Article Written By EIH Researcher And Writer
Aparnna R Menon
An excerpt from Hernan Lopez de Castaneda’s History of the discovery and conquest of India by the Portuguese about when they arrived at the shores of the subcontinent in 1498.
The Kutwal carried the general to one of their pagodas or idol temple which the kutwal said was a church of great holiness. Our general was much pleased with this church, as he believed himself in a Christian country, and gladly entered along with the Kutwal.
In this pagoda, they saw many images painted on the walls, some of which had monstrous teeth projecting an inch from their mouths, and some had four arms; all of them so ugly that they seemed like devils, which raised doubts among our people whether they were actually in a Christian church. John de Sala very doubtful that this was not a Christian church, owing to the monstrous images on the walls, said, as he fell on his knees, “If this be the devil, I worship God.”
These Portuguese voyagers dazzled by an alien land before them should have set foot at a Bhagawati temple and the “monstrous-looking images” that the oriental gaze tried to explain were in all likelihood Kerala Mural art.
A common sight to behold, adorned in the walls of temples, churches and palaces, these bright bold beautiful paintings blend perfectly into the picturesque background of lush green Kerala. Nothing inharmonious or dissonant.
The tradition of painting on walls in Kerala can be traced to the pre-historic rock paintings in Anjanad valley of the Idukki district. The mural art specifically can be seen as rooted in the Dravidian ritual art of Kalamezhuthu with pictorial representations of deities drawn on the floor (kalam) using coloured powders (kolappodi). These wall paintings are believed to have gained prominence in the 8th CE with the Thirunandikara cave temple of Kanyakumari said to hold the first evidence of the frescos. Unfortunately, most of the earlier pieces haven’t survived to date. The ones evident can be dated to the 15th century. Chitasutram of Vishnudharmottara Purana (7th century), Bhoja’s Samarangana Sutradhara (11th century), Abhilashachintamani of Someshwara III (12 century) provide textual details of the Indian painting techniques. Sreekumaran who belonged to the court of Devanarayana of Chempakasseri composed Silparatnam (16th century) which deals with Kerala mural art. The location of these artworks is also quite fascinating. One sees its predominance in the most bountiful plains than the hilly or coastal regions.
Mural art uses a natural medium that is organic. It follows the concept panchavarna (usage of 5 colours). The preparation for it is long and extensive. The walls are set with lime and sand in a ratio of 1:2 proportion with the addition of cotton. The extract of Cissus glauca Roxb. (chunnambu valli) or water boiled with kadukka (myrobalan) is applied to the wall to produce the required thickness. A second layer of lime and
sand is then used to set the surface. The crushed skin of the Trema Orientalis (locally called pottama) is what is used as a brush in this process. After a day or two, a mixture of slaked lime and coconut water is spread on the wall nearly 25-30 times. The pigments also constitute natural components. Yellow is obtained from yellow laterite or yellow arsenic, red from red mineral stone (red laterite) or green from indigo ferra (neelamari). A local mineral called eruvikkara is brought mainly from the Arab land to lighten the green pigment. Sesame oil is burnt and the soot that’s gathered from it forms the black colour used. Copper sulphate solution is used on areas which are to be filled with blue and green to prevent insects from feasting on the natural components. The gum of the neem and coconut water is mixed in a coconut shell at a proportion and used to make all the pigments adhesive. The outlining of the art is done using yellow pigment. The red is then used to highlight the clothing and the ornaments. Green follows next and the last is black. These pigments are carefully taken from the topmost layer that’s mixed in the coconut shell owing to the fact that a thorough blending of these natural elements would make the pigments cloudy. The brushes used are made by attaching bamboo to arrow grass. These are soaked and boiled in milk to make them last longer. Most of these pigments are reapplied 7-8 times to bring the painting to life.
To assume mural art as a static temple art, invariable and prone to no influence would be an absurdity. The art experienced a lot of influences from the Hoysala, Vijayanagara, Pallava, and Chola with the progression of time. It is hard to date and categorize these paintings into strict compartments. M G Shashi Bhooshan who has worked extensively on Kerala mural art has categorized it into three phases based on the style of art. The art at Thirunanthikarai, Kanthaloor, Thiruvambadi temple (Trivandrum), and Chitharal rock temple has been classified into the first phase. The frescos of Vadakkumnathan temple, Pisharikavu, Elamkunapuzha, Mulakkulam, Balussery, Thazhthangady, Vasudevapuram, Thrikodinjanam and the Ramayana paintings of Mattancherry have been categorized as of the middle phase. The later phase consists of the paintings of the churches of Akaparambu, Angamaly, Cheppadu, Kottayam cheriyapalli, Kanjoor, Thiruvalla and the temple art of Panayannarkavu, Lokanarkavu, Arpookara, Pundareekapuram, Triprayar, Padmanabhaswami temple and that of the palaces like Padmanabhapuram, Matancherry etc. The gajendramoksham at Krishnapuram palace claims to be the largest mural painting in Kerala. Krishnapuram and Padmanabhapuram paintings of 18th century indicate Vijayanagara influence as argued by Stella Kramrisch.
The second phase of the bhakti tradition gained momentum in the 16th century with the writings of Melpathur, Poonthanam, Vilwamangalam and Ezhuthachan. The increase in patronage by the Zamorin of Calicut and the local chieftains gave rise to several art forms like Krishnattamkali and these patronages can be seen extended to mural art as well. The texts like Bhagwatam and Ramayanam are commonly depicted in mural art though the latter is often portrayed only till Pattabhishekam with Uttararamayanam brushed aside. Interestingly, these paintings uphold a sense of contemporariness despite being bound by the texts of dhyana slokas. The Rama visualized in the art is not the humane version of Valmiki’s Ramayanam but is heavily influenced by the Godlike depiction of Ezhuthachan’s Ramayanam. The localization of art and merging it into the landscape of Kerala is obvious through other aspects as well be it through the flora and fauna that have made their way into the art or art forms like Kathakali influencing the depictions. Musical instruments like Nanthuni, Pulluvanveena, mizhavu are commonly featured in the art and occasionally one may spot panchavadyam or chenda in them.
M G Shashi Bhooshan has asserted the absence of Vaishnava Shaiva rifts in Kerala owing to the presence of artworks that narrate stories of both traditions in the temples. Depiction of Shiva worshipping Vishnu and vice versa is a common portrayal in the mural art traditions. A complete absence of rifts could be a far-fetched claim but the dominance of the concept of Shankaranarayana could be a base for this.
Towards the end of the 16th-century mural art transcended into the Christian churches, a blend of Central Asian and Kerala mural art styles. Biblical stories like Adam and Eve, the last supper, and the crucifixion of Christ were a few of the stories that were portrayed. Though the technique of setting the wall and painting remained the same, a striking aspect of this art was the presence of the deep blue pigment extracted from lapiz lazuli probably brought by the priests from Damascus. The art is also seen to have permeated into other contemporaneous events like the battle scenes where Tipu Sultan was defeated by the army of Travancore which can be seen at the entrance of the Kanjoor church in Kochi. This painting showcases inspiration from the European style as well.
Typing this article in the comfort of my living room in Guruvayur, I can’t help but smile at the mural paintings that are inducted on the walls around me, thanks to my father who is a mural artist. The art which is said to have faced a setback with the ‘modern era’ was regained with the efforts of several artists, out of which is a name that’s so familiar to me, Mammiyur Krishnankutty Ashan. My father’s guru as well as a pioneer who tried to bring the art form back to its prominence, Krishnankutty Ashan painstakingly formulated a new style of Mural art, the Mammiyur mural style. Guruvayur is still a seat of this art form with a mural art institute to train students, all thanks to his commendable efforts.
My father, E U Rajagopal started training under him at the age of 11, long before the mural institute came into place. Growing up, the fondness with which my father narrated stories about Krishnankutty Ashan deeply moved me. He talked about the days that would turn into weeks when he would stay at his ashan’s place learning art. There was no penny charged, no expectations that were placed above the love for art, only that my father had two families he cared for. My father accompanied Krishnankutty Ashan to Madras, Lucknow as they participated in exhibitions and events. After he passed, my father carried out his funerary rituals. My curiosity to document my father’s experience with mural art as an artist has resulted in a question-answer session noted below.
Mammiyur mural style was improvised by Mammiyur Krishnankutty Nair with hopes to bring back the art into prominence. What is the significance of this style and how is it different from the rest?
The anatomy of the figures drawn, the special attention paid to the facial features and the importance given to the ornaments are some features that set our style apart. Ashan once said
“ആഭരണമില്ലാത്ത ചുമർ ചിത്രങ്ങൾ പക്കമേളങ്ങളില്ലാത്ത ഉത്സവം പോലെയാണ്”
A mural painting without ornamentation is like a festival without any music. That is the significance ornaments play in the art. The detailing of ornaments and physical features, and body proportions also enhance the art.
We see a gradual shift from natural pigments to acrylic colours. What resulted in that?
Natural colours are still used for art. There has indeed been a shift but I, for example, work with both natural colours and acrylic. It is easier to do acrylic colour but then there is a unique beauty in using natural colours. I believe that the true essence of mural art is also in the natural pigments that we use. The reason for the shift is largely practical. We have moved away from the time were these paintings were done on walls and were patronized by rulers. The consumers of today are largely purchasing these paintings to decorate homes. Having natural colours would make it difficult to maintain it. Earlier we used to work with asbestos sheets. But that has been proven harmful to health and is banned in the country. There have been wooden replacements for it but then the paintings made using natural colours are much more expensive than acrylic paint. The onset of digital printing and its inexpensive nature has countered the popularity of original pieces now. Recently, mural style on fabric has also gained momentum.
The temples of Guruvayur and Mammiyur are heavily embellished with mural art. Is there a specific placement that is followed for particular deities? How is it done?
The concepts of triguna (tamas (dark/ destructive), rajas (active) and satwa (noble)) are employed in the art. The rajas guna is painted red or yellow, taamasik in white and the satwik in green. The demons are pictured in black. Krishna who is seen to embody satwa guna is displayed in green which is contrasting with the general portrayal of Krishna in blue. Ashan taught us that in the south of the sanctum, tamas guna is to be represented. So this place is reserved for Shaivite representations. East and west showcase rajas guna with the paintings of Ganapati, Mohini, and Shakti portrayed and to the north is sattva guna with depictions from Vaishnava tradition. Mural work in any temple begins with the paintings of Ganapati and Saraswati. Further, this artwork also symbolises a lot of things. A picture of Gajalashmi denotes power, Muthukrishnan represents wealth and so on.
There is a common notion that Kerala mural art is temple art that solely depicts gods and goddesses. How do you see that?
As much as deities are revered and placed as an important theme of mural art, art is a channel for creative expression. Artists can, with their rationale, practice this art form and not confine it to deities. The presence of yakshi and other demigods, and the depiction of animals clearly state otherwise. There are mural paintings on the walls of churches and palaces. Some are from religious texts while some could be from events of the past. In the 1990s there was also a painting of Sree Chithirathirunal, a maharaja of Travancore that was painted in the mural style.
Is art facing a setback now?
That is a complex question. A lot of effort is put into curating a piece of art. Months are invested and one works around the clock to deliver the artwork. If it is that of a deity that I am depicting with the help of dhyanashloka, I make it important to follow a strict diet and discipline. This art is part of my faith and devotion. People often underestimate the hard work put in which is unpleasant to see. Additionally, people need to appreciate art more.
The essence of mural art survives in the artists who embrace it and the art which survives as a part of history and culture.
Bibliography
Shashi Bhooshan, M. G. (1987). Murals of Kerala.
Sasibhushan, M G.(2006) .
Keralathile Chumar Chitrangal.Thiruvananthapuram :State Institue of Langauges.
Keraleeya chuvarchitrangal, Mammiyur Krishnankutty Nair, Samskarakeralam 1993 (Reg No KL TV (S) 86)
Kramrisch, Stella. “Drāvida and Kerala: In the Art of Travancore.” Artibus Asiae. Supplementum, vol. 11, 1953, pp. 1–51. JSTOR, https://doi.org/10.2307/1522577. Accessed 20 Jan. 2023.
Poyil, Manjula. “THODIKALAM MURAL PAINTINGS: FEATURES, MEANINGS AND TECHNIQUES.” Proceedings of the Indian History Congress, vol. 72, 2011, pp. 1239–46. JSTOR, http://www.jstor.org/stable/44145735.
