Kaavi art

File:Kaavi Kala.jpg Karnataka]]

Kaavi art is a traditional mural technique indigenous to the Konkan coast of India, especially in Goa, parts of coastal Maharashtra and Karnataka. It is distinguished by its use of a single reddish‑brown pigment, known locally as “kaav” (laterite red oxide), incised into a white lime‑plastered surface to create intricate motifs and murals in religious and secular buildings.{{Cite journal |last1=Havanje |first1=Janardhan Rao |last2=D’Souza |first2=Caroline |date=November 2020 |title=Kaavi Kalé: The indigenous architectural ornamentation technique of the Konkan Coast, India |journal=Journal of Traditional Building Architecture and Urbanism |volume=3 |issue=1 |pages=383–385 |doi=10.51303/jtbau.vi1.365|doi-access=free }} Kaavi murals can also be seen in old houses, small shrines.{{Cite web |title=Kaavi Wall Art: The Unrevealed Heritage of Goa |url=https://itsgoa.com/kaavi-wall-art-the-unrevealed-heritage-of-goa |access-date=2025-03-27 |website=ItsGoa|date=5 April 2022 }}

Etymology

The term kaav in Konkani refers to the maroon‑red pigment derived from locally available laterite soil, while kalé means “art form.” Together, Kaavi Kalé denotes the art of red‑oxide incised work on lime‑plastered walls.

History

Kaavi art is believed to have originated around 400–600 years ago, possibly introduced by Saraswat communities migrating from the Saraswati plains to Goa. Its development was driven by the need for a durable decorative medium capable of withstanding the region’s high humidity and heavy monsoon rains, which made conventional painted murals prone to rapid deterioration.{{Cite news |last=TNN |date=2016-06-09 |title=Kaavi may get a new breath of life through heritage lovers |url=https://timesofindia.indiatimes.com/city/goa/kaavi-may-get-a-new-breath-of-life-through-heritage-lovers/articleshow/52664786.cms |access-date=2025-03-27 |work=The Times of India}}

Technique

On the wet walls on which Kaavi pictures are to be etched, a buttery smooth mixture of lime and uramunji is smeared with a steel trowel. To cover larger areas, a wooden float is also employed. After an hour, engraving work commences. A well-trained Kaavi art mason can etch a small mural without any aids. For geometrical designs he employs rulers and compasses. Large and complicated motifs are first drawn on paper, perforated with pinholes and then traced on the wall by dusting the pinholes with dry lime.

Kanthas or the steel bodkins of different sizes and dimensions are used for etching. The ridges, platforms and niches are decorated with the rows of spirals, spades, semi-circles and curves. The V-shaped parallel bands are used for twin pseudo-pillars.{{cite web|last1=Kerkar|first1=Rajendra|title=RENOVATION: Kaavi art's vital enemy|url=https://timesofindia.indiatimes.com/city/goa/RENOVATION-Kaavi-arts-vital-enemy/articleshow/45051435.cms|website=timesofindia.indiatimes.com/|date=6 November 2014 |publisher=TOI|accessdate=6 March 2015}}

Artists first apply a white plaster made from shell‑lime, sand and jaggery to the architectural surface. Once this layer sets, a paste of finely ground laterite red oxide mixed with lime putty—known as the kaav layer—is spread to a butter‑like consistency and left to partially cure. While the kaav remains moist, designs are incised using steel bodkins (kanta), stencils, rulers and compasses, revealing the white plaster beneath and creating a striking two‑tone effect. The finished work is then cured by periodic misting and polishing with smooth river pebbles to enhance durability.{{Cite web |last=Kerkar |first=Samrudhdi |date=2025-04-10 |title=Kaavi art–Goa's pride |url=https://www.navhindtimes.in/2024/01/04/magazines/buzz/kaavi-art-goas-pride/ |access-date=2025-03-27 |website=The Navhind Times}}{{Cite web |date=2024-06-15 |title=Step by step: Reviving the fading colours of Kaavi |url=https://www.deccanherald.com/features/art-and-culture/step-by-step-reviving-the-fading-colours-of-kaavi-3176964 |access-date=2025-03-27 |website=Deccan Herald}}

Motifs and distribution

Common motifs include floral medallions, geometric patterns (circles, semi‑circles, hexagons), mythological figures and deities, as well as scenes from daily life. Kaavi art decorates temple interiors and exteriors, church walls, mosques, Jain basadis, small shrines and affluent residences. Notable examples survive in Pernem, Sattari, Canacona, Ponda and Morjim in Goa, as well as in Honavar and Kumta in Karnataka.

Materials

The term Kaav (Devanagari:काव) in Konkani refers to Indian red pigment which is the only color used in this painting, is obtained from the laterite soil.

Artistically drawn and well executed, reddish brown murals against white sandblasted backgrounds are the specialties of Kaavi art. Snow white lime, obtained by burning seashells, and washed sand from river beds were mixed with jaggery and allowed to ferment for two weeks. The mixture is then hand-pounded to obtain a homogeneous substance, which hardens when applied to the walls.

Decline and revival

By the late 20th century, Kaavi art had nearly vanished, with no living artisans and many murals lost to renovation or neglect. In 2016, heritage activist Heta Pandit and the Charles Correa Foundation began documenting over 21 temples and four houses in Goa that retain Kaavi work, drawing parallels to European sgraffito techniques. Academic surveys by Havanje and D’Souza have outlined conservation methods, while recent workshops—such as those at Goa’s Museum of Christian Art—and government initiatives to include Kaavi in school curricula aim to spark renewed interest. Contemporary artists like Sagar Naik Mule have showcased Kaavi murals at events including the G20 in 2023 and UNESCO’s World Heritage Committee meeting in 2024, highlighting the art form’s enduring cultural significance.