The state of Kerala, “known as ‘God’s own country,” has a diverse range of religious influences in its crafts, which are preserved and protected for traditional and cultural preservation. Mural painting, practiced in Thiruvananthapuram, Kerala, is one such art style with a strong religious impact. This art style represents the pinnacle of India’s creative legacy. Kerala’s mural painting art is noted for its quality, displaying a wonderful narrative in clear and powerful strokes with brilliant and lovely colors.
● “Kerala Mural Painting” has its origin in the ancient “Dravidian art form,” which dates back to the 8th century C.E. (Common Era).
● The foundation for these paintings can be found in the Sanskrit texts, “Chithrasoothram” - (Chitrasutra is a section of the Vishnu Dharmottara Purana, a book composed in Sanskrit around 1500 years ago).
● This magnificent art form prospered under the patronage of the monarchs of the erstwhile “princely state of Travancore.”
○ Additionally, this art form gained prominence in the 15th and 16th centuries during the reign of the “Zamorin of Calicut.”
● The “Kerala Murals,” which were painted in temples and palaces, were visual narratives that reflected religious and mythological themes. The themes of these folk paintings were inspired by Hindu epics like the “Ramayana” and “Mahabharata,” as well as tales from ancient scriptures.
○ Apart from the “Mahabharata” and “Ramayana,” writings that influenced these paintings are 15th Century “Tantrasamuchhaya” on temple architecture by Narayana, 16th Century “Shilparatna” by Sreekumara, and “Kumarasambhava” by Kalidasa.
● “Kerala Mural Paintings” are characterized by their brilliant colors, meticulous artistry, and harmonious compositions and patterns.
● The “Vishnudharamotaram,” a Sanskrit text dating to the fifth or sixth century C.E., discusses the method and process of creating Indian wall murals.
● The artists who paint utilize a special and unique technique known as “Tempera,” which incorporates natural hues sourced from minerals, stones, and plants. These hues/colours are blended with a binding agent/medium, such as tamarind seed glue or lime juice, to produce long-lasting paint.
● The other method is “Fresco,” in which paintings are done when the surface of the wall is still wet so that the pigments go deep inside the wall surface.
Initially, the artists prepare the surface that is to be painted. Traditionally, the surface is prepared by applying a lime and sand combination to provide a smooth and even foundation.
Contemporary artists also paint on fabrics, canvas, wood, and ornamental objects. A Kerala mural painting is created in about six stages.
The artist proceeds with “Lekhya Karma,” which is the fundamental drawing that the artist renders on the wall. It serves as a guiding framework, helping the artist visualize the complicated patterns. The artist prepares the sketch by combining cow dung ash with water or coconut water.
The next stage is known as “Rekha Karma,” in which the artist uses cow dung pencils called “Kittalekhini” to strengthen the linework by tracing it and improving the forms and shapes to be filled in.
In this stage (Varna Karma), the artist proceeds with the bright portions first and then goes to the deeper shades, employing “Panchavarna” (colors traditionally used in Kerala murals—Ochre’ Yellow,’ ‘Red,’ ‘Green,’ ‘White’ and Black).
This stage (“Vartana Karma”) involves shading and rendering to add depth and dimension to the mural. Tonality is imparted at this stage to the depiction by darkening and lightening as needed.
“Bamboo sticks” or “Soft Brushes” are used in this stage of “Lekha Karma” to establish the final contours of the painting.
In this final stage, the artist applies the finishing touches and refines the details. Following the completion of the Mural, the artist covers it with pine resin and oil to preserve it and give it a high-gloss finish.
Traditional murals employed “Panchavarana” (Sanskrit: five colors): red, yellow, green, black, and white, with white being the color of the wall itself. Colours are extracted and prepared from vegetable and mineral pigments.
Red, a colour of power and passion, is derived from red laterite, Yellow, a colour of wisdom and intellect, is derived from yellow laterite, White, a colour of purity and holiness, is from lime, and Black, a colour of evolution and destruction, from oil-lamp soot.
The leaves of “Neelamari (Indian Indigo; Indigofera tinctoria )” plant are squeezed to extract the green colour, a colour which represents fertility and life. Wooden utensils are used for mixing the colors, and the binding media used is derived from tender coconut water and extracts from the Neem tree (Azadirachta indica).
The figures in the murals are colored based on their traits as depicted in the Hindu legendary texts. Green shades are used to portray spiritual, divine, and dharmic characters (Satwika). Those inspired by authority and material prosperity (Rajasic) are shown in shades of crimson to golden yellow. Evil, wicked, and nasty characters (Tamasic) are often drawn in white or black.
Under British administration, the mural art form suffered enormously, it even moved towards the danger of extinction. However, after India’s independence in 1947, a revival of mural tradition in Kerala took place as major temples in Kerala.
The Centre for Study of Mural Paintings, a school established by the “Guruvayur Dewaswom Board” in Kerala’s Thrissur district under the chief instructorship of “Mammiyoor Krishnan Kutty Nair”, and the “Sree Sankaracharya University of Sanskrit” in Kalady under the instructorship of “Dr.Saju Thuruthil” represent this revival phase.
Moreover, various organisations, like the “Kerala State Archeology Department,” “Vastu Vidya Gurukulam Aranmula,” “Kerala Lalitha Kala Academy,” and “Kumaran Asan National Institute of Culture,” are actively participating in promoting and preserving this unique art form, providing training sessions and programs all throughout India to impart the knowledge and abilities needed to produce “Kerala Mural Paintings.”
1. Kerala Murals by DR. M. NAMBIRAJAN AND DR. S. SURESH
2. Mural Paintings of Andhra by MYNENI KRISHNAKUMARI
3. https://www.thehindu.com/news/national/kerala/700-ft-long-mural-wall-of-peace-thrown-open-at-last/article66331045.ece
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