It is rare to meet a living legend whose parents are also legends. And a plus is when both belong to the same field. The child here can speak with authority and clarity on the subject with art. Maniyam and Maniyam Selvan (Ma.Se.) are not new to the readers of this supplement, but this occasion is poignant. We are celebrating the birth centenary of the legend and his family led by son and master-artist Maniyam Selvain, and grandson. And M.S., who never tires of speaking about his father’s greatness, thinks he hasn’t said enough. He is finding new dimensions and new insights as he delves into his father’s monumental contribution.
Maniyam was definitely ahead of his time. His life span (1924–1968) was short but this had nothing to do with age, as is often the case with geniuses. He packed in a career spanning 28 years, work that covered many media and breathed a style that was a classic synthesis of different schools. From short stories to serials, travelogues to tinsel, no field was left untouched by his art. And this when the technology was nascent. His constant companion was the Baby Rolleiflex camera, bought in 1948 for a whopping ₹630. He is enriched by memories of his father’s salad years, when Maniyam worked round the clock. “I was a small boy and I had very little understanding of what he was doing. As an art student, I started seeing him infatuated, but he left us when I was 18. My mother Saraswati, who was a pillar of support, told me everything about my career,” says Ma.se.
meeting kalki
Kalki Krishnamurthy | Photo Credit: The Hindu Archives
Born on January 26, 1924, to Umapati and Gnanambal, Subramaniam’s initiation into the art came from his uncle Lingaiah painting scenes of Mylapore. He was accompanied by schoolmate S. Rajam, who later became a renowned musician-performer. Sensing his interest, his uncle enrolled him in the Chennai School of Arts. Rajam’s father Sundaram urges the boy to meet Kalki R. Krishnamurthy. Subramaniam, all 17 years old, met him at his home with his portrait. wanted to publish Kalki, which was launched in 1941. Kalki looking at his portfolio said, “Join the magazine as a staff member.” His course at art school? “Well, it’s your hand, not your diploma, that’s the attractor,” quipped the author. The young man picked up the handcuffs and joined Kalki, Thus was born a union, which not only flourished for many decades, but also remained timeless.
The editor gave the abbreviated name Maniyam, whose pictures started appearing in the magazine from the fifth week of its release. Years – 1941-1957 – Which Ma.Se. There was a huge learning curve called ‘Gurukulvasam’ for the budding artiste. “It was a golden age,” Ma reminisces. From. “It was as if they were on this earth for each other.” Maniyam grew into a versatile artist under the guidance of editor and co-founder Sathasivam. Not surprisingly, he was close to both families. He traveled extensively throughout South India. A visit to the caves of Ajanta and Ellora opened new windows for Maniam, who absorbed the styles of paintings and sculptures and used them with surprising effect. Mamallapuram was another favorite destination. His sketches filled the special editions of Diwali Kalki, An illustration for Rajaji’s short story praised the politician. Incidentally, it was Maniyam who embellished Rajaji’s ‘Chakravarti Tirumagan’ with sketches.
The turning point came when Krishnamurti started writing Ponniyin Selvan (1950). Kalki There were talented actors and when Maniyam got the coveted job, he was thrilled. For millions of readers, Maniyam’s paintings were like icing on the cake. They captured the essence of the week’s episode so well that one can guess what is happening just by looking at the picture. Ponniyin Selvan Became a part of Tamil lore not only because of Krishnamurti’s storytelling but also because of the vibrant images created by Maniyam. Kalki took Maniyam along when he followed the trail of Vandiyathevan south across India and Sri Lanka. A characteristic of Maniyam’s style, it interprets the subtle details. History had consumed Maniam, who with his knowledge and fertile imagination could reconstruct the past.
Maniam’s parable for Sivakamiyin Sabatham
, Photo Credit: Credit: Ma.Se
live drawing
The principal characters, male and female, were clearly carved. Arulmozhi Varman, Karikalan and Maduranthakan were all princes but there were subtle differences between them. The pictures spoke through their gestures and facial expressions. Vandiyathevan was both a warrior and a resourceful detective, but Maniyam also showed his irreverence and mischievous humour. Individual traits may define Nandini and Kundawai, but Maniyam’s strokes had something for the love-struck Vanathi too. Poonkuzhali, the boatman, was simple and rustic but intelligent. They were all sensual but not obscene. This is precisely why the whole family can enjoy the story.
Although it was Verma, senior artist Kalkipainted for Sivakamiyin SabathamKrishnamurti’s another historical Magnum opus, Maniam was asked to provide the visuals, which adorned the lower part of the page. When the final chapter was published, the author honored both artists by taking their works on the cover and acknowledging their contributions.
“I was born on October 27, 1950, the day ‘Ponniyin Selvan’ was launched KalkiLoganathan recalls. “Years later, when I started my career, Appa encouraged me to sign my name as M. Selvan (Maniyam’s son). I signed on as Maniyam Selvan before settling down with Ma.Se. This was not a spur-of-the-moment decision on his part, I realized when I read his journal, long after he had passed away. Beneath the date he wrote, ‘Maniyam Selvan is born,” he adds.
Maniyam sketching during his visit to Badami | Photo Credit: Credit: Ma.Se
Maniyam was approached to serve as the art director in 1957, two years after Kalki’s death. the film was Parthiban Kanavu, Maniyam, who did not do illustrations for Kalki’s novel (on which the film was based), accepted the opportunity. According to Ma.Se, his father didn’t stop at just providing sketches, be it set or costume design. He crafted each piece so meticulously that many became show pieces. The layout, cut-outs and calligraphy he created for the promotion of the film was excellent.
The years 1957–1968 found Maniam at his best as a freelancer. His creations continued to beautify KalkiDiwali special and silver jubilee edition of the magazine. Such assignments took him to Hampi and Badami. He returned enriched in insights, which were reflected in his works during this period.
The continuous work took a toll on Maniyam’s health. When ‘Ponniyin Selvan’ was relaunched in 1967, Maniyam was brimming with new ideas but was in no position to execute. “He was heartbroken and persuaded me to book a train ticket to Thanjavur – to revisit places but never travelled,” says Ma.se. The legend passed away on September 29, 1968, but not before handing over the baton to his son.
Maniyam Selvan | Photo Credit: KV Srinivasan
Manium 100
Maniyam is working continuously for Selvan Shatabdi. Through the YouTube channel ‘Maniyam 100’, he is taking the audience to the beautiful world of the legend. The main attraction of the festival, which will conclude in December, will be an exhibition of Maniyam’s works in Chennai. On his father’s works published in Tamil magazine M.S. Compilation of articles of ‘Sarithiram Padaitha Chittirangal’ Amudasurabhi, will be issued. Also on display is a coffee-table book containing 100 works from Maniyam’s collection