KERALA
Sasthamcotta Lake or Sasthamkotta Lake, also categorized as a wetland, is the largest fresh water lake in Kerala, a state of Indiaon the south of the West Coast. The lake is a designated wetland of international importance under the Ramsar Convention
AGRICULTURE: Kerala produces 97% of the national output of black pepper[219] and accounts for 85% of the natural rubber in the country. Coconut, tea, coffee, cashew, and spices—including cardamom, vanilla, cinnamon, and nutmeg are the main agricultural products. 80% of India's export quality cashew kernels are prepared in Kollam.
POPULATION: Kerala has undergone a "demographic transition" characteristic of such developed nations as Canada, Japan, and Norway;.[179]:1 as 11.2% of people are over the age of 60,[178] and due to the low birthrate of 18 per 1,000.[294] In 1991, Kerala's total fertility rate (TFR) was the lowest in India
2001 | 2008 | APA | ||
Mudiyett: a ritual theatre of Kerala |
Sarpa Kavu (meaning Sacred Grove of the Serpent) is a typically small traditional grove of trees seen in the Kerala state of South India. These pristine groves usually have representations of several Naga Devatas(serpent gods), which were worshipped by the joint families or taravads.
Tholpavakoothu is a form of shadow puppetry that is practiced in Kerala, India. It is performed using leather puppets as a ritual dedicated to Bhadrakali and is performed in Devi temples in specially built theatres called koothumadams.[1] This art form is especially popular in the Palakkad, Thrissur and Malappuram districts of Kerala.[2]
The Cheraman Juma Mosque is a mosque in Methala, KodungallurTaluk, Thrissur District in the Indian state of Kerala.[1][2][3] Built in 629 AD, it is the first mosque in India.[4][5][6] It was built by Malik Deenar, an Arab propagator of Islam.
Sabarimala is a Hindu pilgrimage centre located at the Periyar Tiger Reserve in the Western Ghat mountain ranges of Pathanamthitta District, Perunad grama panchayat in Kerala
Native performing arts include koodiyattom, kathakali—from katha ("story") and kali("play")—and its offshoot Kerala Natanam, koothu (akin to stand-up comedy), mohiniaattam("dance of the enchantress"), thullal, padayani, thirayattam, and theyyam.
GI TAGS
· Nilambur teak
Pokkali is a unique saline tolerant rice variety that is cultivated using extensive aquaculture in an organic way in the water-logged coastal regions, spread in about 5000 hectares area in Alappuzha, Thrissur and Ernakulam districts of Kerala in Southern India.[1] The brand Pokkali has received a GI tag from the Geographical Indications Registry Office, Chennai.
Its resistance to salinity is remarkable. The rice is cultivated from June to early November when the salinity level of the water in the fields is low. From mid-November to mid-April, when the salinity is high, prawn farming takes over.
Aranmula kannadi , meaning the Aranmula mirror) is a handmade metal-alloy mirror, made in Aranmula, a small town in the state of Kerala, India. Unlike the normal "silvered" glass mirrors, it is a metal-alloy mirror or front surface reflection mirror, which eliminates secondary reflections and aberrations typical of back surface mirrors.
Raja Ravi Varma
First Published: December 17, 2013 | Last Updated:December 17, 2013
The introduction of the Company style in the 18th and 19th centuries by the art schools, the Indian artist created works of art that were British in style but Indian in content. The discussion about the company style makes it clear that the artists painted in an Indo-European style using Western linear perspective, shading and English watercolours. This was seen as a degeneration and threat for Indian traditional art. Here, we find the most celebrated painter of 19th century, Raja Ravi Varma (1848-1906), who tried to re-establish Indian art through western methods
and technique.
and technique.
Raja Ravi Varma hailed from the princely state of Travancore and is best known for depiction of scenes from Indian mythology and epics.
§ Draupadi
The first picture printed at Varma’s press is said to be The Birth of Shakuntala. This was followed by an array of images of gods from the Hindu pantheon, including Lakshmi, Saraswati, Ganpati, and Vishnu and his avatars such as Rama and Krishna. Other images included those of revered gurus and saints such as Adi Shankaracharya and Vaishanava Guru. There were also extensive series of oleographs representing women figures from Hindu mythology such as Draupadi, Damayanti, Menaka, Shakuntala, and Rambha.
Salient Features of Paintings of Raja Ravi Varma
· His iconic and figural portraits of Indian women, mythological gods, royal life, literary figures and national heroes and heroines were an amalgamation of the European Realism, technique and material but were Indian in subject as well as narration.
· While the company style is known for extensive use of the English watercolours, Raja Ravi Varma modified the European style of perspective and composition with the Indian Iconography and used oil painting. The oil painting was an inexpensive technology and coupled with Raja Ravi Varma’s oleographs, his paintings gained immense popularity due to their mass production and cheap prices. Due to mass production of his work, the poor could also afford his work.
· Raja Ravi Varma is also known to have launched the popular painting industry in India. He was highly encouraged by his patrons and the demand for his work (and obviously earnings) was such that he was able to establish India’s first chromolithographic press in Bombay in 1891.
· He initially learnt the painting from his uncle Raja Raja Varma. His early work seems to be in Company Style but in the due course of time, he mastered the western art of oil painting and “realistic” life study. The scene after scene he created on the canvas were those which he witnessed during the theatrical performances of Ramayana and Mahabharata during the tour of the Bombay presidency.
· In the later years of the 19th century, his paintings were so much liked by the Indian princes and art collectors that these patrons filled their palace galleries with the works of Raja Ravi Varma.
Oleography: Oleography refers to the method of reproducing an oil painting on paper in such a manner that the exact colors and brushstrokes textures are duplicated. It is also called litho-printing (stone printing) and requires as many litho-stones as there are colors and tones in a painting. Raja Ravi Varma started his Lithographic Press in 1894 in Bombay. Until, the Raja Ravi Varma used oleography in his prints, it was used for gaudy ‘calendar art’ and commodity packaging.
Can Raja Ravi Varma’s paintings called National?
Raja Ravi Varma can be called India’s first modern artist, first Indian artist to master perspective and the use of the oil medium; probably first to use human models to illustrate Hindu gods and goddesses on a wide scale and first Indian artist to become widely famous.
· His works were accessible to the common man because of his venture of printing and distributing the Oleographs.
· Around the same time, Calcutta rose as a hub of political as well as cultural activities. By now, the print medium had also become the ideal channel for the wide circulation of images and ideas to the public. Apart from Calcutta, Bombay and Pune emerged as two major centres for mass print production.
· The mass printing of the Ramayana and Mahabharata images of Raja Ravi Varma helped the art to reach every nook and corner of the country thus helped to forge a national identity in modern India. Thus, the paintings of Raja Ravi Varma created a culture that was need of the hour for a very diverse country like India. On the basis of this argument, we can call Raja Ravi Varma’s paintings as National.
Critically examine the efforts of Raja Ravi Varma to re-establish Indian art.
Raja Ravi Varma tried to re-establish Indian art through western methods and technique. He is best known for depiction of scenes from Indian mythology and epics.
His iconic and figural portraits of Indian women, mythological gods, royal life, literary figures and national heroes and heroines were an amalgamation of the European Realism, technique and material but were Indian in subject as well as narration. While the company style is known for extensive use of the English water colours, Raja Ravi Varma modified the European style of perspective and composition with the Indian Iconography and used oil painting. The oil painting was an inexpensive technology and coupled with Raja Ravi Varma’s oleographs, his paintings gained immense popularity due to their mass production and cheap prices and therefore the poor could also afford his work.
Due to use of Indian Mythology and realism, he became very popular artists. But his critics, particularly the doyens of the Bengal School of Art alleged that his paintings were of bad taste.
Raja Ravi Varma was basically a link between the Neo-Bengal Movement and the Company art. If we view it from the perspective of Bengal school of art, it was not a national. But if we view the spread of his work, we can say that his work created a national identity in India at a time when mother India was in dire need of such identity.
His iconic and figural portraits of Indian women, mythological gods, royal life, literary figures and national heroes and heroines were an amalgamation of the European Realism, technique and material but were Indian in subject as well as narration. While the company style is known for extensive use of the English water colours, Raja Ravi Varma modified the European style of perspective and composition with the Indian Iconography and used oil painting. The oil painting was an inexpensive technology and coupled with Raja Ravi Varma’s oleographs, his paintings gained immense popularity due to their mass production and cheap prices and therefore the poor could also afford his work.
Due to use of Indian Mythology and realism, he became very popular artists. But his critics, particularly the doyens of the Bengal School of Art alleged that his paintings were of bad taste.
Raja Ravi Varma was basically a link between the Neo-Bengal Movement and the Company art. If we view it from the perspective of Bengal school of art, it was not a national. But if we view the spread of his work, we can say that his work created a national identity in India at a time when mother India was in dire need of such identity.
Narayana Guru, also known as Sri Narayana Guru, (20 August 1856 – 20 September 1928), was a social reformer of India. He was born into a family of the Ezhava caste in an era when people from such communities, which were regarded as Avarna, faced much injustice in the caste-ridden society of Kerala. Narayana visited Aruvippuram, where he and his followers erected a temple dedicated to Shiva in 1888, defying the tradition that this was done by Brahmins alone
Vaikom Satyagraha (1924–25) was a satyagraha (movement) in Travancore, India (now part of Kerala) against untouchability in Hindu society. The movement was centered at the Shiva temple at Vaikom, near Kottayam.The Satyagraha aimed at securing freedom of movement for all sections of society through the public roads leading to the Sri Mahadevar Temple at Vaikom. K. Kelappan played a dominant role in the famous Vaikom Satyagraha and was the leader of the Guruvayur Satyagraha in 1932. It was at Gandhiji’s request that he ended his fast at Guruvayur
Mappila, Rebellion Area: Malabar, Kerala Year: 1922 | Cultivators of Malabar revolted against the moneylenders & Zamindars against the lack of security of tenure, exorbitant rent and renewal fees. | It later assumed Communal colour Crushed by the Govt. in 1921 |
The Moplah rebellion that started as a fight against the British ended up as large-scale massacre and persecution of Hindus.[5][unreliable source?] Over 100,000 Hindus are believed to have been driven out during the insurrection. In the later stages of the uprising, Mappilas committed several atrocities against the Hindu community, who they accused of helping the police to suppress their rebellion.[6][7] Annie Besant reported that Muslim Mappilas forcibly converted many Hindus and killed or drove away all Hindus who would not apostatize
Gandhi in kerala
1. Khilafat agitation – 1920, Malabar
2. The first time Gandhiji visited Malabar was to support the Khilafat agitation
3. Gandhiji's second visit to Kerala began on the 8th of March, 1925 and went on till 19th March. He met with a lot of prominent leaders during the time. The focus of this visit was the Vaikom Satyagraha
4. His last visit to Kerala was to celebrate the Temple Entry Proclamation. A 'pilgrimage', is what Gandhiji termed this visit.
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