It is usual for an artist to let his works speak for him. In Prince Thonnakkal’s case, his students do the talking for him as the mural expert is content with his brush and the divine subjects he breathes life into. Thonnakkal has let his creativity do wonders in several areas, including films. But his forte is mural painting in which he was trained by Mammiyoor Krishnan Kutty Nair. He has worked in temples across Kerala, including the Padmanabhaswamy temple in Thiruvananthapuram.
Sivakumar, Ma.Se., Keshav and Gopika Varma admiring a mural at the exhibition
Krishna is Thonnakkal’s favourite but he has done a host of murals on Vinayaka. His speciality, however, is epic stories. The latest is the Mahabharata. In 113 frames done by 35 of his students, all women, the magnum opus has been completed in a span of four years. After unveiling the series in Thiruvananthapuram, Thonnakkal and his students are in Chennai, where the exhibition was inaugurated at the Lalit Kala Academy on July 4.
“Except ‘Viswaroopam,’ which Asan himself has drawn, the epic has been represented as murals by us,” inform the women.
“We first zeroed in on the episodes, which would trace the Mahabharata in a lucid manner. Then lots were drawn to decide the artist for the chosen scenes,” explains Revathy. After one phase, overseen and approved by the Master, the process would be repeated for the next. As many as 25 students in this group are in Kerala. The eight in Chennai, his students for many years, are anchoring the exhibition.
Viswaroopam | Photo Credit: G.V.
Thonnakkal’s Ramayanam, a series of 17 paintings, was a success too. He has covered the ceiling of a temple in Saigramam, a village in Kerala, with murals of the Bhagavatam. Future projects include Devi Mahatmyam.
Including women
“Initiation into mural painting has opened a window to a world of peace and harmony,” chorus the students. They underline the fact that by including women, Thonnakkal has breached barriers and has given them an identity. “Most of us have been trained in other forms of art but now we want to do only mural,” states Usha Ramesh. Priya picks up the thread: “This art is meditative. Engaging in it has a calming effect. These days petty issues don’t disturb me.” They show a beautiful Mahishasuramardhini, which is striking for its soothing finish. Here the goddess is smiling and not angry. The asura is looking up to her even as Her spear is inches away from him. Looks as if he is blissfully waiting for Salvation. Even the lion has a serene look.
“You will find only positive expressions in Master’s concept,” explain the students. They also stress that those who got these murals have experienced positive changes in life.
Does Thonnakkal deal with general subjects?
“Sure,” says Nirmala and shows the angel with her widespread wings. Also he did a series of paintings on agriculture.
It is indeed difficult to draw the Master out. A smile is all that he gives as response. But when pressed for what he would consider as a special moment, he says haltingly: “Back in Thonnakkal, I was painting the walls of a Siva temple, at my expense. The cost had touched a lakh of rupees. Just as I was finishing, a person, who had seen online a few images, sent a mail saying he would buy them and the money he gave was one lakh. I felt it was the deity, who had compensated me.”
How does he look at the experience of working outside a temple?
“Temple demands absolute sanctity. Dyanaslokam decides the form of the Murti. And I strictly observe the rules laid down,” explains Thonnakkol, who studies the subject and has discussions with the tantriks before embarking on a temple project.
His students say that every time they complete a picture and the eyes are about to be opened, they get a signal. “It could be a bell, a song... that will uncannily connect to the picture,” says Nirmala. Priya narrates: “I was working on ‘Gajendra Moksham’ and when I was giving the final touch, I heard a drum beat. When I ran outside it was the Garuda Sevai procession of Tiruvallikeni Sri Parthasarathy Swamy. Believe me, never has a temple procession entered my street, which is off the main route. Tears streaming down my cheeks I prostrated right there.”
Kalpana marvels at the Asan’s ability to translate thoughts into image. “I requested him to give me a mural of Vishnu and Mahalakshmi looking with love at each other and include Garuda and an elephant. I was speechless when he finished. It was precisely how I had visualised it,” she says.
Thonnakkal prefers women disciples for special projects because most of them are home-makers and can devote the time. “We have the support of our families,” say the students. “This has been a penance of sorts, which has reached a culmination. Exhibiting it to discerning audiences is a privilege,” they say.
“Master wants school children to see the exhibition. So we have requested Principals to arrange visits. We will narrate the story and also explain what mural painting is all about,” say the artists. This is Thonnakkal’s quiet way of spreading culture, heritage and arts.
‘Mural Mahabharatam’ is on at Lalit Kala Academy, 11 a.m.-7 p.m., up to July 10. Contact 99525 66017, 98412 03616 and 98417 25804.