Think Kathakali and the predominant colours that come to mind are black, white and red. These hues and myriad shades in between are captured in terms of characterisation and emotion in Sajeesh Areeppurath’s paintings. Categorised under two genres -- realistic and abstract --the canvases were mounted at a recent exhibition in Chennai’s Kalakshetra under the auspices of Uthareeyam, a non-profit cultural organisation, of which the artist is a member. The show was inaugurated by well-known artist and The Hindu cartoonist Keshav.
“Since my teens, I have been fascinated by aharya (embellishment) in Kathakali, spending hours in the green room,” says Sajeesh. “When I was 16, I began learning the art of chutti (Kathakali make-up) from my uncle, Kalamandalam Satheesan, a renowned artist. Made from rice flour and lime, chutti is the white multi-layered projecting ridge that surrounds the chin and cheeks of an artist’s face. It requires an advanced level of expertise to master this art. Chutti artists first practise on upturned mud pots that simulate a face and later, on the surface of a whole coconut whose uneven surface prepares them to deal with varied facial structures. This training, along with the drawing skills I developed during my school days, gradually translated into portraits of Kathakali artists in live performance. Starting with pen and ink line drawings on paper, I moved to acrylic. Being entirely self-taught, progress was slow, as I had to learn through constant experimentation in perspective, proportion, colour mixing et al.”
Sajeesh’s canvases recorded the artist’s progress -- initially only the visage, then up to the keshabhara kireedam (crown) and finally, the inclusion of the torso. An early work captured Kottakkal Chandrasekara Warrier in pacha vesham , nobility writ large on his countenance. He seemed to regard the onlooker directly, from whichever angle you viewed him. His chevi poo (ear ornament) was clearly detailed.
The artist’s first portrait featuring kireedam , here called vatta mudi, was of Kalamandalam Ramankutty Nair as Hanuman from ‘Kalyanasowgandhikam.’ The likeness was so exact that despite the chutti layers, any Kathakali aficionado can identify the artist, the defining touch being the stroke that outlined the lips. “I literally held my breath while painting that black line,” said Sajeesh.
Autographed by the asan, Sadanam P.V. Balakrishnan’s likeness showed him in the role of Nala. Here, the intricacy of the stately many-tiered keshabharam was stunning and it was executed in even greater detail in Kalamandalam Gopi’s portrait as Nala. Rows of deep red ruby florets and those of green glass baguettes alternated with the alukkugal, which are tiny free-hanging silver sequins that catch the light and reflect shimmer at every turn.
Sajeesh’s mature artistry, gained over time, was evident in the portrait of Kottakkal Kesavan Kundalayar as Pushkaran in ‘Nala Charitham.’ Three aspects were highlighted in equal measure – the crown, the facial expression and the posture.
The play of light and shade dappled the folds in the black, red, green and yellow thirasheela (curtain) held by Kottakkal Devadas as Bali ( chuvanna taadi vesham ), whose fur-textured costume, serrated white chutti and elaborate kutti chamaram (crown),were dramatically emphasised.
“As the portraits are based on photographs, the ornaments such as chevi poo, thol poo and vala demand exactitude in depiction. The toughest challenge lies in achieving the alignment of the kireedam. I plot the details on a grid, enlarging the dimensions proportionately on canvas,” explained Sajeesh.
“There are notable differences in keshabharam, and chutti between the vadakkan (northern) and thekkan (southern) styles of Kathakali. The vadakkan crown finial resembles that of a nilavilakku while the thekkan finial is shaped like the jaw of a crocodile. I favour the vadakkan style.”
“Being steeped in Kathakali culture for generations, my family encouraged my interest,” said Sajeesh. “My mother was the first antarjanam to learn Kathakali and have her arangetram when she was 10. My grandfather, C.M. Neelakandan Namboodiripad, won the National Award for Excellence in coconut shell craft in 1993. Despite trying, I did not qualify for the BFA course of the College of Fine Arts, Thiruvananthapuram. Destiny led me to the IT field. In retrospect, I am glad things turned out differently. A secure job ensures financial stability, so I can paint with a worry-free mind. My wish is to contribute something worthwhile to society, to give back to the art that has inspired me. So, the entire sale proceeds from my paintings will go towards helping indigent Kathakali artists and their families.”
He added, “For me, painting is a form of meditation. My family has supported me every step of the way, especially my wife. I owe special thanks to my friend and mentor Murali Warrier, president, Uthareeyam. He is also an excellent photographer and many of my works are based on his photographs.”
Sajeesh’s next project will be a compilation of 13 canvases that narrate ‘Duryodhanavadham’ in full. After that, a 10x10 ft painting that traces the history of Kathakali in terms of guru-sishya parampara.
