#muralarts

[tamrata]

Reviving Temple Art: The Cultural Legacy of Kerala Mural Paintings

Kerala, often referred to as "God's Own Country," is a treasure trove of cultural and artistic traditions. Among its most captivating legacies are the vibrant Kerala mural paintings. These magnificent works of art, gracing the walls of temples, palaces, and churches, tell stories of divine beings and epic tales, embodying the spiritual and artistic soul of the region. Let's delve into the historical significance of these murals and explore the passionate efforts being made to preserve and revive this invaluable cultural heritage.

The Glorious Past of Kerala Mural Paintings

The tradition of mural painting in Kerala traces back to the 8th century AD, blossoming under the patronage of the Chera, Chola, and Pandya dynasties. These murals primarily depict Hindu gods and goddesses, scenes from the Ramayana and Mahabharata, and other mythological stories. The art form reached its pinnacle during the 16th and 17th centuries, thanks to the support of local chieftains and royalty who adorned their temples and palaces with these elaborate artworks.

Kerala murals are easily recognizable by their bold outlines, vibrant colors, and intricate details. Artists used natural pigments and a palette known as Panchavarna—comprising red, yellow, green, black, and white. The expressive faces, dynamic compositions, and spiritual themes made these murals more than just decorative art; they were a medium of storytelling and a source of moral and spiritual guidance for devotees.

The Fall and Rise: Efforts to Revive Kerala Mural Art

Despite their historical significance, Kerala murals faced a period of decline with the advent of colonial rule and changing socio-political dynamics. Many murals fell into disrepair, victims of neglect and environmental damage. However, the late 20th century saw a resurgence of interest in this traditional art form, spurred by the recognition of its cultural importance.

Conservation and Restoration

Organizations like the Archaeological Survey of India (ASI) and the State Archaeology Department have been at the forefront of mural conservation. Using advanced restoration techniques, they work diligently to stabilize, clean, and restore these ancient paintings to their former glory. These efforts ensure that future generations can witness the beauty and spiritual depth of Kerala murals.

Nurturing New Talent

Education is a cornerstone of the revival movement. Institutions such as Kerala Kalamandalam and the International Centre for Kerala Studies offer specialized courses and workshops in mural painting. These programs aim to pass on the traditional skills and knowledge to a new generation of artists, ensuring the continuity and evolution of this ancient art form.

Embracing Modernity

Contemporary artists are breathing new life into Kerala mural art by incorporating traditional elements into modern contexts. Public art projects, exhibitions, and cultural festivals showcase these stunning murals, making them accessible and relevant to today's audience. This fusion of tradition and modernity keeps the art form vibrant and dynamic.

Community Engagement

The revival of Kerala mural paintings is a community effort. Local communities, temple authorities, and cultural organizations are actively involved in conservation initiatives. Programs like 'Adopt a Mural' encourage individuals and organizations to sponsor the restoration of specific murals, fostering a collective sense of responsibility towards preserving this cultural treasure.

Conclusion

Reviving Kerala mural paintings is more than just preserving an art form; it's about celebrating and safeguarding a cultural legacy that has profoundly shaped the spiritual and artistic landscape of the region. Through dedicated conservation efforts, educational initiatives, and community involvement, this vibrant tradition continues to inspire and captivate people around the world. As we honor this cultural renaissance, we recognize the timeless beauty and enduring significance of Kerala's mural heritage.

Tamrata

[preponias]

Mewar-style painting

[stochastique-blog]

Love me

Obey Giant eosR ° ° ° ° ° #streetmarkets #streetstories #kakaakowallart #streetartlove #streetartdaily #streetartgallery #muralist #muralarts #streetscenes #sceniclocations #cityviews #urbanismo #streetscenes #streetscene #streetframe #urbanexploring #colorista #muralart #muralista #muralartist #muralpainting #griii #gr3 #ricohgr3 #ricohgriii #ricoh_gr #ricoh #ricohgr #ricohmafia #ricohimaging #ricohgrshooter (at Spaghetti Paparazzi) https://www.instagram.com/p/CNtImLEDtOn/?igshid=1vwrnvehm9uyu

[dognonsense]

Painted my doors! gonna add detail to them over time :3 my kitty in the shark door photo is named twilight

[rootsinthefuture]

Alien invasion are coming Rootsinthefuture (Banksy style)

[warszawskiemozaiki]

Warszawa, Strzelecka 5.

[rashaunlamont]

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[t13shoots]

[immaculatelyamiss]

Cameron, Arizona

[dorkvania]

still here in Portland

[tamrata]

Kerala Traditional Shiva and Mohini Kerala Mural Hand-Painted Art | Buy Kerala Mural Painting | Buy Shiva and Mohini Mural Art | Tamrata

Step into a world of mesmerizing artistry with our hand-painted Kerala mural depicting Shiva and Mohini. Each brushstroke dances with ancient tales, weaving a tapestry of divine love and celestial beauty. This masterpiece not only decorates but enchants, bringing the soulful essence of Kerala's cultural heritage into your home. Immerse yourself in the magic of art that whispers stories of eternity and grace.

for more visit Tamrata

Tamrata

#KeralaMuralArt#DivineBeauty#ArtisticHeritage#muralpainting#murals#mural#muralpaintings#muralarts#tamrata#homedecor#homedeco#homedecoration#homedecor

[paganimagevault]

Panjakent Mural - The Blue Hall - Rustam Cycle, circa 740 CE. More images on my blog, link at bottom.

"Contrary to what one might expect, the impressive set of wall paintings known as the “Rustam Cycle” was not located in the hall of a royal palace, but in a house of average size in Panjikent, a small town sixty kilometers east of Samarkand . This painting cycle stands out among other excavated examples for its exceptionally well-preserved (and now, well-restored) murals, which can be dated to about 740. It is also, ironically, the last of the magnificent cycles to be painted at Panjikent; Fig. 1. The city’s ruler, Devastich, was killed in 722 and the city itself subjected to punitive Arab incursions. Despite this artwork and other evidence of Panjikenters resuming their way of life, the city was finally abandoned after the 770s.

Discovered in 1956–57 by archaeologist Boris J. Stavisky, the Rustam Cycle is the most famous painted hall of Panjikent. Named after its main figure, Rustam, a major hero in the great Iranian epic the Shahnameh [“Book of Kings”], it is typical of narrative cycles found at Panjikent as well as other Sogdian cities, such as Afrasiab and Varakhsha . Episodes are organized into different registers, each running horizontally along the length of the walls. Here, the two main registers contain the stories of Rustam’s exploits and are set between a lower tier, depicting scenes from fables and moral tales, and an upper tier, illustrating a religious subject, perhaps related to a family cult.

Two fragments of the Rustam story written in Sogdian have survived: one kept in the Bibliothèque nationale de France, the other in the British Library. Dated to the 9th century, they predate by 200 years the first complete version of the Shahnameh written in Persian by the poet Firdowsi."

-The Smithsonian, Julie Bellemare and Judith A. Lerner

[mindthestairs]

Commissioned graffiti wall, details. Montreal, Quebec. The two main tools I used in achieving a graffiti wall were paint choice and techniques. So a range of aerosol colours around the primaries, and stencils and tape. I tile printed low resolution images, glued then to a pulp card designed to protect floors in renovation sites, and cut the stencils by hand with an exacto in order to produce low-fi elements which I could be repeated and reversed. I overpainted and overlapped to produce layering, and I taped off areas to muddle the overlapping. I also endeavoured to mix styles and levels of finish, in order to destabilise the wall, making it feel haphasard. It’s the kind of thing I’m sure I could happily return to, and produce more layers.

[witekspicsart]

Pictures on a wall of a building in old city Wroclaw, Poland.

[reasonsforhope]

Catherine Borowski has always had an active imagination. As a child, she dreamed that the car park on her north London council estate would be transformed into a garden. The reality was quite different. “No one had a car, so it was empty, grey and depressing,” she says. Now a sculptor and event producer, Borowski has made it her mission to fill unloved urban spaces with flowers – albeit virtual ones. 

She and her partner Lee Baker are the founders of Graphic Rewilding, a project to install huge nature-inspired artworks into the urban landscape. “Where real rewilding isn’t possible, our goal is to inject the colour and diversity of nature into rundown spaces, urging people to notice – and find joy in – the world around them,” says Baker.   

The pair believe that flowers possess serious powers, even when they’re not real. “We know that spending time in nature is good for us, but studies show that even pictures of plants have a positive effect on the mind,” says Baker. He cites research published in The Journal of Alternative and Complementary Medicine, which found that imagery of plants in hospital waiting rooms can help reduce feelings of stress in patients. 

Baker, a painter and music producer, has long understood the benefits of biophilic design. Having suffered a breakdown 10 years ago, he found that drawing flowers was the only way to soothe his buzzy brain. “I would set out to draw dystopian landscapes, representative of my state of mind, but I’d always end up drawing flowers, which uplifted me,” he says.

It was around this time that Baker met Borowski, joining her production company as creative director. The pair have collaborated ever since, launching Graphic Rewilding in 2021. Since then, they’ve installed floral murals at locations including Earl’s Court station, Lewes Castle and Westfield Shopping Centre in Shepherd’s Bush – all hand drawn by Baker. “We love galleries, but we focus on public art,” he says. “This way, our work is out there for everyone to enjoy.”

This year the pair have grand plans to create a series of stained glass pavilions (think greenhouses with colourful floral-themed panels), which they hope might find homes at Kew Gardens and the Eden Project. “The way light shines through the glass is magical,” says Borowski.  

Even so, they concede that art is no match for Mother Nature. “Some people have suggested that our project detracts from real rewilding efforts. But both can co-exist,” says Borowski. “Of course we want more green spaces.” adds Baker. “But we aren’t gardeners. We’re artists. In the absence of nature, we want to create inspiring spaces through art.”

Overall, the response has been hugely positive. “The joy that these artworks bring is palpable,” says Baker, highlighting an early project in Crawley, West Sussex. “Many people in the town were employed by Gatwick airport and Covid had taken its toll,” he recalls. In a bid to spread some joy, the duo painted brick walls, billboards, benches and even bins with their signature floral flair. “Peoples’ reactions were heartwarming. There were so many smiling faces,” he says.

Elsewhere, in Earl’s Court, the pair transformed “a ratty piece of tarmac” into a modern-day pleasure garden, which is now often filled with children dancing and doing cartwheels on the way home from school. “Putting art into a place that previously felt unloved feels like cultivating joy where there was none,” reflects Borowski. “If something like this had been installed on my estate when I was a kid, it would have been a dream come true.”

-via Positive.News, November 6, 2023

[firefly-creepy]

"Untamed" by Audrey Kawasaki