Not many know that the Fort Palace complex or Karuvelippura Malika, which stretches across the eastern entrance of the Sree Padmanabhaswamy Temple in Thiruvananthapuram, has been home to a centuries-old artistic treasure. And that a landmark activity has been on inside this historic structure for the last five months or so. Three mural paintings, believed to have been drawn during the reign of Marthanda Varma, the visionary ruler of erstwhile Travancore (1729-1758), was being restored by mural artist and art researcher Saju Thuruthil.
(From left) Sreerama Pattabhishekam before and after restoration
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The three murals are Sreerama Pattabhishekam, Venugopalam and Gajendramoksham. The imposing palace complex with traditional architecture, over three centuries old, also called the Road Malika, has the famous clock tower or the Methan Mani atop and currently houses the administrative office of the Temple Trust.
“These works are unique in that they are the only works in the Fort Palace style or Karuvelippura style that remain,” says Saju, director of the Centre for Mural Heritage Conservation Studies at Sree Sankaracharya University of Sanskrit, Kalady, who also runs Art and Mind, a residential art gallery at North Paravur near Kochi.
There are different mural painting styles such as Mattanchery, Pundareekapuram, Panayannarkavu, Padmanabhapuram Palace, Guruvayur etc, says Saju, who has over three decades of experience in the field. “Fort Palace style is the lesser-known among the lot. But it is rich in terms of appeal. The ornaments, costumes, body type etc make it different from other styles.”
There is a huge Tamil influence, especially with regard to the jewellery, be it the neck ornaments, bangles, hair accessories or nose pins, says Saju. “Women are seen wearing pichipoo (a type of jasmine) as well. The colour composition also is unique.”
The restoration work was initiated under the directive of Pooyam Thirunal Gouri Parvathi Bayi and Aswathi Thirunal Gouri Lakshmi Bayi, members of the erstwhile Travancore royal family.
(From left) Gajendramoksham before and after restoration
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The process was far from easy. “Not much of the original paintings remained when I took on the project. They were not only faded, but also had scratches, stains and were in a dilapidated condition due to years of neglect. The condition of Gajendramoksham was the worst of the lot, whereas in Venugopalam only one figure was visible,” he says.
Once the grime and dirt was removed using isopropyl alcohol, acetone and other materials, the walls were strengthened, cracks filled and the scientific restoration done.
Saju mentions although restoration was undertaken several decades ago, it was not done properly. “Since varnish was not available back then, I think they used French polish. This caused blackening of the paintings. We had to clean it using acetone before applying the colours. Had they not done that we could have done the restoration better,” he observes.
A highlight of the paintings according to him is that they are a blend of traditional Kerala mural tradition and the miniature Rajasthani painting technique. “Which means there must have been an artist from that part of the country in Marthanda Varma’s court. Using a single-hair brush, the artist has put in so much detailing! But for some cleaning and the application of colours, I have not done much to the miniature landscape in all the three paintings.”
Venugopalam before and after restoration
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He also points out that the visages of Marthanda Varma and his prime minister, Ramayyan Dalawa, who contributed in a large measure to running the affairs in Travancore, have been included in the work Sreerama Pattabhishekam. “That is a surprise. Perhaps that must have been the artist’s attempt at pleasing his king. The interesting thing is the portrait of Marthanda Varma as we see today is inspired or copied from the face shown in this mural.”
Venugopalam captures the Vrindavan on a full moon night, when Krishna plays the flute with the whole universe — humans, birds, animals, celestial figures… drawn towards Him. “This Venugopalam is different from the ones I have seen in other places because usually artists depict Krishna, who is playing the flute, and the gopikas. But imagination has run wild in this particular work with the inclusion of so many elements in Nature. The miniature components speak volumes for the skill of the artist.”
He adds that it seems there was one more mural inside the complex, possibly Sakthi Panchakshari, showcasing Lord Siva and Parvathi. It must have been inadvertently removed when the walls were cleaned.
Saju Thuruthil with Sreerama Pattabhishekam mural he restored
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According to Pooyam Thirunal Gouri Parvathi Bayi, the family wanted to preserve the works since they are unique. “We knew it was going to be a painstaking job. So we wanted someone who had the time and expertise to take it up. That is how we identified Saju and he was excited to do it. We are extremely happy with the way he has restored them. From the way he has brought them back to life, it seems he had fun with it.” She adds, “We want artists and art students to see these murals and understand their significance. Since we cannot allow large crowds due to various reasons the plan is to bring in those who understand this art but in small numbers.”
Meanwhile Saju is working on a book dedicated to the entire restoration process.
