This treatise, which discusses all aspects of painting, aesthetic as well as technical, has been acclaimed as a rare work on the techniques of Indian art, the like of which has never been published. Srikumara’s Shilparatna, a sixteenth century Sanskrit text on painting and related subjects, must have been enormously useful to early artists. Of all the ancient works, only two are dated: one in 1691 in the Pallimanna Siva Temple at Trichur, and a second in 1731 in the Sankaranarayana shrine of the Vadakkunatha Temple complex.
The finest illustrations of this period are considered to be the Mattanchery Palace panels, depicting the Ramayana and the marriage of Parvati, and the temple paintings at Thrissur, Chemmanthitta and Thodeekkalam. It is probable that the leading names of the movement, like Ezhuthachan, Melpathoor, Poonthanam, the venerable sage Vilwamangalam and the eighteen poets of the Zamorin’s court, were instrumental in reviving the tradition of religious arts in those years. That revival was lead by great literary geniuses like Melapattur Narayanan Bhattatiri (1560-1646) and Putanam Nambudiri (1547-1640), pure bhaktars whose devotional literature kindled spiritual art. Many of the most exquisite murals were painted during the 15th and 16th centuries, when the second Bhakti movement swept through Kerala. From then to the sixteenth century, hundreds of works blossomed in palaces and sacred chambers throughout the state, a treasure trove of imagery depicting the many manifestations of Siva, Vishnu in His various incarnations and the beloved Ganesha.Īrchaeological evidence indicates the most prolific period of mural art in Kerala began in the mid-sixteenth century. During the 13th century the first frescos were created at Kanthaloor, Temple in Tiruvananthapuram district. It is not unlikely that the early Kerala murals and architecture came heavily under the influence of the Pallava dynasty.
Recent mural history can be traced to the seventh and eighth century ce. Rock engravings dating to these ancient times have also been discovered in the Edakkal caves in Wayanad and at Perumkadavila in Tiruvananthapuram district. Archaeologists believe these paintings belong to different epochs, from the upper Paleolithic (before the last ice age) to the early historic period. Only the Indian state of Rajasthan has more murals than Kerala.Įxperts tell us Kerala’s mural tradition evolved as a complement to her unique architectural style, originating with the prehistoric rock paintings found in the Anjanad Valley. Kerala’s murals stand tall in India’s artistic history, with their technical excellence, spiritualized storytelling, bold strokes, bright colors and uniquely idealized people, animals and trees. Art lovers are motivated by aesthetic value, but others purchase art as a status symbol. Huge mural paintings, once found only on the walls of temples and palaces, now adorn five-star hotel lobbies and the homes of India’s rich and famous–with 55 billionaires, India ranks fourth in the world. This is one of the unexpected perks of India’s economic resurgence. The art that inspired kings and temple priests for thousands of years has been resuscitated, this time by wealthy individuals and corporations who recognize its genius and can pay for the privilege. Who would miss it, anyway? Turns out, lots of people. It was old stuff, museum stuff, Keralites thought, and ready to recycle. For decades the great tradition of mural painting in the South Indian state of Kerala stood on the precipice of extinction.
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