Tag Archives: silpi

Perur Series – starting off with a penance

About 9 years back, i visited Perur – was stunned by what i saw – for what it had to show was truly a connoisseur’s delight. As my journey into sculpture matured over the years, my love for these beauties grew manifold. But, every time i ventured to photograph these beauties, i was turned down. I had to be content with some small resolution snaps published in a newspaper. But then, each unsuccessful attempt strengthened my resolve, and visit to Perur Patteswarar and a request to photograph was a standard feature of every visit to Coimbatore.

Late in 2008, on a fateful saturday i was reluctantly accompanying my wife and son to an event organised by the Annalaxmi group in Singapore – it was called
Dance of India, Taste of India……as i tried to find an excuse to make myself scarce, i spotted at a distance some lovely pen and ink sketches of ganesha – immaculate art – somewhat like this ( i am kicking myself for leaving my camera behind that day)

http://www.hindu.com/mp/2007/06/09/images/2007060951460301.jpg

I sped to the stall – and below the sketch was a small signature – Padmavasan. Oh oh – i was overjoyed for – the card next to it said, the artist was present there to do spot sketches ( profiles) for sgd 20. Having never had the good fortune of meeting him before i frantically looked around for help, asked the next stall person – and he pointed to a small very innocuous looking man just standing around – clad in a simple kurtha. I couldn’t b’ve my
eyes, there he was – the artist himself.

i went up to him, introduced myself ( ofcourse ponniyin selvan ……..kalki…..silpi…sculpture ) and he warmed up. we spent about 45 min
chatting away.

He talked of his interaction with the great man silpi – the divine
gift of his – He also talked of Silpi’s mindblowing talent – pointing out that once
when he was sketching the natraja in tanjore – he sketched the front profile ( running out of paper – he took another piece and pasted in the bottom to complete) . and he went on to sketch the back head portion alone – ofcourse the two sketches were in different sizes – but most amazing was the fact that mr
padmavasan later – for a book, tried to resize both the sketches to the same size – and when he placed the front on the back – they fit like a glove…such a gift to visually capture the divine proportions!!.

We exchanged numbers, and he wrote his address and phone number on a small piece of paper in pencil ( still treasure it)…

Dec 2009. Another mandatory visit to Perur, but this time, i had made it a point to get the permission – come what may. Was assisted by some very good friends and well wishers, but all pointed to the hands of the Temple Executive Officer. I was expecting to hit a blind alley once again, when after about an hour – we were still waiting. But then we finally managed to get an audience with the EO, a smart Young man, who recognised the passion in our voices, yet it took about an hour to convince him of our mission. He finally yielded and once he saw that we were only there to promote the temple and its beauties, doors opened pretty fast. We faced an unexpected one final hurdle in the mandatory power cuts – yet we still had a spare day – so we returned the next day to complete the shoot – of what we thought was an extensive aka comprehensive coverage of the temple.

Next week in Chennai: I caught up with Sri Padmavasan again for the second time, in his home in chennai – in Dec 2009. I showed him my photo gallery and you could see the glee in his eyes and he started showing me more of his rare work. I mentioned about perur and he came out with his entire collection of Perur including a spectacular rendition of the Moolavar in color.

I was speechless by seeing the true color rendition – including the color and sheen of the copper vessel on top of the Linga.

But among the many sketches, there was one, which he considered very special, but we had overlooked it – for it felt too simple and we just skipped it. Later, i would kick myself many times over for doing so. It took another 3 months and help from Mr Praveen and the EO once again to get the particular pillar in the right angle.



Whats so special about this pillar sculpture? Looks like some Rishi in Tapas.

Well we see that in part 2 of this post

Tiruvalanchuli – In search of the missing sculptures – aided by a Mastero Silpi’s sketch

Certain things have a timeless allure to them. Line drawings done by experts are such. And when one such expert dedicates his life to sketch only temple sculpture, then we are in for a treat and if that expert is the one and only Silpi – then its a heavenly treat.

The master artist used to look for some very unusual and complicated angles, postures – which he could bring out. He was not someone who would even miss out the smallest detail. To illustrate this point, i am taking a very very important sketch of his, of a very very important but forgotten temple – Tiruvalanchuli. There is so much of mystery associated with this temple, that i am fortune to have the blessings of one of my mentors Sri Sundar Bharadwaj, a man of big deeds but in true spirit, not someone who will trumpet his contributions to heritage and conservation. Am indebted to him for many things and this post is a small payback, to bring his favorite temple to the limelight.

This is his famous sketch – its apparent that the temple was in ruins and all the sculptures were dumped outside. This was sketched on site 50 years ago

The sculptures have been removed from the temple and kept in the museums in tanjore ( except for the Ganesha sculpture)

The temple has since been renovated and is read to receive its treasures. Now, thanks to Satheesh and Mr Bharadwaj, we try to fit in missing pieces – inorder to seek the support of readers to voice out for their return. Its also a lasting testament to the great skill of the master artist.


I hope you had as much fun as me, to match every curve, every ornament and sadly every broken stone to identify them. We will continue shortly with a detailed post from appreciating sculpture perspective, for each of these are fantastic sculptures in their own right and require a separate post to highlight their beauties – as of now just rewind and see the master artist at work.

Meantime, a quiz to test your identification skills – lets see if you can identify the various sculptures in this order?

For the ones we could find the sculptures

Better still – to try for the entire sketch.


1.
2.
3.
4.
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6.
7.
8.
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11.
12.

Feed half of Bhima to….

We return today with a fascinating legend, supported by three sculptures. Two from Darasuram and one from Krishnapuram. Thanks to Mr Arvind Venkatatraman for lovely pictures from Darasuram. we got an unexpected Bonus from Artist A.P. Sreethar, sharing this rare sketch of the Krishnapuram pillar by the legendary Artist Silpi as well.

While there are many different versions of this legend, am trying to give the simplest ( and less controversial one). More so, since this legend doesn’t appear in the main Mahabaratha, i am taking one that has just about enough information to support the sculptures exhibited.

Yudhistir is performing a great Yaga ( sacrifice). He is advised that inorder for it to be performed properly he needs the help ( milk of !! by some versions) Purushamriga – a half man half tiger ( or lion), which is a staunch devotee of Shiva. Trouble is the creature resides deep in a jungle and preys on almost anyone it sees. ( other versions bring in a Shivaite /Vaishnavite angle to this debate)

Bhima is selected for this task and wily Krishna gives him 12 stones ( lingas, rudrahsa by other versions) and asks him to use it when he is in trouble. Bhima sets off to find the Pururshamriga and finds it deep inside the jungle. By one version they agree to a challenge – kind of a running race, in other versions he chants something that upsets it. Well back to the story, Bhima is being chased by the Purushamriga and its catching up with him at a fast pace. Bhima decides to use the `stones’ and drops one. Instantly it turns into a Shiva LInga ( shiva temple in some accounts) – anyway the animal being a stauch shiva devotee has to worship the Lord, giving Bhima much needed time to put some distance between them. But the animals superior speed enables it to catch up with him once more and he uses one more of the stones. Thus he uses up all 12 ` help lines’ but he is still not out of the forest. He uses all his strength and just as he puts one leg outside the forest, his other leg is caught by the Purushamriga. An argument ensures and Yudhistr is called on to pass judgement.

Yudhistir being the just king that he is, rightly !! passes the judgment that the Purushamriga can have half of Bhima ( the portion within its territory). The impartial judgment makes the Purushamriga let go of Bhima and all is well.

OK, now to the sculptures. Two delightful panels from Darasuram. You can see in the first one you can see the chase. The Purushamriga seems to be hardly taxed and is about to grab Bhima.

The second panel, it has caught him and both are in front of Yudhistir ( who has a lady attending on him).

The Krishnapuram pillar sculpture is more elaborate and seems to be depicting a fight scene almost – maybe when the Pururshamriga caught up with Bhima. Both are holding small maces..


Now, we see the master strokes of Artist Silpi who has caught this pillar in his immortal work here.

Amazing sculpture and an inspiring sketch.

update+++++++++++
pl do visit Sri Raja Deekshithar’s wonderful site for more of these beauties. Sadly, sir left us this year. http://www.sphinxofindia.rajadeekshithar.com/

Art is reborn

Art is reborn today – and an artist is born not made and true art is ageless. The thirst to create something beautiful rests inside all of us, but only a few posses the divine gift needed to express this, to bring out the yearning of ones heart and leave a lasting impression. Time and again art has proved that it sans many boundries, time spans, language, culture and it inspires generations to come.

We are to see one such inspiring art today, or rather witness a symphony between sculpture and drawing, of a unique umbilical cord that has connected three talented artists…. One sculptor who sculpted this spectacular Veerabadra out of solid stone fashioning a pillar that is more alive than stone – from the Srivaikuntam Temple. A vibrating pulsating action figure, rich is ornamentation and complexity, an apt challenge for the master artist silpi. To even attempt such a piece is mind boggling, but to capture it to the minute detail ( when silpi drew it looks like the sword was still in one piece but u can see that the master sculpted even the crack at that time) the pres day photo shows the sword broken at the exact spot. Can’t find words for the amount of detailing he has drawn in the background. That was the hall mark of silpi – a painting that looked more a sculpture than a painting or sketch, he could bring out the lanugage of stone or rather poetry in stone into his sketch.


Now the story spans to current day – present day tale. When Prasad wanted a challenge to sculpt during his winter break, I shared these two ( original
sculpture and the silpi sketch – thanks to. Sri pas pasupathy sir and varalaaru.com) with him.

When he said he wanted to attempt to sketch this, I expected a muted effort, but when he first sent me his initial outline, I was stumped. I knew this was a masterpiece in the making and hence came up with a plan to document the magic. So here goes, see the magician at work as he brings out this master sculpture out of thin air and makes it appear as his sketch.



Oh, the detailing of the dress, the clarity in the expressions, the intricate carvings on the sword., prasad, hats off. You are a genius. Silpi would be proud today for you are here to carry the baton. True poetry.
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you can see more of Sri Prasad’s works here

Prasad’s art blog

Dasavatharam cycle stand !!

We had earlier seen the amazing pillars of Srirangam Sesharaya mandabam in many posts. Such is the wealth of sculptural mastery in this pillared hall. it caught the eye of the master artist Silpi, to so masterly capture the stone in his work. Since there were many lovely sculptures in the hall, had requested my good friend Mr. Ashok to go there in person and do a full fledged shoot in the pillared hall. But what he came back with wrenched my heart.



The majestic horse pillar, lay is such a damaged condition. The unbelievable method in which such a lovely lance was sculpted into stone, lay broken. If only the master sculptor who sculpted these beauties saw this ! below the awesomely endowed lady stood majestically holding her head up in typical tamil pride, despite all the wanton destruction around. The rest of the sculptures have all been lost in the pillar.

When did this destruction happen, since no records are available for this, i searched on the net and came up with this 1868 albumen print

(Photograph from an album of 41 albumen prints by Edmund David Lyon. Close-up of carved horses and other figures in the Sheshagirirayar Mandapa at the Ranganatha temple of Srirangam. Lyon’s ‘Notes to Accompany a Series of Photographs Prepared to Illustrate the Ancient Architecture of Southern India’, edited by James Fergusson)

Seeing the pillar damaged during that period itself gave me some respite – atleast they were not damaged during recent times. But then what i saw next made my blood boil. The Kings of our land, gave grants and etched them into stone for these magnificent edifices – of art, to be a virtual repository of art, but how are we using them – a heritage cycle stand!



These beautiful Dasavathara pillars are being scratched by the handles and pedals of the cycles. Similar is the plight of numerous rare sculptures in this hall. Srirangam is the foremost – The Temple for Vaishnavites and if this is the plight there, i don’t have words for the lesser known temples.

One look at these pillars, would delight even the least artistically inclined soul, the sculptor has poured out his heart, fed the creation from his own blood and created masterpieces, it baffles me as to why its doesnt appeal to these heartless souls. They show as much respect to these treasures as a dog would give a lamppost. Decency limits me from writing more.

Can these sculptures be restored. Do we have the intent first and secondly is there the artistic know how. Even during the pallava period, the beautiful shore temple in mallai had its main deity – the vishnu idol’s hand being broken – and the court poet Acharya Dandin writes of the pallava sculptors mastercraft that he seemlessly restored the broken arm in his immortal work – Avanisundarikatha

Maybe, some good soul who sees this post, will take it up with the ` you know who’ and give these sculptures a new lease of life, or atleast the bare respect they deserve.

Silpi – An Artist Par Excellence

We saw earlier how the the amazing pillars of Srirangam Sesharaya Mandabam inspired our friends to sketch them. But a casual conversation with one of the young artists, Mr. Prasad, sent me to look for the master artist, who forever immortalised sketching sculpture. I was delighted to see that he too sketched these amazing pillars – He is none other than Artist Silpi (1919 – 1983) – P.M. Sreenivasan.

While Prasad was languishing that he had searched everywhere to see the face of this amazing artist, i remembered our Gokul’s article in Varalaaru.com. For a wider audience i am trying to translate it into English, so that the fame of this divinely gifted artist can spread more.

Lets first see his amazing sketch of the pillars.



Temple : Srirangam Sri Ranganathaswami Temple – Trichy, Tamilnadu, India
Location : Sesharayar Mandapa
Features : The mandapa is finely sculpted with various figures. Silpi captures the essence of this complicated and delicate sculpture
Collection sent by : Prof.S.Swaminathan
Original series : Thennatuch Chelvangal
Magazine courtesy : Ananda Vikatan

Sources:
http://www.varalaaru.com/default.asp?articleid=443
http://www.varalaaru.com/default.asp?articleid=561

Article original source from Tanjore Big temple consecration commemorative edition 1997

The fame of those who are born with divine gifts never fade, so too can’t termites destroy the names of those who strive tirelessly. The noblest of intentions seek out the very pinnacle of beauty and the strive for excellence is akin to a penance. The unbent spine, the unaided eyes ( without spectacles to assist), the steadfast gaze, crowned with the essence of benevolent grace, the gifted fingers that let dance the amazing brush strokes to give life to every stroke. The gentlest of smiles breaking through, not a full fledged laugh but those lips do not part yet you know the joy radiating from the poise. The wide forehead displaying proudly the ash marks of shiva and inbetween the large vermilion mark.

These are the marks of a master artist – Silpi. No stone has been left unsketched by his mastery, in every nook and corner of tamil nadu, itself dotted with thousands of temples. He converted every home into a temple or brought the temple to the homes of the masses, by his divine creations.

He was born in Namakkal in 1919. He was named Sreenivasan. From his young age, he displayed amazing affliction to sketching, more than his studies. The National poet Sri Namakkal Ramalingam Pillai, was a renowned artist as well and seeing the gift in Sreenivasan, he advised him to join the Madras Art college in Egmore, to refine his skills.

He joined for a 6 year course, but his abundant talent led the College Principal Sri. D.P. Roy Choudry to grade him from second year to fourth year straight away. He excelled in pen and ink line sketches. His sketches caught the eye of all and sundry including Mr. Choudry. He complimented the work, keeping it on par if not higher levels of european masters.

when Sreenivasan was a student, he was inspired by artist Maali’s caricatures. Similarly, during later years, Sreenivasan;s works attracted Maali. This bond later got and kept Sreenivasan, in the employment of the tamil Magazine anantha Vikadan for 22 years.

Sreenivasan was more inclined to sketch buildings than human figures, and Mali wanting to take full advantage of this, gave him the name Silpi and commissioned him to sketch temple sculpture.

The divine stone sculptures are not only three dimensional creations, but also have a fouth dimension – the confluence of divinity. Photographs of these sculptures are but images or replicas, but inorder for the true expression of the sculpture to be brought forth, was a task which only the great master artist Silpi could do.

He could portray the divine beauty of the sculpture and capture it into his art. How and when he did it is interesting as well. He would wait for all the devotees to finish their darshan, late into the night and then he would sit facing the deity in the dull light shed by the flickering wicker lamp. Yet he could brilliantly capture the depth and texture of every chisel mark of the sculpture. Once when asked how he could do it, he said ” i only get the right mix of paints, then its the work of the deity who converges with my fingers to sketch itself. Its the work of the master of all creation, i am but a tool”

Before sketching the main deity, he would first sketch the ornaments on a separate sheet. Similarly also note down the colors of the individual gems. After that, as he completes sketching the main deity, he would draw on the ornaments and it would give him great pleasure, as though he is anointing the actual deity with the jewels. This divine bliss is what translated into his creations, which live on for us to feel everytime we see his creations. After completing his sketches, he would dutifully take it to seek the blessings of the Acharya at kaanchi ( the eldest pontiff – now no more – a true saint) – and then bring them home to do special pooja to them. Such was the reverence he had for his work.

After leaving Ananda Vikatan, Silpi’s illustrations graced the pages of Bhavans Journal, tamil magazines like Kalai Magal, Thinamani Kathir, Idayam Pesugirathu, Amuthsurabi, showcasing the beauty of South Indian temple sculpture.

Silpi had a small family, he was ably supported by his wife Mrs. Padma. A lean figure, but always smiling graceful lady, she was the goddess Annapoorani herself when it came to hospitality for her guests. However, ill health took its toll at a very young age and she departed in 1968, leaving behind a son – Maali an daughter Saradha.

For long years, Silpi never groomed a successor. However in 1981, on a January14th – a monday, the day of the harvest festival – Pongal, a young lad of 15 years came with his father to visit Silpi. His name was Giridharan.Silpi was taken aback when he saw the young boys art, complimenting him that at such an young age, even he couldnt sketch such amazing art. Such praise flowed from the masters heart.

He took him immediately as his art successor, and was overjoyed at it. He used a part of his name and his wifes and gave him a new name – Padmavaasan. mr. Padmavaasan went on to become a brilliant artist, illustrating the new editions of kalki’s immortal works of historical fiction. The divinity that flows through his works are reminiscences of Silpi.

Such a masterful artist was not aplty decorated during his lifetime. The coming generation should not forget the contributions of this great artist.

But what is the current status of this amazing pillared sesharaya mandabam…will see next