Chapter 5 - Mural Painting in Kerala

Chapter 5 Mural Painting in Kerala—We can see a unique history of the art of paintings in Kerala. In olden days the people of Kerala had maintained an unequal mastership on the art which is primarily brought out through the rock carvings. The paintings which belongs to Mesolithic age, found in Perumkidavilla of Thiruvananthapuram district are treated as the ancient examples in this regard. The first example of mural paintings found in Kerala pertains to Marayoor rock paintings in Idukki district. As to the period of these paintings the historians hold different opinions. But the period is supposed to be from upper Paleolithic to early historic period. The surface had not been arranged before painting during those days. The paintings had been done without any preparation of surface. The paintings of 8th century A.D. found in Tirunandikara cave walls are considered as the best paintings. Since Tirunandikara paintings, we see a wide gap of five centuries as the subsequent paintings are seen taken place after five centuries. Paintings belonging to 14th and 15th centuries are available subsequent to this period. In 17th and 18th centuries the art of paintings reached its climax. But in 18th century the 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. The 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. The mural paintings were done by collective efforts not as a result of a solitary effort. The paintings of Gajendramoksha belonging to 18th century seen in Krisnapuram is an example for excellent paintings in the history of paintings in Kerala. In the half of 20th century Guruvayoor and Aranmula devaswom opened study centres for the uplift of learning the art of mural paintings. This traditional art of paintings are now a days taught to the students who have deep interests in that field on the basis of a study package. The remainings of the mural paintings are being protected by Government agencies such as Archeological Department of Kerala and Archeological Department of India on parallel lines. The said agencies protect the paintings by adopting various chemical methods and analysis and other useful methods. For want of proper protection some paintings are completely ruined. A new generation that deeply loves and understands the significance of the art of mural paintings has to come up. The survey conducted by the

82 Archeological Department of India in 56 different centres enlightened the various factors in this regard. In Kerala the survey has been taken place in the following centres. 1. Padmanabhapuram Palace Thucklay nh Rock cut cave Thiruandikara 3. Vishnu Temple Thiruvattar 4. Sreekrishna Sreekrishna temple Neyyattinkara 16th 9th century 15th century 18th C 5. Thrivikramangalam Thamalam 18th C 6. Brahama Temple Mitranandapuram 16th C 7. Vishnu Temple Mitranandapuram 18th C 8. Padmanabhaswami temple 9. Krishnapuram Palace Kayamkulam 14th C 18th C 1. An Article M. Velayudhan Nair, Conservation Offier, Regional Conservation Labortory, Trivandrum.

83 10. Narasimhaswami temple Munnoothimangalam Niranam 16th & 18th C 11. Panayannarkavu temple Mannar 16th & 18th 12. Siva Temple Mannamcherry 13. Parathasarathy temple Thiruaranmula, Chengannur 17th 17th 14. St. Georges Orthodex Church Chepped 13th 15. Paliyakkara church 16. Subrahmanyaswami temple perunn 17-18 17. Vishnu temple Gauthamapuram 18 Cheriya palli, Kottayam 2 19. Siva Temple 17-18 Taliyil 17-18 20 Vishnu temple Thrikodithanam 17-18

84 21. Aymanam Vasudevapuram temple Aymanam 17-18 22. Subrahmanya temple Arpukara 23. Govindapuram Temple Kudavechoor Vaikom > 24. Siva temple Ettumanoor 16-17 17 17-18 25. Si. Subrahmania swamy temple kidangoor 17 26 Pundreekapuram Vishnu temple Thaleyoaparambu 17 27. Mahadeva temple, Vaikom 14-16 28. Pazhur Siva Temple, Piravam 17 29. Mattanchery Palace 30. Subrahmaniaswamy temple Elankunnapuzha - Vypen 31. Vishnu Temple 16-18 17 18

32. Durga Temple, Cheranallur 33. Sankara narayana temple Nayathode, Angamaly 34. Syrian Jacobite Church Akparamb, Angamaly 35. Kanjoor church 36. Orthodox syrian Church Mulanthuruthi 37. Syrian Catholic Church Udoyamperoor 38. Kunnumpuram Church 39. 40 Fort Cochin Sankaranarayana temple Peruvanam Vadakkumnath temple 85 16, 17 17 16 17-18 13 16 18 18

Thrissur 41 Siva temple, Chemmanthita 42. Muduvara temple Puzhakkal 43. Krishna temple, Narayanakulangara Vadakkumuri 86 44. Vettikkavu temple peramangalam 45. Siva temple Mundur 16-18 16 16 17 19 19 46. Sri Rama temple Triprayar 17-18 47 Vishnu Temple Panjal 48 Siva temple Panjal 49 Siva temple, Cherukannapuram Vadakkanchery 550 Siva temple 18 17 18

Killikurrissimangalam 51 Thiruvegapura temple 87 52 Bhagavathi temple Thirumadamkunnu Angadippuram 1 53. Siva Temple Kottakkal 17-18 18 18 18 54. Bhagavathi temple Kollam, Quilandi 17-18 55. Bhagavathi temple Balusseri 56. Pisharikkavu temple 17-18 14-16 57. Kalliampalli temple 14-16 58 Sreekrishna temple krishr Tiruhambaram, Taliparambu 17 59 Morazha temple, Taliparambu 17-18 60 Temple at Thoodeekalam 17-18

88 Comparing to Ajantan paintings these paintings are excellent in colours they are beautiful in line sketch. This art was made prosperous and extensive with helps of various factors. These factors may be political, social, communal, religious etc. The art developed mainly in peaceful atmosphere under the eminent rulers who loved various arts including the art of mural paintings. Comparing to costal area and mountain places excellent paintings are mostly seen in central part. The impact of bhakti movement is seen behind this progress to a certain extent and even amidst of the conflicts between local rulers and the foreign invasions. Though in 16th and 17th century we can see a rapid progress in the field of paintings. In the 18th century there destines a sudden depression. After the invasion of Tippu Sultan the major revenue of temples were controlled by British rulers. These resulted in a poor economic conditions as far as the temples are concerned. The encouragements of arts became drastically impossible due to the above negative forces. Due to the unfavourable climatic conditions the paintings were wet and got ruined. The lack proper maintenance resulted in heavy loss of their beauty and the paintings on the temple walls thus lost for ever. The loss was also resulted by old age. We do not know whether the paintings were done using the same method as to

99 89 which adequate details are propounded by various literary works. Though various techniques are narrated in those books, we have no proof to come to a conclusion that the same techniques had been put to use at the time of painting. The raw materials used were often disfigured and discoloured due to oldage. After independence, the Central Government and State Government took adequate measures for the protection of the painting. For encouraging the art of painting in Aaranmula and Guruvayoor two academic institutions were started. The mural paintings in Kerala was in existence as a traditional form of art. The legendaries of Ramayana and Mahabharata are mostly seen painted on the walls of temples and palaces. The theme of paintings seen on the walls of churches centres round the stories of Bible. The lifestyle as well as art activities of the people of Kerala had been tremendously influenced by epic stories like Ramayana and Mahabharata. The theme of the paintings included the characters of these stories. In Kerala cast system and untouchbility had been in previlence. Even then the influence of Hindu thoughts were highly extensive. Regardless culture and education the low class people as well as high class people had choosen different stories in accordance with their standards and paintings were done basing on this stand-

90 90 ards. In the devotional songs different kinds of adornments and ornaments are narrated. The thoughts of all artists were more or less the same. Religions were made friendly for the subsistence art and literature. Places attached to temples were choosen for art exhibition'. The walls of temples were choosen for mural paintings. Many of them had been ruined. Some of them are still kept in tact. In Kerala different kinds of focal and imaginary stories had been spreaded. Some of them relates to the Kirata story of Siva, Arjuna, The Story of Bhima, Hidimba etc. Relying on these stories leather toy play, Kathakali, Theyyam, Thirayattam, Krishnanattam, Ramanattam etc. are had become popular. The mural paintings are the exposition of some fabricated stories or rural legendaries. Imaginary goddess and asuras were incarnated through mural paintings. Among these paintings the birth of Rama, Bheema, Hanuman Siva in the form of Kirata, The Jealousy of Ganga and Uma etc. The art forms existed in temples got enormously developed. From 10th century B.C. the art of mural paintings originated in Kerala and reached its zenith in the 16th and 17th centuries. The art of painting and the art of culture got developed parallely. They were dramatical. The expand eyes due to heroism, love and hatred were the usual expressions which 1. Stella Kramsisch. The Arts of Kerala Kshatram, Paico Publishing House, Madras 1970. P.48

91 had been conveyed to us through paintings. These paintings had claimed a uniformity in all part of India irrespective of certain variations due to local touch and influence. In Kerala they were unique with certain modifications Bhima and Hanuman were treated as brothers in the story Kalyanasaugandhikam. So also the Goddess Parvati become jealous where the Mohini incarnation of Vishnu joined with Siva. The same jealousy occurred in Uma when she found Siva carrying Ganga on his head. Parasurama created terror towards Srirama. Siva who rendered Arjuna to testing, the slain of Hiranyakasipu by Vishnu, who incarnated in the form of Narasimham are the main incidents of paintings. The wall surfaces of temple are seen used to narrate the above stories. Most of the legendary characters had worn crown ornaments bangles etc. like the characters seen in Kathakali. But the expressions. Paca, Kathi, Tadi are not seen given to these characters. This is the notable difference seen in Kathakali and paintings. According to a survey conducted by the Central Archeological Department about 60 characters are found out in Kerala. Many of them are highly attractive. Some characters are seen repainted and some others are blurred. Basing on the themes the mural paintings of Kerala can be classified into 4 categories'. 1. Kapila Vatsyayan - The Arts of Kerala Kshetram. Published by Sriramavarma Govt. Sanskrit College Committee, Tripunithura 1989 P.17

1. nh 3. The incidence of Ramayana 92 Siva, Vishnu in the form of Mohini, Parvathy who stares at Diva anu Ganiya with anger, Narasimha and Hiranyakasipu Vishnu in the form of Venugopal, Govardhana Mountain 4. Dancing Siva These pictures are repeatedly painted from Padmanabhaswamy temple on south to Vadakkumnatha temple at north. Though there are certain changes the substories of Mahabharatha are seen painted. The paintings of characters centre round on the stories of Bible. When we take into account Indian Murai painting, we can assign a unique position to the mural painting seen in Kerala. The paintings seen on the root of Thirunandhikara temple in Kanyakumari district of Tamilnadu belongs to 9th century. The history of mural paintings in Kerala starts from this stage. The reason is that Kanyakumari was a part of old Travancore. Treating Tirunandikara paintings as the oldest, the history of 10 centuries can be ascertained. But our government have started on this aspect.

'93 Considering the peculiarities of paintings the mural paintings of Kerala can be classified into three stages. In the first stage the paintings of Tirunandikara, Kantalur, Padmanabhaswamy temple, Tiruvambady temple, Citaral cave temple and in the second stage Mattanchery palace, Vadakkumnatha temple, Thiruvancikulam, Pisarikavu, Elamkunnapuzha, Mulakkulam, Balussery, Kottayam, Tazhatangadi, Vasudevapuram, Thrikodittanam and in the third stage Akaparambu churth, Kanjoor palli, Thiruvalla churth, Kottam cheriya churth, Chepadu churth and Ankamaly churth and also the christian churches of Kottakkal, Pundareekapuram, Thriprayar, Panayannoorkavu, Lokanarkavu and also in the temples of Padmanabhaswamy temple, karivelapuramalika, Mattanchery palace, Kovanithalam are to be considered. Like Saints ordinary people were represented through paintings. Subsequent to the age of Ajantan paintings all the Indian mural paintings are conveyed through line sketch. The thick line represents hearness. Thin lines distance, flowing lines inseparability. The traditional floor drawings and Kathakali were under the grip of mural paintings. The geographical features of Kerala is also portraited through different kinds of pictures. The possessiveness of passions was expressed through

.94 paintings. The creations of mural paintings were with i the confinement of devotional songs and science of idols. The colours were immersed in outlines. They were rythematic and unequal. The artist adopted the traditional methods regardless remuneration for their work which were really in pursuit of goddiness as a result the artist did not assign any significants on their personality or their individuality. The situation created some difficulty to the subsequent generations. We have to guess as to the persons who worked behind these beautiful creation. They didn't claim any recognition either for their personality or for their creativity. They were actually incognito and unknown to future generations. As far as the concept of beauty is concerned we can note some region wise differences. The creators made the creations basing on the ideas and ideologies they confronted directly or indirectly in their experiences of ordinary life. The beautiful lady characters of Padmanabhapuram palace are long faced and of stoutly built bodies but the ladies of Mattanchery palace are with round breasts and fleshy bodies. The former belonged to Sankini type of ladies and the later to Padmini type of ladies class. The practical approach towards painting was somewhat difference then what has been described in the literary works. Most of the paintings are seen on the

95 arranged walls except those are seen in the cave walls. The surface of the walls was initially made rough and the same was again arranged before painting. Differ- ! ent kinds of gum was used to make the surface more impact. The saps of some plants were used to make gum. Lemon juice and coconut water were used to eliminate the concentration of the paints. The paints so prepared were kept in wooden pots and used according to the need. The brush used for painting was also made according to need of different kinds of paintings. The paints and brush were arranged before the painting being done. The bamboo stick which was made sharp and long grass roots of some plants were also used to make brush. The outline was drawn using yellow paint with the brush made off bamboo sticks. And these outlines were made hard using red paints. The grass brush was used to brush the paints on the surface. The roots of some plants were also used in this connection. After the painting is over, the sap of pine tree mixed with one fourth oil and filtering the same with the help of a piece of cloth, the hardness of the painting is assured. The mural paintings in Kerala is mostly seen painted with the colours orange, green, red, white, blue, black, green blue, yellow, golden yellow etc. The minerals excavated from the earth, the sap of plants and vegetables, the powder of stone

96 etc. were used to mix these colours. Blue colour is produced from Nilamari plant. Green colour is also mixed with different colours. Black colour is produced from oil carbon. The concentration of calcium had been eliminated by smearing crystal on the walls. The chemical action of calcium was remarkable understood during those days. The lime juice was used to eliminate the concentration of Calcium. In Kerala the calcium walls were prominently considered an important factor for the construction of walls. Therefore the chemical qualities of this factor was given high regards. While illustrating the epic characters, suitable colours were given considering the peculiarity of each character. The colours were symbolic and qualitatively Satvika, Rajasa and Thamasa. It is to be believed that the art might have adopted traditional beliefs in regard to the art of paintings. A sum total of all these factors are seen externalised on the mural paintings. The art having been traditionally handed over to the subsequent generation, high regards were given to this art without any adulteration. Green colour was given to the Satvika gods and red colour to Rajusa gods. For Tamasa gods white colour was given according to Vaisnava thoughts and black colour according to Saiva thoughts. Srirama, Srikrisna, Trimphant Durga, Sastha

97 were given either green or green blue colour. Ganapathi, Narasimha, Varahamurti etc. are considered as Rajoguna gods. Parvathy, Visnumaya are considered as the goddesses which were painted in golden colour. White colour for dancing Siva, Daksinamurti etc. Golden colour for the God of Kailasam. The colour of Bhadrakali was the colour of clouds. Crimson colour to Brahma and Saraswati. White colour to Balasaraswathi. Yellow robes for Srikrishna. Blue robes for Sastha. The robes of Siva was in blue colour. The prominent colour which is seen Kerala mural painting is light red colour. According to Natyasastra', Sringaram was expressed in syama colour and hasyam in white colour, anger in red colour, terror in Krishnavarna, wonder in yellow colour etc. Each colour thus conveys to us the expression of each passion. The pictures of Sasta well acquinted in Tamil nadu are ordinarily seen in Kerala temples. Most of the pictures are seen as hunting, sitting on the horseback etc. The pictures of Sastha sitting on the elephant are not rare. The concept of Suryanarayana instead of the God Sun is also seen painted. Significance is given J to dancing Siva in Saiva paintings. The paintings of Ganapati Subrahmania and Parvati in Kailasa with Siva are plenty in number. On the northern side of the inner 1. Vedambandu - Rasabharati, Kerala Sahitya Academy Thrissur 1985 Ch. 6 35, 36.

98 shrine, the picture of Siva in the form of Daksinamurthi is seen painted. On the southern sides of inner shrine different kinds of pictures are painted. The God Sadasiva with five heads. Kiratasiva, Akhorasiva, Bhiksatanamurti, 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 each incarnation of Visnu are exhibited in Vaisnava paintings. The pictures of Sri Padmanabha are differently painted. Santanagopala moorthy, Guruvayurappan, Mahalaksmi, Vishnu, Gajendramoksam etc. have been painted. The praising of Srirama, Srikrisnalila play of Krisna the incidence of Ramayana 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, lifting of Govardana Mountain, stealing of the robes of Gopa ladies are painted. In many pictures Srikrishna who is reading flute standing among the gopa ladies can be seen. The slain of Mahisa, the demon, the picture of Durga, Bhadrakali etc. are among the paintings. inpenristian In christian churches too, large number of paintings are seen and all the stories are related to Bible. Eve, who is eating the forbidden fruit under the instigation

99 of Satan, the birth of Christ, the wonder of Christ, his tortures, crusification, resurrection etc. are seen painted in the church walls. 1. Tirunandikara Paintings¹ The ancient mural paintings of Kerala is found out in the cave walls of Tirunandikara temple. Inside of the cave a large chamber of is seen abound in many paintings. But today we can see only a few outlines of such paintings. This outlines, however, convey to us the excellence in ancient paintings. The paintings of Siva and Parvati are beautifully done. These paintings are supposed to be done in 9th century A.D. Even in the absence of colours the true shapes of the characters are excellently painted. 2. Ettumanur Paintings 2 Subsequent to Tirunandikara paintings, in 16th century the paintings of Ettumanoor supposed to be taken place in Kerala. On the southern wall of this temple the picture of dancing Siva is significantly painted. The picture is 3.60 metres length and 2.17 metres height. The paintings denote the Brahmananda Tandava (violent dance) of Siva on the Asura Mulayaka. A group dance as to which mention 1. K.P. P. Thampy Thiruvattar and Thirunandikara, Travancore Information and Listner. February 1945 2. K.P. P. Tampy Ettumanur, Travancore Information and Listener, April 1945

100 is made in Natyasastra is also seen painted here. The spectators of dancing Siva, Gods and Goddesses and other dancing figures are painted. The paintings include the picture of Saraswati, Devendra, Visnu, Brahma, Laksmidevi etc. The attractive picture is of Parvati who is holding lotus flowers in her hands. Nandi who is viewing the dance of Siva is actually appreciating the dance with a devotional ecstasy. On the top of the paintings Sanaka, Sanandana and Sanathkumara are painted. In the middle of the picture Ganapati is painted sitting on the mouse. Subrahmanya whose the vehicle is the peacock has taken place on the left side of Siva. Bhadrakali views the dance of Siva with devotional fear. Though the idols of Natyaraga are rare in Kerala the paintings and sculptures of Natyaraga are plenty. The dancing Siva has 16 hands. Siva The colour of the body of Siva is the moon white. In the inner part of the western tower, the paintings of ananthasayanam can be seen. It is of five metres and 80 cm length and two meter and 47 cm. height. On the foot of Mahavisnu, Bhumidevi and on the head, Lakshmidevi are seated. Garuda is seen worshipping Visnu. The paintings include Astadikpalakas (keepers of the eight cardinal points),

101 are seen in Vaikuntha. In the bottom portion, the picture of milk ocean is painted. A large fish is also painted which swallows a tiny fish. Mahavishnu is painted with thilak of Vaisnava type, sacred thread, necklece of hearts hanging on the chest, crown, ear rings, garland of wood flowers, neckleace, armlets. The pictures of ananthasayanam and Sivatandavam have been rendered to renovations. The paintings on either side of Nataraja is in a terrible way. From fear to wonder and wonder to heroism is the method adopted for paintings. The Aghoramurti has eight hands in each of which different weapons are held. Among the God and Goddesses who are viewing Anantasayanam and > Natarajanrtam, the picture of Siva is peculiarity painted. Sasta who is hunting sitting on the horseback is 2.40 metres height and 55 cm breadth. The paintings of Dwarapalakas is 1.50 metres length and 1.20 metres height. These pictures are seen painted on the outer wall of the tower. The picture of Balakrisna who is stealing the robes of Gopa ladies and the picture of hunting Sasta, Gopikas who are standing in water and begging for their clothes etc. are among the paintings. > The wild animals are portraited through the picture of hunting Sastha painted in many of the temple walls. A man who is ready to shoot with a gun is also painted.

102 The gun indicates the guns used by Portuguese and Dutches. On the upper portion a forest, in the middle portion Sastha sitting on the horseback, and in the bottom portion hunting with help of followers are the sequence in which the picture of the paintings are seen arranged. The Dwarapalakas painted on the walls have close resemblance with that of seen moulded with bricks on either side of the walls. The structural beauty of the female Goddesses like Parvati, Laksmi, Saraswati, Bumidevi etc. indicates the Kerala females, their beautiful body structure and their deep influence in the minds of the artists who created the paintings. Not only the body structure but also various expression on their face too have influenced the artists enormously. But in their clothing the Kerala style is somewhat absent. But the earring called as Thakka and the neck chain indicate the Kerala style. While painting the pictures of Gods, the artists were keenly cautious not to assign Kerala Style to the Gods. All these pictures represent 16th century. Hasty attempts for the renovation of the paintings have often created some problems against their originality.

103 The paintings of Padmanabhapuram Padmanabhapuram was the capital of Venad' otherwise known as Kalkulam. Kalkulam was a place which was contributed by Martandavarma Maharaja to Padmanabhaswami. Many of the paintings are seen in the inner chambers of the Thevarappuzha of the palace. Thevarapura might be intended for meditational purposes or such other purposes. On the western wall, the paintings of Anantasayanam is seen. On the foot the picture of Laksmidevi and on the head the picture of Budevi are seen painted. The saints and the sages, sun and moon etc. praise Ananthasayanam in a devotional mood. Like other Kerala temples, the picture of Sun God is painted in the form of Sooryanarayana. Vishnu in Annthasayana form has two hands instead of four hands unlike other paintings. In the eastern walls another picture of Ananthasayanam with the same beauty seen painted. The other paintings include Venugopalan surrounded by Gopikas. One of the Gopikas is painted in white colour and this gopika is supposed to be the eternal heroine Radha. With the presence of Srikrisna the Gopikas are seen painted in ecstatic mood. Hearing the sweet music from the flute of Srikrisna the Gopikas become overjoyed by emotions and their views unify in distant point in the eternity. The expertedness of three different artists can be visualised in the paintings of Padmanabhapuram 1. K.P.P. Tampy - Mural Painting in Travancore Silpi October 1947

104 palace. One of the above artists has given due significance to drawings and colours alike thereby exposing his mastership on the art. The second artist can not be treated as so adept like the first artist and the third artist may be an Iranian artist. The picture of Eakadasa Rudhra (elevan rudras) is painted on the northern wall. The sivalinga of Thripparappu, Dakshminamurthy, Ganapatypuja, Sasta on the horseback who is hunting, Visnu worshipped by Sridevi and Bhudevi, Visnu sitting on Garuda are the other forms of pictures which are seen painted on the walls. All these pictures might have been painted by excellent artists who lived in those days. On the other hand the picture of dancing Siva, Bairava, Parthasarathi, Krishna, Girijakalyanam etc. seen on the northern wall may be accredited by the artists who stand second among the artists. The other paintings like the paintings of Muruka, Sudarsanachakrmurti, Visnu etc. may be the creations of the said artists. The paintings of Padmanabapuram Palace had tremendously influenced the art of paintings of southern Kerala. It is guessed that the paintings of Padmanabhapuram has taken place after third January 1750, the date of first Tripaditanam. The impact of this paintings can also be seen in the mural paintings of Tiruvattar temples.

105 The ancient culture of Kerala, to a certain extent, is conveyed to us through that paintings of Padmanabhapuram. The detailed accounts of royal assembly, various ornaments, robes of dancers etc. are also brought to us through these paintings. The codifications and unification of Saiva and Vaishnava thoughts, their importance among the social and meditational set up, their cordiality etc. can be very well understood with the help of these paintings. One of the artists who painted the picture is Pandavas temple of Kottayam where name was Narayanabhatta is supposed to be the disciple of Kaikkotta Namboothiri who was supposedly the main artist of Padmanabhapuram. Paintings of Vaikkam Siva Temple¹ The picture of Parvati at Vaikkam Temple must have been painted subsequent to the paintings of Padmanabhapuram Palace. Genesa and Siva of Padmanabhapuram palace are equally excellent along with the paintings of Parvati. Besides we can see the paintings of Rama and Laksamana here. All these paintings are supposed to be taken place in 16th or 17 century². 1. K.P.P. Tampy - The Udyanapuram Mural Painting Travancore Information and Listener, August 1947. 2. K.P.P. Tampy - Vaikam and Its Famour Temple Travancore Information and Listener, January 1945.

106 Paintings of Tiruvattar Adisesaperumal temple¹ The paintings of hunting Sastha and the worship of Ganesa are beautifully done here. They are supposed to be belonging to 15th century. The Paintings of Mattanchery Palace² The palace is situated in jew street at Mattancery which is adjacent to Cochin. Arch windows and doors seen here indicates the European way of construction and the restricted use of woods in those days. The influence of European countries is proclaimed by way of this constructions. But the three temples which are situated on either side of the compound and in the central part and the pond on the western side represent the Kerala Style. The mural paintings of Mattancery was destroyed by Portugees invaders when they robbed the temples. The ruler of this palace who got angry with the unprecedented attack made by the Portugees, was made pleased by them by way of constructing a palace and contributing to the said ruler³. The ruler as well as his successive generations continued their attempts in regard to painting of various pictures. Nearly 300 sq. ft. area is covered a painted picture which depicts the whole Ramayana story commencing from the ritual made by Dasarada to the coming back of the triumphant Rama from Lanka after killing Ravana. 1. 2. 3. K.P.P. Tampy Thiruvattar and Thirunandikkara, Travancore Information and Listener February 1945 Chita V.R. & S.Srinivasan - Cochin Murals Published under the special authority of his Highness the Maharaja of Cochin 1940 P.38 P. Anujan Achan - Annaul Report of the Archeological Dept. Cochin State 1934 - 35 A.d.

107 Pictures pertaining to Krisna is also seen painted here. The western chamber which was situated near the chamber for coronation was used by the rulers to sleep at night. In the walls of all these chambers a number of pictures are seen painted. In the lower middle portion of the walls, textile designs are seen painted in a simple way and in the upper middle portion the epic stories are splendidly painted. The incidence of Ramayana is portraited through 60 paintings'. The incarnation of Mahavisnu is seen painted here. The first picture painted on the northern end of the eastern wall indicate giving instruction to Sumanthrar by Dasaradha for the arrangement of the ritual "Putrakamesty" (a sacrifice performed to obtain a son). The ritual is conducted by Rsyasringa. In the next painting god Agni (fire God) who carried rice boiled in milk is seen painted. In another picture the King who was so pleased in getting payasam from God Agni is seen. Golden colour is seen given to Kaikeyi among the wives of Dasarada. This denotes Dasarada's special love and affection towards Kaikeyi according to the justification of the artists. The next picture shows the delivery of the wives of Dasarada without any screening. 1. M.G. Sasibhushan - Keralathile Chuvarchitrangal, Kerala Bhasa Institute, Thiruvananthapuram, 19994 P.71

108 Another beautiful painting gives us the picture of Tataka and sending of Rama, Laksamana along with Viswamitra in pursuit of the sacrifice. Breaking of the bow and marrying Sita by Srirama are painted in another picture. The obstruction to coronation, the conflict of Rama and Parasurama, journey in the boat of Guha, Crossing of the river Ganga are seen in the paintings. The slain of Virada, the passions of Surpanakha towards Rama, cutting of her breasts by Laksamana, meeting of Sugriva and taking vow killing of Bali etc. are seen beaitifully painted. While killing Viradha, an unprovokable stillness is expressed on the face of Rama and a wonderful clemency on the face of Sita. The shedding of blood from the body of Surpanakha is seen painted¹. The jumping of Hanuman to Lanka, the obstruction created by Surasa, Simhika, Lankalaksmi etc to the journey of Hanuman to Lanka, the fight of Ramayana, the slain of Ravana, the fire sacredness of Sita, welcoming of Rama, Sita and Laksamana by the people of Ayodhaya etc are among the paintings. The northern wall where Sriramapattabhisekam (The consecreation of Srirama) had to be painted is found without any painting. The picture of lamenting Srirama due to the loss of Sita is beautifully painted on the western wall. The vanaras who are looking at Rama who attempt to lauch arrow are also painted. Hanuman who gets escaped through the ear of Surasa, sleeping Kumbakarna are among the paintings. Srirama 1. M.G. Sasibhushan - Keralathile Chuvarchithrangal, Kerala Bhasha Institute, Thiruvananthapuram 1994 P.73.

109 is a legendary character who visualised life as a dramatic play. Hanuman is adventurous character and a devotee of Srirama. The peculiarity of each painting assigns great significance to each of them. Over crowded paintings eliminate their significance and beauty to a certain extent. Some of them are, therefore left unnoticed. In the second stage of Mattancery paintings we can see six paintings from the stair room to the chamber for coronation. the fleshy characters are seen beautifully painted. These paintings convey an irresistible tender feelings in the minds of the viewers. Thiruvanchikulam Siva temple paintings Five pictures are seen painted here in an area of 105 sq. ft. One is Mahabharatha fight and the other is the incidence of Ramayana. Dancing of Siva, Parvathy, Srikrisna surrounded by Gopikas etc. Chemmanthitta Siva temple paintings Here the dance of Lord Nataraja, hunter Ganapati, Durga etc. are the items of paintings.

110 Pallimanna Siva temple paintings Saiva and Vaisnava paintings are seen here'. The picture of Goddess Mohini playing with a ball, Kiratha Siva, Arjuna; Dhaksinamurthy, Krisnalila etc. are seen painted here. The characters have some similarity with the Tamil Characters. The Saiva paintings are done by one Gopalan who was an inhabitant of Kollam and Vaisnava paintings by Meghatturama in the year 1691 according to a wall script. Paintings Vadakkumnatha temple Under the instigation of Azhvanchery Thamprakkal, the paintings in this temple are done by one Krishnan, a disciple of Narayana in the year 1731. This is brought to us from a script received from here. The paintings mainly include Mahabharatha fight, the pictures of Siva, dancing Siva, Ganesan, Daksinamoorthy, Gajendramoksam, Santanagopala etc. Thitrangode Siva Temple Paintings The paintings here are supposed to be made in the second half of 17th century. The > paintings include Siva, Vishnu, Subrahmanya etc. 1. Kapila Vatsyayan - The Arts of Kerala Kshetram, Publishd by Ramavarma Govt. Sanskrit College Committee, Tripunithura 1989 P.20

111 Padmanabhaswamy Temple Paintings' The legendary stories taken from Ramayana and Mahabharatha are seen painted here. All these paintings are supposed to have been made during the period from 1729 to 1733. Udayanapuram Temple Paintings All the paintings here are believed to be taken place in the second half of 16th century and in the half first half of 17th century. The paintings include the picture of Ganapati, Siva, Parvati, Subrahmanya etc. The peculiarity of the paintings seen here is the pictures of Namboodiris who lead the high class social life. Their culture and inheritance are brought to us through this paintings. A Namboothiri who is worshipping Ganapati and another worshipping lady have been painted. Aaranmula Vishnu Temple Paintings Four mural paintings having 63 inches length and 50 inches breadth are seen painted on the walls either side of the inner shrine. 1. K.P.P. Tampy Mural Painting in Travancore Silpi October, 1947

Undarisapuram Temple Paintings 112 A clear distinction as to the old paintings and the new paintings can not be ascertained from the blurred paintings and the new paintings. They may belong to 16th or 17th century. Here 8 large pictures and more than 20 tiny pictures have been painted. Siva and Parvathy was sitting under a coconut tree and Durga was attempting to kill Mahisasura are among the paintings. Kottakkal Temple Paintings Through 40 types of paintings, heroism, clemency, passions, terror etc. are brought to us. The paintings include the family of Siva and Visnu. The name of the painter is available from the script here according to which Sankaran Nair and his disciple Bharatapisarody are the persons behind this painting. Paintings of Elamkunnapuzha Subrahmania Temple The incidence of Mahabharatha, Ganapathipooja, hunting of Sastha are painted here. A goldsmith who is sitting near his wife is smoking. This is an interesting painting seen here.

Thriprayar temple paintings 113 Here the picture of Venugopalakrishnan Gajer.dramoksham, Lord Narasimham etc are seen painted. Such paintings are seen in Vaniamkulam, Cheerakattukulam Thrikkaderi Moonu Moorhy Temple', Panjal Ayyappan Temple and Pandavam Sastha Temple, Trichakra puthanchira, Lokanarkavu, Thodikalm Siva Temple, Krishnapuram palace, Panayannarkavu etc. 1. M.G. Sasibhushan - Keralathile Chuvarchitrangal Kerala Bhasa Institute Thiruvananthapuram 1994 P. 96