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KAYAMKULAM, served by (non-express) buses between Kollam and Alappuzha, was once the centre of its own small kingdom, which after a battle in 1746 came under the control of Travancore's king Marthanda Varma. In the eighteenth century, the area was famous for its spices, particularly pepper and cinnamon. The Abbé Reynal claimed that the Dutch exported some two million pounds of pepper each year, one-fifth of it from Kayamkulam. At this time, the kingdom was known also for the skill of its army, made up of 15,000 Nayars (Kerala's martial caste). Set in a tranquil garden, the eighteenth-century Krishnapuram Palace (Tues-Sat 10am-4.30pm; Rs2) is imbued with Keralan grace, constructed largely of wood, with gabled roofs and rooms opening out onto internal courtyards. It's now a museum, but unlike the palace at Padmanabhapuram, with which it shares some similarities, the whole place is in great need of restoration and the collection inside is poorly labeled and neglected. A display case contains puja ceremony utensils and oil lamps, some of which are arranged in an arc known as a prabhu, placed behind a temple deity to provide a halo of light. Fine miniature panchaloha ("five-metal" bronze alloy, with gold as one ingredient) figures include the water god Varuna, several Vishnus, and a minuscule devotee deep in worship. Small stone columns carved with serpent deities were recovered from local houses.
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The prize exhibit is a huge mural of the classical Keralan School, in muted ochre-reds and blue-greens, which covers more than fourteen square meters. It depicts Gajendra Moksha - the salvation of Gajendra, king of the elephants. In the tenth century Sanskrit Bhagavata Purana,the story is told of a Pandyan king, Indrayumna, a devotee of Vishnu cursed by the sage Agastya to be born again as an elephant. One day, while sporting with his wives at the edge of a lake, his leg was seized by a crocodile whose grip was so tight that Gajendra was held captive for years. Finally, in desperation the elephant called upon his chosen deity Vishnu, who immediately appeared, riding his celestial bird/man vehicle, Garuda, and destroyed the crocodile. The centre of the painting is dominated by a dynamic portrayal of Garuda about to land, with huge spread wings and a facial expression denoting raudra (fury), in stark contrast to the compassionate features of the multi-armed Vishnu. Smaller figures of Gajendra, in mid-trumpet, and his assailant are shown to the right. As with all paintings in the Kerala style, every inch is packed with detail. Bearded sages, animals, mythical beasts and forest plants surround the main figures. The outer edges are decorated with floriated borders which, at the bottom, form a separate triptych-like panel showing Balakrishna, the child Krishna, attended by adoring females.
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