Ramayan in Kalamkari by Ghanshyam Sarode

This vibrant and narrative-driven Kalamkari by Ghanshyam Sarode focuses on the sacred storytelling of the Ramayana, organized into a traditional grid-like format. The centre is occupied by the Ram Darbar, while the sides are narrative-driven, featuring episodes from the Ramayana.

Kalamkari, literally translating to pen-art, is an ancient textile tradition from Andhra Pradesh. It involves a meticulous process of sketching with a bamboo pen (kalam). 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.

At the heart of the composition is a large vertical panel featuring the Ram Darbar (the court of Rama) and represents the ideal state of Ram Rajya (righteous rule).. Lord Rama is depicted with a deep blue complexion, seated beside Sita. They are enthroned beneath a decorative royal parasol (chhatra), while Hanuman is shown in a posture of devotion at their feet. Around them stand his brothers, Lakshmana, Bharata, Shatrughna and various other figures, with hands joined in service and devotion. The scene also features a horse and an elephant, highlighting the regal atmosphere of the scene. The figures are adorned with elaborate crowns and jewelry.

Surrounding the central Darbar are multiple horizontal registers, divided into individual cells. Moving through the panels from left to right and top to bottom, the scenes depict key episodes from the epic. The panels on the left showcase scenes before the exile, and the ones on the right narrate incidents beginning from the time of the exile,

The scenes begin with the Devas (Gods) approaching Lord Vishnu for help, then going on to the performance of the Putrakameshti Yagna by King Dasharatha for the birth of his sons. This is followed by the depiction of the infants Rama, Lakshmana, Bharata and Shatrughna in the royal nursery. The story continues with Vishwamitra’s Arrival, showing the venerable sage requesting King Dasharatha to send the young Rama and Lakshmana to protect his forest hermitage from demonic disruptions.

Along the journey with the sage, we encounter the scene of Ahalya Uddhara, where Rama's touch liberates Ahalya from a long-standing stone curse. Finally, the sequence culminates in the Sita Swayamvar, a dramatic moment where Rama successfully lifts and breaks the mighty bow of Shiva, a feat that wins him the hand of Sita in marriage.

Following the early events of the epic, the narrative shifts to the hardships of the exile, depicted with Rama, Sita and Lakshmana crossing the Ganges in a boat steered by the boatman Guha. This leads to their stay in Panchavati, a tranquil forest dwelling where the trio is shown alongside the pivotal encounter with Maricha, the golden deer sent to distract Rama.

The tension escalates with Sita’s abduction, a scene portraying the demon king Ravana approaching Sita while disguised as a mendicant. This triggers the search for Sita, characterized by the fateful meeting between Rama, Lakshmana and their future allies, Hanuman and Sugriva. The saga culminates in the intense war in Lanka, featuring chaotic battle scenes, eventually leading to the fall of Ravana, where Rama is shown defeating the ten-headed demon king.

The entire narrative is enclosed within a wide, decorative border full of colourful circles. Each circle is filled with a stylized floral sunburst, creating a powerful geometric frame that contains the dense narrative action.

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