D'source Design Gallery on Frame Painting

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Design Gallery

Frame Painting

Antony William

NID, Bengaluru

The leather is first affixed on the wire frame.
The wire frames are then joined together using hinges.
The outlines on the leather are drawn first.
The sketch is first drawn with a pencil and then the outlines are done.
The bamboo stick with which they paint is sharpened using blades.
Due to the continuous dipping of the rekini in paint it becomes wet and has to be burnt for it to be sharp again.
Photo colours are used for painting the partitions so that colours are reflected when light falls on it.
Each and every detail is done dexterously and efficiently.
Fevicol is used to fix the leather if it rips in the process of preparing the partitions.
The designs sketched and painted on these products are very intricate and bear a resemblance to Kalamkari.
The products are painted using vivid and exotic colours.
The vibrant colours catch the eye of the viewer.

The leather is first affixed on the wire frame.	The wire frames are then joined together using hinges.	The outlines on the leather are drawn first.	The sketch is first drawn with a pencil and then the outlines are done.	The bamboo stick with which they paint is sharpened using blades.	Due to the continuous dipping of the rekini in paint it becomes wet and has to be burnt for it to be sharp again.
Photo colours are used for painting the partitions so that colours are reflected when light falls on it.	Each and every detail is done dexterously and efficiently.	Fevicol is used to fix the leather if it rips in the process of preparing the partitions.	The designs sketched and painted on these products are very intricate and bear a resemblance to Kalamkari.	The products are painted using vivid and exotic colours.	The vibrant colours catch the eye of the viewer.

The legacy of this craft can be traced back to 200 years ago to an ancient folk world. Indian tradition and religion has had a significant influence on leather-puppetry, this has been evident from its mention in the two great Hindu epics- the Mahabharata and the Ramayana. These have been an integral cherished part of the craft of Southern India. The art form offers a splendid history of the region. A consistent triangular relationship exists between the three words often used in this art form of leather-puppetry “Killekyatha” and “Bangarakka”. These two were well known communities of Karnataka a few decades ago. Its origin can be traced back to the pre-historic times.

Vegetable colours were earlier used but photo colours are now used as these colours are readily available. The puppet sizes range from 3 inches to about 6 feet. They are used as shadow puppets. They have a wider range of products- from lampshades to door hanging and wall hangings. In Nimmalakunta about 60 families are engaged in this craft. They depict stories related to the Hindu Mythology such as Ramayana and Mahabharata. The puppets are heavily decorated. The theatres where these puppet shows are performed are known as Tolubommalata. These artisans migrated from Maharashtra to Andhra Pradesh during the Maratha rule. The themes are mostly based on mythological epics like Satisulodhana and Dasavatra.