Revival of a dying art

KERLA MURALS
Revival of a dying art

My origin is vague,
but my history is rich;
From the forgotten walls,
trying to make a switch;
Into the lives of people,
with a solid bridge.

T
he region of Kerala posses a major artistic tradition, but one which
has received very less acknowledgement than it deserves. This is
particularly true of the painting produced there, partly because
of the absence of appropriate documentation and publication of the basic
materials and possibly due to the seemingly overwhelming complexity of
what has survived. Photography of mural paintings is always a challeng-
ing task, and reproductions of Kerala art, particularly in monotone, are
often visually illegible.
Kerala is one of the few regions in India having a good collection of
archaeologically important mural sites. The unique architectural style of
Kerala had a tremendous influence in the evolution of mural tradition. The
murals are noted for their linear accuracy, extensive ornamentation and
fine representation of emotions.
This project was done with the intention of studying the Kerala murals
and coming up with ways for generating awareness about the art among
the people. We looked into the reasons for the decline of this once popular
art and have made suggestions as to how to lift it to its former glory.

The Research objective:
Awareness about the existence and
attributes of the Kerala mural paintings
needs to be developed among the people.
Taking into consideration the chang-
ing taste of the national and international
consumers the art can be modified to have
a contemporary style.
The aim of the project was to product
diversification by the amalgamation of his-
toric art, handlooms and handicrafts with
modern outlook.

H
istorical research regarding the origin, background, techniques
used and expressions provided in the paintings was conducted
by going to the sites where the mural paintings are present. The
two mural painting institutes i.e. Guruvayur Institute of Mural Painting
and Sri Shankracharya University of Sanskrit, Kalady were visited for the
same.
Study of the market to understand the current scenario regarding
availability and pricing was done via personal interactions with the
targeted consumer group. Questionnaires were prepared for the same
which were employed for collecting the data from online services as well.
Various survey sites were researched for the same.
A survey was conducted for getting fair idea regarding perception of
Indian consumer regarding the handicrafts and the analysis was used to
develop the strategies and product diversifications mentioned in the
report later.

A
ny accomplishment requires the effort of many people and there
are no exceptions. We would like to take this opportunity to express
our gratitude to all those who helped us in the successful comple-
tion of this Research Project.
We want to thank the National Institute of Design, R&D Campus, Banga-
lore for giving us permission to commence this Research Project in the
first instance, to do the necessary research work and to use departmental
data.
We want to express our gratitude to MR. K U. Krishnakumar, Principal of
Guruvayur Institute for Mural Paintings, and Mr. Babu Namboothari, Head
of Department of Painting at Sree Sankaracharya University of Sanskrit,
Kalady for letting us visit their institutes and providing us with all the re-
quired information. Special thanks goes to Mr. Pratheesh for his help and
valuable suggestions. The co-operation is much appreciated.
We are deeply indebted to our course in-charge Dr. Baral, whose help,
stimulating suggestions and couragement helped us throughout the Re-
search Project. We would also like to thank our Course Coordinator, Mr. C.
S. Susanth for his help and support.

24 Framework

Contents 26
28
30
Subject
Style
Uniqueness

14 Unfolding
16 Introduction
18 Prominent sites
20 Origin and Evolution

48 Panaroma
50 Revival of the tradition
52 Current scenario

34 Blueprint
56 New Dimensions
36 Colours and techniques 58 Market Study
40 Preparation of Wall 60 Proposed Strategies
42 Preparation of Pigment 62 Product Diversification
44 Preparation of Brush
46 Drawing and Painting

Introduction

16
Kerala Murals: Revival of a Dying Art

“ The Kerala School
of painting represents
the last and fading
phase of Indian Mural

”
painting tradition.

K
erala, the southernmost state in India, is
blessed with the glory of an architectural
lineage and cultural heritage. Among the
States of India, Kerala has a pride of her own in
fostering the art of paintings of old, and has to
her credit excellent murals and frescos commonly
known as Kerala Murals. The Kerala School of paint-
ing represents the last and fading phase of Indian
Mural painting tradition. Quantitatively Kerala has
the second largest number of important Mural Sites.

The cave pictures of prehistoric times in Edakkal Caves
in Wayanad, Ezhuthalai Caves in Idukki, Pandavapara in
Thiruvananthapuram are the precursors of Kerala Murals.
Simplicity of subjects, thematic presentation, technical
excellence, bold and delicate strokes, bright and beautiful
colours, idealistic reproduction of human beings, animals
and trees are some of the important characteristics of
Kerala mural paintings. This glory can be seen at its best in
nearly two hundred temples, palaces and churches.

Theme: Palazhi
Madhanam

Acrylic on
Canvas, 22’x8’

17
Unfolding

Prominent
Sites 1. Ayyappankavu Shasta Temple
2. Balusserikota Vetakorappan Temple
3. Ettumanur Shiva Temple
4. Kaliamballi Devi Temple
5. Attingal Krishnasvami Temple
6. Kotakkal Venkatadeva Temple
7. Krishnapuram Palace, Kayamkulam
8. Mattancheri Dutch Palace, Cochin
9. Madavanteshvara Ananthapuram Temple, Kasergode
10. Panayannarkavu Devi And Shiva Temple
11. Pa N Davath Shasta Temple
12. Pundarikapuram Vishnu Temple
13. Payyanoor Subramanya Temple
14. Padmanabhapuram Palace
15. Pisharikavu Devi Temple
16. Purameri Vetakorappan Temple
17. Triparayar Rama Temple
18. Th1runandikkara Cave Temple
19. Trikotithanam Vishnu Temple
20. Tali Temple, Calicut
21. Thiruvanchikulam Shiva Temple
22. Tali Temple Near Cheruturuti
23. Thirumandham Kunnu Devi Temple
24. Trichambaram Krishna Temple
25. Taliparambu Shiva Temple
26. Trichur Vadakkunath Temple
27. Vaikom Shiva Temple
28. Todikalam Shiva Temple
29. Cheriapalli Church, Kottayam
30. Mar Sabor Afroth Jacobite
31. Syrian Church, Angamali
32. St. Mary’s Jacobite Syrian Church, Angamali

18

Churche
Temple
Palace

19
Unfolding

Origin
and
Evolution

20

W
hen the history of mural paintings of India is studied the evolution
of it from Ajantha to Kerala is a path of enquiry trodden by many
scholars. The Buddist themes of Ajantha paintings considered to
have been executed between the 2nd Century BC and the 5th / 6th Century AD
got changed thematically and stylistically during different periods of time. The
stages of Mural paintings seen at different periods can be roughly be located
at places such as Sittannavasal, Badami, Thanjavur, Vijayanagara and Kerala to
name a few in South India. The styles of Sittannavasal and Lepakshi and that of
Kerala show a lot of correspondence.

It is considered to be tions of their wooden proto-
very rich in mural painting, type. It was a period of great
perhaps second only to literary movement born out
Rajasthan in India and most of the new Bhakthi cult and
of the Kerala Murals are there are enough material
dated between the 16th / (Archeological and literary)
17th and 19th Century A.D. to reconstruct the picture
Temples, palaces, churches of the late phase of the art
are decorated with mural
paintings. Though very few
documentary evidences are
activities in Mural painting.
With the incoming of Bhakti
movement, a number of
“ Forms in murals,
stone and metal
sculptures were
there to date accurately the temples sprang up with
architecture of Kerala, sty- murals and woodcarvings in indeed virtual
listically many scholars have various temples on themes imitations of their
divided it into three phases.
The temple architecture has
been divided into:
like the Puranas, Ramayana
and the Mahabharata.
Though the late phase-
wooden prototype.
”
saw great literary movement
early (800 – 1000) AD,
sufficient materials and
Middle (1000 – 1300)AD
details regarding mural tra-
Late (1300 – 1800) AD.
dition are not recorded.
In the last phase with the
incorporation of other forms
of visual arts like wood
carvings, sculptures and
paintings on temple walls,
a balance has been forged
between Kerala architecture
and decorative art. It was
mainly a period of wooden
architecture and wood
sculptures. Forms in murals,
stone and metal sculptures Theme: Lord Shiva
were indeed virtual imita- Natural dyes

21
Unfolding

The mural tradition of Kerala is generally divided into three phases and they are compiled
as follows:

Early phase can be seen Middle phase in Mat- Late phase can be seen
in Thirunandikkara, Kandal- tancheri palace, Vadakkum- in Mattanchaeri palace,
lur and Padmanabhaswami natha temple, Thiruvanchik- Padmanabhapuram palace,
Temple. kulam, Elamkunnappuzha. Kottakkal, Pundareekapu-
ram, Thriprayar, Panayan-
narakkavu and many other
palaces.

Subjects taken out straight from the Puranas or Rama-
yana or Mahabharata are illustrated highly stylistically and
brilliantly. It brings out a certain depth of human feelings of
passion and spiritual endeavor. In conception and compo-
sition, the murals have attained its highest artistic excel-
lence. The dignified poise of the figures with expression of
the faces that is so graceful yet dynamic is an important
feature in a Kerala Mural. Every character appears to have
their own charm from the beautiful and graceful figures
of Gods to the devouring demon. Even a demon in an act
of destruction spells out charm and whose activity is ap-
preciated and admired thus displaying an artistic skill and
brilliance.The great and distinctive art displayed in these
paintings reveal a wonderful vitality and intensity of feel-
ing, meditative charm, divine majesty, decorative delicacy,
unique verisimilitude, subtle charm of colour, fine texture
and marvelous draughtsmanship. Both male and female
figures are heavily jeweled and beaded. The colours are
bright and vibrant.

“ Even a demon in an act of
destruction spells out charm and
whose activity is appreciated and
Replica of admired thus displaying an artistic

”
Vetakorappan
Natural dyes skill and brilliance.

22

15 century
AD Kaliamballi Temple

Late

15 century
AD
Trikotithanam
Temple

Early

16
Thiruvanchikullam Mattancheri Dutch
century Shiva Temple Palace Triparaya Rama
Temple
AD Phase 1 Phase 2

Late

16 century
AD
Panayannarkavu
Devi Temple
Todikalam Shiva
Temple

Early

17 century
AD
Pisharkavi Devi
Temple

17
Thiruvanchikulam Balusserikota
century Shiva Temple Vetakorappan Pundarikapuram
Vishnu Temple
AD Phase 2 Temple

18
Mattancheri Dutch
century Padmanabhapuram Pandavath Shasta Temple
AD Palace Temple Phase 3

19
Panjal Kotakkal
century Ayyappankavu Vankatadeva
Temple Temple
AD

23
Unfolding

Subject
Scene from
Ramayan

26

U
nlike other parts of India including Tamilakam that witnessed the con-
flict between Vaishnava and Shaiva cults, Kerala had an amalgamation
of these two in the figure Hari – Hara, which became a conspicuous
theme for mural painting. Sastha, another god considered to be the son of Siva
and Vishnu who impersonated the female form Mohini also shows the fruit of the
union of diverse cults.

Apart from the Dasa- from the seventeenth and of its entrance a battle
vathara figures of Vishnu, eighteenth centuries and scene between the armies
Gajendramoksha, Poothan- Krishnapuram Palace at of Tipu Sultan and of the
amokshaKaliyamardhanam, Kayamkulam has a large English East India Company.
Krishna stealing the cloths panel of Gajendramoksham It is also apparent that the
of Gopis are very frequently from the first half of the history of Kerala Murals has
depicted. Brahma, Saras- 18th century. its origin in the temple walls
wathi, Rishis, celestial and and thus a study of Kerala
Panayannarkkavu Murals
many god heads crowd up Murals is not complete
are based on Hindu mythol-
whenever there is a need without pondering on the
ogy painted on the walls
of heavenly or divinely architecture of Kerala and
of SaptaMatha temple of
dramatic atmosphere. Siva its association with
Panayannarkkavu and Ettu-
worshipping Vishnu and the murals.
manoor Murals has scenes
vice versa are not rare.
from the epics along with
The subjects and themes an imaginative scene of a
in the murals are centered music concert by Gods and
on the Hindu pantheon Goddesses. Pundareeka-
of Gods and Goddesses puram Murals are various
drawn from the description scenes from the Hindu
in the invocatory verses epics and also the frolics
or DhyanaSlokas. More of Lord Krishna. It would
common representations be interesting to bring into
are of Vishnu in different account the influence of the
incarnations, Ganesha, mural paintings on Christi-
and manifestations of anity. On various churches
Siva. We see murals like the St. George.s Ortho-
in the Pallimanna Siva dox Church has Christian
Temple devoted to Siva- murals bringing out biblical
Parvati’s marriage, the characters and narrating
Ramayana Story being stories from the scriptures. Scene from
narrated on the walls of the Mar Sabore and Afroth Ramayan

“
Mattancheri Palace and Church at Akapparambu in
in the SankaraNarayana, the outskirts of Ernakulam The subjects and
the Mahabharata is retold. also have murals of scenes themes in the murals
Padmanabhapuram from the bible. Interest- are centered on the
Palace houses murals ingly St. Mary’s Church at Hindu pantheon of

”
depicting puranic themes Kanjoor has on both sides
Gods and Goddesses.

27
Framework

Style
Palazhimadanam
Natural dyes on
wall

28

“ The Kerala mural is
an art primarily con-
nected with human
forms.
”
T
he 16th and 17th centuries started showing the magnificently luxurious
accomplishment of pictorial grace on Kerala walls, and as in many clas-
sical theatrical forms of Kerala, the visual space on walls has become al-
most rule oriented warranting a clear cut pictorial language in rendering forms
and themes. Gods and Goddesses do not have any mortal world of background
or environment, but totally are enraptured in ethereal ecstasy of delight; the art-
ist would not behold any celestial or mythical being in common circumstances,
nor the devotees would have accepted it.

Kerala Mural Painting with intricate details, seem more symbolic and graphic
tradition strictly follows the to have some relation to manner. There is hardly any
Panchavarna principle (Five Chalukya and Hoysala art. depth shown by means of
colours) in colour render- While there are repetitions perspectival background.
ing, which can be seen in of images, their variety is so In the early phase of
other art forms of Kerala large that their understand- Kerala paintings, nature
also. White, Yellow, Red, ing requires a specialized was totally subordinated
Green and Black are the five study of the iconography. to the decorative elements
colours. There is no logic of move- of ornamentation. Only in
ment in the narration of the last phase do we find a
The mural artists rarely
stories. Sometimes it moves clumsy effort to incorporate
left any breathing space for
horizontally, sometimes nature in the manner of
the innumerable gods and
vertically, and sometimes miniature schools of north
goddesses (as apparent in the
it overlaps with stories and India and colonial paint-
image on the left), emphatical-
themes totally unrelated to ings as at Pundarikapttram
ly asserting their existence
each other. and the later paintings of
on the crowded surface of
Nlattancheri. Elements of
the wall. Kerala painters The Kerala mural is an
nature are generally highly
divided space into various art primarily connected
stylized and woven into the
units of shapes and sizes so with human forms. Unlike
main fabric of the paintings.
as to create a visual luxuri- the importance given by
Only on close observation
ance on the temple walls in the schools of miniature
can one notice these details
stark contrast to the sim- paintings to nature, Kerala
which are recorded in an
plicity of architecture. The artists treated nature with
almost incidental manner.
exuberance of forms, filled its flora and fauna in a

29
Framework

Uniqueness

Mudiyette:
classical dance
drama
Natural dyes on
wall

30

I
n the visual history of Kerala, mural painting has been the predominant
form of expression from the ninth until middle of the nineteenth century
at least as far as surviving remains are concerned. Neither miniature nor
manuscript illustrations seem to have been prevalent to this extent. This is but
natural because the extremely humid conditions in this area did not allow per-
manency to any other medium. Thus, wall paintings along with wood carvings
became the chief ingredients for embellishment of temples.

PROPORTION PERSPECTIVE
Kerala mural artists used Kerala murals have
proportions depending attempted to show only

“
on the canon and a larger an overall distribution of
format for divine icons; the objects like human figures, The Kerala mural is
other persons were relegat- trees etc without ever an art primarily con-
ed to secondary areas. This attempting to create any nected with human
is to be seen in representa-
tion of local kings, patrons,
village folk, hunters and
sense of receding space.
This marks the true char-
acter of wall paintings that
forms.
”
everyday life. was inherited from the clas-
sical tradition. The paint-
ings do not create any real
pretence of depth, retaining
the essentially two- dimen-
sional character of the wall
on which they are painted.

Radha and
Krishna

Natural dyes on
canvas

31
Framework

COLOR SPACE
In the usage of colour Pictorial space must have consisted of many small and
also Kerala murals stand large units and was set out on a grid similar to a graph
apart from other Indian art paper. The motifs were drawn within this unit in different
traditions. The artists here proportions according to iconic tradition. The remaining
seem to have given more areas were almost always flattened out into a geometrical
importance to the distribu- design which served to interlace the pictorial components
tion of heraldic colours that of one panel with another thus uniting the entire painted
create psychedelic vibra- wall surface. This feature and the geometrical patterns are
tions. Intense and strong not commonly found outside Kerala. The designs them-
colours are juxtaposed in selves, very similar to woven textile patterns, also show
such a way that they appear that the geometrical division was a preliminary structural
almost like a huge coloured marking on the wall surface.
tapestry hung close to the
The modelling has no reference to nature except to
wall. The use of colour in
create the feel of roundness akin to the wood carvings,
its full vigour and richness
another vital tradition of Kerala which is closely related to
has no parallel in any other
the paintings.
style of Indian art. There
are female forms painted
CONTENT
in greens that remind one
of the soft silky greenness The Kerala mural is an art primarily connected with
of the palm sheaths, lush human forms. Hence, nature with its flora and fauna is
green of the foliage or the confined to just a few areas of the picture. Unlike the
yellowish green of the ripe importance given by the schools of miniature paintings
mango fruit. Here colour is to nature, Kerala artists treated it in a more symbolic and
not merely a symbol as in graphic manner. In the early phase of Kerala paintings,
the blue of Krishna or the nature was totally subordinated to the decorative elements
black of Kali, but a way of of ornamentation.
identifying the tactile sensa-
tion of objects in nature,
rendering tremendous sen-
suality to the paintings. “ The designs them-
selves, very similar to
woven textile patterns,
also show that the geo-
metrical division was
a preliminary struc-
tural marking on the

32
wall surface.
”

Gitaupadesh

Natural dyes on
wall

33
Framework

Market
Study

58

Assumption
We started the project with the assumption that very few
people know about the existence of Kerala Mural paintings.

Target group
General Public: Medium income group within the age
group of 25-40. They have the means at their disposal and
are willing to explore into unventured categories. They want
to make a style statement.
Designers: They have the ability to influence the society.

Data collection
We collected all the information that we could via vari-
ous sources.
The first stage involved collecting data from the
books(Handmade in India, Indian Crafts and Portrait of
Kerala) available in the Library. We also collected informa-
tion regarding Kerala murals from internet.
The second stage consisted of making a questionnaire
and sending it to the target group via E-mail, using service
sites. We also had personal interviews with the
target users.

59
New Dimensions

SURVEY CONDUCTED Analysis: Rs. 500-700- 17 Ques: Would you consider it as an
Rs.1000-2000- 67 investment (assume the painting
(all results are in percentage) Rs. 2000-3000- 16 is done by a famous artist and is
Ques: Have you ever bought any Ques: Are you partial towards based on a favourable theme)?
traditional Indian Painting? any particular theme i.e. historic Analysis: Yes- 83
Analysis: Yes- 67 themes depicting Shiva or Vishnu No- 17
No- 33 etc? Would you reconsider your Ques: Do you think:
Ques: Are you aware of the Kerala decision while buying based on Analysis: Art should be approach-
murals? the above? able, accessible and affordable.-
Analysis: Yes- 27 Analysis: Yes-70 55
No- 73 No- 30 Art should be exclusive.- 45
Ques: Have you ever bought a Ques: What size of painting would Ques: Have you seen traditional
Kerala mural art piece or do you you prefer buying: paintings being done on products
know anyone who has? Analysis: As a souvenir- A5/A3 other than canvas? If yes, please
Analysis: Yes- 42 As a gift- A4/A3 name a few.
No- 58 As a priced possession- A1 Analysis: Madhubani, warli, tanjore
Ques: If the mural paintings are Ques: Does the technique used painting, fresco came out to be
made available, would you like to while painting matter to you? the famous arts.
buy them? Analysis: Yes- 92 As per the market survey the arts
Analysis: Yes- 100 No- 8 have been employed on diverse
No- none Ques: What would you prefer: materials like: wood pulp, attached
Ques: What price range did you/ Traditionally done painting? (natu- to cloth, sarees, bags textiles, wal-
would you prefer while buying ral dyes)- 83 lets, bookmarks, glass, wardrobe.
one? Contemporary style? (acrylic)- 17

60

Analysis
From the study conducted, a basic understanding of the market scenario for the Kerala
Mural Paintings came into picture. The following observations were made:

The awareness among people about the mural paintings was noticed to be poor. This
can be because of various reasons:
Firstly, since the Kerala tourism board has not laid much emphasis on this art form
even with its rich cultural heritage. The customer needs to be educated so that he can
later develop a taste and the market can later expand. This would provide the artisans
more opportunity for explorations.
Secondly, because of the unavailability of convenient sizes of the mural art pieces.
Anything that is easy to carry is perceived as more adaptable. In any given home, a per-
son would want to buy souveniers while visiting any new place in such cases (also, since
Kerala has the maximum international tourism among various Indian states), convinient
sizes of mural art would be helpful in popularising the art form.
The high price range is another reason for the art being not as famus. The higher the
range, the less affordable it is and lesser number of people would be willing to buy.
The paintings are not as popular because of the restricted employment of the art, it has
been utilised in temples, palaces and churches but has not reached the common man
and has neither been developed to be perceived as being an art of common people.
Therefore, art has not developed to its full potential.

61
New Dimensions

Proposed
Strategies

62

Assumption
We started the project with the assumption that very few
people know about the existence of Kerala Mural paintings.

Target group
General Public: Medium income group within the age
group of 25-40. They have the means at their disposal and
are willing to explore into unventured categories. They want
to make a style statement.
Designers: They have the ability to influence the society.

Data collection
We collected all the information that we could via vari-
ous sources.
The first stage involved collecting data from the
books(Handmade in India, Indian Crafts and Portrait of
Kerala) available in the Library. We also collected informa-
tion regarding Kerala murals from internet.
The second stage consisted of making a questionnaire
and sending it to the target group via E-mail, using service
sites. We also had personal interviews with the
target users.

63
New Dimensions

Product
Diversifications

64

Pens
The pen with the Kerala mural becomes a part of your
identity.

Details:

Product name: Executive pen, fountain pen
Product usage: Can be used as a decorative art piece and
can be used for the primary writting purpose as well.
Price range: starting from Rs.350
Proposed patterns: as showcased on the left, they can be
non-religious themes.
Brand strategy: To showcase the exclusivity of the product,
it can either be used as an interface by a particular compa-
ny anc can be used to be provided as a complimentary gift.
Also, the product can be used a mark of identity by the top
officials to emphasis the financial status of the company.

66

Postage stamp
Kerala mural iconic painting can be used as a postage
stamp. This would act not only as a promotion but can also
a personalised product.

Details:

Product name: Postage stamp
Dimensions:
Print size: 3.71cm X 2.30cm
Overall size: 4.06cm X 2.73cm
Product usage: Can be used to increase the awareness
among masses about the art.
Price range: Rs. 5
religious or non-religious themes.
Brand strategy: To make the art popular, the product range
can be kept low so that the application is more and the
target can be achieved.

68

Wrapping paper
The detailing done in mural paintings can be used as a
pattern for wrapping paper for various items. This would
become exclusive and can be used as for various high end
products. The ornamentation itself would add to the value
of the complete package.

Details:

Product name: Wrapping paper
Dimensions: A1 size
Product usage: Can be used as a decorative art piece for
wrapping various corporate gifts.
Price range: starting from Rs.50 to 100
non-religious themes.
Also, the product can be used a mark of identity.
It can also be used at a personal level, it can act an exclu-
sive taste and become a individuality symbol.

70

Speical occasion
gift box
Since the themes used are God related and Shiva and
Parvati are a major part of most of them, the special occa-
sion cards and gift boxes can be designed to incorporate
the style which would provide a personal touch as well as a
status identity to the consumer.

Details:

Product name: Gift box
Dimensions: 9 X 9 X 3.75 cm
Product usage: Can be used as a decorative art piece for
corporate gifts.
It can be used to provide exclusive gifts such as jewellery
pieces, etc.
Price range: starting from Rs.200
non-religious themes or religious theme depending on the
use of the gift box.
Also, the product can be used a mark of identity.
It can also be used at a personal level, it can act an exclu-
sive taste and become a individuality symbol.
It can be used by expensive items store such as swarovski,
etc, to provide products of a particular theme or for a par-
ticular occasion.

72

Bookmarks
Small, affordable and personalised product which provides
an opportunity for a wider market can be used to advertise
the paintings.

Details:

Product name: Bookmark
Dimensions: 12.5 X 3 cm
Product usage: Can be used as a decorative art piece by
readers.
Price range: Rs.30 and above
non-religious themes or religious theme depending on the
book theme.
Brand strategy: It can be provided to exclusive customers
who are loyal to the brand as a complimentary product and
can be sold as a brand identity by the large chain book-
stores.

74

Webpage
Homepages can be developed with Kerala Mural painting
themes. Since the social networking sites cover a huge
ground, the homepage can help develop a wider audience
and can be popularised at a much higher platform.

Details:

Product name: Web page
Product usage: Can be used as an exclusive page by
google or similar websites to popularise the art. It can be
used in chat rooms to provide exclusive space as well.
Price range: can be either charged or free of cost
non-religious themes or religious theme with options for
the user to create his or her own space as per their taste.
Brand strategy: The art can be promoted by reaching a
larger audience. It can also be used to provide a private
experience to the customer.

76

Art kit
Similar to warli and madhubani, etc; the mural art can be
personalised and publicised by making it generally avail-
able. These ready to do kits would make it easier develop a
user interest at a personal level and also encourage them
to invest more in learning the art form.

Details:

Product name: Art kit
Dimensions: 32 X 25 X 6.5 cm
Product usage: Can be used by students to learn the art at
home.
Price range: 350 and above
non-religious themes or religious theme.
Brand strategy: The art can be popularised by using this kit
as in case of warli and other Indian arts. Once a customer
makes a particular art piece, he/she gets attached to the
art form and becomes an active advertiser of the same,
hence, popularising the art.

78

Watches
The watch is a part of the status symbol and also shows
a person’s appreciation for the rich cultural heritage of
Kerala.

Details:

Product name: Watches
Print area: 3.3 cm dia
Product usage: Can be used for personal purposes and
can be used as a gift to exclusive people as well.
non-religious themes or religious theme. It can be manipu-
lated as per the person using the product,
Brand strategy: It becomes a part of the personality and
becomes a walking advertisment for popularising the art
as well.

80

Wallets
Kerala murals used in wallets would become a style sym-
bol. They would become a brand identity for Kerala itself
and would help promote the art.

Details:

Product name: Wallet
Dimensions: up to 14 X 6 X 2.5 cm
Product usage: Can be used as an exclusive item by vari-
ous famous brands
non-religious themes or religious theme.
Brand strategy: It can become a new range of products by
brands such as holii etc. It becomes an exclusive item to
be used by the sophisticated masses.

82

Advertising using
aeroplanes
We started the project with the assumption that very few people know
about the existence of Kerala Mural paintings.

84

Revival of a dying art

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