{"id":"aigc-v0-f6a26209-bfc6-5806-abad-7b6ddb87a3be","title":"Kurumba Leaf Painting: A 3,000-Year-Old Art Form on the Brink of Extinction","description":"Discover the ancient Kurumba leaf painting tradition from Kotagiri, Tamil Nadu, an art form with a 3,000-year history. This article delves into its origins, the challenges it faces today with fewer than 10 artists remaining, and the efforts to preserve this unique cultural heritage.","timestamp":1773473400,"category":"travel_and_lifestyle","headline":"Kurumba Leaf Painting: A 3,000-Year-Old Art Form on the Brink of Extinction","modifiedHeadline":"Ancient Tamil Art Faces Extinction","subCategories":["scid_d3a98dc5"],"subcategoriesName":["Culture"],"region":"IN","bundleMetaData":{"bundleId":"7b48871c-c993-4956-b43d-6f46f8e1b036","bundleTitle":"Today In India","cardData":null},"iabCategoryId":"206","iabCategoryName":"Fine Art Photography","fcSummary":"the kurumba leaf painting tradition, a 3,000-year-old art form from tamil nadu’s nilgiris region, faces extinction with fewer than 10 practitioners remaining. krishna raghavan’s posthumous padma shri brought attention, highlighting the need for preservation and government support. the art utilizes natural pigments, and efforts are underway to secure its future through training and recognition for current artists.","summary":"Ancient Kurumba leaf painting, 3,000 yrs old, faces extinction. Few artists remain; efforts underway to preserve this vital Tamil Nadu heritage.","ctaUrl":"https://trends.glance.com/newz/national/IN/en/feedpost-specials/aigc-v0-f6a26209-bfc6-5806-abad-7b6ddb87a3be?byte=true","sourceUrl":"https://trends.glance.com/newz/national/IN/en/feedpost-specials/aigc-v0-f6a26209-bfc6-5806-abad-7b6ddb87a3be?byte=true","bannerImage":"https://g-mob.glance-cdn.com/public/fc/image/ChmwmGIksoR0.webp","content":"

\n Explore the exquisite Kurumba leaf painting tradition, a 3,000-year-old art form from Tamil Nadu. Learn about its historical roots, the dwindling number of artists, and the urgent need for its preservation.\n

A Fragile Heritage

The art of Kurumba painting, a practice stretching back over three millennia, is currently teetering on the edge of oblivion. This ancient tradition, originating

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from the Nilgiris region of Tamil Nadu, is primarily associated with the Alu Kurumba community. While the recent posthumous Padma Shri award to artist Krishna Raghavan brought national attention to this unique art form, it also starkly highlighted the precarious state of its survival. With a mere handful of fewer than 10 practitioners left, the art faces an existential crisis. Reports suggest that the earliest documented instances of this art form date back to the late 19th century, depicting paintings found on cave walls and traditional dwelling structures. Today, the situation is even more critical, as only three of the remaining artists possess the specialized knowledge required to create the natural pigments that give these artworks their enduring quality. Tribal leaders and conservationists are issuing urgent calls for governmental intervention, advocating for official recognition of the active artists and the creation of comprehensive visual records of Krishna Raghavan's extensive body of work, which serves as a vital testament to the Alu Kurumba way of life.

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From Caves to Canvas

Krishna Raghavan, a pivotal figure in the resurgence of Kurumba painting, learned the foundational techniques from his maternal grandfather, Kithari. Raised in the Vellarikombai settlement, Krishna's education extended beyond the community's traditional practices of millet cultivation, honey collection, and forest produce preservation. He was initiated into the ancestral art of rock drawing at the Ezhuthuparai cave, a sacred site where community elders had been creating paintings for generations. At the tender age of six, Krishna began to master these intricate patterns. What started as a childhood fascination gradually blossomed into a dedicated artistic pursuit. Krishna innovatively began transferring these traditional motifs from rocks and cave surfaces onto more portable mediums like cloth, and subsequently, paper and canvas. His artistic development was further enriched through his exposure to diverse indigenous art forms across India. Consequently, scholars now often refer to his distinct style as the \"Krishna school\" of Kurumba art. His canvases became a vibrant visual chronicle of the Alu Kurumba community, a group historically known as hunter-gatherers and ardent honey collectors, primarily inhabiting the Coonoor and Kotagiri areas of the Nilgiris. Through his art, Krishna masterfully narrated the rich cultural tapestry of his people, portraying their societal structures, significant life rituals, and everyday existence.

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The Art's Vibrant Palette

The distinctive colours adorning Kurumba paintings are not sourced from commercial art stores but are painstakingly derived from the natural bounty of the forest. Krishna Raghavan, through his dedication, not only revived the art form but also delved deeply into the traditional methods of colour extraction. For instance, the inner bark of the Vengai tree is utilized to yield a spectrum of yellow, brown, and purple hues. Green pigments are expertly crafted from crushed Pachaikeeda leaves, while earthy tones are achieved using red sand. The colour black is meticulously prepared from the Karimaram tree, as detailed by Krishna's wife, Sushila. These natural dyes are crucial to the longevity and authenticity of the artwork. Krishna's artistic focus centered on capturing the intimate relationship between the Alu Kurumba people and the unique flora and fauna of the Nilgiris, documenting their agricultural practices and their skilled methods of rock honey hunting. His paintings can be broadly categorized into three primary themes: social life, ritual life, and daily life, under which he produced a vast collection of hundreds of paintings, each a window into his community's existence. Sushila poignantly notes that while Krishna was an artist dedicated to his craft, those who now follow his techniques are often regarded merely as craftsmen, implying a loss of the deeper artistic spirit.

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Fame Amidst Poverty

Despite the significant national and even international acclaim that Krishna Raghavan's Kurumba paintings garnered, his family's financial situation remained dire throughout his life. His artwork found its way into the homes of foreign visitors to the Nilgiris, graced the residences of prominent figures in Tamil cinema, and was displayed in art galleries across India. Yet, Krishna often painted for free, and when he did charge, his prices ranged from a mere Rs 50 to Rs 1,000. Kannan Ramaiah, co-founder of the Heritage Foundation, observed that the immense time, effort, and innate talent invested in these works were frequently undervalued by patrons. The family's financial struggles were compounded after Krishna's untimely demise. Sushila, left as a single mother to their four children, faced immense hardship. The family's dwelling in Vellarikombai was damaged by a wild elephant, and Krishna, in his final days, lacked the means to repair it. The settlement itself lacked basic amenities like proper roads and reliable transportation, necessitating a three-kilometer walk to access any form of public conveyance. The constant threat from wild elephants was a significant factor that compelled Sushila to relocate with her children to Mettupalayam in Coimbatore district, seeking a safer environment and better opportunities for her family.

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A Glimmer of Hope

In response to Krishna Raghavan's posthumous Padma Shri recognition, the Tamil Nadu state government has initiated several supportive measures. Notably, Sushila, Krishna's wife, has been offered a permanent position as a gardener at the Eklavya Model Residential School in Ooty, complete with a monthly salary of Rs 32,000, significantly improving her financial stability. Furthermore, the Tamil Nadu Adi Dravidar and Tribal Welfare Department organized a tribute event titled 'Ajil Pottu – Alu Kurumbar Kalaiyum Kalaignanum.' This event brought together community members from the Nilgiris and researchers to honor Krishna's legacy and underscore the critical importance of recognizing and supporting living artists. Tribal rights activist Odiyan Lakshmanasamy emphasizes that the state government should proactively ensure the continuity of the Alu Kurumba tradition by nurturing the next generation. He advocates for the state to provide awards and incentives to current artists to encourage their continued practice, rather than solely relying on national recognition. Lakshmanasamy also proposes the establishment of certified courses for Alu Kurumba students keen on learning their ancestral art, coupled with a stipend to provide them with financial support and dedicated time for artistic development. This initiative aims to secure both the students' and teachers' livelihoods while fostering the art form's transmission.

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Kurumba Leaf Painting: A 3,000-Year-Old Art Form on the Brink of Extinction

SUMMARY