Fig. 01. Siva and Parvati look down lovingly on their son, Murugan. The setting is the temple, tank and hilltop pilgrimage of Palani. Painting by M. Ramalingam, 1970s, Kovilpatti.<\/p><\/h2>\"> Fig. 01. Siva and Parvati look down lovingly on their son, Murugan. The setting is the temple, tank and hilltop pilgrimage of Palani. Painting by M. Ramalingam, 1970s, Kovilpatti.<\/p><\/h2>\">Fig. 01<\/a>). In the mid-20th century, the heyday of printed imagery in India, a group of artists in a tiny town in southern Tamilnadu became a creative force in this industry. Gathering around the charismatic elder, C. Kondiah Raju in Kovilpatti, these artists, several of whom had, like their guru, been drama scenes painters, actors and musicians for drama troupes, set up photo studios and began to paint for the big printing companies in nearby Sivakasi. Their images, for calendars, magazine and book covers, the cinema, and invitations, labels and greeting cards became popular throughout India and wherever Indians settled abroad.<\/p>\r\n\r\n The Dakshinchitra exhibition traces the contributions of this extraordinary group of artists to what was the most influential style and form of Indian art of the 20th century, and to the ways that many Indians still visualise their deities, their politicians and their celebrities.<\/p>\r\n\r\n Geneaology<\/strong><\/span><\/p>\r\n\r\n This “geneaology” maps the artists involved in the Kovilpatti group (Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span> Fig. 02. Genealogy of the Kovilpatti artists group.<\/p><\/h2>\">Fig. 02<\/a>). It describes and commemorates a community of artists, broad in scope, ambitious in technology and nimble in interaction with their many publics. Although deeply invested in traditional artistic themes and techniques, their work continuously introduced innovations that became part of the evolving visual landscape of 20th century India.<\/p>\r\n\r\n Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span> Fig. 02. Genealogy of the Kovilpatti artists group.<\/p><\/h2>\"> Fig. 03. The "Senior" (top) and "Junior" (bottom) artists in Kovilpatti.<\/p><\/h2>\"> Artists and the Art of Kovilpatti<\/strong><\/span><\/p>\r\n\r\n Popular art in Kovilpatti started in the late 1940’s with the establishment of "Devi Electrical Studio” by C. Kondiah Raju and his students T.S. Subbiah, T. S. Arunachalam, S. Meenakshi Sundaram, Mu. Ramalingam, S. Sreenivasan, and G. Shenbagaraman (Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span> Fig. 03. The "Senior" (top) and "Junior" (bottom) artists in Kovilpatti.<\/p><\/h2>\">Fig. 03<\/a>, top; see also Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span> Fig. 05. Devi Arts Studio opening ceremony invitation, 11.02.1946.<\/p><\/h2>\">Fig. 05<\/a>). From 1942 to 1955, this group, through Sri Ambal Arts, supplied backdrops for photo studios (Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span> Fig. 03. The "Senior" (top) and "Junior" (bottom) artists in Kovilpatti.<\/p><\/h2>\">Fig. 03<\/a>, bottom). These backdrops were sold to studios throughout the country, as far away as Kashmir (Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span> Fig. 06. Kovilpatti artist T. S. Subbiah modelling a studio backdrop, circa 1955. The figure on a crescent moon was a feature of popular photo backdrops in early 20th c. Europe and America.<\/p><\/h2>\">Fig. 06<\/a>). Sundaram designed studio backdrops, and Arunachalam handled the photography and printing.<\/p>\r\n\r\n Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span> Fig. 05. Devi Arts Studio opening ceremony invitation, 11.02.1946.<\/p><\/h2>\"> Fig. 06. Kovilpatti artist T. S. Subbiah modelling a studio backdrop, circa 1955. The figure on a crescent moon was a feature of popular photo backdrops in early 20th c. Europe and America.<\/p><\/h2>\"> The Origins of Popular Art<\/strong><\/span><\/p>\r\n\r\n Most painters for the popular market traced their heritage to Raja Ravi Varma (1848-1906). Varma, of southern Kerala, was a very successful portrait and landscape painter whose depictions of Hindu deities and legendary (puranic) stories launched the popular print industry in India. His romantic style influenced Indian painters for more than a century. He established India’s first chromolithographic press in Bombay in 1891. C. Kondiah Raju was linked with Varma through a Naidu painter family in Madurai, one of whom was an earlier fellow art school student in Madras. Art historian, Sharat Sunder Rajeev, records the ties between the late 19th century art communities in Tanjavur, Madurai, and Travancore in his forthcoming book, “The Forgotten Atellier’.<\/p>\r\n\r\n Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span> Fig. 07. Ad for “Special Drama” in which the Kovilpatti artists were involved as backdrop painters, actors, musicians and electricians.<\/p><\/h2>\"> Fig. 09. Photo of early Kondiah advertising painting (1940’s).<\/p><\/h2>\">Fig. 09<\/a>, Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span> Fig. 11. Lord Murugan, pencil sketch, C. Kondiah Raju, 1970.<\/p><\/h2>\">Fig. 11<\/a>).<\/p>\r\n\r\n Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span> Fig. 08. C. Kondiah Raju with his painting in the background, Kovilpatti,1930s.<\/p><\/h2>\"> Fig. 07. Ad for “Special Drama” in which the Kovilpatti artists were involved as backdrop painters, actors, musicians and electricians.<\/p><\/h2>\">Fig. 07<\/a>). When the last drama company they worked for collapsed, Kondiah and his followers settled in Kovilpatti and did whatever they could, including painting tin trunks, until their painting and photo skills created a demand. Fig. 08. C. Kondiah Raju with his painting in the background, Kovilpatti,1930s.<\/p><\/h2>\">Fig. 08<\/a>; Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span> Fig. 10. C. Kondiah Raju at his 60th birthday celebration.<\/p><\/h2>\">Fig. 10<\/a>). He had been inspired by people like Sri Ramana Maharishi and he lived a life of simplicity, with the other artists and their children becoming his family.<\/p>\r\n\r\n <\/p>\r\n\r\n Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span> Fig. 09. Photo of early Kondiah advertising painting (1940’s).<\/p><\/h2>\"> Fig. 10. C. Kondiah Raju at his 60th birthday celebration.<\/p><\/h2>\"> Fig. 11. Lord Murugan, pencil sketch, C. Kondiah Raju, 1970.<\/p><\/h2>\"> <\/p>\r\n\r\n Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span> Fig. 12. Kondiah and Ramalingam 1950s.<\/p><\/h2>\"> Fig. 13. Beedi ad, C. Kondiahraju-M. Ramalingam. In the 1950s, the Kovilpatti group worked for a broad group of communities (Muslim business people dominated beedi production) and in many languages (in this case, Urdu and Telugu).<\/p><\/h2>\">Fig. 13<\/a>). Fig. 15. Lord Murugan, Chithiraalayam-Mu. Ramalingam. Original painting (poster colour) 1975-1985.<\/p><\/h2>\">Fig. 15<\/a>) and Gandhimathi. He also depicted Palani Murugan (Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span> Fig. 01. Siva and Parvati look down lovingly on their son, Murugan. The setting is the temple, tank and hilltop pilgrimage of Palani. Painting by M. Ramalingam, 1970s, Kovilpatti.<\/p><\/h2>\">Fig. 01<\/a>), images of babies, and various lady portraits in his calendars. One of the challenges M. Ramalingam faced in his calendar art was the need to create different and engaging backgrounds for each of his designs. This demonstrated his dedication to producing diverse and visually appealing calendars that captured the essence of various themes and deities.<\/p>\r\n\r\n His dedication and artistic contributions have left a lasting mark on the world of calendar art, enriching the cultural and spiritual experiences of countless individuals.<\/p>\r\n\r\n Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span> Fig. 13. Beedi ad, C. Kondiahraju-M. Ramalingam. In the 1950s, the Kovilpatti group worked for a broad group of communities (Muslim business people dominated beedi production) and in many languages (in this case, Urdu and Telugu).<\/p><\/h2>\"> Fig. 14. Meenakshi Kalayanam. M. Ramalingam original painting 1970s.<\/p><\/h2>\"> Fig. 15. Lord Murugan, Chithiraalayam-Mu. Ramalingam. Original painting (poster colour) 1975-1985.<\/p><\/h2>\"> Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span> Fig. 16. T.S. Subbiah with his teacher Kondiah.<\/p><\/h2>\"> Fig. 19. T.S. Subbiah painting of Gandhi with Rama, Jesus and Buddha.<\/p><\/h2>\">Fig. 19<\/a>). These featured ornamental backdrops, pillars and drapes. His work shows an understanding of jems and jewellery as well as Nagasu work involving embroidery on saris. He is pictured here with his teacher Kondiah (Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span> Fig. 16. T.S. Subbiah with his teacher Kondiah.<\/p><\/h2>\">Fig. 16<\/a>). Fig. 17. Sri Ashta Lakshmi, C. Kondiah Raju - T.S. Subbiah, Calendar print, poster colour, 1965-75.<\/p><\/h2>\">Fig. 17<\/a>, Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span> Fig. 18. Sri Matha Bhuvaneshwari, C. Kondiah Raju- T.S. Subbiah, calendar print, poster colour, 1965-75.<\/p><\/h2>\">Fig. 18<\/a>). He also had expertise in painting temple images and their surroundings.<\/p>\r\n\r\n <\/p>\r\n\r\n Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span> Fig. 17. Sri Ashta Lakshmi, C. Kondiah Raju - T.S. Subbiah, Calendar print, poster colour, 1965-75.<\/p><\/h2>\"> Fig. 18. Sri Matha Bhuvaneshwari, C. Kondiah Raju- T.S. Subbiah, calendar print, poster colour, 1965-75.<\/p><\/h2>\"> Fig. 19. T.S. Subbiah painting of Gandhi with Rama, Jesus and Buddha.<\/p><\/h2>\"> Guru and Sishyas<\/strong><\/span><\/p>\r\n\r\n One change in the arts of the 20th century was the gradual transition from collective to personal authorship. Traditional artists in India rarely signed their work because of the widespread notion that artistic accomplishments were collective and part of a community. For some time after Raja Ravi Varma initiated his printing activities in Maharashtra at the end of the 19th century, other presses regularly “signed” all their prints with his signature, regardless of who painted them.<\/p>\r\n\r\n In Kovilpatti, Kondiah Raju’s followers signed his name to their early work, both their names to their mid-career work and their own names to their mature work (Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span> Fig. 20. Examples of Kovilpatti artists’ signatures.<\/p><\/h2>\">Fig. 20<\/a>). Often the name of one of their studios was added to the signature. M. Ramalingam, for example, signed his paintings as “Kondiah Raju” from 1955 to 1958, as “Kondiah Raju, Sree Devi Art Studio” from 1958 to 1960 and co-signed with his teacher C. Kondiah Raju after 1960.<\/p>\r\n\r\n Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span> Fig. 20. Examples of Kovilpatti artists’ signatures.<\/p><\/h2>\"> Technique<\/strong><\/span><\/p>\r\n\r\n From oil paints on canvas to poster colours and watercolours on artist paper board, the Kovilpatti artists adapted their techniques to be competitive with the printers. The introduction of the airbrush was an innovation that permitted the rich shading that became part of their reputation. Like artists everywhere, they often used live models to achieve just the right effect for new designs. It was the babies of family members that became the models for Balamurugan and Balakrishna or older men for deities like Hanuman (Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span> Fig. 21. Photo of baby model and painting of Krishna done from the child’s pose and expression. M. Ramalingam, 1960s, Kovilpatti.<\/p><\/h2>\">Fig. 21<\/a> and Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span> Fig. 22. Photo of male model and a painting of Hanuman done from his pose. M. Ramalingam, 1960s, Kovilpatti.<\/p><\/h2>\">Fig. 22<\/a>).<\/p>\r\n\r\n Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span> Fig. 21. Photo of baby model and painting of Krishna done from the child’s pose and expression. M. Ramalingam, 1960s, Kovilpatti.<\/p><\/h2>\"> Fig. 22. Photo of male model and a painting of Hanuman done from his pose. M. Ramalingam, 1960s, Kovilpatti.<\/p><\/h2>\"> Every poster artist uses the images of previous work to inspire and inform their creative output, and each of the Kovilpatti artists had piles of old prints in their homes and studios. Among these I occasionally saw late 19th century Victorian prints from Europe, a German print of a beautiful singer or actress who transitioned into a Tamil goddess or beauty (Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span> Fig. 23. German oleograph print, late 1800s, from a Kovilpatti studio archive.<\/p><\/h2>\">Fig. 23<\/a> and Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span> Fig. 24. M. Ramalingam painting of movie star Padmini dancing before Buddha. In this case the image of Buddha represents peace and tranquility rather than the practice of Buddhism, 1960s.<\/p><\/h2>\">Fig. 24<\/a>).<\/p>\r\n\r\n Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span> Fig. 23. German oleograph print, late 1800s, from a Kovilpatti studio archive.<\/p><\/h2>\"> Fig. 24. M. Ramalingam painting of movie star Padmini dancing before Buddha. In this case the image of Buddha represents peace and tranquility rather than the practice of Buddhism, 1960s.<\/p><\/h2>\"> Output<\/strong><\/span><\/p>\r\n\r\n Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span> Fig. 25. Matchbox label, early 20th c.<\/p><\/h2>\"> Fig. 25. Matchbox label, early 20th c.<\/p><\/h2>\">Fig. 25<\/a>; also see Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span> Fig. 06. Kovilpatti artist T. S. Subbiah modelling a studio backdrop, circa 1955. The figure on a crescent moon was a feature of popular photo backdrops in early 20th c. Europe and America.<\/p><\/h2>\">Fig. 06<\/a>). Ramalingam was oriented towards calendar art and his paintings were printed with a one-year expiry since a new calendar with another picture was printed annually. T. S. Subbiah’s paintings were directed towards framing pictures and many still adorn Pooja rooms today. Calendar and framing pictures continue to be reproduced and sold today (Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span> The “End” of Calendar Art?<\/strong><\/span><\/p>\r\n\r\n Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span> Acknowledgments<\/strong><\/span><\/p>\r\n\r\n Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span> Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span> Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span>![](\"https:\/\/www.tasveergharindia.net\/uploads\/gallery\/121\/thumbnail\/01.jpg\" "\\"01.jpg\\"")
Fig. 01<\/a><\/span>When I first met artists in Kovilpatti, Tamilnadu, 50 years ago, I didn’t imagine relationships that might continue for a half century. As the printed popular arts faded away at the end of the 20th century, it seemed that the painting tradition and artists that fueled it would be remembered by articles and books, a few exhibits and collections, and a nostalgia for how 20th century India looked (Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span>
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\r\nNonetheless, the descendants of those artists and a group of scholars and collectors have recently revived the memory of these artists, and have begun the collection and documentation that makes it possible to restore them more effectively to the history of Indian art. The year 2023 was a banner year for this enthusiasm, featuring a celebration of the 125th birth anniversary of C. Kondiah Raju the leader of the influential group of popular artists based in Kovilpatti. A conference on the work of these artists was held and an exhibition of their work and legacy was presented at the Dakshinachitra Heritage Museum in Muthukadu, just south of Chennai. The press covered each of these events (Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span>Fig. 29. Clipping from the Indian Express, daily national newspaper, November 2023.<\/h2>\">Fig. 29<\/a>).
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\r\n“Art worlds” coexist in every complex society, some of these worlds patronised by elites, others fulfilling the needs of regional or local populations, each with its artists, audiences and technologies. The 20th century was a period during which the printed picture came to dominate the Indian perspective, from domestic through commercial spaces directed toward religious, political and leisure themes. Printed pictures produced by lithography and then photo offset presses could be seen in virtually every home, school, office, and shop in the country. As an anthropologist studying traditional potter communities in the region of Madurai, I saw these printed images in the homes of people I was working with and even in the temples they served as priests. The potters who admired this work led me to the source where these images were being created. There, I was introduced to some painters. The potters had a special interest in the prints as they often used them as models for the wall paintings they did in the temples they served.<\/p>\r\n\r\n![](\"https:\/\/www.tasveergharindia.net\/uploads\/gallery\/121\/thumbnail\/02.jpg\" "\\"02.jpg\\"")
Fig. 02<\/a><\/span>. Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span>![](\"https:\/\/www.tasveergharindia.net\/uploads\/gallery\/121\/thumbnail\/03.jpg\" "\\"03.jpg\\"")
Fig. 03<\/a><\/span><\/p>\r\n\r\nFig. 04. Photo studio backdrop catalogue, C. Kondiah Raju, late 1940s, originals in tempera colour on canvas.<\/h2>\">Fig. 04<\/a>).
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\r\nSoon after, these artists started painting pictures of gods and goddesses, popularly known as “Sami Patam”, for the printing industry of nearby Sivakasi. Retail stores selling textiles, jewellery, snuff, and sweets and almost everything else ordered calendars to give to their customers. The printers of Sivakasi used an album or catalogue showcasing the works of various artists to show their clients. The printers felt if the album cover page had a print painted by Ramalingam, for example, it would sell well. Among the five founding artists, Kondiah, Subbiah, and Ramalingam specialised in calendar painting (eg., Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span>Fig. 04. Photo studio backdrop catalogue, C. Kondiah Raju, late 1940s, originals in tempera colour on canvas.<\/h2>\">
![](\"https:\/\/www.tasveergharindia.net\/uploads\/gallery\/121\/thumbnail\/04.jpg\" "\\"04.jpg\\"")
Fig. 04<\/a><\/span>. Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span>![](\"https:\/\/www.tasveergharindia.net\/uploads\/gallery\/121\/thumbnail\/05.jpg\" "\\"05.jpg\\"")
Fig. 05<\/a><\/span>. Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span>![](\"https:\/\/www.tasveergharindia.net\/uploads\/gallery\/121\/thumbnail\/06.jpg\" "\\"06.jpg\\"")
Fig. 06<\/a><\/span><\/p>\r\n\r\n![](\"https:\/\/www.tasveergharindia.net\/uploads\/gallery\/121\/thumbnail\/08.jpg\" "\\"08.jpg\\"")
Fig. 07<\/a><\/span>Kondiah was a member of the Raju community originating in Andhra Pradesh that had migrated south over several centuries, bringing skills in temple painting and eventually the hybrid styles of “Tanjore painting”. This title came from the central Tamil city in which many of them settled. These creations were framed and hung in halls, temples and private puja rooms, prefiguring the format and use of framed prints.
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\r\nGraduates of the Madras School of Arts and Crafts (1850), as well as those of the J.J. School of Art in Bombay (1857) and the Calcutta School of Art (1854) were all active in the early print market. Kondiah was an award-winning student at the Madras school. The programs at these schools included both Western classical training in high realism and ancient Indian art, as well as techniques that inspired commercial art (Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span>![](\"https:\/\/www.tasveergharindia.net\/uploads\/gallery\/121\/thumbnail\/09.jpg\" "\\"09.jpg\\"")
Fig. 08<\/a><\/span>Many major artists of Kondiah’s generation who eventually worked for the print industry developed their skills as drama scenes painters. Travelling drama companies (or "boy’s companies”) required elaborate backdrops of interiors and exteriors, as well as electricians, actors and musicians. These “special dramas” inspired many of the skills that were critical to success in Kovilpatti (Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span>
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\r\nC. Kondiah Raju (1898-1976)<\/strong>
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\r\nA group of creative people often form around a leader, someone who inspires, guides and encourages their followers. In this case it was Kondiah (Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span>![](\"https:\/\/www.tasveergharindia.net\/uploads\/gallery\/121\/thumbnail\/10.jpg\" "\\"10.jpg\\"")
Fig. 09<\/a><\/span>. Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span>![](\"https:\/\/www.tasveergharindia.net\/uploads\/gallery\/121\/thumbnail\/11.jpg\" "\\"11.jpg\\"")
Fig. 10<\/a><\/span>. Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span>![](\"https:\/\/www.tasveergharindia.net\/uploads\/gallery\/121\/thumbnail\/12.jpg\" "\\"12.jpg\\"")
Fig. 11<\/a><\/span><\/p>\r\n\r\n![](\"https:\/\/www.tasveergharindia.net\/uploads\/gallery\/121\/thumbnail\/13.jpg\" "\\"13.jpg\\"")
Fig. 12<\/a><\/span>M. Ramalingam (1933-1993)<\/strong>
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\r\nM. Ramalingam is known for his significant contributions to calendar art, particularly in the realm of calendar design. He was introduced to this art form by his guru, who guided and mentored him in his early days (Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span>
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\r\nIn the beginning, his work often featured stories of Muruga Puranas and local regional gods such as Meenakshi (Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span>
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\r\nIn the second decade of his career, Ramalingam’s focus shifted towards themes like Krishna, Diwali puja, Vinayagar (Lord Ganesha), and Baby Krishna. This change in subject matter showcased his versatility as an artist as well as shifting interests.<\/p>\r\n\r\n![](\"https:\/\/www.tasveergharindia.net\/uploads\/gallery\/121\/thumbnail\/14.jpg\" "\\"14.jpg\\"")
Fig. 13<\/a><\/span>. Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span>![](\"https:\/\/www.tasveergharindia.net\/uploads\/gallery\/121\/thumbnail\/15.jpg\" "\\"15.jpg\\"")
Fig. 14<\/a><\/span>. Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span>![](\"https:\/\/www.tasveergharindia.net\/uploads\/gallery\/121\/thumbnail\/16.jpg\" "\\"16.jpg\\"")
Fig. 15<\/a><\/span><\/p>\r\n\r\n![](\"https:\/\/www.tasveergharindia.net\/uploads\/gallery\/121\/thumbnail\/17.jpg\" "\\"17.jpg\\"")
Fig. 16<\/a><\/span>T. S. Subbiah (1920-2006)<\/strong><\/span>
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\r\nT.S. Subbiah specialised in visually appealing designs, some inspired by scenes from dramas (Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span>
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\r\nSubbiah was involved in framing artwork and delivered orders placed by companies like Mettur Chemicals, ABT Parcels, MGM Lorry Services, and Madurai Mills. He was able to depict divine beings with love and compassion in their eyes (Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span>![](\"https:\/\/www.tasveergharindia.net\/uploads\/gallery\/121\/thumbnail\/18.jpg\" "\\"18.jpg\\"")
Fig. 17<\/a><\/span>. Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span>![](\"https:\/\/www.tasveergharindia.net\/uploads\/gallery\/121\/thumbnail\/19.jpg\" "\\"19.jpg\\"")
Fig. 18<\/a><\/span>. Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span>![](\"https:\/\/www.tasveergharindia.net\/uploads\/gallery\/121\/thumbnail\/20.jpg\" "\\"20.jpg\\"")
Fig. 19<\/a><\/span><\/p>\r\n\r\n![](\"https:\/\/www.tasveergharindia.net\/uploads\/gallery\/121\/thumbnail\/21.jpg\" "\\"21.jpg\\"")
Fig. 20<\/a><\/span>The Kovilpatti Style<\/strong><\/span>
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\r\nWhile the Ravi Varma style featured landscape backgrounds, the Kovilpatti artists also introduced architectural and stage set backgrounds inspired by drama scenes. They often painted their subjects as if they were actors on a stage or images in temples. The artists created new and innovative groupings of Hindu deities and often used the likenesses of movie stars, as, for example, Radha, at play with Krishna. Their depictions of Meenakshi, Murugan and Vinayakar were sweet and luminous. Their “portraits” of movie stars and politicians, most recreated from small photos or previous paintings, were threaded through the image world of the time, often with startling juxtapositions and reference to particular regional themes and events.<\/p>\r\n\r\n![](\"https:\/\/www.tasveergharindia.net\/uploads\/gallery\/121\/thumbnail\/22.jpg\" "\\"22.jpg\\"")
Fig. 21<\/a><\/span>. Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span>![](\"https:\/\/www.tasveergharindia.net\/uploads\/gallery\/121\/thumbnail\/23.jpg\" "\\"23.jpg\\"")
Fig. 22<\/a><\/span><\/p>\r\n\r\n![](\"https:\/\/www.tasveergharindia.net\/uploads\/gallery\/121\/thumbnail\/24.jpg\" "\\"24.jpg\\"")
Fig. 23<\/a><\/span>. Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span>![](\"https:\/\/www.tasveergharindia.net\/uploads\/gallery\/121\/thumbnail\/25.jpg\" "\\"25.jpg\\"")
Fig. 24<\/a><\/span><\/p>\r\n\r\n![](\"https:\/\/www.tasveergharindia.net\/uploads\/gallery\/121\/thumbnail\/07.jpg\" "\\"07.jpg\\"")
Fig. 25<\/a><\/span>It was probably no coincidence that Kovilpatti is only a short distance from Sivakasi. The efforts of the Nadar community transformed this matchbox and fireworks centre into India’s “Little Japan” (Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span>
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\r\nBy 1979, there were 350 photo-offset machines and more than 1,000 lithography and letterpress units in operation. The majority of the Kovilpatti artists’ paintings were printed in Sivakasi and the artists formed longstanding relationships with the big printing companies as well as the businesses that regularly selected their designs.
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\r\nIt is likely that M. Ramalinagam, perhaps the most active of the Kovilpatti artists, produced more than 1,400 paintings over 3 decades. T.S. Subbiah produced an estimated 1200 or more paintings, also over a period of 3 decades. Although there is no way of calculating exactly, it is likely that for both these artists’ paintings, over 135 million prints were produced as calendars, book covers, invitations and other formats during their lifetimes. With the output of the other Kovilpatti artists and retouched reprints the numbers are staggering.
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\r\nThe art of Kovilpatti can be primarily divided into two kinds: calendar art and framing pictures. Calendar art was printed by the big presses of Sivakasi, such as Orient Litho and Coronation Litho, among others. Framing pictures from 1960 onwards were produced by agencies such as Rajalakshmi press, Durga Palace and Kalaimagal. They were based in Madurai, however continued to rely on the printers of Sivakasi for the output. The processes followed for the two arts differed greatly. Calendar art was printed on art litho paper with a 4-colour offset printing. This process resulted in a print with a viable longevity of approximately one-year. However, the framing pictures were printed on thicker art paper with 6-colour printing and then varnished to extend the print’s life, usually lasting many decades.<\/p>\r\n\r\nFig. 26. Mid-20th c. Kovilpatti calendar image reused for a transport company\u2019s 2023 calendar.<\/h2>\">Fig. 26<\/a>).<\/p>\r\n\r\n
Fig. 26. Mid-20th c. Kovilpatti calendar image reused for a transport company\u2019s 2023 calendar.<\/h2>\">
![](\"https:\/\/www.tasveergharindia.net\/uploads\/gallery\/121\/thumbnail\/26.jpg\" "\\"26.jpg\\"")
Fig. 26<\/a><\/span>By the end of the 20th century, the demand for painted pictures for the print market began to fade. The printers had amassed a huge catalogue of originals and could have these reprinted, retouched, and manipulated photographically and digitally to meet the waning demand. The vestiges of the printing boom of the 20th century are still to be seen decorating traditional shops and businesses, in sacred places, and in some collections.
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\r\nKovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span>Fig. 27. M. Sreenivasan at work in his studio in Kovilpatti, 2009.<\/h2>\">
![](\"https:\/\/www.tasveergharindia.net\/uploads\/gallery\/121\/thumbnail\/27.jpg\" "\\"27.jpg\\"")
Fig. 27<\/a><\/span>The last surviving member of the original generation of Kovilpatti artists, M. Sreenivasan, is still painting into the 21st century, although there appeared to be little demand for his work (Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span>Fig. 27. M. Sreenivasan at work in his studio in Kovilpatti, 2009.<\/h2>\">Fig. 27<\/a>). When I visited him in 2009, he was working in his studio, still creating paintings for an unknown market.
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\r\nInspired by their ancestors, some members of the second generation of Kovilpatti artists are involved in contemporary painting, design, and graphic arts in a digital world. What is hopeful for the ongoing preservation of this art tradition, is the research, collection and documentary work now being done by descendants of the Kovilpatti group. In particular, R. Jayakumar, son of M. Ramalingam, has guided an exhibition and research centre in Chennai, named Chithiraalayam, after the name of his father’s studio in Kovilpatti (Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span>Fig. 31. Relatives and supporters of the Kovilpatti group at Chithiraalayam art gallery, November 2024.<\/h2>\">Fig. 31<\/a>).<\/p>\r\n\r\n
Fig 28. L to R: K. Muthusamy, M. Ramalingam, Stephen Inglis, Erica Claus, Kovilpatti, Tamilnadu, 1980.<\/h2>\">
![](\"https:\/\/www.tasveergharindia.net\/uploads\/gallery\/121\/thumbnail\/28.jpg\" "\\"28.jpg\\"")
Fig. 28<\/a><\/span>As curator of the Kovilpatti exhibition, I am endebted to Jayakumar Ramalingam and S. Mareswaran for collecting and caring for their fathers’ work from Kovilpatti, which this exhibition draws upon and celebrates. They have made their collections and vast knowledge available for the exhibition. I also appreciate the work of Anitha Pottamkulam, Gita Hudson and many other specialists at Dakshinachitra. Many decades ago, Dr. Deborah Thiagarajan, the founder of Dakshinachitra, opened the door to a serious consideration of popular art. My special gratitude to the late K. Muthusamy Velar, who introduced me to the Kovilpatti artists in the 1980’s and to my wife Erica Claus, who made my research possible (Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span>Fig 28. L to R: K. Muthusamy, M. Ramalingam, Stephen Inglis, Erica Claus, Kovilpatti, Tamilnadu, 1980.<\/h2>\">Fig. 28<\/a>).
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\r\nAdditional material<\/strong><\/p>\r\n\r\nFig. 29. Clipping from the Indian Express, daily national newspaper, November 2023.<\/h2>\">
![](\"https:\/\/www.tasveergharindia.net\/uploads\/gallery\/121\/thumbnail\/29.jpg\" "\\"29.jpg\\"")
Fig. 29<\/a><\/span>. Kovilpatti: the Town that Papered India<\/h4>Stephen Inglis<\/span>Fig. 30. Invitation card for C. Kondiah Raju seminar and exhibition, Chithiraalayam art gallery, Chennai, November 2023.<\/h2>\">
![](\"https:\/\/www.tasveergharindia.net\/uploads\/gallery\/121\/thumbnail\/30.jpg\" "\\"30.jpg\\"")
Fig. 30<\/a><\/span><\/p>\r\n\r\nFig. 31. Relatives and supporters of the Kovilpatti group at Chithiraalayam art gallery, November 2024.<\/h2>\">
![](\"https:\/\/www.tasveergharindia.net\/uploads\/gallery\/121\/thumbnail\/31.jpg\" "\\"31.jpg\\"")
Fig. 31<\/a><\/span>. Kovilpatti: the Town that Papered India<\/h4>