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Home > Kerala Temples > Ritualistic Arts > Kalamezhutth or Floor art Kalamezhutth or Floor art Ritualistic Art in Kerala TemplesKalamezhutth or Floor art Ritualistic Art in Kerala TemplesThe origin of this floor-art is still obscure, though it gives its linkage with Sakthi form of worship. This form of worship with thaanthric modes, existed in Kashmir, Vanga (Bengal) and Kerala. Of these as a floor art kalamezhutth, known as dhooli-chithra in Sanskrit, existed in early times in Vanga (which extended over Bengal and some eastern parts of Orissa) and in South India. But in course of time it became extinct in these areas except Kerala where it is still preserved with its ancient glory and strict observance of rituals. The earliest description on dhooli chithra is given in Bhavishath-puraana, composed between 6th and 8th century. Kalamezhutth is prevalent mostly in temples dedicated to Bhadrakaali besides in temples of Ayyappa (Saastha), Naagaraja, Vettakkorumakan, Durga, etc. Even under Sakthi concept the deity is worshipped in the form of Kaalaraathri, Raktheswari, KaJ.lt1aki etc. There are similar kaJams (floor-picture) for minor Devatha like. Anthimahaajan, Bhoothaatthan, Kshethrapaalan, Gandharvas, Ajira Yakshi Kiraatha-Rudran, Kiraatha-Rudrani) etc. The kalamezhutth or depicting the figurines is done by artists belonging to some traditional families known as Kallat Kurups Theyyampaadi Nambiars, Thiyyat Unnis, Vaazhtthi Nairs, Daivapaadis, and Pulluvars and their jurisdiction was confined mainly to certain regions. Further this floor art is done along with mutiyett, thiyyatt, kolam-thullal, sarpam-thullal etc. For kalamezhutthu five colours black (krishna-varna), white, yellow, green and red are used. These five colours are symbolic of pancha-bhootha (ie, the concept being the figure of the deity or Devatha made with these colours have all the qualities of pancha-bhootha). All the colours are taken from indigenous articles like ashes of paddy husk for black, raw-rice powder for white, turmeric-powder for yellow, fine powdered leaves of nenmeni-vaaka (Albizza lebbek) for green and chunnambu (slaked lime) mixed with wet turmeric-powder for red. In case lighter colour of red is required fine powdered raw-rice is added as per requirements. A skilled artist can make any number of colours, depending on the way in which he represents the deity. The kalam is generally rectangular in shape varying between 20sq.ft to 500 sq. ft. The largest is seen at the Sree Mahadeva temple, Vaikom where Vatakkuppurath-paatt is conducted once in 12 years for 12 days. The procedure for making the three-dimensional figure of the deity (including Naagas) is interesting. Generally the site for making kalam is the valiambalam of the temple or in exceptional cases in a separate decorated pandal within the maryaada of the temple. The first step is to properly clean the site and the surface is made even. Then depending on the availability of space, the outer-sketch of the deity is made with raw-rice powder. For deities of anthropomorphic form the drawing of outer sketch commences from the paada of the deity followed by the whole figure keeping symmetry at both sides. Details of limbs, other parts of the body, facial expressions, etc are drawn in the reverse order ie, starting from head, face, neck, crown, chest, belly, lower belly, thigh, knees, leg and foot besides depicting ornaments (like thaalikkoottam, ear-rings, chilanka) and different kinds of weapons as per the sankalpa of the deity. This order is essential as otherwise the artist has to stand on the figure he makes. It is the custom that once the drawing starts it has to be completed without break. The proportion of the figure is either nava-thaala or dasa-thaala, the only difference being that three dimensional lateral presentation is followed here instead of upright carving or casting of vigrahas. Depending on the size and sex of the figure the requirements of powders also vary since the kalam for Vatakkupuratth-paatt at Vaikom is large (500 sq.ft) for which 50 kg each of the five powders besides five paras of paddy (for making the right breast of Goddess) and five paras of rice (for the left breast) are required. Here the Goddess Bhadrakali is depicted having 64 hands and in standing pose over a vethaa!a. The weapons in hand are different based on the figure having 4 hands, 8 hands, 16 hands, 32 hands and 64 hands. Generally, the first three categories are followed. On the last day of Vatakkupurathu patt at Vaikom the kalam of Bhadrakaali has 64 hands with different weapons and seated on vethaalam. .0nce the figure is made the other areas around it are properly cleaned and wiped. Then separate peethas for keeping either the mirror-idol of the deity c weapon or both are kept, besides medium sized nilavilakks ( stand lamps with several wicks each) around the kalam. Once these lamps are lighted the deity and weapons are brought in procession and received with thalappoli taken by ladies (women an children). The next ritual is thiri-uzhiyal which is a ritual performed by bringing fire torch (pantham) near moortthi of the kalam as well as near the chief artist who mad the. kalam and his family members. This is done as a token for warding off any defect or sins committed while making the kalam and bless them on behalf of the deity. The ritual is done by the chief priest of the temple and is similar to honouring the silpi who made the vigraha. The next ritual is reciting praises of the deity, known as ka!amezhutth paatt, the theme of which includes the description of the deity as we' as the thrilling incidents of Devi Maahathmya like the slaying of Daaruka, Chanda Munda, Raktha-beeja, Sumbha-Nisumba etc. All these paattus are composed in pure-Malayalam and it is significant to note that there are regional variations in the lyrics as they are inherited from their ancestors over the centuries. During paat musical instruments of nanthuni, veekkan, chenta, ilatthaalam and sankh are commonly used of which veekan has a predominant role. Paatt includes thottam and braahmani paatt(of Mazhamangalam). The pooja is then conducted. In certain temples it is seen poojas are initially conducted by the Chief artist of the temple. Then either the chief priest of the temple or the artists themselves, conduct the poojas depending on custom. After poojas the kalam is wiped with the help of kamukin-pookkula (inflorescence of arecanut tree), from the bottom except the breasts and face. Then these powders are given as prasaada to the devotees. Special mention is required. in case of other types of kalams also. The Naaga-kalam existed from very early times as revealed in the palm-leaf granthhas which give 28 types of naaga-kalams like bharani-kettu, chithrakootam, iratta Katumthuti, ashta-naaga-bandhanam, pavithra-kettu, jeevitha-kettu, thetti-poo-kettu etc In Kerala Naaga-kalams are mostly made by Pulluvas. Though there are differenl types of Naaga-kalams two types of kalams are important. One is that of Naaga Raja and Naaga-Yakshi in intertwined pose with imposing seven hoods. In rare cases kalams of ashta-naagas are seen. In Kasaragod area, particularly north of Nileshwar river, naaga-mandala in specially erected panthals, is made on the floor by using indigenous objects like dried leaves, ochre, saffron powder, rice powder and powder of coconut husk. It is also seen that images of serpents, (with several hoods in odd number with ‘serpentine or wavy movements of body) are enclosed within a circle of ten to fifteen feet diameter. The number of knots (formed by inter-twining of serpents) and size of mandala depend on the degree of pomp and grandeur of the ceremony. A full mandala has sixteen knots, half mandala eight and quarter mandala four. The mandala, when pictured and viewed from a distance, is an exquisite sight and provides a fantasy of the world of serpents, apart from invoking feeling of great reverence in the hearts of devotees. Dhakka and cymbals are the instruments used on the occasion.
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