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Chapter 6 Modern Development and Relevance in Mural Paintings

Imbibing the tradition of there are many transitions in mural painting. Many studies and changes have taken place in the same, as the painting style of Kerala is a real and widened field. The copies of traditional mural paintings seen in temples have been displayed in Sree Citra Art Gallery in and the major collection of mural paintings is seen here as well. As there are some religious restrictions inside the temples, the evolution of artistic tradition can be seen in this art gallery.

There are many artists in Kerala who illustrate the artistic creation in modern style imitating the illustration plan as well as the metaphorical peculiarities of traditional mural paintings. Being the recreation of tradition, these artistic creations are a movement like modern mural style which is an instance as this is a style of presentation where the contemporary people can adapt with the linear rhythm of Paµcavar¸a illustration in the international painting filed. That is without using natural colours the adaptation of acrylic colours is available in the market for the traditional mural paintings. The popularity for pictures has been coming from the industrial sectors such as tourism and IT, as it gives preference to sustain the essence of tradition. Today mural paintings have come out from the walls in temple and reached out into the public. In the ancient period, the mural painting could only be seen by visiting temples. Adopting a transformation from them, now it has been evolved into a portable one. Today, for learning drawing things like paper, pencil, oil paints, water colour, brushes, art paper and canvas etc. are used. During the reconstruction of the temple, it becomes impossible to use

colours with gum, as it is being built by cement. This results the oiled colours and acrylic, synthetic colours being used for this kind of painting. This is simple when compared to the old one, it is possible to etch on the wall in house as per our choice, drawing it on the canvas or board. Some Example like temple surrounding walls, Rugmi¸i Kaly¡¸ama¸·apa, Guruvayur, retreat hall of ár¢ áa´karanilaya (Chinmaya International Foundation Piravam, ), international airport and Navodaya international school auditorium, etc.

Besides, there are some people who perform mythological characters painting on canvas in the ritual room because of their ardent devotion. In big cities, the style of mural paintings is applied on the picture etched on wall as for an illustration and this is being in line on cloth and even on flex print. As traditional mural paintings are ancient there is less chance to have change in the colour. The things that are used to make are survived by age. For example, some colours are made from the stone gathered up from river. There is no evidence as from where these stones have originated. These are being faded and damaged due to the severe heat, dust and smoke. Besides, for the sake of restrictions, synthetic colours are used instead of natural ones which led to the scientific deterioration of the paintings.

The initial stage of mural paintings like construction of wall and the faults made on it have a possibility of ruining the painting. First of all, the wall should be checked to know whether there is any hole or crack. After the construction of the wall for the painting, if the cementing is not good, the painting cannot be etched. If the things like lime, tender coconut and gum are not in the exact quantity and quality, it may affect the painting.

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Normally the excitement of devotees while at temple can result in the damage of paintings. Sandal, saffron, ash and other things make the images ruined.

Renovation of Murals

If old pictures get ruined, it is again plastered normally. There are a few differences in doing old plastering unlike not waiting to get dry, a mixture of cotton, raw plantain, sand and lime is grinded and smoothened using tender coconut water and lime and then it is white washed before the repetition of drawing. It again is the latest technique. Moreover, wall is levelled and the cracks are filled up using cotton and gum. Colours, charcoal, paint etc. are removed by using a chemical substance called toluene1 and then re-touching process begin. During this process, synthetic or acrylic colours are normally used. In Kerala, such re-touching work had happened. For example, Sree temple, Guruvayur, Sree Padmanabhaswamy temple, Vaikkom Mahadeva temple, Sree Krishna temple, Kudavechur, Siva temple Ettumanoor, Pazhoor Perumthrikkovil, Piravam, Thrikkodithanam Vishnu temple, Vasudevapuram temple, Thuravoor Mahadeva temple, Ambalapuzha Sree Krishna swamy temple, Perunna Subrahmanya temple, Alathiyur Hanuman temple, St.Thomas Syrian church, Paravur , St.Mary’s Forane church, Kanjur St. Mary’s Syro- Malabar Church, Kadathuruthy etc. In addition to that, several temple and church works that are gradually getting damaged can now be seen being

1 Toluene (C7 H8, Methylbenzene) is an aromatic hydrocarbon and it is a colourless water insoluble solution with paint thinner.

184 protected by various artists. It is truly a tedious task to conserve these valuable assets that has been excavated few centuries ago. It is the duty of the artists of the new generation.

Conservation

The dust and cobwebs in drawings are removed using very soft cottons. If not done in caution, there are chances of cotton getting struck in paintings. To remove the fadeout caused by daily rituals at temples is the most difficult. Though these can be cleaned using water or any other similar substance, it may cause damage to the walls used for mural paintings. The faults caused during painting appear as cracks in course of time. If the cracks see occur in the centre of the paintings, it becomes futile. It can also be seen in some temples that these cracks have been plastered using cement in an unsophisticated manner. In such cases, the paintings can be copied and then redrawn after completely plastering the cracked walls is the only feasible solution.

If the oil gets splashed on the painting, there is a chance of reaching the walls even. Therefore, the possibility of colours getting faded will be there if those areas are washed by pure water. Otherwise, it is only possible contexts to reconstruct the same. It is not possible to fix the damage deformation on the paintings caused by the crack with pen, pencil and black chalk, man should act in accordance with that. In some temples, the webs of wasp, bee, and hornet’s nest can be seen. If it is noticed at first and carefully handled, it can simply be removed as there is a chance for the webs to grow bigger. As there is a possibility of the web growing larger, it can be

185 removed properly before it gets enlarged. Moreover as part of any ritual function, the walls of temples may get whitewashed which may eventually affect the paintings terribly. Besides, if the water is flowing on the pictures, it can be fixed by the artists. If the colours are damaged due to excessive sunlight, there is only one option as the picture should be recreated. The pictures which are not affected can be protected by coating toluene to it. The best solution is to keep a distance from paintings by a transparent cover with net or glass. But it should not affect the view too.

If the reconstruction of the temple is going to happen, the whole paintings may get copied or captured with camera so as to recreate it easily for instance; and Thirumandhamkunnu temple2 have done like this. Besides in some temples, the employees think about the paintings only after the renovation. The wall may be plastered with cement or concrete. In these kinds of walls, traditional mural paintings are is draw impossible. In this context, natural colours get replaced but synthetic and acrylic colour. Painting like these is etched on canvas sheet and board are considered as mural painting.

The conservation of mural paintings, a mural gallery with modern facilities is required as first. The pictures which are not able to be protected on the walls should be kept without getting much heat and cold so as to not lose it forever which is a style followed to aid the researchers. With quick lines and elegant illustration, the exquisite mural paintings in Kerala have been famous not even in but also all over the world. Most of the

2 Oral Interview, K.U. Krishnakumar, Principal, Guruvayur Devaswom Institute of Mural Painting.

186 traditional pictures are facing deterioration tendency, negligence and adverse weather and its conservatory activities have been going on as well. When the faded pictures are recreated, it may not get the beauty and elegance of the old one. In mural paintings the techniques of imagination and the perspective of life of a particular period can be seen. There are some temples still existing which may get affected adversely when it is reconstructed.3 There is a style which caused in the deterioration of the paintings as can be. The synthetic colours used in place of natural colours. Moreover some fake devotees who visit temple destroy the paintings. It can be seen as they paint moustache on female paintings and cap on male paintings.

Protection of Pictures

The field of mural paintings makes the spectators understand the artist’s talent and genius. It can be seen that the inability of artists in due course of time. Today many of the paintings have become deteriorated during the reconstruction of temples, the temple employees clean the paintings with broomstick and brush due to their lack of knowledge about the value of tradition and as part of sacrament as well. The paintings can be intact if these are kept away from rain, dampness and from the disruption of red stone. In some temples, paintings are covered with glass or with layers so as to keep it away from touch of people. Besides photography is prohibited in the temple as the flash from camera can also result in the damage of the colour of paintings. Each one has the responsibility to keep

3 Ettumanoor Siva temple, Vaikkom Mahadeva temple, Thirunayathode Vishnu temple etc.

187 the paintings with traditional values without recreating, scratching and whitewashing. The experts require technical knowledge about mural paintings, in order to protect the paintings and are motivate to do the same.

The sector of mural paintings has reached to a wide range of possibilities in the market which innovatively represented its value on books, notice, dresses, cinema, banner, pot and auditorium etc. and so on. This has started coming to common people’s life lately through exhibition. From this, the innovative expression of reformed paintings can be seen. Once, nobody had the knowledge about painters who became famous and rich. It was not only their vocation but also a kind of passion that made them popular and rich. Nevertheless, it has become a huge sector. Furthermore, the style of kid’s mural paintings has also begun popular. This is a sort of style where the pictures of children’s favourite characters, animals and birds are illustrated in a comic way so as to attract the children toward the same and it can be seen in some primary schools in Kerala. In Government level also, mural painting has got huge number of possibilities as on many of the Govt. institutions, office, park etc. the paintings can be seen and it became popular traditional art forms like K£¶iy¡¶¶am, K£ttu , Kathaka½i etc. and so on.

Things for protection

The mixture for wiping the dust of the wall pictures prepared with alcohol, toluene and water. The problem caused by fungus and oil can be prevented by this. Furthermore, there is a procedure called polyvinyl acetate

188 for preserving the colours with some chemical substances.4 Thus this process is completed when toluene is added to it for giving a membrane. Since it is an expensive procedure, so it is done only in certain areas. There is a feeling that the pictures of not frequently visited temples will be narrating some stories silently.

State archaeological department should take initiative to protect traditional mural paintings. It is good to apply the mixture of plaster of paris and white cement with ochre red colour if the wall is getting broken. There are many occurrences to illustrate where the ignorance, carelessness or negligence of the concerned authority made the paintings got damaged in some temples while whitewashing. The mural paintings should be preserved as the precious asset with proper care. The innate beauty will be lost if the affected paintings are recreated. Some artists draw with enamel paint as the old paintings are faded.

It is from 1980 towards, Kerala mural paintings have started reviving. The fire caught in Guruvayur temple is an incident for the same. It was in 1970 the temple caught fire and due to this most of the ancient pictures damaged while extinguishing the high temperature and when the water hit the wall with a fire engine as part of the rescue mission. Later an idea of recreating the pictures came into consideration and in 1986 it started working and finished in 1989. Though this incident, the vulnerability of the traditional mural painters is understood and as a remedy, a mural painting institute got established in the same year in Guruvayur. After the

4 Polyvinyl acetate (C4 H6 O2) is known as wood glue, white glue, carpenters glue etc. it is used as modified through chemical reactions to produce important polymeric substances.

189 establishment of this institution, mural paintings have got a new wave and energy to come back to the realm of painting as a whole. Only after this, the painting started reviving in Kerala. Today not only in Kerala but also in other states and in foreign countries, the relevance and possibilities of mural paintings have increased. It has got significant place in public buildings, big hotels and the houses of people who love art. At present, most of them are interested in mural paintings on current events, the biography of great persons relying on the traditional style of narrating the story of Pur¡¸as. The new generation, gave appreciation to mural paintings in the form of interior decoration. This has got an important place in the living room of several houses. In the name of modernity, there are many untruthful events as happening in this field. There are many artists who earn lots of money from this as a business. They misapprehend the customers as it is hereditarily valuable by using low cost colours and make more money.

There are some negative sides for the reconstruction even though some of the institutions connected with mural paintings are ready for restoration work on paintings. The pictures of the social reformers like ár¢ N¡r¡ya¸a Guru, ár¢ áa´kar¡c¡rya can be seen. A recent survey has enlisted nearly 60 sites in Kerala where mural paintings can be seen in different states of preservation. Some are clear and beautiful and some are over painted, some with colours faded offer on the verge of obliteration.5 The archaeologists stylistic considerations and epigraph and have led the scholars agree with most of these that belong to the period between the 17th

5 Oral Interview, K.U. Krishna Kumar. Principal, Guruvayur Devaswom, Institute of Mural Painting

190 and 19th C.E.6 Once the mural paintings had been restricted to temple and other devotional centres but now it has become an embellishing factor in the market as well. The scientific protection is the conservation of mural paintings along with new drawings to it.

The contemporary society regarded painting as an essential adjunct to attain popularity. The existence of picture galleries was common not only in places and houses of well-known persons but also of middle class. These places were full of pictures and were occasionally visited for entertainment. The temples, palaces, churches and cave pictures can be seen all over the world from the plastering onwards, each and every phase to be diligently noticed. Imbibing the tradition of Kerala the mural paintings have undergone many transformations and still undergoing.

A well prepared study on the art form like mural painting can evidently be shown precious it is the realisation of the artistic culture of the state. It was a part of a tradition but not a poem to indicate the great cultural diversity and aesthetic impact which was expressive as well. Nevertheless it could restore and protect its own identity. It has been evolved as a form of stylistic architectural complementary collation. But Kerala painting manifests it as the last and fading stage of Indian traditional painting. The colour symbolism, linear accuracy, the elaborated ornamentation, the sensitive portrayal of emotions and excessive embellishment are well characterised in these mural paintings. This sacred artistic enrichment

6 Oral Interview, Nalin Babu, Senior Instructor, Guruvayur Devaswom, Institute of Mural Painting.

191 should not be deteriorated even if it is faded by oldness and negligence as there is the handcraft of great ¡c¡ryas.

People who work in this area have been inculcated with the changes happening in accordance with the time and they opine that the pictures are illustrated not only on the walls but also on other surfaces and on canvas enable the possibility of increase in the marketing. As per the traders remark, among the creations K¤À¸a pictures are being sold out to decorate in the living room of many houses which creates the significance of mural art even in layman life. The pictures of Ga¸apati are also given importance.

There is no remedy for the problems caused to the pictures due to air pollution and dotage. However it is because of the importance of mural art as part of the , the activities of conservation and protection are being done by archaeological department. The La½itakala Academy , the National Academy of Art, has an irresistible duty in moulding the positive upshot of modern painting. As the chief national organisation for nurturing, encouraging and professing the visual and other sort of arts. It should entertain a polite treatment on the influence in the improvement of present Indian painting.

Within the traditional quantity and measurement, there are many experiments happening in mural art which is a good sign. For instance, the pictures which recently got illustrated are enlisted in the Limca books of records. It is an innovative trait where the stories of R¡m¡ya¸a and M.B. were depicted on the canvas. The artists could present the popular and debatable issues on mural art.

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Cleaning of murals

The assimilated dust should be removed by employing a gentle brush as the squirrel hair brush. The collections may be removed by soft abrasion, the salts element present on the etching can be eliminated by scratching or employing moisture blotting paper. The mechanical protection and mild acids can eradicate the white dust particles can remove the patches of white washing. The biological development should be removed mechanically and then gently brushed with a soft brush. Grease, oil are removed by using 10- 20% aqueous ammonia (It is an outside use of cleaning agent, and it is a solution of ammonia in water NH4OH) and butyl amine (It is compound used as an ingredient in the manufacture of pesticides, C4H11N) in water. Any wax coatings or splashes can be removed with the help of trichloroethylene (C2HCL3, it is also known as TCE and the use of chemicals refrigerants). The removal of soot, trienhanolamine (C6 H15 NO3, it is used for the colour impurities) is initially applied on the affected area and permitted to stay for 15 to 20 minutes for the reaction at the end of which the area is cleaned with cotton swabs soaked in toluene for the - removal of varnish solvents like acetate (C2H3O 2,a type of slat), amyl acetate(it is a paint lacquer solvent, C7H14O2), cello solve(it is an application liquid and miscible with water,C4H10O2 ), butyl alcohol(C4H9OH, it is used as a paint solvent) etc. have been found to be useful mixtures of those solvents in suitable proportions often have proved much more effective than single solvents. The solvent mixture applied firstly over the affected area with the brush and after allowing few minutes for reaction, the dissolved varnish is removed gently by swirling cotton swabs soaked in a solvent over

193 the area. In special occasions the coating plaster later has been unconnected by protecting as it letting out the layer beneath the painting cautiously.

Conservation of wall paintings

Paintings are very significant and it is not only the responsibility of the Government, as well as of the individuals to protect. There are various categories of paintings which are categorised into material wise, region wise etc. where conservation and preservation is often used by everybody who is inclined in art. At first cleaning and removal of dust and dirt in paintings taken place and removal of microbial growth and consolidation and application of surface coating whenever any conservation works to be undertaken, it is advisable to record the paintings on the wall. The paintings may be consolidated with the help of 5% solution of poly vinyl acetate in acetone or toluene.

Almost all forms of direct and indirect actions aimed at increasing the life expectancy of unaffected or affected elements of cultural property including painting are termed as conservation. For better conservation of the cultural property such as paintings, a systematic strategy is adapted. Today there is lot of conservation laboratories involved in the protection of mural art such as National Gallery of Modern Art, Delhi, Victoria Memorial Hall, , National Museum, Delhi, Indian Museum, Kolkata, etc. which have conservation laboratories for the treatment of paintings. Some of the state sectors of archaeology, notably those of Madhya Pradesh, Andra Pradesh, Karnataka, , etc. and Kerala have monuments with mural paintings under their control. S. Paramashivan, who was the first

194 archaeological chemist to be elected in the Government Museum, in 1930 and was involved in the treatment of conservation and preservation of mural paintings.

The paintings in the museum or gallery are quite often found seen in a deteriorated condition. The aggression due to nature and human beings is high in order to protect the deterioration of a painting. Recently large museum and galleries are equipped with conservation laboratories which take the preserve of the paintings under their control. The sudden destruction to a painting may be brought about overnight by insects, fire, rainy season etc. In special cases nothing is left out and in some other cases only the traces will remain.

The extremes of heat and cold should be avoided to prevent softening or cracking of any of the wall paintings. In order to avoid dust, heat and cold, the painting may be framed heavily with glass front. There are variations in the humidity and temperature, deposition of peculiar matter such as dust, soot, smoke and greasy matter due to the burning of lamps, camphor etc. atmospheric pollutants such as oxides of carbon, sulphur and nitrogen, biological growth and droppings of birds and bats, insects and the leakage of water, salt reaction, cracks buildings etc. lead to disintegration. The binding medium, pigments, chemical changes in them, expansion and contraction in all the layers of the paintings are the causes of deterioration within the painted layers. The most important causes of deterioration which are determined by the study of the three elements of the paintings are the following:

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1. The weathering of walls resulting in splitting and flaking 2. The formulation of salt on the painted area. 3. Seepage of water formation leads to microbiological growth such as moss and lichen lead to the damage.

Human emotions were depicted in the form of drawings, paintings, symbols etc. before he was accustomed to speaking and reading. The different kinds of art forms developed and they were displayed on temple walls etc. most of them were destroyed by the ravages of time and some are in existence. The Archaeological Survey of India, State Departments of Archaeology, try their best to preserve the existing wall paintings. Preservation is a common term which is quite often used by everybody who is interested in art and cultural objects. The main duty of the museums is to preserve materials of tradition used by man. The museums profession is therefore different from any other profession as everybody contributes equally to the preservation of the cultural property. The advancement in science and technology has made the world of colours into a full-fledged one. Today if one is dead, everybody in the group will tie a black badge. This intends to give the sign of agony to everyone. When the black is symbolized as the colour of plight it is avoided from all the auspicious ceremonies. Furthermore the colours for indicating the traffic signals, reflectors are the practical levels of this theory. The criterion of this technique is entitled with the wavelength of each and every colour. Besides, the colour of the brake light and tower light is red because of its high wavelength. That is why it can enthral the spectators. This colour is given a special concern in mural art and it is engraved complementing with the

196 green colour. In nature the butterflies are identified with the flowers for its colour. In day time man can vividly see the flowers in red colour or related to red. The colour of the wall influences the inmates of the house. The auspicious colour drawings are optimistic as in the positive pictures drawn on houses as it reflects the connection between human life and painting.

Recently, a tendency is seen that pictures can be composed without walls. Many experiments occur in the field of mural arts. Asbestos have the major place in the very used surfaces. This was firstly experimented in the mural painting camp held in 1978. It is mainly used for painting as it does not absorb water quickly, and very easy to carry and thus framing it on the wall. Its defect is that it is easily breakable if not carried diligently and there is a possibility of time consumption for the humidity is getting gone and surface being dried. In the scenario of contemporary Kerala, new steps and innovations have taken place. As mural painting has become a surge, many of the people who have learned mural paintings are coming to this field. It is an embellishment that a picture can be downloaded from the website and taken print out of it and then it can be drawn in a big canvas like flex adding more colours to it. These kinds of pictures may not be in the style of mural painting but just an amalgamation of many colours. Most of the traditional pictures are etched on the walls of temples. The unconcern of the devotees and the unscientifically done nurturing cause the pictures turn damaged. It is very interesting that the paintings on females are also on the run where once it was completely made of male domination.

There is another product called marine plywood. This has more absorbing capability than that of asbestos. Arctic colour is the sole one

197 applying on it but it is water proof. Both traditional and modern styles of mural paintings can be etched on it. Today, there is a method existing that is both cement and sand mixed together and composed on hardboard. These are called Lorelish pictures. This surface can easily be carried and rearranged.

In today’s market the most sold out item is canvas. It is available with different length and breadth. These can be rolled. Engravings as the novel method as in this age new media and tool is being experimented. It is transparent and glassy modern item and unbreakable and thickness In accordance with its colours composed on the back of the hardboard, it gets diversity in colours. The engraver is the only available item where the pictures to be etched on bronze plated materials.

Nowadays any subject such as social, cultural, rural performing arts and festivals are composed in mural painting style. This is considered as the manifesting liberty and improvisation of the artists. It may be because of this that these paintings are distinctive from religious perceptions, people are getting entertained. The proverb ‘prevention is better than cure’ is apt for the protection of mural paintings. It is to be conserved diligently than of destructing it indifferently.

The images of the eternal lovers K¤À¸a and R¡dha play a vital role in mural painting. This images in due courses emerges as an icon of fashion in cotton and silk industries. This has become the popular design adopted by the Khadi board. At the deeper level the image of K¤À¸a and R¡dha has an emotive appeal that is capable of arousing similar feelings on the observer.

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All these suggest the iconic relevance of K¤À¸a the omnipotence of K¤À¸a in all walks of life. Mural art in a way contribute to add the aesthetic quality of the image.

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