They are among the finest in India; and have one of a kind expressions of portrayal. These heavenly sketches are effectively unmistakable with their trademark warmth and greatness of rich hues, expand ornamentation, lavishness of the framework, delineation of volume through inconspicuous shading, a swarming of space by celestial or courageous figures; a solid feeling of outline and very much characterized envisioning

Chitrasutra

The Tradition

Kerala has a rich and a long convention in wall painting expressions; and, it goes back to the seventh and eighth century AD. Kerala is the storehouse of the biggest number of conventional wall paintings in India, next just to Rajasthan. Its Temples, royal residences, houses of worship are enhanced with bounty of exceptionally beautiful wall painting compositions.

The most seasoned wall paintings in the Kerala convention are found in the stone cut buckle sanctuary of Thrunanadikkara (relegated to the period in the vicinity of ninth and twelfth century AD), which now is in the Kanya Kumari locale of Tamil Nadu. Among its most established surviving sanctuary paintings, the notable are the thirteenth fourteenth century sanctuary wall paintings at Kanthaloor, Pisharikavu, Pardhivapuram, and Trivikramapuram in Tiruvananthapuram. These early paintings were extraordinarily impacted by the Pallava craftsmanship, similarly as the Kerala engineering was affected by the Pallava design.

The period between fourteenth sixteenth hundreds of years was the brilliant age of the customary wall painting sketches in Kerala. It was a productive period. Yet, more imperatively, it delivered the best in the Kerala wall painting workmanship custom.

They were, at a later period, trailed by the divider sketches at Panayannar Kavu, Thrichakrapuram, and Kottakkal. Those in Padmanabhapuram royal residence (the Ananthashayi painting) and Krishnapuram royal residence (the Gajendramoksham board) are viewed as the best of this period.

The fourteenth – seventeenth century wall paintings of Kerala speak to the last stage in the historical backdrop of advancement customary painting artworks of India.

The customary writings took after by the specialists of Kerala wall painting craftsmanship are the Tantra-samucchaya, the fifteenth Century treatise on sanctuary design and workmanship composed by Narayana; and the Shilparatna, the sixteenth Century message by Sreekumara. The later is likewise a standard content on sanctuary design; and it sets down, in addition to other things, the fundamentals of painting including the best possible shading plans the skilful administration of which gives adapted adjust and beat to the artwork. Shilparatna is the essential content in Dravida, especially the Kerala, wall painting workmanship.

The Characteristics

The Kerala wall paintings mix agreeably with their encompassing design, wood carvings and embellishing craftsmanship. Every work of art moves the other.

The solid and voluminous figures of Kerala wall paintings with their intricate hats have a nearby relationship with the characters from the move shows of Kerala, for example, Koodiyattam and Mohiniyattam; and the antiquated move custom Theyyam. The Kerala wall painting craftsmanship is likewise unequivocally identified with the illustration of different mandalas (custom plans) in lively hues and finishing them by sprinkling powders of various tones and shades, filling the spaces inside the mandala.

Not at all like the divider artistic creations in the sanctuaries of Tamil Nadu which are only either Shiva or Vishnu situated, the Kerala wall paintings exhibit a more adjusted treatment of its subjects. The Kerala sanctuary wall paintings portray the legends of Shiva and Vishnu rather uniformly. There are artistic creations of Shiva adoring Vishnu; and Vishnu offering love to Shiva. Further, Kerala worships the exceptional combination of Shiva and Vishnu as Hari-Hara; and as the most mainstream god Sastha.

As on account of conventional wall paintings in different parts of India, the wall paintings of Kerala too are roused by the legends, the scenes and characters from the Puranas, stories and old stories. Be that as it may, by and large, the portrayal of the topics in the Kerala wall paintings, for each situation, is identified with a traditional content or an epic ballad. The arrangement of account boards on the dividers of a sanctuary or a castle, as they say, could be seen as outlines of a specific great content. For example, it is stated, the Ramayana boards of the Mattanchery royal residence take after the portrayal of the epic-story as indicated by Ezhuthachan  who is adored as the father of Malayalam scholarly convention. So also, the delineation of Girija-kalyanam depends on the epic sonnet Kumara-sambhavam rendered by the colossal artist Kalidasa .

The human and the genuine figures delineated in Kerala wall paintings are solid and voluminous, attracted running, smooth bends and unpretentious obscuring of hues. The wonderful shading portrays the completion and roundedness of their shape; looking like the compositions of Ajanta.

The wild and sensual scenes likewise are unmistakably appeared without much reservation. The divine beings, people and creatures are appeared in battle and lovemaking. The wall paintings adopt an all encompassing strategy to all presence; and relatively demolish the thin isolating line between the glorious and the unremarkable; and amongst religion and workmanship .The Kerala paintings is another occurrence in Indian convention where the holy and the degrade are treated with composure in its crafts.

The Kerala wall paintings regularly look rather packed with an excessive number of divine beings and heavenly creatures floating around and topping off the painted surface. The compositions barely have plain and clear spaces; as though the craftsman was quick to augment the space  use. The artistic creations once in a while have all the earmarks of being deficient inside and out.

A novel element of the Kerala wall paintings is the organization of a framework for embellishing the outskirts with help figures of creatures, winged animals, blooms, creepers and so on. It is known as the Pancha-mala (five plans or laurels), an arrangement of five beautiful reliefs. They are the Bhootha-mala (of trolls and diminutive people), Mruga-mala (of creatures, for example, elephants, deer and so forth), Pakshi-mala (of lines of parrot like winged animals), Vana-mala (of botanical themes) and Chithra-mala (of enhancing, imaginative plans).

Chitrasutra TAnother discernible element of the Kerala paintings is their rich, warm and noisy hues. A customary Kerala painting takes after the Pancha-varna (five hues) shading plan. The five hues utilized in customary Kerala wall painting works of art are; red, yellow, green, high contrast.

The White, yellow, dark, and red are the unadulterated hues, as indicated by Shilparatna. The Ochre yellow, Ochre red, white, somewhat blue green and unadulterated green are the more vital hues in Kerala Murals. We suggest Kerala painting,  Indian Fine Art