Located to the south-west of the Fort and the Sree Padmanabha Swamy temple is Manacaud and Kuttikadu regions that come under ‘Nellaman adhikaram’ of Thiruvananthapuram district. Benjamin Swain Ward and Peter Eyre Conner who had surveyed Travancore State between 1816 and 1820 mention in their memoirs that ‘Nellaman’ (‘Nelmun ’ in old records) was known for its settlement of ‘Nairs, Vellaolers (Vellalas), and Rajpoots ’ .
Traces of the old ‘Rajpoot’ settlement can still be seen in these areas. Most of the old Rajput families here, like many Brahmins who live in the Fort area, associate their relocation to Thiruvananthapuram during the reign of Anizham Thirunal Marthanda Varma and Dharmaraja. It was during the reign of these two rulers that Thiruvananthapuram gained grandeur and a complex settlement pattern evolved around the temple and the palace.
The proximity to the Fort and the palace complex where the royal family resided may have be the most important reason behind the decision of the members of this clan to settle in Manacaud.
Several members of the old Rajput clan had served the Travancore royal family as trusted soldiers and chamberlains. Later, many of them, along with the local Pathans, were employed in the Travancore cavalry. Apart from this, many others occupied various government posts. When certain members of the clan focussed on trade and commerce, a few distinguished themselves in the field of fine arts.
Near the old Sastha temple in Manacaud, beside the main street, was once located the sprawling ‘Padmavilas’, the house of the Anchal Inspector Gopal Ram and his wife, Dharmabayi Padmabayi. The family had settled in the capital city during the early years of the twentieth century. Gopal Ram’s son, G. Hariram (b.1903-d.1967), a government employee, however, was well known in Thiruvananthapuram as an amateur artist. His association with the local ivory craft guilds of Manacaud enhanced Hariram’s artistic aptitude. Hariram’s acquaintance with the local artists played a significant role in shaping his artistic skill. Through artists, Hariram was introduced to the world of photography.
After office hours, Hariram spent most of his time working on commissioned portraits. Hariram excelled in producing life like ‘ stump-work ’ portraits of the Dewan C.P. Ramaswamy Iyer, and members of the royal family and other distinguished citizens of erstwhile Travancore. Many of his works still adorn old government offices and residences in the city.
Apart from formal portraits, Hariram also painted landscapes. As an amateur photographer, he started his experiments in photography with his family members as his subjects. Portraits of the family members, photographs of Thampanoor railway station, and the Napier Museum are priceless reminders of a gracious past. The old photographs of the family members provide us with valuable clues to the old lifestyle, customs, and attire of the local Rajput clan.
According to late Krishna Singh (who passed away 2010), the eldest son of Hariram, his father’s favourite photograph was the one he is said to have taken on August 15, 1947.
On that memorable day, young Krishna Singh and his band of friends had gathered to celebrate the first Independence Day. Together, they made a flag; Hariram, who was observing the children, asked them to assemble before his camera. The photograph occupies a special place in the photo collection.
Even though the photograph turned out to be quite formal, it revives many sweet memories, of the Independence Day, a long forgotten artist, and a photographer.
(The author is a conservation architect and a history buff)
