K. Madhavan’s (1906-1979) name may not be familiar to young artists of Kerala. Although born in Thiruvananthapuram, Madhavan had made ‘Madras’ (now Chennai) the stage for his artistic life. In those day, Madras was the hub of South Indian film and theatre industry. It is perhaps in Madras that the artist in young Madhavan bloomed.
The ivory craft guild of the Pettah-Palkulangara region had produced many talented craftsmen who played a key role in popularising the ‘Trivandrum School’ in ivory craft. Madhavan was born in Thiruvananthapuram, as the son of Keshavan Achari and Narayani Ammal, belonging to the ‘Trivandrum School’ craft guild. The ability to draw was innate in Madhavan and he honed his skills under the guidance of his uncles who were employed at the School of Arts, Thiruvananthapuram.
At his maternal ancestral house, young Madhavan unearthed old copies of The Illustrated London News and The Graphic and copied down etchings and engravings in his sketchbook. The young artist got a break in 1929, when the famed Rajamanikkam Theatre company came to Aryasala in Thiruvananthapuram. The company met with a crisis when they fell short of artists to paint the backdrop. The theatre authorities tried to get someone from among the local artists. “Young Madhavan who was a frequent visitor to the plays soon got word. He approached the theatre authorities with an engraving from a magazine and offered to paint it,” says Thazhasherri K. Hari, a nephew of the artist.
“It was a European engraving, with a horse drawn carriage and women alighting from it. The manager of the theatre company was reluctant to employ him, for they were looking for someone with experience. Nevertheless, the non-availability of experienced artists gave young Madhavan his opening. Madhavan reproduced the small engraving on a considerable scale, on canvas. On hearing about this young artist and his skill, people crowded around the theatre. The manager of the company was delighted with his new discovery. When they left for Madras, Madhavan was also invited to accompany them. Madhavan accepted the offer and went to Madras; thereafter he did not have to look back.”
Today, Tamil Nadu remembers him as ‘ Oviyamannan ’, the pioneer South Indian artist to set the patterns for film posters and ‘cut-outs’, and as the creator of striking portraits and religious and commercial art genres. Madhavan was an inspiration to many young artists of his time and he could boast of a strong line of disciples like Kandaswamy, Dharmadas, Kuppaswamy, R. Natarajan, R. Devarajan, R. Madhavan and Balan (of Balan Arts), to name a few.
While engaged in Madras as a busy commercial artist, Madhavan maintained a good relationship with his hometown. In 1935, at the time of Karthika Thirunal’s pallikettu (royal wedding), the bride’s elder brother, Chithira Tirunal Balarama Varma asked Madhavan to decorate the pandal with paintings of the ‘Dasavathara’. It was not only because of the young artist’s reputation that the King decided to entrust him with the work. Being a member of the Pettah-Palkulangara crafts guild, Madhavan’s family were the royal craftsmen whose services were sought on such occasions. With assistance from Thanuvan Achari, a relative and gifted artist, Madhavan created a spectacular wedding setting, still etched in the memories of a few senior citizens.
(The author is a conservation architect and history buff)
