Famous Kalamkari Paintings and Artists

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By Shwetha Achar Ramakrishna

  • India
  • Art
  • Painting

    • Table of Content

    Kalamkari is one of India's most intricate and celebrated textile arts, characterized by its elaborate freehand drawing or block-printing using natural dyes. This traditional craft, practiced for over three millennia, continues to thrive in the regions of Andhra Pradesh and Telangana, particularly in the towns of Srikalahasti and Machilipatnam. The art form is a unique blend of storytelling and textile craftsmanship, making it significant not only as an artistic endeavor but also as a historical record of Indian mythology, culture, and Persian influences.

    Origins and Evolution of Kalamkari

    Ancient Beginnings

    The roots of Kalamkari can be traced to ancient temple traditions, where artisans were commissioned to paint large narrative cloths that adorned temple interiors. These paintings served as visual scriptures, narrating stories from Hindu epics like the Ramayana, Mahabharata, and Bhagavata Purana. The art form thrived under the patronage of Vijayanagara kings (14th-17th centuries), who encouraged the use of Kalamkari to decorate temple chariots, backdrops for deities, and royal courtrooms (Mitra, 2016).

    Persian Influence and Mughal Patronage

    By the 16th century, with the expansion of trade networks, Kalamkari saw an infusion of Persian aesthetics, particularly in the Machilipatnam style. Persian motifs such as floral arabesques, intricate vine patterns, and geometric designs were incorporated under the patronage of the Golconda Sultanate and later the Mughals (Desai, 2021). European traders, particularly the Dutch and the British, further encouraged Kalamkari’s adaptation for export, resulting in new designs suited to Western markets (Kapoor, 2018).

    Types of Kalamkari Art

    Srikalahasti Style

    The Srikalahasti style of Kalamkari is a purely hand-drawn technique that has been practiced for centuries, particularly in the temple town of Srikalahasti in Andhra Pradesh. The process begins with outlining intricate designs on fabric using a bamboo pen dipped in natural dyes, requiring immense precision and artistic skill. Artisans use dyes extracted from organic sources such as indigo (for blue), pomegranate peels (for yellow), and iron rust (for black), ensuring the authenticity of colors. The fabric undergoes multiple rounds of washing and boiling to fix the colors permanently, preventing fading over time. This style predominantly features Hindu mythology, temple deities, and celestial beings, often displayed as scroll paintings, temple backdrops, and ritual textiles used in storytelling traditions.

    Shiva: Pride of Srikalahasti Kalamkari painting by Harinath.N

    Machilipatnam Style

    The Machilipatnam style of Kalamkari, unlike its Srikalahasti counterpart, follows a block-printing method rather than freehand drawing. Skilled artisans meticulously carve wooden blocks with intricate floral, geometric, and figurative designs, which are then dipped in natural vegetable dyes and stamped onto fabric in layers. The process involves multiple rounds of dyeing and resist-printing to achieve depth, creating a rich tapestry of patterns and motifs. This style evolved under Persian and Mughal patronage, incorporating Islamic aesthetics such as arabesques, vine scrolls, and calligraphic inscriptions. Traditionally used for saris, upholstery, and textiles for trade with Europe, Machilipatnam Kalamkari continues to be a popular choice in contemporary home décor and fashion.

    Famous Kalamkari Artists and Their Contributions

    Jonnalagadda Gurappa Chetty (1937–Present)

    Jonnalagadda Gurappa Chetty is a legendary Kalamkari artist who has dedicated his life to preserving and reviving the Srikalahasti tradition. Coming from a lineage of temple artists, he has meticulously documented the age-old techniques of natural dye preparation and brushwork, ensuring their transmission to future generations. His works, often large-format panels depicting mythological narratives, are used in temples and heritage institutions as sacred storytelling aids. A recipient of the Padma Shri, he has played a crucial role in bringing international recognition to Kalamkari, showcasing its spiritual depth and intricate craftsmanship. His commitment to using only natural materials and upholding traditional methods has made him a revered figure in the world of Indian textile arts.

    Harinath N (1980–Present)

    Harinath N is a leading proponent of the Tree of Life motif in Kalamkari, a design symbolizing the interconnectedness of all living beings. His work often depicts nature-inspired themes, including birds, flora, and cosmic elements, reflecting a harmonious balance between humanity and the environment. His large-scale textile works have been commissioned for museums and heritage centers, making his art widely recognized and preserved. He is also an active mentor, training new generations of artisans in authentic dyeing and painting techniques, ensuring the continuity of traditional Kalamkari practices. Through his work, Harinath N has reinforced the importance of sustainability and nature conservation in textile art.

    Click here to view his collection

    K Siva Prasad Reddy (1967 -Present) 

    Shiva Prasad Reddy is a distinguished Kalamkari artist who has made significant contributions to the evolution of this ancient art form, blending tradition with innovation. As a master of hand-painted Kalamkari, Reddy has worked to preserve its rich storytelling techniques while introducing contemporary elements to appeal to modern tastes. His works are characterized by intricate narratives drawn from mythology, nature, and cultural themes, often depicted on textiles such as sarees, wall hangings, and art panels. By experimenting with various mediums and expanding the boundaries of Kalamkari, he has brought fresh perspectives to this traditional craft. Reddy is also a strong advocate for sustainable and eco-friendly practices, using natural dyes and promoting ethical production methods in his work. Through his creative endeavors, Shiva Prasad Reddy has played a pivotal role in bringing Kalamkari art to a global audience, ensuring its relevance and beauty in the modern world.

    Click here to view his collection.

    Famous Kalamkari Paintings and Their Significance

    The Tree of Life

    The Tree of Life is a revered motif in many cultures, symbolizing growth, fertility, and the cyclical nature of existence. In Kalamkari, this design is intricately drawn with branches, leaves, birds, and flowers, representing the interconnectedness of all living beings. Often found in temple murals, wall hangings, and museum collections, this motif embodies spiritual wisdom and cosmic balance. The presence of animals like peacocks and elephants in the design enhances its symbolism, linking it to prosperity and divine protection. The Tree of Life remains one of the most iconic and widely commissioned Kalamkari artworks, admired for its intricate detailing and deep cultural significance.

    The Tree of Life 

    Narrative Cloths from the Ramayana and Mahabharata

    Ancient Kalamkari textiles were often used as visual storytelling tools for narrating episodes from Hindu epics like the Ramayana and Mahabharata. These large-format cloth scrolls, painted with intricate battle scenes, divine interventions, and moral lessons, were displayed in temples and used by itinerant storytellers. One of the most famous themes is Rama’s exile and battle against Ravana, depicted in continuous panel designs, allowing viewers to follow the story across the fabric. The Mahabharata scenes, such as the Kurukshetra war and Krishna’s Vishwaroopa (cosmic form), are often rendered with dramatic expressions and dynamic compositions. These textiles serve as historical records of traditional storytelling practices, preserving India’s rich oral and visual heritage.

    Divine Charioteer Krishna: Kalamkari painting by Sudheer

    Persian-Arabesque Kalamkari Panels

    During the Mughal period, Kalamkari saw an infusion of Persian aesthetics, leading to the creation of Persian-Arabesque panels that were widely traded in royal courts and exported to Europe. These designs featured floral vine patterns, characterized by intricate intertwining leaves and blossoms, often highlighted with gold leaf detailing. Geometric symmetry, inspired by Islamic architecture and carpet designs, became a hallmark of these works, adding an element of mathematical precision to the textile art. Dark indigo and deep red hues were predominant, mirroring the rich color schemes of Persian miniature paintings. These textiles were highly valued as luxury items, serving as upholstery, wall hangings, and ceremonial garments in royal households.

    Conclusion

    Kalamkari remains an enduring testament to India’s rich cultural heritage. From its religious roots in temple cloth paintings to its modern adaptation in contemporary art and fashion, this art form continues to evolve while preserving its historical essence. The dedication of artists ensures that Kalamkari not only survives but also thrives in the global art landscape.

    References

    • Ananth, R. (2020). Contemporary Artists and Traditional Indian Art: The Case of Kalamkari. Indian Art Review, 15(3), 112-129.
    • Bajaj, V. (2018). Laxma Goud and the Experimental Approach to Indian Textile Arts. South Asian Studies Journal, 24(2), 67-79.
    • Desai, R. (2021). Persian Aesthetics in Machilipatnam Kalamkari Textiles. Textile Research Journal, 18(4), 230-245.
    • Kapadia, N. (2016). Mughal Influence in Kalamkari Art. Indian Textile Studies, 14(2), 55-74.
    • Mehta, S. (2019). Jonnalagadda Gurappa Chetty: A Life in Kalamkari. National Handicrafts Magazine, 37(1), 89-102.
    • Rajagopalan, M. (2018). Mythological Themes in Kalamkari Paintings. Arts & Culture Review, 21(5), 199-215.
    • Sen, D. (2022). Revival of Kalamkari: The Role of Young Artists. Textile Heritage Review, 25(4), 145-160.

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