Van Gogh beyond The Starry Night: A Woman Walking In A Garden
Kerala Mural Painting has its origin in the ancient “Dravidian art form,” which dates back to the 8th century C.E. 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 artists who paint utilize a special and unique technique known as “Tempera,” which incorporates natural hues sourced from minerals, stones, and plants. These hues/colors 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. 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.
The murals exhibit differences across regions. The women depicted in the Padmanabhapuram palace murals in south Travancore have long faces and well-built bodies. In the Mattancherry palace drawings, women have round faces and a bulky appearance.
Another feature of murals is the feminine attributes given to male gods and vice-versa. Only some figures like Parasuraman, Vettakorumakan, saints, and kings had mustaches.
Raja Ravi Varma combined the Eastern and Western styles with dexterity. He was also instrumental in taking mural painting, till then an elitist art, to the masses. Raja Ravi Varma also draped his characters in a vesture called ‘Saree’ only found in Maharashtra. The artist even clothed his gods in Saree, in his paintings.
Kerala mural painting is created in about six stages.
STAGE 1: Lekhya Karma
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.
STAGE 2: Rekha Karma
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.
STAGE 3: Varna Karma
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).
STAGE 4: Vartana Karma
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.
STAGE 5: Lekha Karma
“Bamboo sticks” or “Soft Brushes” are used in this stage of “Lekha Karma” to establish the final contours of the painting.
STAGE 6: Dvika Karma
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.
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.
