A Shared Heritage of the Dutch in Kerala

Dr. K.K.N. Kurup

The unique importance of this monument is due to its mural paintings from the 16^th century and dating up to 19^th 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 17^th 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 18^th 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, Trissur 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 16^th to 19^th 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. Such a heritage has to be protected and propagated for international understanding and co operation in the field of culture.

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Dr. K.K.N. Kurup - Former Vice Chancellor, Calicut University, Director General, Centre for Heritage Studies, Cultural Affairs Department, Govt. of Kerala.

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