Step by step: Reviving the fading colours of Kaavi

A mural art style known for its sharp, contrasting dual tones, Kaavi art has found its place in temples, churches, mosques, Jain basadis and folk deity temples in the states of Karnataka, Goa and Maharashtra.

The artwork is characterised by bold borders, symmetrical mandala designs and pictures of deities — all in contrasting red and white.

In traditional Kaavi art, finely powdered red laterite soil is used as the main ingredient for the base layer and seashell lime is used to derive the white colour for the upper layer. While water and fine river sand are used for the preparation of plaster, organic materials such as jaggery, powdered seeds, and sap from different plants are used as binding agents.

Once the layers are added, portions of the top layer of white plaster are scraped off in desired patterns to reveal the red colour beneath.  

In ancient times, different-coloured pigments were not ideal for murals in the humid weather of the coastal region, as the mud walls would retain moisture and cause the colours to fade.

This is why only two basic colours, prepared from natural materials were used, says Kaavi artist and researcher Janardhan Havanje from Udupi.

It is believed that Kaavi art flourished along the Konkan coast around 500 years ago, subsequent to the Portuguese invasion in Goa. However, some experts, like Havanje, say Kaavi art was already established much before the Portuguese invasion. The artwork can be found at Ardhaganapathy temple in the premises of Madhukeshwara temple in Banavasi, dating back to the 14th century.

It is interesting to note that the Kaavi art on the walls of The Archbishop’s Palace in Goa, built between 1562 and 1619, features the motif of a gandaberunda.

In Karnataka, apart from places of worship, Kaavi art is also found in community spaces like kattes (small, elevated platforms built outside houses).

Havanje has worked to restore Kaavi art in several temples, including the Panaskhande Venkatesh Mutt in Canacona, Goa, and the Katyayani Baneshwara temple in Avarsa, Uttara Kannada district.

He explains the process: Prior to cleaning, a patch test is done in a 1x1 square foot area to analyse the methodology and materials used by the original artists.

Following this, fungus, dust and any top layers of paint are removed to reveal the original Kaavi work. In many cases, the work needs to be restored by filling in cracks using natural materials such as lime. In some instances, when the original is beyond repair, the artists work to recreate a similar piece.  

With very few traditional artists left in Dakshina Kannada, Udupi, and Uttara Kannada districts, and also in the states of Goa and Maharashtra, Kaavi art could be termed an endangered art style, Havanje says.

Vanishing art

A majority of Kaavi artwork in Goa is feared to have been lost as a result of demolitions of temples during the Portuguese invasion. In several sites, the original artwork has been destroyed during renovation of temples and due to unscientific restoration techniques.

Currently, both Karnataka and Goa states are vying for the Geographical Indication (GI) tag for Kaavi art. The states have been making the case by highlighting the history, heritage and relevance of the art style. Associations of Kaavi artists have also been drawing attention to the work being done in keeping the mural art form alive in their respective states.

While Goa filed an application last September, the Kaavi Art Foundation from Karnataka is in the process of filing an application, in collaboration with the Visvesvaraya Trade Promotion Centre.

The GI tag will aid the preservation of the art, and open up opportunities for international trade. By obtaining a GI craft certificate, artists will also be able to access international marketing platforms to feature their artwork.

Kaavi Art Foundation President Manjunath Rao Havanje says the government needs to create more awareness to revive Kaavi art. “Books and research works on the art form need to be published. Financial support should be provided by the government towards documentation. Also, Kaavi art needs to be included in the syllabus in art courses,” he says. 

Rajesh Sirsikar, a Kaavi artist and member of the foundation, who has been pressing for the preservation of Kaavi artwork at the Sirsi Marikamba temple, emphasises the importance of handing the techniques over to the next generation. “Exhibitions of Kaavi art should be held often to provide opportunities to the budding artists. Both private and government entities should take initiatives for the cause,” he says.