TATVAMASI MURALS





The tradition of mural painting in Kerala is unique in the world, and it is extremely rich with symbolism. Made only with natural mineral pigments, the colors represent the qualities of the three gunas, sattva, rajas and tamas. Sattva is purity, which is usually represented by the colour green; the figures painted with green are those for whom knowledge is the chief characteristic. Those in whom rajas, the spur to activity, is predominant, are painted in golden yellow. Tamas, inertia, the least pure is, curiously, represented by white. The traditional colours used in this art are red ochre, yellow, green, blue, white and black. Sometimes blue is also used. 

The subjects, derived from various Vedic texts, are not a fanciful representation but drawn from the description in the invocatory verses or dhyana slokas. Flora and fauna and other aspects of nature are pictured as backdrops, in highly stylized manners.

The traditional style mural art form, using natural pigments and vegetable colours, is being revived by a new generation of artists actively involved in researching and teaching mural art at a mural art school associated with the Guruvayoor temple, as well as at the Sree Sankara Sanskrit College in Kaladi.

There are several videos on youtube about Kerala Mural Painting. 


Size 2' x 5', framed, natural mineral pigments on board. Ananthasayanam is another name for Narayana. In this magnificent painting, he is shown reclining on the serpent Anantha (the name means one who rests on Anantha), with consorts Shridevi (Lakshmi) and Bhudevi, Lord Brahma seated on the lotus that emerges from his navel, surrounded by the Saptarishis, Shiva Dakshinamurti and various devas. In the foreground are the four Sanatkumaras. Garuda, Vishnu's vahana or mount, is seen to the right of the seven sages.

Aishwarya Ganesh

Size approximately 2'x3', natural mineral pigments on canvas. Aishwarya Ganesh is the Ganesh of prosperity and abundance. This image shows Ganesh being worshipped by two sages in the foreground, while two devotees are shown in the background bearing sweets and a bunch of bananas.

Shiva as Dakshinamurthy 

 Natural mineral pigments on canvas.
Dakshinamurthy (Sanskrit: दक्षिणामूर्ति (Dakṣiṇāmūrti) is an aspect of Shiva as a guru or teacher of all types of knowledge, especially the knowledge that leads to enlightenment. This aspect of Shiva is his personification as the supreme or the ultimate awareness, understanding and knowledge. This form represents Shiva in his aspect as a teacher of yoga, music, and wisdom, and giving exposition on the shastras. He is worshipped as the god of wisdom, complete and rewarding meditation.

(Dakṣiṇāmūrti) is an aspect of Shiva as a guru (teacher) of all type of knowledge, particularly the jnana. This aspect of Shiva is his personification as the supreme or the ultimate awareness, understanding and knowledge.This form represents Shiva in his aspect as a teacher of yoga, music, and wisdom, and giving exposition on the shastras. He is worshipped as the god of wisdom, complete and rewarding meditation.
There are several different forms of Dakshinamurti. Dakshinamurthy is portrayed as being in the yogic state of abstract meditation - and as a powerful form brimming with ever flowing bliss and supreme joy. Variations of this iconic representation include Veenadhara Dakshinamurthy (holding a Veena), Rishabharooda Dakshinamurthy (mounted on a Rishabha - the bull) etc.

Indian tradition accords a special reverence to the Guru or the teacher. Dakshinamurthy, in the Saivite system of beliefs is regarded as the ultimate Guru—the embodiment of knowledge and the destroyer of ignorance (as represented by the demon being crushed under the feet of the deity). The Jnana Mudra is interpreted in this way: The thumb denotes the God and the index finger denotes the man. The other three fingers stand for the three congenital impurities of man viz. arrogance, illusion and bad deeds of the past births. When man detaches himself from these impurities, he reaches God. The Abhaya Mudra, a gesture with the hand lifted above thigh with palm facing out, fingers pointing, is interpreted as His grace upon His students. The rosary or the snake signifies Tantric knowledge. The fire represents illumination, removing the darkness of ignorance.

The original Wikipedia article is available at: http://en.wikipedia.org/wiki/Dakshinamurthy

Text is available under the Creative Commons Attribution-ShareAlike License.


Patanjali was the composer of the Yoga Sutras, as well as the author of the Mahabhashya, a commentary on Panini's Ashtadhyayi (which is the authoritative treatise on Sanskrit grammar), and a text on Ayurveda (Carakapratisaṃskṛtaḥ), which has been lost. He is regarded as an incarnation of Adisesa, for which reason the lower part of his body is that of a serpent. 

Yogena cittasya padena vacam malam sarirasya ca vaidyakena yopakarottam pravaram muninam patanjalim pranajaliranato'smi abahu purusakaram sankha cakrasi dharinamsahasra sirasam svetam pranamami patanjalim.

Let us bow before the noblest of sages Patanjali, who gave yoga for serenity and sanctity of mind, grammar for clarity and purity of speech and medicine for perfection of health. Let us prostrate before Patanjali, an incarnation of Adisesa, whose upper body has a human form, whose arms hold a conch and a disc, and who is crowned by a thousand-headed cobra.

Dashavatar Series 

This is a series of ten paintings, framed, each about 1' x 1', on board, which depicts the ten avatars or incarnations of Lord Vishnu.

The ten best known avatars of Vishnu are collectively known as the Daśāvatara (a dvigucompound meaning "ten avatars"). This list is included in the Garuda Purana (1.86.10"11).

The first four are said to have appeared in the Satya Yuga (the first of the four Yugas or ages in the time cycle described within Hinduism). The next three avatars appeared in the Treta Yuga, the eighth descent in the Dwapara Yuga and the ninth in the Kali Yuga. The tenth, Kalki, is predicted to appear at the end of the Kali Yuga.

1.     Matsya, the fish-avatar who saved Manu - the progeniter of mankind from the great deluge and rescued the Vedic scriptures by killing a demon

2.     Kurma, the tortoise-avatar, who helped in the Samudra manthan - the churning of the ocean

3.     Varaha, the boar-avatar, who rescued the earth from the ocean, by killing her kidnapper-demon Hiranyaksha

4.     Narasimha, the half man-half lion avatar, who killed the tyrant demon-king Hiranyakashipu, to rescue the demon's son Prahlada, who was a Vishnu-devotee

5.     Vamana, the dwarf-avatar, who subdued the king Maha Bali

6.    Parashurama, sage with the axe who killed the thousand-armed king Kartavirya Arjuna

7.     Rama, the king of Ayodhya and the hero of the Hindu epic Ramayana

8.    Krishna, the king of Dwarka, a central character in the Bhagavata Purana and the Mahabharata and reciter of Bhagavad Gita

9.     Balarama, Krishna's elder brother

10.   Kalki ("Eternity", or "time", or "The Destroyer of foulness"), who is expected to appear at the end of Kali Yuga.

This information is taken from Wikipedia at http://en.wikipedia.org/wiki/Avatara

Text is available under the Creative Commons Attribution-ShareAlike License

Matsya (Fish) 


Kurma (Tortoise)


Narasimha (Man-Lion)


Varaha (Boar)


Vamana (Dwarf)




Sri Rama 


Sri Krishna 


Balram (Krishna's Elder Brother) 


Kalki (The Next and Last Avatar)


















For original paintings and canvas prints are available on demand. 




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The state of Kerala holds the second place in having the largest collection of archaeologically important murals sites, the first being Rajasthan . The mural tradition of kerala evolved as a complement to her unique architectural style.It characterized by their liner accuracy,the adherence to color symbolism,elaborated ornamentations and sensitive portrayal of emotions.

Above every things else it open outs to the viewer a fascinating world of colors,holding out against human apathy and negligence as well as the ravage of time.From 17th through 19th century at the part of  decorating temple and palace wall was predominantly a part of religious art.Auspicious stories from Vedas ,Puranas ,Agamas and the pictures from the dhyanaslokas painted in appropriate colors ,proportions and moods yield excellent result to the house and the artist.

I am a mural artist who learned from Guruvayur Mural Institute as the disciple of guru Mammiyur Krishnankutty Nair.I had established TATVAMASI MURAL ARTISTS in Delhi since 1998.I could make so many institutions like,AIIMS, NIRMAN BHAVAN, GANDHI MULTI MEDIA MUSEUM ( Gandhi smriti, New Delhi ),SWRL, Centre for mohiniattom,Maha Irshi Ashram etc...

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