A Legacy on the Brink
The recent posthumous Padma Shri award to Krishna Raghavan brought national attention to the ancient art of Kurumba painting, a tradition over 3,000 years
old originating from the Nilgiris. However, this recognition is bittersweet, as fewer than 10 practitioners of this unique art form remain. Krishna, a member of the Alu Kurumba community, a Particularly Vulnerable Tribal Group (PVTG), dedicated his life to this art. His story, while celebrated, also amplifies the critical concern that this heritage could vanish. The Alu Kurumbas, historically living in the Kotagiri and Coonoor regions, possess a rich cultural tapestry woven into their art, depicting community life, rituals, and their deep connection with the natural environment. This art, once adorning caves and dwelling structures, has transformed over centuries, with Krishna himself being instrumental in adapting it to canvas and paper, creating what scholars now refer to as the "Krishna school" of Kurumba art. His work, distinct from similar art forms like Warli painting which focuses on tribal celebrations, specifically chronicles the Alu Kurumba way of life, including significant ceremonies and ancestral worship. The precarious state of this art form, with only a handful of individuals left who can even create the natural dyes essential for its longevity, poses a significant threat to its continuation, prompting urgent calls for recognition and preservation efforts.
From Forests to Pigments
The vibrant hues central to Kurumba paintings are not derived from synthetic sources but are meticulously extracted from the abundant forest produce of the Nilgiris, a practice deeply ingrained in the community's ancestral knowledge. Krishna Raghavan's wife, Sushila, elaborates on the origins of these natural pigments, explaining that specific elements from the forest yield distinct colors. For instance, the trunk of the Vengai tree is a source for producing shades of yellow, brown, and purple. The green pigment is achieved by crushing Pachaikeeda leaves, while red sand contributes earthy tones. The color black is derived from the Karimaram tree. These natural dyes are not just coloring agents but are integral to the authenticity and cultural significance of Kurumba art, connecting the artwork directly to the land and its resources. Krishna's own artistic endeavors were deeply rooted in this natural palette, with his paintings frequently illustrating the Kurumba community's intrinsic relationship with the local flora and fauna, their agricultural practices, and the traditional methods of collecting rock honey. His extensive body of work, categorized into themes of social life, ritual life, and daily life, showcases hundreds of paintings that are a testament to this connection. Tragically, as Sushila notes, while Krishna was a true artist, those who now attempt to follow his methods are often considered mere craftsmen, a distinction that underscores the loss of depth and understanding in the fading art form. This emphasis on natural dyes is crucial for understanding the unique character and the challenges of preserving this ancient craft.
Reaching Beyond Borders
Despite the profound cultural significance and the exquisite beauty of Krishna Raghavan's Kurumba paintings, their journey from the remote settlements of the Nilgiris to national and international acclaim was marked by a stark contrast to his family's persistent financial struggles. Krishna's artwork gained considerable traction, adorning the homes of international visitors to the region, gracing the collections of prominent Tamil cinema personalities such as Pa Ranjith and Mari Selvaraj, and being exhibited in art galleries across India. This widespread recognition, however, did not translate into financial stability for the artist or his family. Kannan Ramaiah, a co-founder of the Heritage Foundation, a non-profit organization based in Kotagiri, highlights the irony of Krishna's fame juxtaposed with his poverty, mentioning that in his final days, he lacked the means to repair his home, which had been damaged by a wild elephant. Sushila recalls that Krishna would often create paintings for free or charge a nominal fee, typically between Rs 50 and Rs 1,000, failing to adequately monetize the considerable time, effort, and artistic talent invested in each piece. This lack of financial recompense became particularly acute after Krishna's passing. As a single mother with four children, Sushila found herself in dire financial straits, forced to relocate from their home settlement in Vellarikombai to Mettupalayam in the Coimbatore district to live with her parents. The move was precipitated by the difficulties of maintaining farm labor work in areas frequented by wildlife and caring for her children, compounded by the lack of basic amenities like proper roads and transportation in Vellarikombai, requiring a three-kilometer walk for any form of transit. Even in Mettupalayam, Sushila's daily wage of Rs 300 as a farm laborer was barely enough to cover monthly expenses, leading to sacrifices such as her daughter Vasuki dropping out of college. The story of Krishna's art achieving global reach while his family endured hardship underscores a systemic issue of valuing traditional art forms and supporting their creators.
A Path to Revival
The recognition of Krishna Raghavan's artistic contributions, particularly the Padma Shri award, has spurred the Tamil Nadu state government to take concrete steps towards supporting his family and, by extension, the preservation of the Kurumba art form. Following the national honor, Sushila, Krishna's wife, was offered a permanent position as a gardener at the Eklavya Model Residential School in Ooty, accompanied by a monthly salary of Rs 32,000, providing much-needed financial stability. Furthermore, the Tamil Nadu Adi Dravidar and Tribal Welfare Department organized an event named 'Ajil Pottu – Alu Kurumbar Kalaiyum Kalaignanum' to pay tribute to Krishna and highlight the importance of recognizing living artists. Tribal rights activist Odiyan Lakshmanasamy emphasized that the state government should not solely rely on Union government recognition but should proactively honor and reward existing artists to encourage them to continue their craft. He also proposed the introduction of certified courses for Alu Kurumba students, complete with stipends, to provide them with the financial and temporal resources necessary to learn and perpetuate their ancestral art. KT Gandhirajan, a project officer at the Tamil Virtual Academy, echoed the sentiment, advocating for Krishna's collected works to be compiled into a visual anthropological record. This record would serve as an invaluable resource for those seeking to understand Alu Kurumba culture and art, potentially bridging the gap between mainstream society and tribal communities. Such initiatives, focusing on both immediate support for practitioners and long-term educational and archival strategies, are crucial for ensuring that the 3,000-year-old tradition of Kurumba painting, with its unique natural dyes, does not fade into obscurity but continues to thrive for generations to come.
