Introduction to Kurumba Painting

Geographical Context and Origin

Historical origins of Kurumba painting delve back to Nilgiris, a range of mountains in southern India spread over Tamil Nadu, Karnataka, and Kerala. Lohiyara means Blue Mountains, as well as rich forests, rich biodiversity and stunning sceneries. It holds many native tribes within its precinct, of which the Kurumba is among the oldest and has a rich culture. The tribe mostly lives a recluse life in the interiors of remote villages, scattered far and few with hilly terrains, especially in the Nilgiris district of Tamil Nadu.

With the geographical segregation, the customs and artistic traditions of the Kurumba people in the Nilgiris have remained quite unique. Living amidst the forests and the mountains, the tribe depicts their art: natural surroundings, daily life, rituals, and nature-sustaining life forms.

Kurumba painting has a major historical significance in the connection of Eluthu Paarai rock art site with other sites in Kothagiri, Nilgiris. Discovered in 1984 by American anthropologists Allen Zackerel, these ancient rock art sites are said to be over 3,000 years old. Some of the archaeologists regarded the art as Neolithic and thus linked the most ancient forms of spiritual, cultural, and social expression of the Kurumba people's lives.

The Eluthu Paarai rock art consists of a series of pictographs and anthropomorphic images that are highly venerated by the Kurumba tribe. Numerous Kurumbas think these figures carry messages from their ancestors, which gave them a sacred significance. In modern-day art, the spiritual associations with these ancient images are manifested where Kurumba paintings portray ritualistic activities as well as nature-related themes such as honey collection, weddings, forests, and animal life.

Historical Background and Cultural Significance

There is a glimmering history in Kurumba Paintings going back to the Neolithic Era, which makes it one of the oldest art forms in the Nilgiris region. The entire relation between the tribe and this art has always been related to prehistoric origins and linked them to the earliest human societies of the region. Evidence for this lineage is sharply traceable at rock art sites like Eluthu Paarai, having dates more than 3,000 years ago. These ancient pictures depict pictographs, geometrical designs, and anthropomorphic figures, presumed to have been expressions of early human rituals, social customs, and spiritual beliefs. According to the Kurumbas, these art forms have carved associations with messages from their ancestors, firmly rooting the tradition into their culture and spiritual relationship with the land terrain.

This type of painting is undoubtedly an art form for the Kurumba but serves as an avenue of narration among the tribe about their cultural heritage. Most of the paintings represent mundane activities like hunting, honey gathering, and rituals; all of them represent the identity and tradition of the tribe. In these paintings, the Kurumbas have passed their history, values, and relationship with nature from generation to generation.

The sacred significance of Kurumba art extends beyond its aesthetic beauty. The tribal identity is intimately tied to the art as a spiritual practice. Many Kurumbas believe that the paintings are messages from their ancestors and are used to honor their ancestors through ritualistic acts. Some tribespeople still believe that ritualistic re-touching or repainting of these figures can revitalize the spirit of their ancestors, linking the living with the past.

The Kurumba Tribe and Their Artistic Heritage

Subgroups of the Kurumba Tribe

Several sub-groups exist within the Kurumba tribe, but each of them has its own traditions and duties according to which the subgroup lives through their different influential lifestyles. Thus, the various subgroups that primarily reflect the Kurumba tribe are Mullu, Betta, and Alu. Each of these subgroups has its own way of contributing to the richness of Kurumba culture.

1: (Mullu), Kurumbas (Honey Collectors)

The Kurumbas are primarily known as honey collectors. They live in the forests, where they become expert foragers, thereby learning the art of harvesting honey from the colonies of wild bees residing in the trees or on rocky cliffs. Traditional tools and techniques passed down through generations have all these Kurumbas learned from their predecessors, whereby they safely harvest honey without causing harm to the delicate ecosystems they rely on. Honey gathering forms an important part of their culture and spirituality but not just a means of livelihood. Indeed, ancient rituals are attached to it, and honey is often found in offerings to their deities and ancestors.

2. Betta Kurumbas (Hill Dwellers)

Betta Kurumbas are known for their lives amidst the mountainous terrains of the Nilgiris. They are really locked up at high hills in isolated villages, resorting to cultures and livestock rearing. Traditionally, Betta Kurumbas practice more millets and agricultural crops such as various grains and vegetables because the hills provide nutrients in soils to keep them alive. This community enjoys the hills and forests a lot and is well versed in identifying and using local plants to have medicinal qualities. Theirs is a lifestyle showcasing great reverence to nature, rituals of people across the mountains to which they owe their home.

3. Alu Kurumbas: Painters and Ritualists of Tradition

The Alu Kurumbas, perhaps most popular in Kurumba culture, are best known for their contribution in terms of art to the culture. These are the traditional painters and ritualists who practice the art form of Kurumba painting as a way to sustain it both as a form of art for the tribe and a spiritual practice. They use natural materials-resin as well as pigments extracted from trees and local plants-for intricate pictographs that portray scenes from daily life, spiritual beliefs, and the natural world. These are often seen in ritual spaces, temples, and on walls of homes for aesthetic and ceremonial role. Likewise, the Alu Kurumbas have a strong binding with the rituals related to ancestor worship, many of which involve nature reverence.

Unique Elements of Kurumba Art

Ritualistic Paintings Representing Daily Life, Nature, and Tribal Customs Kurumba art is intrinsically linked with the tribe's connection to nature and their very existence. Among the distinguishing attributes of this artistic genre are the ritualistic paintings. The paintings usually portray scenes from daily life like honey-collecting, agricultural pursuits, weddings, dancing, and various tribal rituals. They look at the tribe's interaction with nature, such as animals, birds, trees, and wild landscapes. A number of paintings deal with the sacrosanct symbols associated with the tribe's spiritual beliefs, including ancestor worship, nature worship, and gods like that of Lord Bhairava. These paintings celebrate the existence of the tribe, tell vital stories concerning spiritual practices, and keep traditions alive for future generations.

Use of Storytelling in Paintings to Pass on Traditions

An essential aspect of Kurumba art is its role in storytelling. These paintings are not just ornamental; they tell the story and pass on huge cultural narratives, ethnological myths, and rituals. This narration resonates with the links the tribe has with the natural world, their ancestors, and sacred beliefs. For instance, the honey-collecting pictures might speak about the processes and rituals involved, thereby preserving the very information and context of these paintings. This art form is oral tradition crystallized into beautiful images, ensuring that such valuable knowledge and customs, or spiritual practices, are conveyed across generations.

In comparison with Other Tribal Arts Like Warli and Gond: When comparing Kurumba art to other tribal art forms like Warli and Gond, some similarities and dissimilarities come to expression. Like Warli art from Maharashtra, Kurumba art conveys meaning through simple two-dimensional figures. Figures in Kurumba art are stick-like, in a geometric style, almost like the flat figures found in Warli paintings. Both arts are characterized by a strong nature orientation, wherein animals, trees, and human figures get maximum prominence. However, Kurumba is more ritualistic and emphasizes spirituality and ancestral worship than Warli, which is more engaged in the general portrayal of daily life.

Kurumba art shares certain themes with Madhya Pradesh's Gond art, notably in its animal representation and symbolic patterns. However, Kurumba is different in its use of natural pigments, such as Bodhi Mann soil for red and white, and Kari Maram bark for black, while other tribal arts use contrasting palettes and materials. Kurumba is unique in its art because of the way it handles storytelling that fits so well with tribal rituals and spiritualism.

Notable Kurumba Artists  

Balasubramanian: Preserving and Teaching Kurumba Art Balasubramanian has been one of the most dynamic personalities in the preservation and revival of Kurumba art. A master artist and a dedicated practitioner of this art for many years, he has been hugely instrumental in keeping the tradition alive. He is considered to be one of the few remaining artists within the Kurumba community that are still working in the traditional manner of painting the temple and mud house walls: in particular, with the use of natural pigments and burnt twigs.

His reputation for vividly portraying the rituals and everyday life of the Kurumbas builds another bridge, apart from the tradition, between him and the indigenous practitioners of Kurumba painting, as well as among art lovers. Balasubramanian took on the responsibility of teaching this art to the younger members of his tribe with the knowledge that the young faces formidable challenges in keeping the tradition alive. His efforts have included the training of junior Kurumba artists, thus ensuring continuity in the practice of their traditional art.

Contribution of His Daughter Kalpana and Others Balasubramanian's fight for the conservation of the art form has touched family and nonfamily also. His daughter, Kalpana, herself has become an important artist, thus continuing the family tradition and helping bridge the gap between traditional and modern styles. While adding new materials such as fabric paints and poster colors to revive Kurumba painting, she strives to keep the essence of the traditional style.

Other young Kurumba artists, moved by Balasubramanian and Kalpana, have also stepped forward to join the Kurumba art revival movement. Their work ranges from small paintings done on handmade paper to bigger artworks on canvas and on more popular objects like notebooks. This has further widened the recognition and appeal of the art.

Style, Techniques, and Materials in Kurumba Painting

Artistic Techniques and Forms

On the other hand, Kurumba painting embodies a distinctive artistic style manifesting the tribe's culture and beliefs. This visual syntax that communicates Kurumba art is quite simplified but very powerful: it uses basic geometric forms and fluid movements in articulating the fine balance between the tribe and its environment. We shall now consider the defining techniques and forms found in this distinctive art tradition.

Simple Stick-like Figures with Fluid Movement

Stick-like figures highly stylized and simplified are one of the more recognizable characteristics of Kurumba art. Bold lines are used to outline these figures, which usually depict human or animal forms. The very fact that these figures exist in a two-dimensional view does not detract from their lively fluidity.

Human figures in Kurumba paintings are mostly rectangular-bodied with stick-limbed bodies, at times exaggerated in form to emphasize features like movement or action. The linearity of the figures betrays advances of memory and movement- the swaying of people dancing, hunting, or gathering honey. These simplified figures are symbols rather than realistic representations, yet they emote the energy of the very act portrayed. This simplified style speaks a powerful link with nature to the people, wherein everything is stripped to the bare essence.

Two-Dimensional Representation of Men, Animals, and Nature

The non-objective two-dimensionality of Kurumba painting is an aesthetic attribute that goes beyond the merely formal. They do not strive to depict a realistic conception of three-dimensionality but instead favor symbolic representation and clarity of vision.

•People are generally represented as flat figures, thus reinforcing their relationship with the world or environment. These figures proceed to narrate certain aspects of tribal life, whether in ritual, hunting, or celebration.

•Animals are illustrated with simple lines and shapes taken in the forest: deer, elephants, wild boars, and bears, to name but a few. Animals for Kurumbas are of great spiritual value, and the depiction of animals in their art is a mark of respect for the tribe concerning nature.

•Equally, nature such as trees, mountains, rivers, and plants is represented. Detailed representations of sacred trees, plants used in rituals, and honey-gathering scenes indicate the Kurumbas' very much bound connection with nature. These aspects of nature represent the tribe's supports toward its sustenance from the forest and state ritualistic relationship with nature.

Importance of Details: Trees, Ritual Elements, and Spiritual Symbols

The Kurumba therefore added such a detail to their arts in order to best state a deeper meaning to those concerned, regarding ritual acts, spiritual beliefs, and the way of life of the tribe. Thus this art form gives the expression of a spiritual narrative.

- Trees: All tree forms are very important in Kurumba paintings, not only for their physically utilitarian practicalities but also for their spiritual value associated with the trees. Some trees are considered sacred and their incorporation into the art becomes a symbol of the tribe's respect for nature, and the belief of interconnectedness of all life that this creates. The Kino tree is for instance very well known as the tree providing natural resins from where paint was made.

- Ritual Elements: Rituals are a major part of Kurumba life; hence, their representation in art should convey a reflection of sacredness from these ceremonial practices as a part of the culture of the tribe. These may include wedding rituals, honey collection, worship practices, or ancestor worship, where simple forms and geometric patterns convey the spiritual significance of these events. Ceremonial objects like baskets, fire pits, and ritual offerings are common in such art, which clearly ties this tribe to its spiritual heritage.

- Spiritual Symbols: The arts of the Kurumba include such symbols of tools for ancestral spirits, divine figures, and the supernatural one. These are more often abstract or geometric, but carry a lot of meanings in the context of the Kurumba worldview. For instance, the circle may denote that it is a life cycle since the spiral symbolizes energy in spiritual matters or guidance through ancestors.

The artistic and formal aspects of Kurumba painting are thus marked by purity, fluidity, and symbolic depth. Sticking-like figures, two-dimensionality with spiritual features better enable the capture of tribal life while being firmly connected to the spiritual realm. Such holds in itself ideals-sense aesthetics of Kurumba people but also leaves open media for storytelling because of passing through it of wisdom of ancestors and ritual practice and history of the tribe. With this art form, the Kurumbas maintain their link to their roots and save both their cultural heritage and spiritual beliefs for the future generations.

Natural Pigments and Colors Used

Kurumba paintings testify how deeply the tribe venerated and linked with nature, especially concerning the materials with which they create their art. The pigments and colors used by them are derived from the local and natural environment which not only have very vivid colors but also cultural, spiritual, and ecological significance. The following is a description of the traditional pigments and brushes that Kurumba painting employs:

Traditional Pigments:

1.Two Colors Derived From Bodhi Mann Soil: The Kurumbas obtain their red pigment from the Bodhi Mann soil from the Nilgiris, which is red due to the heavy iron-oxide. The red pigment is one of the colors most frequently used in their painting; for them, red indicates energy and power; the white pigment, in turn, is linked with purity, heavenly, and supernatural excellence. The reds and whites are considered particularly important in painting human figures and animals, as well as in ritual motifs. Red is charged with meaning as the life force in the hunting and fertility rites, while the whites signify sacred compartments and spirituality.

2.Black from Kari Maram Tree Bark: The dark and rich color black is derived from the bark of the Kari Maram tree. A fine outlined figure is drawn with the black pigment in the paintings. The red, white, and green colors stand in bold contrast to it. The artists have used this pigment in such a manner that it makes the animals, humans, and ritual motifs stand out. From the Kurumba perspective, black represents the spirit of the ancestors, dark, and the realms of mystery.

3.Green from Kaatavarai Plant Leaves: The green pigment is extracted from grinding the leaves of the Kaatavarai plant, representing nature, especially forests, trees, and plant life. Green is considered a sacred symbol representing growth, fertility, and the rich gifts of the forest in Kurumba art. It expresses the tribe's warmth towards Nature and their dependency on the forests for life, sustenance, and spirituality sharingian.

Brushes: Aerial Roots of the Banyan Tree

Brushes used in Kurumba painting are made from the banyan tree aerial roots. Aerial roots endow with flexibility and fine tips to give detailed precision to the paintings. The addition of such natural material sustains the integrity of the painting; each work itself embodies the spiritual essence of the banyan tree, which, in several indigenous cultures, represents immortality and fortifying spirit.

Kurumba paintings are very rich in terms of natural pigments. These are not merely colors; they carry meanings that link this art to the earth, nature, and spiritual beliefs of the Kurumba people. From the Bodhi Mann soil to the Kari Maram tree bark, all these natural colors form part of the cultural and spiritual identity of the tribe. The aerial roots of the banyan tree act as brushes; this further strengthens the artist's connection to nature and ensures that every painting is, indeed, a true expression of the heritage, tradition, and ancestral connect of the tribe.

Conservation, Promotion, and Future Prospects

Preservation Efforts

Currently, the preservation of Kurumba painting is of utmost importance as the survival of Kurumba has been threatened and challenged, owing to modernization and socio-economic factors. Several groups and individuals have initiated measures to resurrect, record, and propagate this distinctive tribal form of art.

C. P. Ramaswami Aiyar Foundation :

The C.P. Ramaswami Aiyar Foundation has played an important role in Kurumba painting conservation. The Foundation came to know that only one artist from the Kurumba community was still alive (while conducting a project to survey the traditional arts of tribes in Nilgiri). So, under the guidance of the Ministry of Tribal Affairs, they financed the artist to train his grandson, Kitna, in the painting techniques. The project was later extended to train 20 additional Kurumba youth, making sure that the heritage can continue to be passed along.

Governmental and NGOAs initiatives

Besides the Foundation, there is an array of governmental and non-governmental organization (NGOs) providing training programmes for Kurumba artists, monetary assistance and assistance in marketing their products. To create interest in Kurumba paintings and attract orders, exhibitions, workshops, and collaborations with urban artists are being organized.

Such initiatives play a key role in keeping Kurumba painting a living tradition and art form for generations to come.

Promotion of Kurumba Painting

In the recent past, several efforts have been made towards the promotion of this traditional art form in terms of awareness, accessibility and market reach.

Exhibits and Public Exhibitions

Kurumba paintings have been displayed culturally in art exhibitions in India and abroad. This introduces artists to a market for their work, connects them with buyers, and helps promote the artist. There have also been some museums and galleries which have started to exhibit Kurumba art and together there is an elevation of Kurumba art to the range of other recognized tribal art.

Establishment of Digital Presence and Use of Easy Online Platforms

Kurumba artists have new opportunities in the context of digital marketplaces and social media. It helps them to set a competitive price for their artwork and access a much larger customer base by selling directly through online platforms, instead of relying much on the middlemen. Even NGOs and cultural organizations did initiate websites and social media campaigns to showcase Kurumba paintings with the story behind them!

Integrating into School Curriculums

Including Kurumba art in education initiatives helps raise awareness amongst the young generations. Cultural schools and art institutions can educate students about these traditional tribal art forms and create interest in Kurumba painting for its learnability, appreciability, and practice.

Need for Greater Recognition

Though tribal arts such as Warli and Gond have made a name for themselves, Kurumba painting is still relatively unknown. To give this tradition the support that it deserves in terms of mainstream momentum.

Conclusion

Kurumba painting is an art medium that goes beyond art —it is a cultural and spiritual expression of the Kurumba tribe, intimately related to their history, customs, society and Way of Living. Visual histories of their heritage, stories of nature, rituals and everyday life that are remembered through art and passed down for generations through art.

But with modernization and the ushering out of polyculture ways of making a living, Kurumba painting could become a thing of the past. Forest lifestyles have transitioned to city jobs, and the unique tribal art is disappearing, as few know of its existence.

In order to preserve and promote Kurumba painting, establishment of a sustained medium of support to artists, training for next generations, and platforms for market and world stage to thrive. Kurumba painting needs the recognition it deserves, and schools, museums and cultural organizations can help with this.

If the younger generations are made to realize the importance of their artistic heritage and allowed to nurture it towards innovation within the tradition, Kurumba painting stands a great chance of surviving and thriving in the contemporary world. But preserving this art form is more than a matter of history: it is a matter of identity, of an art-based visual language through which the Kurumba established a connection with their ancestors, nature and the external world.