Kalamezhuthu pattu

Kalamezhuthu pattu is performed as part of the rituals to worship and propitiate gods like Kaali, Ayyappan or Vettakkorumakan.It is usually celebrated in most Bhagavathy temples in Kerala. The kalam is a unique drawing also called dhulee chithram or powder drawing. The artist uses the floor as his canvas.

This ritualistic art is a common feature of temples as well as noble households. The kalams or drawings are erased at the end of the ritual to the accompaniment of musical instruments like ilathalam, veekkan chenda, kuzhal, kombu and chenda.











The colored powders used for the kalam are prepared from natural products only. The pigments are extracted from plants - rice flour (white), charcoal powder (black), turmeric powder (yellow), powdered green leaves (green), and a mixture of turmeric powder and lime (red). It often takes more than two hours to finish a kalam drawing with appealing perfection. Decorations like a canopy of palm fronds, garlands of red hibiscus flowers and thulasi or Ocimum leaves are hung above the kalam.





The figures drawn usually have an expression of anger, and other emotions. Kalamezhuthu artists are generally members of communities like the Kurups, Theyyampadi Nambiars, Theeyadi Nambiars and Theeyadi Unnis. The kalams drawn by these people differ in certain characteristics.

KERALA MURAL ART

The colors selected by the artists had a direct bearing on the characters portrayed. According to ancient texts there are three broad qualities assigned to superhuman, human and sub human beings, viz Satwa (the noblest), Rajas (the active and middle principle) and Tamas (the dark and destructive principle) respectively.To represent Satwik quality green and shades of green were used. Characters of a Rajasik quality were portrayed in red or golden and the Tamasik nature of the gods were represented not by black but in white, white demons and demonesses were represented by black.

Among the subjects, Vishnu and his Satwik incarnations, Parvati, Sridevi, Arjuna, pious beings like Prahlada and Markandeya were always painted in green. Bhoodevi (goddess earth) Ganga, Ganesa and the four-headed Brahma were also painted in red. Vishnu was painted in different colors according to his attributes.It is true that the figures of the murals have the external like-ness of men and women, the divine or rather the supra-human aspect is also obvious in every detail. The creators of these pictures no doubt had undergone rigorous mental disciplines or sadhana.They had the creative skill to fill every available space with as many details as possible and also the skill to pinpoint on one or two essential details and leave the rest to our imagination.

The painting in the Mattancheri palace of Krishna holding aloft Govardhan for example is a typical example in which minute details of wooded mountain are elaborately depicted. This tendency for detailed elaboration is also a characteristic feature of Koodiyattom, the ancient temple theatre of Kerala. Another later but frequent characteristic of the murals of Kerala are the beaded of decorative outlines not only around each panel but also around individual figures.During the 15 th and 16 th centuries when the second Bhakti movement swept through Kerala, many were the excellent murals that were painted then. It is also highly probable that the leading names of the movement like the eighteen and half poets of the Zamorin’s court, Ezhuthachan, Melpathoor, Poonthanam and the venerable sage Vilwamangalam must have ben instrumental in reviving this popular tradition of religious arts.The decadence of this tradition that started on the late 18 th century gained momentum with the Mysore invasion (1766-1782) of Malabar and the take over of the Travancore temple trusts by the then British Resident (1811). A final blow was inflicted when Raja Ravi Varma’s (1848-1906) portrait style of painting gained fame and popularity.

KALAMEZHUTHU

The art of creating very large pictures on floor, with coloured powders have been in vogue for ages as a ritual art form. It is typically Indian as it is a harmonic blend of Arian, Dravidian and Tribal traditions. As an art form it has found a significant place among our rich spectrum of fine arts. In most other parts of India this art exists as a domestic routine of Hindus, who consider it auspicious to draw certain patterns at the door step and courtyard to welcome a deity into the house. It is called by names like Rangoli, Kolam etc.

Kalamezhuthu is unique form of this art found only in Kerala. Here it is essentially a temple art. The patterns to be drawn and the colours chosen are traditionally stipulated, and the tradition is strictly adhered to. Kalams are drawn in connection with the worship of Devi, Naga and Sastha. Certain variations of the rituals are found in Tantric rituals too. In each case the patterns, minutest details, dimensions and colour choice are mandatory and not arbitrary.



The patterns vary considerably depending on the occasion, but rarely by the choice of the artist. Even the order of creation is laid down. The drawing is done directly with the hand, that is, without using any tools whatsoever. The powders used are all natural (Vegetable or Mineral or combined). The usual items used are: Rice (white), Turmeric (yellow), Charcoal from paddy husk (black), blend of Turmeric powder and Lime (red) and powdered leaves (green). Although several leaves are found suitable, the most commonly used are those of Albizzia lebbek.

The drawing of the large picture develops gradually about a central line, drawn with the black powder. Sketching, if done, is also with powder only. The coloured picture is developed patch by patch, growing outward. Usually Kalamezhuthu is conducted as part of the general festivities in the temple, or as part of a major ritual like Nagapuja. The rituals related to the Kalam are performed by the artists themselves, usually the traditional drummers.

Offerings like rice and other grains are heaped in appointed places in and around the drawing and the room is decorated with flowers, leaves and garlands. Lighting is of utmost importance in these rituals. Only oil lamps are used. Singing hymns in praise of the deity is the most important part of the ritual. The type of songs vary considerably (from folk to classical) depending on the deity being worshipped. The drawing starts at appointed time and shall be erased immediately after the rituals related to the Kalam are over.

Colours of Kerala..Theyyam

THEYYAM is one of the most outstanding folk arts of north Kerala in India. Also called Thirayattam, (because every thira or village performed this ritualistic art at the village temple) this primitive ritualisic art demands long hours preparation before the performance.





The Theyyam (a form or shape) represents a mythological, devine or heroic character.
There are over 500 Theyyams in northen Kerala. The hood, headdress , face painting, Breast plate, bracelets,garlands and fabric of attire of each of these Theyyams are distinct and meticulously crafted according to the character presented. Musical accomaniments are chenda (drums), elathalam and Kuzhal(horn). Performances are on between December and May.







Taken during a break from dancing in the street festival for the local temple. The colours typify India. Even though he had been dancing in 30 degrees with all the costume on the serenity and coolness was unbelivable.