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. Only the Indian state of Rajasthan has more murals than Kerala.
Recent mural history can be traced to the seventh and eighth century ce. It is not unlikely that the early Kerala murals and architecture came heavily under the influence of the Pallava dynasty. During the 13th century the first frescos were created at Kanthaloor, Temple in Tiruvananthapuram district. 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.
Archaeological evidence indicates the most prolific period of mural art in Kerala began in the mid-sixteenth century. Many of the most exquisite murals were painted during the 15th and 16th centuries.
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. 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 murals of Panayannarkavu are notable for their linear accuracy, and agreeable color combinations. It is a little difficult to date these paintings, but presumably during the closing years of the reign of the King of Chirava, a branch of the Odanadu royal house.
Even local Christian churches, recognizing this revival and the importance of mural art in Kerala, have employed this art form to depict the Last Supper and other Christian stories, in the attempt to give their imported history a distinctively local look.
Color and Content.
The subjects for murals are typically derived from religious culture and texts, peopled with highly stylized pictures of the Gods and Goddesses of the Hindu pantheon. Other common subjects are rishis and sages, their exploits and those of kings and warriors, as well as royal attendants, processions and the significant events which define the history of the place.
"The figures are highly stylized and rendered with elongated eyes, painted lips, exaggerated eyebrows and explicit body and hand gestures (mudras), decorated with elaborate headdresses and exuberant, overflowing ornaments. The strong and voluminous figures of Kerala murals with their elaborate headdresses have a close association with the characters from the dance dramas of Kerala.
Murals depict the epics, like Ramayana, and the classic frolics of Krishna as well as the mystic forms of Siva and Shakti. They recount the Hindu myths and the Kerala forms of worship and lifestyle. As backdrops to these highly stylized works, flora and fauna and other aspects of nature are also pictured
Recent mural history can be traced to the seventh and eighth century ce. It is not unlikely that the early Kerala murals and architecture came heavily under the influence of the Pallava dynasty. During the 13th century the first frescos were created at Kanthaloor, Temple in Tiruvananthapuram district. 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.
Archaeological evidence indicates the most prolific period of mural art in Kerala began in the mid-sixteenth century. Many of the most exquisite murals were painted during the 15th and 16th centuries.
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. 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 murals of Panayannarkavu are notable for their linear accuracy, and agreeable color combinations. It is a little difficult to date these paintings, but presumably during the closing years of the reign of the King of Chirava, a branch of the Odanadu royal house.
Even local Christian churches, recognizing this revival and the importance of mural art in Kerala, have employed this art form to depict the Last Supper and other Christian stories, in the attempt to give their imported history a distinctively local look.
Color and Content.
The subjects for murals are typically derived from religious culture and texts, peopled with highly stylized pictures of the Gods and Goddesses of the Hindu pantheon. Other common subjects are rishis and sages, their exploits and those of kings and warriors, as well as royal attendants, processions and the significant events which define the history of the place.
"The figures are highly stylized and rendered with elongated eyes, painted lips, exaggerated eyebrows and explicit body and hand gestures (mudras), decorated with elaborate headdresses and exuberant, overflowing ornaments. The strong and voluminous figures of Kerala murals with their elaborate headdresses have a close association with the characters from the dance dramas of Kerala.
Murals depict the epics, like Ramayana, and the classic frolics of Krishna as well as the mystic forms of Siva and Shakti. They recount the Hindu myths and the Kerala forms of worship and lifestyle. As backdrops to these highly stylized works, flora and fauna and other aspects of nature are also pictured
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