hiruvegapura temple mostly seen in central part. T he impact

18 Bhagavathi temple T hirumadamkunnu of bhakti movement is seen behind this

Angadippuram 18 / . Siva Temple Kot- progress to a certain extent and even

takkal 18 Bhagavathi temple Kollam, Qui- amidst of the conflicts between local

landi 17-18 Bhagavathi temple Balusseri rulers and the foreign invasions. T hough

17-18. Pisharikkavu temple 14-16 Kalliam- in 16th and 17th century we can see a

palli temple 14-16 ) Sreekrishna tWemple rapid progress in the field of paintings.

Timhambaram, Taliparambu Taliparambu In the 18th century there destines a

17-18 WWWTemple at T hoodeekalam sudden depression. After the invasion

17-18 he paintings by adopting various of Tippu Sultan the major revenue of

chemical methods and analysis and oth- temples were controlled by British

er useful methodsComparing to Ajantan rulers. T hese resulted in a poor economic

paintings tliese paintings are excellent in conditions as far as the temples are

colours they are beautiful in line sketch. concerned. T he encouragements of arts Art @ Abhilash kodissery

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 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 climatic conditions the in Aaranmula and Guruvayoor two

paintings were wet and got ruined. academic institutions were started.

T he lack proper maintenance resulted T he mural paintings in Kerala

in heavy loss of their beauty and the was in existence as a traditional

paintings on the temple walls thus form of art. T he legendaries of

lost for ever. T he loss was also Ramayana and Mahabharata are

resulted by old age. We do not know mostly seen painted on the walls

whether the paintings were done of temples and palaces. T he theme

using the same method as to 89 which of paintings seen on the walls of

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 are narrated in those activities of the people of Kerala

books, we have no proof to come to a had been tremendously influenced

conclusion that the same techniques by epic stories like Ramayana and

had been put to use at the time Mahabharata. T he theme of the

of painting. T he raw materials used paintings included the characters

were often disfigured and discoloured of these stories. In Kerala cast

due to okJage. After 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.

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Regardless culture and education the , Kathakali, T heyyam, T hirayattam,

low class people as well as high class Krishnanattam, Raman”attam etc.

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 were done basing on fabricated stories ot rural legendaries.

this stand- 90 ards. In the devotional Imaginary goddess and asuras were

songs different kinds of adornments incarnated through murai paintings.

and ornaments are narrated. T he Among these 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 10th century B.C. the art of

walls of temples were choosen for mural paintings originated in Kerala

mural paintings. Many of them 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^. T hey were dramatical. T he

spre^dedTsome of them relates to expand eyes due to heroism, love and

the Kirata story of >6iva, Arjuna, T he hatred were the usual expressions

Story of Bhima. Hidimba etc. Relying which 1. Stella Kramsisch. T he Arts

on these stories leather toy play of Kerala Kshatram, Paico Publishing

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 House, Madras 1970. P.48 91 had been Most of the legendary characters had

conveyed to us through paintings. worn crown ornaments bangles etc. like

T hese paintings had claimed a the characters seen in Kathakali. But

uniformity in all part of India the expressions P^e^TKajKi, “fedf^e not

irrespective of certain 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 paintings. According to a survey

modifications Bhima and Hanuman conducted by the Central Archeological

were treated as brothers in 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 the Mohini incarnation of seen repainted and some others are

Vishnu joined with Siva. T he same blurred. Basing on the themes the mural

jealousy occurred in Uma when paintings of Kerala can be classified into

she found Siva carrying Ganga 4 categories’. 1. Kapila Vatsyayan -

on his head. Parasurama created T he Arts of Kerala Kshetram. Published

terror towards Srirama. Siva who by Sriramavarma Govt. Sanskrit

rendered Arjuna to testing, the slain College Committee, Tripunithura 1989

of Hiranyakasipu by Vishnu, 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 anger, Narasimha and Hiranyal.

used to narrate the above stories. On the southern sides of inner shrine

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 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

stories of Dasaradha and the object of

“the art of mural paint- each incarnation of Visnu are exhibited

in Vaisnava paintings. T he pictures

ings originated in of Sri Padmanabha are differently

painted. Santanagopala moorthy,

Kerala and reached its Guruvayurappan, f^ahalaksmi, Vishnu,

Gajendramoksam etc. have been painted.

zenith in the 16th and T he praising of Srirama, Srikrisnalila play

of Krisna the incidence of Ramayana

17th centuries”.
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.

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 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 India’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 .

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Traditional Painting
Methodology:
T he wall is prepared for painting red, green, blue and brown (mixed red

and the images are sketched out and yellow). White is by no means

free-hand using cow dung ash mixed used, except for the prevailing white

with coconut water or water. T he spaces which are retained during the

outlines were originally done with initial coating. On shading, black is

cow dung pencils, called Kittalekhini. used to delineate and bring life to the

T he shading is adeptly colorized portrayal. T he painting is over-coated

by symbolizing the characteristics with pine resin and oil for sheen

separately for each god. T he colors and protection. T he five fundamental

are indigenously obtained from the colors used for painting of murals are

extracts of the leaves, roots, earth, prepared from mineral pigments and

and stones. T he colors are generally vegetables like leaves, fruits, stones,

painted beginning with lighter colors. and ores.

T he order of coloring is firstly yellow,

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 • Plaster consisting of lime and painting)

sand • Five colours or Panchvarna

• Water used are yellow, red, green,

Tools used in
• Extracts (Juice) of Kadukka black and white

(Mussels) • Wooden bowl for mixing of

mural painting
• Burnt husk colours

• Tender coconut water

• Extracts of Neem tree

Kerala Murals are aesthetic in appearance and • Turmeric powder

also eco-friendly due to the materials used in the • Soot

various stages of painting. T he five fundamental • Acrylic Paints (contemporary

colors used for painting of murals are prepared

from the mineral pigments and vegetables like

leaves, fruits, stones, and ores. T he colors are

blended in a wooden bowl 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. T he tools and raw

materials used for painting of Kerala murals

require the following,

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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.

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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.

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34
4
for the preparation of the wall, first, we have

to clean the sand and lime.then it mixed, af-

ter mixing and water contains jaggery, the

juice of Marabulam, and the extract of Sicius

Coka called “Oonjalvalli” 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.

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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 when it is

applied .and prevents

plastering from peeling

off.

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 getting the paste of

sand, lime, and cotton.

when the first layer

of plastering is dried,

the second stage is

done.wall is allowed

to dry, tender coconut

and lime for a third

wash.

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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 Pancha-

varna 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.

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 T he yellow pigment ob-

tained from the stones or

turmeric and which grind-

ed thoughly and mixed

with water.

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 T he red

pigment obtained from the

stones and which ground

thoroughly and mixed with

water.

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14
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46
the green pigment obtained

from the leaves of Neela

Amari which is mixed with

Eravikkara gum.

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 black is obtained from a

cotton wick which im-

mersed in oil, and it burnt

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 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.

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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.

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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 goat’s belly

and fine brush from delicate grass. Grass-like, Eyyam Pullu, a local leaf is treated.

Currently, animal hair brushes are used.

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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 col-

lected at a particular age. then it is boiled in cow

milk.it has to be dried in shade.

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Painting Process

T he wall is ready for painting and the es which are retained during the initial

image is sketched out. T he sketching is coating. On shading, black is used to de-

done using cow dung ash mixed with co- lineate and bring life to the portrayal.

conut water or water. Outlines were T he painting is over-coated with pine

originally done with cow dung pencils. resin and oil for shine and protection.

T he pencil is made from cow dung called T he traditional methodology of drawing

Kittalekhini. Bamboo sticks are used mythical figures on the floor was called

for outlining and grass blades and tree Dhuleechitramor powder drawing, using

roots are commonly used as a brush. natural pigments, which is called Kalam

T he size of the brush varies as per (Kalamezhuthu). T his ritual art is prac-

requirement T he shading is adeptly col- ticed in temples and the sacred grove

orized by symbolizing the characteris- of Kerala with symbolizing the idols like

tics separately for each god. T he col- Kali, Lord Ayyappa, etc which are made

ors are indigenously obtained from the on the floorings, commonly using five col-

extracts of the leaves, roots, earth, ors. T here are about six stages to Ker-

and stones. T he colors are general- ala 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 spac-

59
 s
ix It takes six stages for a mural painting to complete.

stages
T he mural is created systematically. T he six stag-

of
es are Lekhya Karma, Rekha Karma, Varna Kar-

ma, Vartana Karma, Lekha Karma and Dvika Karma.

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 exclu-

mural painting
sively for giving the painting some finishing touches.

30
60
First Stage: Lekhya Karma – Stage of

sketching using a pencil or crayon. initially

yellow used fifor outlining after red used

to detailing the sketch

61
 Second Stage:

Rekha Karma –

Outlines made on

the sketches
T hird Stage: Varna Karma - Painting with colours

of the human figures depending on the characters

and common qualities. Green is used to represent

divine and noble characters (Saatvik);

62
 T here is an

order in mural

painting .yel-

low,red,green,blue

and black.black is

used for outlining

the figure, its called

“mashiezhuthu” in

malayalam. shades

of red represents

power and wealth

(Raajasik), lowly

mean characters

(tamasik) are

depicted in white

and demons in black.

Spice and Paddy

grains are also

used for colouring.

63
 Fourth Stage: Vartana Karma - Shading is done. Fifth

Stage: Lekha Karma -Final outlines of the painting,

usually painted in 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 “kannut-

heliyikkal”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
these paintings were greatly embellished
with flora, fauna and other aspects of
Style:
T he peculiarities of Kerala Murals are the process of making the colours
with indigenous colours, the order of painting the mural with limited
of
colours and the outlines of “Ra Ra Ra” of the gods and goddesses from
the Hindu pantheon are a treat to the eye.

the nature.
• T he peculiarity of Kerala Murals is the elaborate eye which speaks
Few T hemes noted are:
volumes.

• Shading is predominantly packed with dots depending on the shading

• Anantasayanan, Lekshminarayana,
pattern.
Krishna with Gopis, Nataraja as
• Merely five colours are used; although now blue is introduced.
Dakshinamurthi, Sastha on hunt etc.
• T he backdrop is constantly red.
• T he common themes are of various
• T he background painted in red is coated as per the required shade
incarnations Vishnu, Ganesha and
and is dotted with a mix of red and brown.
manifestations of Siva.
• T he white area is for all time retained with the background coat itself.
• Characters and scenes from Christian
• T hroughout the image as well as at the borders a particular design
mythology.
is used called “Ra Ra Ra”.
• Scene of the battle fought between

the armies of Tipu Sultan and the

English East India Company.

66
Contemporary

Painting

Methodology:

In due course of time,this art has follows: • Turmeric powder

transformed with easily available • Availability of ready-made canvas • Soot

brushes purchased from the commercial • T he drawing is traced out • Acrylic Paints (contemporary painting)

market and the shading of the original • T he outlines are drawn with red (on • Five colours or Panchvarna used are

colours can be distinctively noticed. T he the canvas) yellow, red, green, black and white

use of blue colour is also noticed over • Ready-made acrylic colours are used • Wooden bowl for mixing of colours

the passage of time. A shift from the Water

walls to asbestos, plywood, cloth, paper • Extracts (Juice) of Kadukka (Mussels)

and other frames can be noticed for • Burnt husk

aesthetics and effortless rationale. T he • Tender coconut water

contemporary mural painting consists as • 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 de-

pends 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 re-

gions. T he mural painting of the Sanctum’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

features of Vishnu on the west. T he figure of Vishnuis

70
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 at-

tractively 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. Saras-

wathi 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 niche’s idol. siva’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 ap-

pearance. 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
 T he city dwaraka was submerged in the flflesh deluguethat set in. T he idol
History and myths Worshiped by Vasudeva and Devaki Was seen directing in the Water-

of Guvayur
tossed 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

Temple idole ashore .Guru picked up the idole and placed up the varu’s shoulders.

and they set out in search of asuitable sacred place.they met parashurama

T hrough mural painting on their way.T hey arrived at the rudra theeram.lord sivs and Parvathy was

already there.

76
siva asked both Guru and vayu to

install the idol and he said this place

will known as ‘GURUVAYUR’ Parasurama

Sangaracharya

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 be-

longing to the varier cast .every

night she used to comre to the

temple with Garland to the Lord

Melpatture NarayanaNa Battathiri(AD1559-1632)

korooramma great devote of Krishna .Born in the
sanskrit Scholar ,poet angd the Auther of
village of paraurAD1570-1640
‘NARAYANEEYAM’

78
 the big temple fire that was
Chembai vaidyanatha Bhagavadar....
happened in the year 1970 -
great karnatic singer and musician.
nov 29

Prince Manavedan of kozhikkode great scholar and ruler.who com-

posed nad wrote KRISHNANATTAM

79
 Guruvayur Keshavan

80
few paintings of Guruvayur

81
 Institute of Mural Painting

T he Guruvayur Devaswom’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, “In Kerala, to some extent, art kept

religious dissensions at bay,” says mu-

principal of the Institute
ral artist K.U. Krishnakumar. “For ex-

of Mural Painting in ample, at a Siva temple in T hrissur,

Guruvayoor you see mural paintings with Vaish-

navite themes. Similarly, at a Vish-

nu 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 Mammi-

yoor Krishnan Kutty Nair. “One of the

earliest murals in South India is seen

in the Tirunandikkarai temple in Kanya-

kumari 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 Coomaras-

wamy 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
 T he architecture in Kerala temples follows the ‘panchamala’ pattern. T he

mandapam of the sanctum sanctorum, or the Sreekovil as it is called,

layers 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

Five

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 — Chitramala.

Talking about the process involved, Krishnakumar explains that the walls have to be first prepared be-

fore 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 and in the Dutch

palace at Mattanchery, one can

find exquisite murals. In churches,

the themes are exclusively

Christian. You can see murals in

T he method of Kerala mural painting is described
the churches at Velur, Kanjur,
in Narayanan’s Tantrasamuchaya (15th century)
Angamali, Koraty, Ollur, Pazhanji,
and Sreekumaran’s Silparatna (16th century).
Akapparambu, Kothamangalam
“T he themes aren’t always religious,” he explains.
and Kottayam.”
“Sometimes, there are scenes from Kalidasa’s
Kerala mural painting started as
Abhignyana Sakuntalam.”
temple art, but took a secular
“T here are temples with mural paintings in almost
route, showing that art, like
every district of Kerala,” Krishnakumar says. He
music, is a unifying force .
has done mural paintings for the T hiruvanantha-

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

that looks half as tall as the wall surface these type shapes
ORNAMENTS are called artha chithra.

AND THEIR For flat-painted forms that look like a picture called predibhasam

CHARACTERS 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 ‘Chitra Bhabasam’, 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 aesthet-

ic concept were later utilized in

painting.muthumala,kathila,push-

pamala,vanamala these are some

ornaments. T he neck decoration

was modified according to the

author’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 period-

ic 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 are also used for in-

creasing the beaty.some decorating ornaments are given below.

100
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 refer to mural and Raclin), Athbhutam and in anger and pain will have eyes

painting to any painting which Santham are the ones which is in shape of “Sangu”. Kunthalam

is painted in style of old mural used at houses. Veeram (Shiva) (straight), dakshivartham (wavy),

painting. It can be on canvas, has to be worshipped.T here is tharangam (curly), simhakesaram

paper, wall, day or cloth. Even the specific directions assigned for (spread), vardharam and jooda

medium has changed from natural paintings in temples. According to dasaram are different kinds of

colours to acrylic, watercolour Marlcandevan, there is nine Rasam hairs. Eyes can be in shape of

or oil painting and brushes from (emotions) in painting. ‘Sringaram”, “Chapam” (bow), “Malysodaram”

natural to synthetic. T hey started `Karunam”, ‘Hasyam”, ‘Veeram”, (fish), “Ambal dalam” (water

to use more colours other than “Raudram”, “Bhayanakam”, lilly petal), “T hamara dalam”

basic five colours of traditional “Bheevalsyane, *Atbhutam” and (lotus petal) and ‘Sans* (conch).

painting.” ““ “T here is limitations “Santham”. Emotion of character Each body pan has assigned

on paintings which can be placed can be read from the eve. For measurements for male and female.

at home. Paintings with idea of example those who are in fear T he basic structure of characters

anger and war is not suitable or needy will have eyes in shape in the painting are the same.

for houses. Sringaram (Krishna of lotus petal. T hose who are 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 this iconography. Similar

(quality). Gunam is fundamentally “Temple paints the dedicated subjects like 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” is represented with are praises to God. It was the style is different Christian

white colour. Kali and Shiva are initially written in Sanskrit and churches may have biblical

associated with this.People with came to Malayalam. It describes stories like baptism of Christ

`Swathika gunam” would be the weapons and number of hands Painter takes more freedom in

calm and quite like Ganapathi of God. Weapons which are used painting based on stories. Fishes,

and Muni. And 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 left hand. `marlate, sword In church paintings, characters

proud. T his is associated with and “shoolam” will be in right hand might not have ornaments. But

kings. And they are represented and shield will be on left hand. in temple paintings, characters

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 “sarpa kundalam” (snake

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” (element of

116
Vishnu) with “makara kundalam’ the great sage Narada. Insulted are mighty heave, little Krishna

(Fish ring), Durga with normal by this behaviour, Narada cursed pulled it forward; the force of the

kundalam and Bhadrakali might them thus: You shall remain as two pull uprooted the aces and they

have “gaja kundalam’ (elephant trees in Gokula forever.’ Hearing crashed to the ground.

ring) or “simha kundalam” (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.
“ ““Temple paints
green and red veerali pattu.” Narada relented and said, ‘Acura

““ ““ “Sri Krishna liberated from once given cannot be retracted. It

the dedicated
two Arjuna trees, the two tom can only be modified or lessened.

of Knbera who in their previous Your husbands will be released

gods
lives, had been turned into trees, by Lord Vishnu himself when he

by Naiads% curse. T his it their incarnates a: Krishna.” “Krishna

according to the
store “ “Once it so happened was dragging the wooden-mortar

that these two brothers named to which he had been tied by his
description in
Nalakubera and Manigreeva were mother Yarhodha. Ar. he passed

so enamored of their wives that between the trees, the roots

.dhyanashlokas”.”
they did not notice the arrive/ of are stuck in between. 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 ‘Panchavarna’ 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_prepa-

ration

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.