The Art of Kalamkari: South India
Painting, one of the most primitive expressions of visual art and communication has been a medium which has overtime enjoyed an explorative odyssey of being executed in varied techniques. The Indian artist manifested the aesthetic perception of culture and traditions by creating a harmony of visuals and emotions on extensive array of surfaces. From rocks to walls, bark of trees to metal surfaces, terracotta to glass, the Indian artist has delved into almost every possible kind of surface to articulate his imagination. Textiles are considered the most comprehensively used materials which has been illustrating the creative dexterity of the Indian artists.
The Indian subcontinent has been known for its rich, assorted textile traditions going back to almost 3000 years. Over centuries, diverse materials and ingenious techniques have been illustrating the vibrant social and traditional nuances of the people of this land. Topography, climatic conditions, cultural influences, trade contacts, religious beliefs and various other factors influenced the opulent textile heritage of the country and inspired the textile artists/artisans to explore the profusion of textile techniques.
Process of making Kalamkari |
Historically, the art of Kalamkari most prevalently represented the textile arts practiced all over the Coromandal cost stretching from Machalipatnam at the north to southern parts of India, especially in areas like Kalahasti, Salem, Madura, Palakolu, Machalipatnam, Tanjore, Eleimbedu in Chengalpet, and in Cocanada districts.[1]
Map of the Coromondal Coast, Image Credit-Columbia.edu |
Historically, the art of Kalamkari most prevalently represented the textile arts practiced all over the Coromandal cost stretching from Machalipatnam at the north to southern parts of India, especially in areas like Kalahasti, Salem, Madura, Palakolu, Machalipatnam, Tanjore, Eleimbedu in Chengalpet, and in Cocanada districts.[1]
In present times, it epitomizes the technique of painting using natural dyes on textiles. Consequently, the wide range of hand painted and natural dyed textiles of India executed in various parts of the country are popularly recognized as the Art of Kalamkari.
In Southern India, Sri Kalahasti the pilgrimage city located on the banks of River Swarnamurki and renowned for the Shiva temple Sri Kalahasteewara has been considered one of the most prominent Kalamkari centers. The art form flourished under the royal as well as local patronage of the Hindu rulers in between the 13th to 16th centuries CE. The mythological textile paintings of this region served as narrative murals or temple hangings. Hindu epics like Ramayana, Mahabharata, Shiv Purana, Vishnu Purana and other legendary myths and tales were narrated and illustrated in elaborate ornate style in vibrant color palette of red, white, black, blue, yellow and green.
Tree of Life on Palampore, 19th Century. Image Credit-National Gallery of Australia |
The art form adapted multitude patterns portraying religious beliefs, flora and fauna, ornamental motifs and the like under the influence of diverse patrons. Religious beliefs, traditional ethos, trade and cultural exchanges influenced the art of Kalamkari and extended its application from temple hangings to products of daily use. The Dutch and Europeans introduced the art form to assorted collection of products like home furnishings, canopies and garments.
Ceremonial cloth and sacred heirloom for Indonesian Market Image Credit: National Gallery Australia |
During the 19th Century, Chintz or Indian painted/printed cotton cloth became popular in Europe. Originally the term Chintz implied a pattern created on cotton fabric with a bamboo pen or kalam and dyed with mordants and resists. With the increase in demand block printing became the most favored medium. The shiny surface of the textile was created by finishing it with polishing it with a shell or other natural substance.
Chintz Palampore, Image Credit:textilearts.com |
Over centuries this textile tradition has undergone series of transformations. The strong spiritual base of the art form creating the most splendorous textile murals with time became the most flourishing popular culture. It then metamorphosed into a secular craft under the patronage of Muslim rulers and became to be known as a luxury good by the Europeans.The art of Kalamkari in Southern India has historically been one of the most significant textile traditions and still is practiced with equivalent fervor and dexterity.
Over the years the patrons and appreciators bespoke various names for the art form, the Portugese called it pintado, the Dutch used the name sitz, and the British preferred chintz. Along with the myriad range of names, the technique contributed in creating innumerable textile product range and till today is considered as one of the most celebrated textile art forms in India.
Over the years the patrons and appreciators bespoke various names for the art form, the Portugese called it pintado, the Dutch used the name sitz, and the British preferred chintz. Along with the myriad range of names, the technique contributed in creating innumerable textile product range and till today is considered as one of the most celebrated textile art forms in India.
[1] Percy Brown in Arts and Crafts of India, 1903