Cochin on the western coast of Arabian Sea or on the Malabar Coast had been an international trade emporium even in the early centuries of the Christian era. Its near by places of Cranganore and Pattanam had been identified as the centres of Muziris or Muyrikkode by archaeologists. It was against this location of backwaters a terrible flood in the river Periyar in 1341, had built in a natural harbour of Cochin facilitating smooth navigation and anchorage for all the times. The Rajas of Cochin or Perumpatappu Swaroopam from their ancestral place of Chitrakootam in Vanneri then migrated to this emerging harbour town and made it their royal head quarters. Trading communities from all over the world settled here even in ancient times. Romans, Greeks, Jews, Arabs, Chinese and early Christian communities effected their settlements in the town and enriched its cosmopolitan character.
By 1500 the Portuguese vessels found their way to this harbour town and started fortifications with the permission of the Raja. The Portuguese could well exploit the political rivalry between the rajas of Cochin and Calicut for their advantage of building factories and settlement. They built a palace in the traditional architectural style with some modifications in the European style and presented it in 1557 to the Cochin Raja Veera Kerala Varma, for his residence. Over two centuries it remained as the raja’s residence. In 1663, the V.O.C. or the Dutch East Company conquered the Portuguese settlements including Cochin after prolonged battles in land and sea over Malabar Coast. The royal palace of Cochin was totally destroyed in the encounters. It was rebuilt by the Dutch in the same place and was
handed over to the rajas. Thus it was known as the Dutch palace representing the shared culture of the Netherlands. It is a double storied quadrangular building divided into long and spacious halls. It adopted the traditional native plan and design of Nalukkettu of Kerala. There is a courtyard in the centre where the presiding deity of the royal family ie, Pazhayannur Bhagavati is enshrined. In the south another complex dedicated to Vishnu and Siva had been constructed. In the western side of the palace there is a large masonry tank for bathing. The entire structural complex is enclosed by a high wall with entrances in the east and west. |
The upper story of the palace with its wooden covered porch contains the spacious coronation hall and it is known for its carved ceiling. However, it has no mural paintings. There are three large bed chambers apart from other rooms in this palace. To the west of the coronation hall there is bed chamber (palliyara) with low wooden ceiling covered with mural paintings in the traditional style. There are forty to forty five scenes from Ramayana epic depicting in the mural paintings. To the south of the Coronation Hall, there is a stair case room leading to the bed chamber meant for ladies, on the lower floor. There are other spacious rooms with murals of Bhagavatha stories. Vishnu as Viakundanath is painted here. The Dutch Palace represents a peculiar blending of European and indigenous ideas of architecture and remains one of the major tourist attractions in Cochin.
The unique importance of this monument is due to its mural paintings from the 16th century and dating up to 19th century. They reveal the stylistic evolution of the Kerala murals. The large hall of the monument consists of illustrations from epic Ramayana, starting from Putrakameshti yajna (sacrifice for obtaining son) to Rama’s pattabhishekam or coronation. The story is interrupted by two iconic images of Vishnu and Venugopala. Further, on the small wall spaces Ganesh Puja and Krishnaleela are painted. Most probably these paintings are made in the sixteenth century after the construction of the palace. There are scenes like the exploits of Hanuman in Lanka and war between Rama and Ravana. The segment showing the birth of Rama and brothers is typical one depicting the child birth. The legs of the queens are widely spread and supported by women attendants on both sides. A process of actual birth is painted without any inhibition by the artist. |
A second phase of the paintings related to 17th century had completely adopted a new style following the principles of iconography by the muralists. As a result he had restricted in general features of the paintings. Vishnu as Ananthasayi is a good example. The pictures of the ground floor particularly belonging to the 18th century adopt conventional pictorial style. The Kumara Sambhava drawings are typical examples for this tradition. The women are typical Keralites in all respects of costumes and ornaments. For instance, Parvati is accompanied by women with brass lamps, measuring vessels filled with rice and coconut flowers. Some of them also produce “kurava” or ululation by cupping hands over mouth. The last chamber of murals belonging to this period reflects the
European influence of realism. The artist had accommodated his work to the changing visual tastes of the period influenced by European art. In fact, it was the last phase of the mural paintings in Kerala. Gradually the paintings in Kerala were influenced by European academic realism of the colonial period. The palace houses an archaeological museum consisting of royal portraits, dresses, turbans, palanquins of the Cochin maharajas and other costly personal belongings. It is kept under the direct management of the Archaeological Survey of India, Thrissur circle and the palace is maintained as a protected monument by that agency. In brief, the Dutch palace is a museum of Kerala mural painting depicting multi styles and variations from 16th to 19th centuries. Although the building was constructed by the Dutch as a combination of indigenous and European styles, it is a monument of a common shared heritage. |
