KOCHI: In the realm of art, there are those who create masterpieces, and then there are those who ‘create’ history. Kerala mural artist Saju Thuruthil undoubtedly belongs to the latter category. From his humble beginnings in Ernakulam’s Moothakunnam village to becoming a leading figure in the Indian artscape, his brushstrokes have left an indelible mark on the legacy of murals.
Currently serving as the head of mural paintings at the Sree Sankaracharya University of Sanskrit, Kalady, Saju has been spearheading a revival of mural art. His captivating murals at the new business terminal at the Kochi airport and the iconic Theyyam mural at the Kannur airport are spectacular examples of his artistic prowess.
Saju, who is the first ever person to get a PhD in mural art, has also been participating in several art restoration and heritage conservation projects. His contributions to the preservation of mural paintings in iconic sites such as the Sri Padmanabhaswamy Temple in Thiruvananthapuram, the Piravom Pazhoor Temple, and the Ettumanoor Mahadeva Temple have earned him acclaim. He is also the founder and director of ‘Art & Mind International Mural Gallery and Study Centre’ – Kerala’s first residential gallery – located on the Periyar.
The Beginning
Born and raised in the idyllic village of Moothakunnam, Saju’s passion for arts was evident from a tender age. However, his journey into the realm of mural art was not a predetermined path but a calling he discovered through a series of fortuitous events.
“Encouraged by my mother to pursue a career in the field of art, I decided to become an art teacher,” he says. “I wanted to explore beyond the boundaries of my hometown, so I enrolled in an art institute in Paravur. I was initially daunted on seeing the experienced peers there.”
However, Saju soon proved his mettle as an artist. Subsequently, a coincidental encounter at a bus station proved to be a turning point in his life. “During a conversation with an individual there, I came to know about an opportunity for those interested in mural arts to be part of a Guruvayur Devaswom programme,” Saju recalls.
“Intrigued by the prospect of travelling with a Krishnattam troupe, a stipend of Rs 250, free accommodation, and food, I seized the chance and embarked on a five-year training programme in Kerala mural art in Guruvayur, under the mentorship of luminaries such as Mamiyoor Krishnankutty Nair, M G Sasibhushan, and K A Chandrahasan.”
Joining a batch of ten students from across the state, he encountered another life-changing experience during the course—the tourism department’s state art camp at Veli. “This camp not only transformed our lives but also thrust us into the limelight, and our paintings featured in newspapers and magazines for the first time,” he says.
History of mural art in Kerala
Deeply rooted in the ancient art form of ‘Kalamezhuthu’, Kerala mural art blossomed with gradual evolution in techniques and practice starting from the 14th century. The pinnacle of its prolific expression unfolded during the 16th and 18th centuries. Within the state of Kerala, two distinct mural traditions flourished: the classical style and the miniature style, each leaving an indelible mark on the artistic landscape of Kerala.
However, in the late 18th century, during the period of Raja Ravi Varma, a shift occurred in the world of art. The centuries-old tradition of Kerala mural painting started to wane as modern art with its naturalistic approach took centre stage. The vibrant, handcrafted colours of murals gradually gave way to readymade paints, marking the end of an era.
By 1856, though Ravi Varma was no more, modern art hadfirmly established its dominance in Kerala, led by influential figures like K C S Panicker. Sadly, in the years that followed, mural art struggled to regain its foothold, becoming a fading memory of the past.
“The year 1970 marked a significant turning point for mural art,” says Saju. “The Guruvayur temple was ravaged by a devastating fire, which destroyed every artistic masterpiece that adorned its walls.”
Determined to rebuild the temple and restore its former glory, plans for renovation were set in motion. However, a new challenge emerged: the scarcity of artists well-versed in the intricacies of mural art.
“It was at this critical juncture Chandrahasan, a member of the Devasom, stepped forward to change the course of history. He took the revolutionary decision—to establish a centre of mural art training in Guruvayur,” Saju notes.
“Eventually, a comprehensive five-year training programme was conceived in 1989. This decision laid the foundation for a renaissance in Kerala mural art. It was from here that many artists, including myself, with the blessings of Guruvayurappan, first forayed into the world of mural art.”
Another significant boost to mural art was the Malayalam film ‘Paithrukam’, which featured several mural paintings. Murals slowly started making their way from temple walls into the living rooms of the masses. And now, the ancient art form is thriving.
“Today, I am filled with immense pride as I reflect upon the extraordinary journey of Kerala mural art over the past 25 years,” beams Saju. “I consider myself incredibly fortunate to have not only witnessed but also actively contributed to this phenomenal growth.”
The remarkable growth is evident from the ever-increasing number of aspiring students seeking admission to mural arts programmes, Saju highlights. “In the past, when I first joined the centre, there were just two aspirants for every ten available seats. Today, that number has grown to over 1,500 eager students,” he says.
What sets mural art apart from Its counterparts?
According to Saju, Kerala mural art possesses several unique characteristics that distinguish it from other traditional art forms in the country. “Kerala mural art, though deeply rooted in tradition, is not bound by ritualistic associations like many of its counterparts,” he explains. “For instance, unlike the art of Sarpa Kalam which is intrinsically associated with the ritual of Sarpam Pattu (dance of the snakes), mural art does not originate from a specific ritual but exists as a distinct art form.”
Similarly, while some art forms limited themselves to imitation, Kerala mural artists embraced boundless creativity to escape stagnation. Thus, their works effortlessly blend historical narratives with contemporary themes, thereby creating a tapestry of art that captivates both the past and the present. Another distinguishing trait of Kerala mural art is its use of natural resources to create a vibrant palette.
“For instance, blue, a colour that gained prominence with the advent of Christian murals, is extracted from the indigo plant, copper sulphate, or from the rare lapis lazuli stones, sourced all the way from Afghanistan,” says Saju. “Similarly, the vibrant green hues are derived from the extracts of eravikkara leaves or the neela amari (indigofera) leaves. Black tones find their origin in the soot of sesame oil, carefully collected within a clay pot or obtained from burnt husks. Yellow is obtained from turmeric powder or finely ground laterite stones.”