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Posts Tagged ‘S.Rajam’

This was published in Sruti magazine in 2019.

The name S.Rajam makes me emotional. It reminds me of all the great time I had spent with the man and his benevolence. I can go on for several pages on what a great human being Rajam sir was. However, in this essay I’ll try and present an analytical view of his musical style and his contributions. The prime source of this analysis are the concert recordings and the private recordings that were done during his teaching sessions.

Most of the recordings that are available are after 1980. Some rare younger day recordings of Rajam suggests that he possessed a pleasant and dexterous voice that could produce  high speed phrases  at ease (e.g  NadopasanaiyE rendition based on ‘naada tanumanisham for a film song). Even then later day recordings show that he could comfortably sing in all three octaves. Particularly the volume that he retained in the lower octave (e.g. Chitta Swarams touching the mandhra panchama for the Keeravani Kriti ‘Velava)’ was unique.  His later day recordings also indicate a slight nasal tinge in his voice. Despite his voice being a great asset, he chose not to project it. The focus was always to project the raga or the composition. That perhaps gave his voice the longevity. Even the recordings in his eighties suggest some slowing down due to age but the voice quality remained intact.

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In his own words, he was a never a ‘platform musician’. Thanks to the stability provided by the job in AIR, he was free to pursue and perform what he liked. His concert approach was mostly to enrich the listener’s knowledge and present the uncommon ragas and songs and popularize them. There is a recording of a radio concert, the concert list goes like this:

  1. Anandamrutakarshini – Amrtutavarshini (Dikshitar)
  2. Ninu Vinaye – Shakuntalam (Tirupathi Narayanaswami)
  3. Sri Janaka Tanaye – Kalakanti  (Tyagaraja)
  4. Ika parasuka – Vachaspati (Kotiswara Iyer)

I asked him about this rather unusual selection. He strongly felt, AIR was a particularly useful platform to popularize rare songs.  He also jokingly mentioned, “If I went overboard, the listener always had the luxury of switching off the radio.”

Even in the regular concerts (not lecdems), he would introduce the song and genuinely attempt to throw light on the musical highlights of the song. That probably gave a feel of a lecdem or a music appreciation session than a typical concert experience. That suited his agenda though.

Another popular misconception is Rajam’s music was it was devoid of gamakams. In fact, people who would have heard Rajam speak on this topic might think that he was anti-gamakam. In reality, one can find quite a bit of gamakms used in his renditions, especially for the ragas that are in true carnatic mould. He was definitely against the excessive use of gamakams. On scale-based ragas he preferred dwell on the shudha swaras, rather than oscillating them.

Having listened to several recordings, if there was one element that stands out in his renditions, it is the effortlessness. Be it a raga alapana or kriti rendition or kalpana swaras, there is no restlessness or an excitement driven urge to push the limits. He was able to render even complicated musical elements without losing on  vishranti.

As a youngster, Rajam was greatly inspired by the raga essays of violinist Thiruvalangadu Sundaresa Iyer. He would often remark, “If you want to know what is absolutely necessary for the raga, you should listen to Sundaresa Iyer. There is absolutely no wastage.”  Perhaps that is the reason one hardly finds a raga alapana of Rajam exceeding ten minutes (although a rare recording of a very detailed vasanta raga alapana exists).

The exception to this feature are his AIR RTP recordings. The RTP recordings available are only that of melakartha ragas. The raga is explored over twenty minutes and usually the Pallavi taken is the line from Kotiswara Iyer  kriti with the raga mudhra.

Rajam has gone on record to say that both GNB and Madurai Mani Iyer have inspired his music a lot. One would think that the GNB influence would be in the raga alapana and the MMI influence would be in the swara singing. Interestingly, in Rajam’s case, the exploration through short phrases, focusing on the purity of notes and long sustained kaarvais are striking features of an MMI’s alapana, whereas the vocalisation, crisp sangatis and sarvalaghu swaras of Rajam are more reminiscent of the GNB style.

Rajam’s raga renditions of melakartha ragas including the vivaadhi melas is very well known and doesn’t need elaboration.  He had internalized the swaras so much that he could sing any scale with ease. One of the prime purposes of Rajam’s music was to popularize rare ragas. Hence, one can find that rare ragas that are usually sung only as an outline before the kriti rendition, are taken up for detailed exposition. Some examples would be elaborations in ragas such as Veeravasantam, Shakuntalam, Chenchu Kambhoji, Manoranjani , Shudhdha Vasanta.  His name is associated with vivaadhi ragas and the rare ragas so much that sometimes people wonder if he did render the usually heard ragas at all. With all the recordings available, one can safely say that he had rendered the likes thodi, kalyani,  karaharapriya, kambhoji and bhairavi quite frequently and extensively as well.

Rajam’s greatest passion was to learn kritis from various sources. He had the opportunity of learning songs from very authentic sources (Ambi Dikshitar, Gowri  Ammal, Madras Lalithangi) and in some cases from the composer himself (Muthiah Bhagavathar, Papanasam Sivan). He stayed true to his patantharam in his renditions but never disrespected other sources and variations. He was critical if a rendition was totally against the idea of the composer (e.g. Nagumomu in Abheri) but in general was not critical of improving or embellishment with new sangatis.

He was meticulous in knowing the meaning and the intent of the composer. Compositions that are often suffer from butchering can be found rendered with appropriate splitting of the words (Example Manasuloni Marmamulu). His repertoire of the compositions of the trinity was enormous. But what was amazing was his penchant to learn compositions of his contemporaries and his juniors. Once, when I visited him, he was winding up a class for his student Akshay Padmanabhan. After the student left, he spoke with pride for over ten minutes about the tillana Akshay had composed. he would often remark, “AIR might not have given me a lot of money. But it gave me immense satisfaction to learn and propogate rare songs. The famous Purandara Dasa song “Srikanta Enakishtu” is usually sung in raga Kanada. However, a young girl from Mysore had come for a recital and had sung it in raga Kannada. I learnt from her and rendered in my concerts as well. It was only AIR that gave me such opportunities.”

His most known contributions are the renditions of all the 72 Melakartha Kirtanas of Kotiswara Iyer. His recordings covering the entire Ramayana Story based on Ramanataka Kirtanais, the Nandanar Charithram, special programs on Neelakanta Sivan, 20th century composers and Sadasiva Brahmendra compositions are fortunately archived. In fact, he had sung a radio concert on the day of the Kumbabishekam of Kapaliswarar Temple. He had structured the concert in a way that he had rendered a composition on each of the shrine in the temple complex spanning across various composers. He was one of the few to learn the Thirukkural Kirtanais tuned by Mayuram Viswanatha Sastri and sing them in concerts.

On hindustani raga based pieces, his rendering would include akaara based taans in the middle of a composition. Interestingly, a similar approach is seen in his rendition of Ashtapadi, though the raga rendered is Kosalam.

Another underappreciated facet of Rajam were his tuning for compositions. Rajam had been a part of several programs at the AIR and that provided him an opportunity to tune several songs. He had meticulously maintained two notebooks archiving the programs that were conducted by him. They contained over 600 songs. Most of them were tunes by him and in rare ragas. Noted musician, composer and a famous recording engineer HMV Raghu once recalled a patriotic song tuned by Rajam in raga Vasanta that left a lasting impact on him. In fact, when the first opportunity for composing a devotional album had come to Shri. Raghu, he recalled the Vasanta and set a tune in that raga.  The most popular song tuned by Rajam is in raga Madhuvanti –  Sarvam Brahma Mayam.  Perhaps over time, the world would get to see and appreciate his other tunes as well.

Rajam’s swaras were almost always in the sarvalaghu mode. There is no attempt to sing rhythmic patterns or ending the swaras with a korvai or a makhutam.  He particularly enjoyed singing very long swaras cycles covering the entire scale across octaves in scale-oriented ragas. The renditions are replete with janta and dhatu prayogas.  In the common ragas, the swara renditions are often brief. There are occasions where he takes uncommon places for Kalpana Swarams (e.g. Adhikari nandhi in  Kana KaNkOdi).

Rajam’s later career saw him give more lecdems than concerts. His lecdems were often performed along his students. The lectures were to the point and the musical pieces were rendered to perfection thanks to several rehearsals.  People do refer him as a musicologist. One can say, he wanted to restrict his musicological exploration to “applied carnatic music”.  He would rather analyse  Dikshitar’s and Tyagarajar’s handling of Ramamanohari and Ramapriya than delve into scales mentioned in Brihaddesi. His speech was lucid and frank. He once remarked, “Some people say singing Vivaadhi ragas brings ill luck. Look at me! I’m well past eighty. I’m in good health. I lead a comfortable life. Singing Vivaadhi has not brought any ‘dhosham’, it has only given me santosham.”.

Another important aspect of Rajam’s career is his contributions as a teacher. He was keen on teaching anyone who was interested. It didn’t matter if the student was an aspiring performer or a group at the lady’s club. Although I have not learnt from him, I have been a fly in the wall during several teaching sessions. He would be very encouraging and would even be willing to simplify a sangati that a student would struggle with.  On occasions, especially when demonstrating the manodarma aspects of music, would unveil phrase after phrase that would make people around him speechless. I have heard many students say that there wasn’t a song that they approached him to learn and he had turned them down.  In fact, towards his last days, he gave me a CD with songs recorded during the teaching sessions of Smt. Gomathi. That CD alone contained over 350 songs, including all 72 kirtanas from Kanda Ganamudham.

Having interacted with a lot of musicians in the past sixteen years, I can safely say it is very rare to come across a great musician who is also a great resource person.  Rajam was one rare resource person with a astounding memory till his last days. He would recall readily the singing of Naina Pillai and the playing of Veenai Dhanammal as if it happened a few days back. he had the ability to clearly draw the line between the art and the artist. His opinion on the personal qualities of the artist never came in the way of the musical assessment of artist. He was also one rare person who said he didn’t know when asked about something he was not sure of.

When describing the personality of Rajam, it may create an illusion that he was a recluse or a saintly person. In Reality, he was a fun loving person who lived his life to the fullest. Greatness sat lightly on him. He preferred to stay away from limelight. Perhaps with time, his contributions will be seen and acknowledged widely.

 

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As promised yesterday, I’m posting the remaining portion of the similie sketches published in the early 1940s.

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The song Manasuloni is often mishandled. Especially the word “marmamulu” is split wrongly as “mar” and “mamulu” to incorporate sangatis. This is a private recording of a teaching session to Smt. Gomathi where Rajam shows the right way to render the song despite the cascading sangatis.

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Today I present one of the most famous works of Rajam sir – “Rama Pattabishekam”. This was published in 1956 Kalaimagal Deepavali Malar. Quite likely isnpired from Kamban’s “AriyaNai anuman thaanga”

 

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Today’s musical selection is the lovely alapana of raga Naganandini. What stands out is the effortlessness as he traverses the scale.

#Rajam100

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The published works in the fifties and sixties are personal favorites of mine. The deepavali malar’s especially had many pages dedicated for paintings with several themes explored elaborately.

Today I present one such painting that was published in Kalki Deepavali Malar, It is interesting that in the later years, Rajam uses a more prominent outlines with ink, while his earlier works have only a suggestive outline. The depth and shades of colour obtained through his wash technique and the detailing makes this one of his all time best.

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Today I present a very rare song of Subbarama Dikshitar in Nattaikurunji. The liting rendition and the unique chittaswarams laced with solkattus makes it special. #Rajam100

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On the third day, I would like to share Rajam’s depiction of Arunachala Kavi.

It is said that Kamban made his Ramayana public in the Srirangam temple. Arunachala Kavi wished that his Rama Nataka Kirthanais were released in Srirangam as well. There were some resistance to it. The famous song “En Palli Kondeer ayya” is actually a plea to Ranganatha from Arunachala Kavi. The “never sung” third charanam explicitly says that.

I particularly like the Pavala malli decoration on the Perumal.

#Rajam100

 

Arunachala Kavi.jpg

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The third song that I present is from a private recording. I received a set of recordings from Rajam sir, where his student Smt. Gomathi had digitised his renditons during the classes. There were over 400 songs, including all 72 melakartha songs of Koteeswara Iyer.

Rajam’s most famous musical contribution was popularizing Kotishwara Iyer’s compositions. Here I present the composition in Todi. ‘Kali Theera’ – in true Ariyakudi style. The cascading sangatis and that deep and ringing mandra panchamam in the chitta swarams makes it a cherished recording for me.

In the Kanda Ganamutham album, that is commercially available, he has sung a crisp alapana and lovely swaras as well.

 

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ஓவியர், பாடகர், நடிகர், ‘சங்கீத கலா ஆசார்யர்’ எஸ்.ராஜம் அவர்களின் நூற்றாண்டு இந்த வருடம்.

அதன் தொடக்கமாய். வரும் வெள்ளிக்கிழமை, ஃபெப்ரவரி 8-ம் தேதி, சென்னை மியூசிக் அகாடமியில் ஒரு நிகழ்வு நடக்கிறது.

அதன் விவரங்கள்

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அவர் நூற்றாண்டை முன்னிட்டு நிகழ்ந்த பாட்டுப் போட்டியில் வென்றவர்களுக்கு பரிசு வழங்கப்படும். அவரைப் பற்றிய ஆவணப்படத்திலிருந்தும் பல சுவாரஸ்ய காட்சிகளைக் காணும் வாய்ப்பும் உள்ளது. அவருடன் பழகிய பலரின் அனுபவப் பகிர்வும் நிகழ்ச்சிக்கு செறிவு சேர்க்கும்.

இவைத் தவிர, அவர் ஓவியத்தை முன் வைத்து ஒரு நாட்டிய நிகழ்ச்சியும் (நவ்யா நடராஜன்), அவருக்கு அஞ்சலி செலுத்தும் வகையில் இசைக் கச்சேரியும் (ரஞ்சனி காயத்ரி) இடம் பெறவுள்ளது.

இந்த அரிய நிகழ்ச்சிக்கு அனுமதி இலவசம். கலை ரசிகர்கள் வந்து ரசிக்கும்படி வேண்டிக் கொள்கிறேன்.

இது தொடங்கி, இன்னும் ஓராண்டுக்கு மாதம் ஒரு கச்சேரி ராஜம் அவர்களைச் சிறப்பிக்கும் வகையில் பரிவாதினியின் மூலம் நடக்கவுள்ளது.

முதல் கச்சேரியாய். ஃபெப் 22-ம் தேதி எஸ்.ராஜத்திடம் கற்ற பாடகர் அக்ஷய் பத்மநாபன் பாடுகிறார்.

இந்த முயற்சிக்கு பொருள் உதவி செய்ய விழைவோர்.

Parivadini Charitable Trust,
Union Bank of India
Account Number: 579902120000916
branch: Kolathur, Chennai,
IFSC Code: UBIN0557994

என்ற வங்கிக் கணக்கில் தங்கள் பங்களிப்பை அளிக்கலாம்.

 

 

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சங்கீத வித்வானும், ஓவியருமான மேதை எஸ்.ராஜம் அவர்களின் நூற்றாண்டு 2019 ஃபெப்ரவரியில் வருகிறது.

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அதை முன்னிட்டு பல நிகழ்வுகள் திட்டமிடலில் உள்ளன. அதன் தொடக்கம் ஃபெப்ரவரியில் நடக்கவுள்ளது. அதை முன்னிட்ட ராஜம் அவர்கள் பாடிப் பிரபலபடுத்திய பாடல்களை வைத்து ஒரு பாட்டுப்போட்டி நடத்தி, வெல்பவர்களுக்கு அந்த நிகழ்ச்சியில் பரிசும், பின்பொரு தருணத்தில் பரிவாதினியில் கச்சேரி வாய்ப்பும் கொடுக்கப்படவுள்ளது.

போட்டியிn விவரங்களை ராஜம் அவர்களின் மாணவி விதுஷி விஜயலட்சுமி சுப்ரமணியத்தின் பின்வரும் குறிப்பில் காணலாம்

I am happy to inform you that 2019 is the birth centenary year of my esteemed guru, the late Sangita Kala Acharya Sri S. Rajam.

An eminent musician and painter, he has contributed immensely to both the arts. He hasimmortalized the image of the musical trinity, Thyagaraja, Muthuswamy Dikshitar and Syama Sastry through his paintings. His creations have adorned the covers of numerous editions of Kalki and Kalaimagal magazines, especially the Deepavali Malars. Many of his paintings have been preserved for eternity in a time capsule at the Hindu Temple in Kauai Island, Hawaii.

With his training under great gurus like Papanasam Sivan, Madurai Mani Iyer, TL Venkatarama Iyer and others, Sri S. Rajam was a repository of many kritis in their most authentic renditions.

He brought the 72-melakarta ragas into the fold of concerts and sang them effortlessly,mesmerizing listeners with their bhava in his haunting voice. S. Rajam set to tune many compositions and many popular musicians render these at performances.

Among his most iconic works, Sri S. Rajam brought a new dimension to many music compositions by capturing them in paintings. He elevated the experience of listening to kritis by bringing them visual beauty and allowing audiences to watch the songs as they heard them.

It is my deepest wish to bring to wide audiences, the beauty and rapture of Sri S. Rajam’s art and musical vidwat. This is a wonderful opportunity for your sabha / school to partake in spreading the works of this great artist and familiarizing today’s music lovers and students to his greatness.

Sangita Kalacharya Sri S. Rajam Centenary Music Competition
It is planned to organize a music competition at a Global level with selection at two levels–a preliminary and a final round. The preliminary selections will be held in Mumbai, Bengaluru
and Chennai and the International finals will be held in December 2018 at Chennai. The competition will be held based on the repertoire of Sri S. Rajam — compositions popularized by him and compositions set to music by him. A folder containing the renditions of kritis by Sri S.
Rajam will be uploaded and intimated to the participating Sabhas/ Institutions/ individuals.

http://www.vijayalakshmysubramaniam.com

1. There will be two categories of competition
Junior – 12 — 18 years Senior – 18 – 30 years

2. List of 8 songs to be given for Junior category. List of 10 songs for Senior category.

Inclusion of one Vivadi raga kriti is a must for both categories.

3. Manodharma – Ragam, niraval and swara – is compulsory for the senior category.

4. The Prizes will be given at the Inaugural of the Grand Centenary Celebrations on February 8 2019 at the iconic Main hall of the Madras Music Academy.

5. Senior First prize is a beautiful traditional Tambura. The other prize winners will be given equally cherishable prizes.

The First prize winners will be given an opportunity to perform a concert in Chennai during the year, under the auspices of Parivadini.

6. Dates of the competition – The competition is held at two levels – preliminary at Mumbai, Bengaluru and Chennai. The
dates and venue will be intimated soon. The Final competition will be at Chennai.

There is no entry fee and the competition is open to all, from anywhere across the world.

We are delighted to welcome your organization to join us in this venture — a wonderful opportunity globally for aspiring young musicians!

Please feel free to mail me at Vijayalakshmy.subramaniam@gmail.com if you have any questions.

Warm regards
Sincerely,
Vijayalakshmy Subramaniam

போட்டிக்கான பாடல் பட்டியலைக் காணவும், அந்தப் பாடல்களை வித்வான் ராஜத்தின் குரலில் கேட்கவும் இங்கு சொடுக்கவும்

https://www.dropbox.com/sh/w183w4ago97c2ll/AAArI_5XgPnVJi_Kj7x-0kNLa?dl=0

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The first half of the twentieth century saw the ascent of Tamil Print magazines. Several artists enriched these publications through their illustrations. Of which, five artists viz. K.Madhavan, Gopulu, Silpi, Maniam and S.Rajam left an everlasting impact. Each of the above-mentioned artists are unique in their own way. One can broadly say, Shri. S.Rajam was unique in two counts.

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  1. He was not only a professional artist (Given the quality and the volume of his art works, he can only be classified as a professional artist) but also a professional musician with a full-time job at the All India Radio – Madras.
  1. The style that he chose to portray his themes, inspired by the traditional Indian fresco paintings and the oriental water wash technique.

 

Early Years

S.Rajam was born on 10th Feb 1919. His father – V.Sundaram Iyer was a lawyer and a connoisseur of music. S.Rajam in an interview has mentioned that music and painting were like his two eyes. If it was his father’s interest that spurred Rajam to take up music, it was the way his mother Chellammal went about executing even the smallest chores with an aesthetic and artistic touch that drew him towards art.

Rajam went to P.S.High school where he met Lingiah (Uncle of artist Maniam). Lingiah’s interest in painting further enthused S.Rajam’s interest. Lingiah and Rajam would share the expenses for the art materials and spend their leisure hours in painting. To quote S.Rajam, “I never thought of joining the college of arts. I always wanted to be a professional musician. It was Lingiah who wanted to join the college of arts. Unfortunately, he died young due to illness. In a way, it was his wish that prompted me to join the Arts college.”

By the time S.Rajam had joined the college of arts, he had also acted in the lead role of a then blockbuster movie – “Seetha Kalyanam” (He had acted in three other movies as well). His tryst with the tinsel world had invited skepticism from the then principal of Government College of arts and renowned artist/sculptor D.P.Roy Chowdhry . But it didn’t take long for S.Rajam to prove his mettle. He topped the course every single year and won the prestigious Dr. Rangachari scholarship. He even got a double promotion that helped him finish the six-year course in five years.

During his college years, S.Rajam met Lewis Thompson – a poet and a follower of Ramana Maharishi. The acquaintance turned out to be lifechanging as Lewis Thompson introduced S.Rajam to the philosophy and concept of classical Indian art. Thompson’s words, “Art must represent nature; but not reproduce it”, became S.Rajam’s Tharaka Mantra. While the college course, inspired by the western view, focused on techniques for realistic portrayal, the Indian perspective was more symbolic and suggestive. An inspired Rajam would visit various temples and study the sculptures deeply to understand the portrayal and the philosophy behind it. The idea that the features of the Godly subjects in the sculptures were to depict “what is ideal” rather than “what is real” fascinated S.Rajam endlessly. Even before his graduation from the college of arts, it was clear to him that his works would be based on the classical Indian style.

In 1939, Rajam met K.V.Jagannathan – the editor of “Kalaimagal”. Rajam’s first published work depicting a Guru and his disciple appeared in Kalaimagal the same year. It was the first of the many that would follow.

By the time he graduated, his career as a musician had taken off reasonably well. After a short stint as the in-charge of music and dance for the celebrated dancer Ramgopal, Rajam joined All India Radio Madras. During his vacation and during the concert tours, Rajam visited places such as Thanjavur, Kanchipuram, Sittannavasal, Sigiriya and studied the paintings deeply. In 1945, he visited the Ajanta caves. The paintings in there proved to be a lifelong inspiration for Rajam.

His illustrations on the themes based on literature, mythology and philosophy became a regular feature in Kalaimagal and other published works of K.V.Jagannathan. It was a matter of time that his works were sought by other publications such as Dinamani, Kalki etc. The special issues like Deepavali Malar gave him ample space to explore his subjects in depth.

 

Painting Technique

Rajam developed a style of his own drawing inspiration from the Indian frescos and combining it with the Chinese water wash technique. The distinct lines (rekhas) and his depiction of features such as eyes, fingers were clearly inspired by the Classical Indian frescos and the water color technique was based on the Chinese style. Although most of his works were on hand made paper, he has also done several works on surfaces such as wood, silk etc. The staggering feature of his paintings is the literal and figurative layers buried in them. The depth that he managed to create is the fruit of his arduous technique.

His themes often required meticulous research. After research, he created the entire painting with the all details in his mind. He started off the paintings with a pencil outline depicting the central figure. The actual painting is done around this central figure thereby creating the required depth. He used layers of transparent colors. Each color is applied only to be washed away with water using a brush. Upon drying the next layer is applied and washed away. It is this series of washes and the combination of the colors that eventually gave the desired color scheming that was originally envisioned. After the application of the transparent colors, the opaque colors are applied over it. Finally, his characteristic ink outlines (rekhas) were done using a Fineliner pen.

Clearly, this technique requires immense patience and (depending on the size) each painting can take from a few weeks to a few months for completion. It was Rajam’s disciplined approach and incredible ability to multitask that allowed him to simultaneously work on several paintings. It was his capacity to quickly mentally switch from one theme to the other, as the paintings were drying, was the main reason for the volume of work he could produce.

His Works

It was in the early 1940s the Music Academy, Madras approached Rajam to paint the Carnatic music trinity. Rajam referred previous portrayals, studied written accounts and created the portraits. They were not just faces but had multiple layers in them hinting at their life events and their compositions. It will not be an overstatement to say that these portraits have reached an immortal status on par with the compositions of the trinity. His original paintings of the trinity on various surfaces and in a wide range of sizes can be seen in over hundred locations.

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Apart from the Trinity, he had done hundreds of paintings based on Indian classical music. He has painted portraits of several notable composers such as Gopalakrishna Bharathi, Annamacharya, Purandaradasa, Othukadu Venkata Kavi etc. His portrayal of the seven swaras based on Muthiah Bhagavatar’s book ‘Sangita Kalpadrumam’ is another masterpiece. He has meticulously depicted the features associated with each of the swara including the color, ornament, life span, flower, Vahana, Rishi, Devata, Nakshatra, Rasa, Weapon, food etc.

If one studies his works chronologically, it can be inferred that he keeps modifying his works as he gets more and more details. This can be easily observed in his trinity as well as the Saptaswara paintings.

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He has also illustrated hundreds of songs of many composers. As a musician, he had a penchant for unearthing rare compositions. That had also driven him to portray some of the rare compositions of famous composers (e.g. “Vidhi Chakradhulu and Dayaseyavayya of Tyagaraja). His other famous music-based works include the ‘Navagrahas’, ‘Panchalinga Kritis’ and the various forms of Ganapathi – all inspired from the kritis of Muthuswami Dikshitar. He also came up with a unique musical letter pad that had line drawings of about hundred classical compositions with a short description.

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Apart from music, literature and mythology proved to be great inspirations for his paintings. Thematic series including Dasavatara, Ashta Dikpalakas, Ashta Lakshmi, Sapthamatrika etc are some of his critically acclaimed works based on mythology.

His art work has adorned several books. One fabulous example is the Scenes from the Ramayana illustrated in the Valmiki Ramayana Publication. Some of his works have also been compiled as books. Notable ones are the Chitra Periya Purana – depicting the legends of the 63 Nayanmars and the Thiruvilaiyadal Puranam – depicting the 64 divine plays of Shiva. Another book titled “Dancing with Shiva” published by the Himalayan Academy, USA has over hundred works of Rajam reproduced with exemplary production value.

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Although not in large numbers, Rajam has handled several contemporary themes as well. Even in handling such themes (e.g. a typical day in a South Indian Women’s life), his approach is true to his style.

Despite achieving singular heights in multiple fields, Rajam was humility personified. He lived a simple and contented life. Greatness sat lightly on him. Money or fame were never his priorities. While he never sought for accolades, plenty of unique honors reached him. One example would be the preservation of his paintings in the time capsule built by the Kauai Hindu Monastery in Hawaii.

Rajam passed away in 2010 at the ripe age of 90. He was seen painting even a week before his passing away.

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சாயங்காலம் 4.00.

எஸ்.எம்.எஸ் இ.பா-விடமிருந்து. எஸ்.ராஜம் பற்றிய ஆவணபப்டத்தின் டிவிடி வந்து சேர்ந்தது என்றது அந்த எஸ்.எம்.எஸ்.

6.30 மணிக்கு மீண்டும் ஒரு எஸ்.எம்.எஸ். ஆபீஸை விட்டு கிளம்பும் வேளையில் அலுத்துக் கொண்டே பார்த்தேன். மீண்டும் இ.பா. படத்தை பார்த்த கையோடு அனுப்பி இருந்தார். 2 மணி 8 நிமிட படத்தை கையோடு அவர் பார்ப்பார் என்று எதிர்பார்க்கவில்லை. Thank you sir for taking the same.

Brilliant integration of painting and music! Dynamic harmony! Rajam was a sheer genius! Especially when singing those apoorva ragas and integrating them with aesthetically chosen colors to represent them in Art. Poetry in motion! It is a feather in your and Khanthan’s cap.

கொஞ்சம் கிறுகிறுத்டதபடி வானில் வட்டமடித்து தரை இறங்கினேன்.
Made my day!

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கடந்த ஞாயிறன்று (11-11-12) நெடு நாள் கனவு நனவானது. வித்வான் எஸ்.ராஜம் பற்றிய ஆவணப்படம் வெளியானது.

அப்போதிலிருந்து மிதந்து கொண்டுதானிருக்கிறேன். அதிகம் எழுதக் கை வரவில்லை. இப்போதைக்கு சில படங்கள் மட்டும்.

 

படத்தின் ட்ரெயிலரை முன்பே இங்கு கொடுக்காததால், இப்போது அளிக்கிறேன். இங்கு காணலாம்: http://www.youtube.com/watch?v=M0dczot3ZTw&list=UUwxEa9lxuNaOPvrnM9cDKQA&index=1&feature=plcp

டிவிடியை இங்கு வாங்கலாம்: http://www.kalakendra.com/shopping/rajam-p-3174.html

 

 

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