Kuruppu/Kerala community

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Kuruppu/Kerala community

They are part of the Ambalavasi community and traditionally associated with singing, drumming in temples, and floor paintings (see Ambalavasi)

Kalam/Kerala

Kerala Kalam, "Painting Vettakkorumakan, the hunter-god" — part 3

Like a jeweller, the painter creates fleeting ornaments that will adorn the sturdy neck, arms, wrists, and ankles of the sylvan deity. Another painter meticulously paints the peacock feather ocelli on either side of the deity, creating the illusion of a majestic mane.

Kalam/Kerala

Kerala Kalam, "Ayyappan, the Lord of Sabarimala"— part 1

The 41-day mandalakalam period, which starts in Vrikshikam (November-December) and culminates by December-end, embodies a time of intense religious fervour and austerities, particularly in temples of Ayyappan and the Goddess. This ritual period benefits the kalam painters.

Kalam/Kalamezhuttu

Kerala Kalam, "Colours and emotions" — part 4

Panchavarnam, five colours for the kalam paintings are more than just an aesthetic choice; they convey concepts as well as feelings. The five powders are chosen according to the attributes of each god or goddess. The iconography refers to myths and legends.

Kalam/Kalamezhuttu

Kerala Kalam,"Measuring and sketching the body"— part 3

Kalam paintings are not born of the priest's or ritual painter's own imagination; they are drawn according to precise rules, which include specifications about shapes and colours. A kalam begins, in most cases, by tracing an east-west vertical line called brahmasutra.

Kalam/Kerala

Kerala Kalam, "Hand drawing techniques"— part 2

In Kalamezhuttu images, the hands constitute drawing and colouring tools. The simplest gesture involves holding the powder between thumb and index and allowing it to drop smoothly onto the floor to complete dots or lines of varying thickness.

Kalam/Kerala

Kerala Kalam, "Draw and sing the paintings" — part 1

Almost invisibles, the floor paintings called kalam do not expose themselves to the morning walker's gaze. They are drawn in privacy and focus the attention of the family within the home and of devotees in the temple premises.