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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Art @ Abhilash kodissery

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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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