Tradition of Tanjore Paintings

The renowned classical South Indian painting ,the Tanjore paintings, has a unique style and tradition of its own and can be classed as miniature paintings. Tanjore was the capital of the mighty Chola empire and was the of economic and political activity under the Cholas and Vijayanagar empire .However this art did not evolve during the golden age of the Cholas but in an age of political turmoil in South India-the invasion of the Nayaks and the Marattas in the 16th century .The Nayaks patronized classical arts like music ,dance and painting and this art form flourished under the Nayak rule .This art was considered as a sacred art and was practiced traditionally by two communities namely-the Rajus in Tanjore and Trichy and the Naidus in Madurai (they were patronized by the Pandyas) .These artists were the natives of Rayalseema district of Andra Pradesh .These two communities had fled to Madurai and Tanjore in the wake of the invasion of the Marattas and the Nayaks.

The Tanjore paintings are panel paintings where devotional icons of Hindu Gods and Goddess are depicted . The characteristics of this paintings is that it will consist of only one central figure but at the same time it is a detailed elaboration of certain episodes of the Hindu tradition. These paintings are known for their surface richness and vivid colours. The figures are usually depicted in the central position with enclosures and border designs like arch's curtains .Embellishments are made over the basic drawings and a three dimensional effect is given with the brilliant colour schemes ,decorative jewelery with precious and semi precious stones gold plating and cut glasses.. These paintings are painted on wood, glass, mica, ivory and on walls,. Jewels, drapery and architectural elements like finely executed pillars, rich canopies, slightly raised by the use of special plaster for the three dimensional effect .Religious paintings are highly decorative and flat, the paintings of the women are highly conventionalized with an element of reality infused in the portraits.Hindu Gods and Goddess are depicted and each God has a characteristic colour-blue for Lord Vishnu,grey white for Lord Shiva and yellow for the Goddess. Preparation of the base is in fact a tedious work. It consists of a cloth pasted over a wooden base and this is coated with zinc oxide mixed with adhesive. It is on this that the elaborate work of painting ,decoration ,inlays and gold foil pasting is done. Tanjore paintings has a predominant feature –dark brown outlines and most usually red backgrounds-a distinctive mark of the Tanjore paintings.These paintings reflect a rich local artistic tradition transferred over the ages.

Chitral -Jain Rock Cut Cave Temple

Jainism came to Kerala in the third century BC along with Chandragupta Maurya (B.C. 321-297),and the Jain monk Bhadrabaahu, who travelled to Shravanabelagola near Mysore (in present day Karnataka).The contribution of Jain art to the main stream art of Kerala was considerable.Jain architecture had close affinities with Buddhist architecture and it would not be wrong to say that it was an offshoot of Hinduism and Buddhist styles.In the initial stages many Jain temples were made adjoining to Buddhist temples following the Buddhist rock cut style.But in later years they discovered a distinctive style of their own namely,’’the mountains of immortality’’ and moving away from the Buddhist sites built temples on their own,which should be termed as temple cities
Compared to Buddhist temples Jain temples were few .Jainism attained popularity in Kerala and received royal patronage from Ilango Adikal, the famous author of the Tamil epic Silapadikaram .In Kerala there are a number of Jain temples and the rock shelter at Chitral near Nagercoil, Kallil in Perumbavoor , and Alathoor near Palakkad are famous for it simple architectural designing but unique and rich sculptural details.Images of Mahavira and Parshavanath are found in several temples.
Chitral near Nagerkoil is famous for its unique rock cut temple dedicated to Mahavira. The temple consists of a low roofed temple,a pillared hall with ornamental granite pillars and a depleted Gopuram.It also contains a Bass relief on one of its side walls consisting of images of Jain thirtankaras in padmsan position.It is towards the northern side of the temple and is rich in details with a diamond shaped projection on the chest of the thirtankaras,one of the noteworthy characteristics of Jain sculptures.The inner shrine contains images of Buddha,Ambika and Krishna.Mahavira the chief Deity is in Padmasana position(usually the Jain sculptures depict only two position –sitting or free standing) with a triple umbrella .There are also images of Bhagavathi and Parsavanthi .Epigraphic evidence shows that there was a reputed Jain university at Thirucharanattumalai.With the decline of Jainism the temple was converted into Hindu shrine and regular pooja is still offered.This was the case with most of the Jain temples of Kerala.The eighth century saw the revival of Hinduism we find that many of these temples were forcefully converted as hindu temples. The temple at Koodalmanikkyam in Irinjalakuda is believed to have been among them.The belief is that it was dedicated to Bharatheswara, a Digambar Jain monk .Jainism had a profound impact on the religious architecture of Kerala

Nirmal Paintings-An Indigenous Art Tradition

The diversified religious and socio-cultural milieu of Andra Pradesh is best reflected in its handicrafts and paintings.Most of them prospered around the temples, courts, villages and tribal communities. Nirmal is a famous art tradition and can be traced back to the era

of the Kakatiya dyanasty.It also flourished under the royal patronage of the Nizams of Hyderabad .The hub of this art form is Nirmal town in Adilabad district of Andra Pradesh.The Nakash craftsmen create a wide range of products like painting, toys,decorative and

beautifully painted wooden articles furniture's, painted glassware, crockery etc. Nirmal paintings has scenes from the Hindu epics ,Mahabharatha and Ramayana.This unique art form which originated in the 14 th C is astonishing as simple materials locally available are transformed into exquisite crafts and articles of utility. The craftsmen use indigenous colours made from minerals, gum, herbs and vegetable dyes for colouring. They even produce gold covers from herbal extracts a secret dye manufacturing technique. Much experimentation has been conducted over the years by the painters and as a result several transformations has occurred over generations., Not only in techniques of painting, manufacture of dyes etc .,but it also led to secularization of art. The craftsmen today paint motifs in style of the old Indian schools .

Mughal miniatures are reproduced beautifully on soft white wood called Ponniki and is strengthened with coating of tamarind seed paste, fine muslin and pipe clay before being painted. Today the paintings are varied and cover all aspect of life from mundane to

royalty,flora and fauna and an array of expressions in bright delightful colours. The intricate designs, high quality paintings and rare artistry in Nirmal paintings reflects

India’,s rich artistic traditions

Shilapadikaram and Pattini cult in South Asia

The cult of Kannagi or Pattini is still popular in many parts of kerala and Tamilnadu. Pattini –the Goddess of chastity is also a popular folk deity of Sinhalese Buddhists and the Jains.It is also argued that Pattini cult was Buddhist and the goddess was assimilated into the Hindu Pantheon.
The cult had in fact a historical and sociological impact on the culture of South Asia.The pattini cult was best exposed in two Sangam works Shilapadikaram and Manimekhalai.The Epics consists of super natural elements but the bulk of the story is a human tale-the story of a chaste and devoted wife Kannaki who despite of her husbands betrayal remained loyal to him and avenged his death in the hands of the Pandyan King.The story of Manimekhalai is a continuation dealing with the life of the daughter of Kovalan to a courtesan Madhavi who embraced Buddhism and became a nun.King Senguttavan introduced the cult of Kannagi while his brother Ilongoadikal immortalized her with his masterpiece Shilapadikaram.Pattini cult became popular and was assimilated by Buddhism and in Manimekalai she appears as a Buddhist deity.There is also referred in this work about a shrine for Kannaki at Vanchi, the capital of the Cheras.This cult also spread to Srilanka probably Through contacts between Buddhist centers of Tamil country. According to Rajavaliya ,the cult was brought to Srilanka by king Gajabahu who had been to Vanchi to witness the consecration of the temple in honor of Kannagi and took back along with him the insignia of the Goddess. This story is also referred in the Buddhist work Mahavamsham. The first temple was established in Vattapalli near Mullaitivu
Vyanthimalaya is the first Sinhala treatise Written on Kannagi. Pattini-Hella Pandinaluwa are all Sinhala Buddhist Works. Until recently it was popular among the Sinhali Buddhist
and Hindu Tamils.The first historical reference was during the reign of Parakramabahu VI who built a shrine in the vicinity of his capital.Kannagi cult is popular in Tamil nadu and Kerala.She is also referred to as Mangala Devi , Mariamman etc in Tamilnadu and Bhagavathy in Kerala.

Kedamangalam Sadanandan - Revolutionising the art form of Kathaprasangam

Kedamangalam Sadananda, passes away leaving behind him a rich legacy of artistic tradition.

He was a doyen of one of the most popular revolutionising folk art of Kerala-Kathaprasangam-the art form of story telling . One cannot help remembering the glorious era of this art form

and the immense influence it had on the mind of an ordinary Malayalis.Satyadevan,M P Manmadan, K K Vadyar, P C Abraham, Joseph Kaimamparamban and V Sambasivan have all been famous proponents of this art form. Kathaprasangam had been an integral part of ancient Indian socio-religious gatherings and the themes were borrowed from epics, the Puranas and Hindu religious mythology. But its popularity rose in the 19 th and 20th century and Renaissance and socio-religious reform movements in Kerala society used it as a medium of educating the people the need of social economical reforms in Kerala society. It served as an unofficial medium for educating the people and voicing against social inequalities Works with a social message and of writers such as Shakespeare (Romeo and Juliet), Ibsen, Tolstoy

(Anna Karanina), Dostoyevsky, Victor Hugo and many reformist Malayali writers, such as Asan, Vallatol and Ulloor have been adapted to form the tales expounded through Kathaprasangam. Kedamangalam also belonged to this category.He began his career in 1944 at the age of twenty performing on of Chengampuzha Krishnan Pillai's popular poem ''Vazhyakula'',a poem which picturises the pathetic plight of a 'kudian' or a tenant and the cruel oppression of the the 'Janmi"Two novels, Chandalabhikshuki and Karuna were favorites which enumerates the sad plight of the untouchables.Kedamangalam infact immortalised Chenganpuzha's 'Ramanan' a love

poem which he presented at almost 3476 stages. These artists were able to popularise socialist

ideologies that was prevalent in Europe even among the uneducated masses of India.The whole

hearted support that was rendered by social reformers like Sree Narayana Guru speaks of

the immense popularity of this art form among the masses.Kathaprasangam had similarities with other forms of art like Patakam, Harikatha but each had its own distinctive form of expressions. While Patakam is Kerala’s version of Purana Pravachana i.e. rendition of the Sanskrit Puranas in Malayalam to reach out to the common man, Harikatha is a direct
influence of the Tanjore style of Kathakalakshepam. but both had a religious character and its

audience was exclusively Hindus. In Kathaprasangam, the performer or artist uses Malayalam literary texts and pieces, high in satire and criticism to entertain the audience

with the tales having a high emotional contentand also to drive home the lesson of social changes.

The simple language used and the musical reiteration has appealed the common man led to the

spectacular popularity of this art form.

New Finds- A Pre-Incan Gold Necklace

A 4000 year old gold artifact was found from Lake Titicaca Basin,Southern Peru and the burial

date is estimated to be 3776 to 3690 carbon 14 years before the present(2155-1936 calender year BC) The findings were the efforts of a team of Anthropologist led by Mark Aldenderfer,Department of Anthropology University of Arizona ,Tuscon(Proceedings of The National Academy of Sciences of United States of America[PNAS] 4 April,2008)

The finding the gold artifact is considered to be one of the earliest worked gold not only in Andes but America as well. The necklace was found in a burial were human remains were found of an adult and a juvenile (between the age of 6-8).But the bones were friable and eroded

condition and it is not possible to determine sex nor the exact date using carbon dating techniques.The necklace consists of nine gold beads and eleven circular beads

of a course green stone(possibly soda lite).According to the Anthropologist ''gold from Jiskairumoko in a terminal Archaic context provides new insight into the emergence

of Andean metal-working and supports the concept of the early appearance of multiple,independent metal- working technologies focused in native materials especially gold.''

Excavations reveal a river valley settlement. Five pit houses have been discovered and are arranged in circular pattern and storage alcoves within each of these structures had a total capacity of 130 to 150 Lt's indicating long term residence in the area.There are also indication

of remodelling and repair of the pit houses from time to time.The site shows multiple occupation from late Archaic to early formative period(3600 to 1500 cal yrs BC).The burial that contained gold was recovered from a small pit,circular in plan and one meter away from these pit house structures.Gold findings in the civilisation is a feasible pointer towards the fact that there was

sufficient accumulating wealth and agricultural surpluses.

The Grandeur of Ellora

Ellora locally known as 'Verul Leni' is an impressive temple complex
and the finest example of cave architecture in India.It reflects the rich
artistic legacy of India.It is hewn out of the volcanic basaltic formation
of Maharastra,the Deccan Trap.Ellora is historically important as a
strategic stronghold of the Satavahana Dynasty and is located in the
ancient trade route connecting western ports of Arabian sea to Sopana.
Ellora caves symbolises three major religions of the world-Hinduism,
Buddism and Jainism.Of the 34 monastries and temples inside this
cave complex(5-11C AD) twelve belong to Mahayana
Buddhism(500-750AD),seventeen Hindu temples(600-850Ad)
and five caves belonging to the Jains(800-1000AD).The Buddhist
caves are mostly Viharas or monastries(cave 1-9) and the rest
have adjoined Chitya halls or prayer halls.These caves are known
for their elaborate facade and intricately carved interior.Cave 10
or the Visvakarma cave is note worthy for its cealing with wooden
beam impression(Earliest cave temples of Kanheri,Badami etc.,were
caves accompained with wooden structres but got soon destroyed so
stone began to be widely used retaining the elements of
wooden construction).Of the Hindu temples cave 16 the Kailash

Temple is a free standing multi-storied temple complex of single rock.

It has the largest cantilevered rock cealing in the world.It was build by the
Rastrakuda king Krishna 1 (757-773 AD) in the model of the
Virupaksha Temple Pattadakal.The Sikhara (curved Dome),
the typical feature of North Indian architecture is absent. The
influence of south Indian articeture is seen in the pyramidical
dome(the typical feature of S Indian temples is that it looks like
a Pyramid with its top cut off) proves it to be a splendid achievement
of Dravidian art.The major patrons of the Jain temples were the Yadavas
It is not so large as the earlier ones.The reason for this was owing to the
Jain tradition of asceticism.,but it is noteworthy for its exceptionally
detailed art work.Cave no 32 also called the Indra Sabha can be called
a miniature of of the Kaliash temple is know for its intricate desingns
and sculpture(lotus cealing and Yakshni seated on lion)Architectural
contribution of the Budhist was tremendous.They were the

first to introduce structural temples in non-perishable meterials(stone)

inspite of their being against image worship.Budha assumed divine

powers as a avatara under Mahayana Buddhism . With the fall of

Budhism many of these structures and its architectural

tradition( including Ellora )was taken up by Hinduism and many

were converted to Hindu shrines