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Mural paintings (cumarcitram / chumar chitram) of Kerala are visual representations of the characters and incidents described in myths and legends. Birth of Rama, Bhima and Hanuman, Siva as Kirata, Jealosy of Uma and Ganga are some common themes. The mural paintings in Kerala appears to be closely realated and influenced by the traditional theatre. A recent survey has listed nearly sixty mural painting sites in Kerala. The archiological, epigraphical and stylistic considerations have led the scholars to agree that most of these belong to the period between the 17' 59 and 19th centuries." One of the pecularities of the mural paintings of Kerala is that they tend to give larger than life size to the characters. The themes of paintings include are the Ramayana scenes, puranic episodes such as Siva and Visnu as Mohini or Siva and Ganga with Uma watching, and the Narasimha and Hiranyakasipu episode, Visnu as

204 Venugopala or Govardhanagiridhari, or Siva performing the Tandava dance. These themes are repeated in many sites which range from the Padmanabhapuram palace in southern Kerala, to the Vadakkumnatha 60 temple at Thrissur. There are many stylistic variations and some subschools can be identified here as in other regions of India. Nevertheless there is a distinct Kerala character which makes them unique among Indian mural paintings. In modern age Mural paintings is under the process of revival in Kerala. Related to temples and churches, many young artists practice in this field. Traditional mural painting is related to Sanskrit technical texts in this field; 'Dhyanaslokas' or verses for meditation are used to paint the form of the deities. Most of the 'Dhyanaslokas' are related to characters of Ramayana, Mahabharata, 61 Siva, Visnu and Durga etc. These slokas give a detailed description of the form of the deities concerned. Citra Sutra of the Visnu Dharmothara Purana and Silparatnam are the basic texts of this art. The knowledge of Kamasutra, Rasa siddhanta, Itihasa, Purana and Natyasastra are also essential for the students of mural painting. So Sanskrit knowledge is essential for the study of this traditional art. 62 The recent development in the education and practice of Mural painting seen in Kerala is infact the result of the hardwork done by some traditional artists. Among them Karuvaparambath Achuthan Nair and his

205 disciple Krishnavarier of Pattambi drew Mural pictures on the walls of Guruvayur temple in the years 1943 to 1949. After about fourty years Krishnavarier reconstructed the faided mural pictures of Guruvayur temple in the years 1985-89. He was assisted by Mammiyur Krishnankutty Varier in this project. As a consequence a Muralpainting centre was started at Guruvayur temple in 1989. Krishnankutty Varier was the chief adviser and instructor. A common Sanskrit teacher was appointed to teach Sanskrit for students of mural painting and Krsnanattam. 63 Krishnankutty varier died in 2008. His disciples Ganapathy Peringod was the senior instructor for sometime. Krishnakumar, the disciple of Ganapathy master teaches mural painting at Guruvayur now. All these teachers are interested to use the Sanskrit resources in Mural painting maintains, experimented and research outlook towards this ancient art. The centres at Mahi Malayalakalukendram and Aranmula follow the lead of Guruvayur 'Cumar Citra Kalakendram'. The teachers of these centres were students of mural painting at Guruvayur. The vastu vidya Gurukulam at Aranmula offers regular courses in traditional architecture and mural painting and is approved by the government of Kerala. The centre has a mural painting gallery with a well-

206 supported library started in 1993. At the centre the public is also given a chance to watch daily training classes. The centres popularity has reached national and international level for its acknowledgement in the preservation and promotion of traditional architecture as well as the manual art of Kerala. Recently as we have noted a university department for mural painting has started at Sree Sankaracharya University of Sanskrit, Kalady. The syllabus includes portions of Citra sutra from Visnudharmotharapurana. Silparatna of Srikumara and the Dhyanaslokas of various divinities basing the Tantrasamucaya. The mudras and Karanas of Natyasastra are taught along with the rasas and bhavas. The students of mural painting has to learn Sanskrit language and literature in addition to the above mentioned theory papers. In the case of mural painting we can see that as a temple art form it was known only to a few traditional artists. Gradually overcoming the barriers of caste and religion and understanding the significance of mural painting in the world of modern painting this art form is universally recognized and studied as an indigenous art form. The mural paintings of contemporary painters are highly valued and they decorate walls of many houses and buildings all over India. The Sanskrit foundations of this art is gaining more and more attention. In order to give a classical touch for the

207 creation the modern painters are tempted to make frequent references to the epics, puranas and tantra. The study of Sanskrit and its literature in an informal nature helps the painter to gain more perfection in this art. Guruvayur Devasom Cumar Citrakalakendram, Vastuvidya gurukulam Aranmula and Mahi Malayalakala kendram are some of the As examples for the traditional mural painitng and practicing centres. mentioned earlier Kalady Sanskrit University has recently started degree course in mural painting, thus giving it entry into the formal art education.