padmanabha
1st November 2006, 06:56 AM
[tscii:fb67b46175]41 panels of Bhagavatham restored
Indian art has its germs in religion. It is closely associated with Indian thought and philosophy. Thus places of hoary tradition are treasure houses of fine arts. Time has great effect on every thing in the Universe. Precious works are deteriorating fast, demanding conservation, like the one in the corridor that leads to the Chempakathin moodu, from Kuthira malika, in the Padmanabhaswami Temple. The time honored panels of Bhagavatam, are completely insect eaten, with the colors flaking. SURENDRANATH a young artist has been entrusted with the task of restoration of all the 41 panels.
“To begin with the hazy coating and the repainting were removed, enhancing the emergence of the original work. With certain chemicals, we could remove the yellow formed due to fungus infection” said Surendranath and his associate Arun kumar.
Thus the beautiful serene eyes of Lord Krishna opened wide. The lovely blue color of the body was revealed. Stunning jewelry wok was brought to light. The pearls and diamonds got their glitter back.
The sequence begins with the wedding of Devaki with Vasudeva. As the chariot with the newly wed couple proceeds through the streets of Mathura a Divine voice foretold that the eight child of this couple would be the killer of Kamsa. This image and its consequences were beautifully depicted. The same work shows Kamsa raring to kill his sister in order to falsify the Divine voice. He is shown dragging his sister down from the chariot.
Bu the couple promises that they would hand over every child born to them to Kamsa. Kamsa imprisons them, loaded with fetters and assigns tough soldiers to guard them. The viewer can feel the ambience of the prison and the agony of the couple. But Krishna emerged from the womb of Devaki as a God child, with four arms, discus lotus and club. Dressed in yellow, he radiated brilliance that illuminated the prison with blinding but azure light.
The panel of Vasudeva, carrying the God child, across the Yamua, in a basket is really captivating. The five hooded serpent shields the basket, there by protecting the child from rain and over flowing river. This panel is followed by a series of incidents from the life of Krishna-namely Poothana moksham, salvation of nalkubera and Manigreva, humbling of Kaliya, lifting of the mount Govardan, his games and amusements, his usual pastime of stealing butter, his youth ful days in the midst of pastoral life, often represented as playing flute –the favorite instrument of the shepherds-have enriched artist’s imagination.
Krishna grabbing the bundle of AVIL from the under arm of Kuchela, is worth mentioning. The sunken figure of Kuchela with folded hands, too timid to narrate the purpose of his visit is well portrayed. It is followed by a series of paintings essaying the role of Lord Krishna in Mahabharata.
The portrayal of the Palace Indraprastha, with plenty of aesthetic works, with apt lighting effect is mind boggling. The perceptive view is highly effective. With in a small area the artist could encompass the spacious palatial halls.
The corridor wall on which the paintings are executed 16ft high, 50ft long. The wall has a smooth curve to the left. Here Geethopadesam is portrayed and it is the largest panel. The wall has three rows of panels. The work began in October last and will be finished in December this year.
HIS HIGHNESS UTHRADOM TIRUNAL MARTHANDA VARMA had taken the initiative to restore this valuable work.
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Indian art has its germs in religion. It is closely associated with Indian thought and philosophy. Thus places of hoary tradition are treasure houses of fine arts. Time has great effect on every thing in the Universe. Precious works are deteriorating fast, demanding conservation, like the one in the corridor that leads to the Chempakathin moodu, from Kuthira malika, in the Padmanabhaswami Temple. The time honored panels of Bhagavatam, are completely insect eaten, with the colors flaking. SURENDRANATH a young artist has been entrusted with the task of restoration of all the 41 panels.
“To begin with the hazy coating and the repainting were removed, enhancing the emergence of the original work. With certain chemicals, we could remove the yellow formed due to fungus infection” said Surendranath and his associate Arun kumar.
Thus the beautiful serene eyes of Lord Krishna opened wide. The lovely blue color of the body was revealed. Stunning jewelry wok was brought to light. The pearls and diamonds got their glitter back.
The sequence begins with the wedding of Devaki with Vasudeva. As the chariot with the newly wed couple proceeds through the streets of Mathura a Divine voice foretold that the eight child of this couple would be the killer of Kamsa. This image and its consequences were beautifully depicted. The same work shows Kamsa raring to kill his sister in order to falsify the Divine voice. He is shown dragging his sister down from the chariot.
Bu the couple promises that they would hand over every child born to them to Kamsa. Kamsa imprisons them, loaded with fetters and assigns tough soldiers to guard them. The viewer can feel the ambience of the prison and the agony of the couple. But Krishna emerged from the womb of Devaki as a God child, with four arms, discus lotus and club. Dressed in yellow, he radiated brilliance that illuminated the prison with blinding but azure light.
The panel of Vasudeva, carrying the God child, across the Yamua, in a basket is really captivating. The five hooded serpent shields the basket, there by protecting the child from rain and over flowing river. This panel is followed by a series of incidents from the life of Krishna-namely Poothana moksham, salvation of nalkubera and Manigreva, humbling of Kaliya, lifting of the mount Govardan, his games and amusements, his usual pastime of stealing butter, his youth ful days in the midst of pastoral life, often represented as playing flute –the favorite instrument of the shepherds-have enriched artist’s imagination.
Krishna grabbing the bundle of AVIL from the under arm of Kuchela, is worth mentioning. The sunken figure of Kuchela with folded hands, too timid to narrate the purpose of his visit is well portrayed. It is followed by a series of paintings essaying the role of Lord Krishna in Mahabharata.
The portrayal of the Palace Indraprastha, with plenty of aesthetic works, with apt lighting effect is mind boggling. The perceptive view is highly effective. With in a small area the artist could encompass the spacious palatial halls.
The corridor wall on which the paintings are executed 16ft high, 50ft long. The wall has a smooth curve to the left. Here Geethopadesam is portrayed and it is the largest panel. The wall has three rows of panels. The work began in October last and will be finished in December this year.
HIS HIGHNESS UTHRADOM TIRUNAL MARTHANDA VARMA had taken the initiative to restore this valuable work.
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