{"AuthorName":"Sujithkumar Parayil","Description":"

Introduction<\/strong><\/a>
\r\nParumala Thirumeni, or Saint Gregorios of Parumala (1848-1902)<\/strong><\/a>
\r\nThe Process of Iconic Construction<\/strong><\/a>
\r\nAyyankali (1863-1941)<\/strong><\/a>
\r\nChattambi Swamikal (1853-1924)<\/strong><\/a>
\r\nPoyikayil Yohannan (1879-1939)<\/strong><\/a>
\r\nSree Narayana Guru (1855-1928)<\/strong><\/a>
\r\nFrom Photograph to Icon<\/strong><\/a>
\r\nSacred Icons, Divine Functions<\/strong><\/a>
\r\nIcons and Ideological Terrains<\/strong><\/a>
\r\nThe Aura of the ‘Sacred’ and the ‘Secular’<\/strong><\/a>
\r\nConclusion: Visuality and Invisible Histories<\/strong><\/a><\/p>\r\n\r\n

In his small shop in Kottayam (Kerala), Cheriyan is busy, mounting pictures of various iconic figures, including religious as well as reform leaders, which are printed at Sivakasi and Ernakulam and have a ready market [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.1: Cherian at his SM Photo Frame Works shop, Kottayam, November 2007. Photograph by author.<\/h2>\">Fig. 01<\/a> - Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig. 4: Other Side of SM Photo Frame Works, November 2007. Photograph by author.<\/h2>\">Fig. 04<\/a>]…and Cheriyan is busy.<\/em><\/p>\r\n\r\n

Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.1: Cherian at his SM Photo Frame Works shop, Kottayam, November 2007. Photograph by author.<\/h2>\">Fig. 01<\/a><\/span>               Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.2: Displayed images for sale at \u2018SM Photo Frame Works\u2019, Kottayam, November 2007. Photograph by author.<\/h2>\">Fig. 02<\/a><\/span><\/p>\r\n\r\n

Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.3: Another view of the ‘SM Photo Frame Works’ shop, November 2007. Photograph by author.<\/h2>\">Fig. 03<\/a><\/span>               <\/span>Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig. 4: Other Side of SM Photo Frame Works, November 2007. Photograph by author.<\/h2>\">Fig. 04<\/a><\/span><\/p>\r\n\r\n

This study documents and analyses contemporary practices of iconisation of social-religious reform leaders of Kerala of the late nineteenth and early twentieth centuries, to understand the visual vocabularies, forms, conventions and circulative meanings of a popular visual culture practices.<\/p>\r\n\r\n

I begin with a story:<\/p>\r\n\r\n

This is the story of how the famous photographer of the Travancore Palace, Zachariah D’cruz took the photograph of the Bishop H.H Parumala Mar Gregorios, popularly known as Parumala Thirumeni [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.5: Parumala Thirumeni. Photograph by Zachariah D’cruz (1902). Reproduced from Fr. Jacob Kurian (ed.) Parumala Smruthi (Parumala Memory), Malankara Saba Magazine, Kottayam, 2002.<\/h2>\">Fig. 05<\/a>].  He was ordered to do by the Dewan Peshkar Nagamayya in order to provide a specimen illustration of the “Puthenkoot Metropolitan” style of attire in his famous Travancore State Manual<\/em>. After several unsuccessful attempts, the Bishop one day agreed to have his photograph taken any time other than the morning and afternoon prayer times. The rest of the ‘story’ or ‘event’ has been narrated by the renowned artist K. M Varghese:<\/p>\r\n\r\n

…..It was already past 11’oclock. Zachariah D’cruz positioned the camera correctly in the churchyard and informed the bishop. Bishop Parumala wore his outer vestments and headscarf and stood before the curtain. D’cruz peered into the camera in preparation for the photograph. Despite making several adjustments with his lens, he was unable to get the right image of the bishop. The sunlight was fierce and harsh. Seeing D’cruz struggling without taking the picture, finally Bishop Parumala asked him what the matter was.<\/em><\/p>\r\n\r\n

“I feel very sad that I am not able to get a good photograph for a government record that has space for good pictures” said D’cruz. Bishop Parumala looked intently at D’cruz’s face and then immediately went into meditation standing with his face turned silently up towards the sun. He then raised his gold crucifix to the sky and reverently traced the holy cross. Wonders! Instantly a dark cloud appeared and shielded the blazing sun. The light was just right as perfect as, or even more so, than a studio light. D’cruz was totally shaken. The Bishop calmly directed D’cruz to swiftly take the picture. Swinging into action, D’cruz quickly adjusted the backdrop and his august model’s stance and proceeded to rapidly open and then shut his lens. In an instant, D’cruz saw that the sky had returned to what it was. No sign of change. The sun’s orb stood alone in the sky blazing as furiously as ever. There was no sign of the dark cloud. Nothing!  Where did it vanish? How did it go? It was all over in an instant… <\/em>(Karingattil 2002, 375-78*).<\/p>\r\n\r\n

Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.5: Parumala Thirumeni. Photograph by Zachariah D’cruz (1902). Reproduced from Fr. Jacob Kurian (ed.) Parumala Smruthi (Parumala Memory), Malankara Saba Magazine, Kottayam, 2002.<\/h2>\">Fig. 05<\/a><\/span>This story reveals how the new technology of photography—which apparently reproduces factual reality—was also caught up with the mysterious\/supernatural powers and veneration of a spiritual and religious leader of the Malankara Church. However, the primary intention here is not to analyse such adoration. Instead it is to examine the process of efficacies of iconographic construction and its circulation in the public domain of Kerala. The story narrated above together with the image taken by D’cruz itself constructs the aura of liminal\/divine power of that image. The image itself acquired an iconographic status for iconolatry, or image worship. In this process, the iconisation of the image, as well as the practice of iconolatry, modify the original photographic image.  In this modification, various visual technologies such as photography, painting and printing are appropriated, and their aesthetic sensibilities are integrated to create a radiant divine aura for the image of the religious and reform leaders. It is in this context that I have attempted to document and analyse the contemporary practices of iconisation of images of reform leaders such as Parumala Thirimeni, Ayyankali, Poyikayil Yohanan (Sree Kumara Guru Devan), Chattampi Swamikal, and Sree Narayana Guru. While documenting historical and contemporary photographs and other images of these reformists, I shall also explain the historically evolved process of male icon making.<\/p>\r\n\r\n

This study will also address the question of how publicly circulated images of male reform leaders have attained and produced different meanings—secular, religious and political—within the everyday practices of the Kerala society. I intend to show the changes in photographic representation when a man attains the status of guru\/saint. The images and their bodily positioning are analysed along with the problem of how the social reform project influenced the construction of such images.  Does the introduction of new technologies and images generate new ideas for reform?  Along with this question, we need to consider how new visual practices create new sorts of sacred spaces, as well as how images and the situated\/exhibited spaces they contain produce the religious and political ideologies of the present. To begin with, I briefly examine the sequences of ‘pictoriography’ of the iconographic construction of four socio-religious reform leaders: (1) Parumala Thirumeni (1848-1902), (2) Chattambi Swamikal (1853-1924), (3) Ayankali (1863-1941) and (4) Poykayil Sree Kumara Gurudevan (Poyakayil Yohannan,1879-1939). Later in this essay, I further contextualize the various images of (5) Sree Narayana Guru (1855-1928) created over the last half century, the spaces where they were circulated and the manner in which they generated meanings.<\/p>\r\n\r\n

*Karingattil, John Thomas, Fr. 2002. “Parumala Thirumeni Chithrakalayil (Parumala Thirumeni in the art of painting)”. In Jacob Kurian ed., Parumala Smruthi, 375-382. Kottayam: Malankara Sabha.<\/span><\/p>\r\n\r\n

 <\/p>\r\n\r\n

Parumala Thirumeni,
\r\nor Saint Gregorios of Parumala (1848-1902)<\/strong><\/p>\r\n\r\n

Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.6: Parumala Thirumeni at age 29 (photographer unknown). Reproduced fromFr.Jacob Kurian (ed.) Parumala Smruthi (Parumala Memory), Malankara Saba Magazine, Kottayam, 2002.<\/h2>\">Fig. 06<\/a><\/span>   Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.7: Parumala Thirumeni. Photograph taken by Zachariah D’cruz (1902). Reproduced from Fr. Jacob Kurian (ed.) Parumala Smruthi (Parumala Memory), Malankara Saba Magazine, Kottayam, 2002.<\/h2>\">Fig. 07<\/a><\/span>   <\/span>Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.8: Parumala Thirumeni. Photograph in Sepia colour tone. Reproduced from www.parumalachurch.com, August 2007.<\/h2>\">Fig. 08<\/a><\/span>   <\/span>Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.9: Parumala Thirumeni. Painting by K. M Varghese. Reproduced from Fr. Jacob Kurian (ed.) Parumala Smruthi (Parumala Memory), Malankara Saba Magazine, Kottayam, 2002.<\/h2>\">Fig. 09<\/a><\/span>   <\/span>Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.10: Parumala Thirumeni. Painting by Raja Ravi Varma, 1903. Reproduced from Fr. Jacob Kurian (ed.) Parumala Smruthi (Parumala Memory), Malankara Saba Magazine, Kottayam, 2002 (This painting is on display at Attamangalam Church, Kumarakom).<\/h2>\">Fig. 10<\/a><\/span><\/p>\r\n\r\n

Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

A modified version of Ravi Varma\u2019s Parumala Thirumeni (artist unknown). Reproduced from www.saintgregorios.org (Accessed on August 2007).<\/h2>\">Fig. 11<\/a><\/span>   <\/span>Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.12: Parumala Thirumeni, another painting in circulation. Reproduced from www.parumalathirumeni.com (Accessed on August 2007).<\/h2>\">Fig. 12<\/a><\/span>   <\/span>Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.13: Painted image of Parumala Thirumeni by Babu Chenganur (first printed by MGM Book House). Reproduced from Malayala Manorama 3rd November 2006.<\/h2>\">Fig. 13<\/a><\/span>   <\/span>Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.14: Painted version of Parumal Thirumeni from http:\/\/www.parumalachurch.com and www.parumalathirumeni.com (Accessed on August 2007).<\/h2>\">Fig. 14<\/a><\/span><\/p>\r\n\r\n

Saint Gregorios of Parumala is popularly known as ‘Parumala Thirumeni’<\/em><\/strong>. Metropolitan Gee Varghese Mar Gregorios of the Malankara Orthodox Church became the first declared saint from Malankara to be called ‘Parumala Thirumeni.’The sources of the discursively arranged photographs and pictures of Parumala Thirumeni on this page are varied, and have been collected primarily from books, news papers and the internet. These will illustrate the ways in which a process of iconisation of this “saint” has taken place. Only four photographs of Parumala Thirumeni survive today. They include the one which was shot when he was twentynine years old in which he appears in the priestly robes of his denomination [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.6: Parumala Thirumeni at age 29 (photographer unknown). Reproduced fromFr.Jacob Kurian (ed.) Parumala Smruthi (Parumala Memory), Malankara Saba Magazine, Kottayam, 2002.<\/h2>\">Fig. 06<\/a>]. The second and third are group photographs but they are not in circulation. The fourth one [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.7: Parumala Thirumeni. Photograph taken by Zachariah D’cruz (1902). Reproduced from Fr. Jacob Kurian (ed.) Parumala Smruthi (Parumala Memory), Malankara Saba Magazine, Kottayam, 2002.<\/h2>\">Fig. 07<\/a>], taken by D’cruz, is more prominent, and different adaptations of this photograph widely circulate even today. Photographs and paintings of Parumala Thirumeni’s samadhi<\/em> or kabaradakka<\/em> (burial) are in circulation and are used as object of veneration [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.17: Reproduction of the original samadhi photograph of Parumala Thirumeni, from Catholicatinte Nidhi (Biography and Study of H.H Baselius Gheevargheese), Baselius Research Centre, Vakathanam, 2005.<\/h2>\">Fig. 17<\/a> - Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.20: Parumala Thirumeni in another samadhi painting. Reproduced from Fr. Jacob Kurian (ed.) Parumala Smruthi (Parumala Memory), Malankara Saba Magazine, Kottayam, 2002.<\/h2>\">Fig. 20<\/a>]<\/p>\r\n\r\n

In the collation of photographs and paintings shown on this page, the black &white as well as sepia tone photographs are based on the photo taken by D’cruz [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.6: Parumala Thirumeni at age 29 (photographer unknown). Reproduced fromFr.Jacob Kurian (ed.) Parumala Smruthi (Parumala Memory), Malankara Saba Magazine, Kottayam, 2002.<\/h2>\">Fig. 06<\/a> - Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.8: Parumala Thirumeni. Photograph in Sepia colour tone. Reproduced from www.parumalachurch.com, August 2007.<\/h2>\">Fig. 08<\/a>]. The rest of the series are painted amendments of the same photograph taken by D’cruz. It was the famous artists K. M Varghese (1888-1962) and Raja Ravi Varma (1848-1906) who first used D’Cruz’s photograph to produce the painted and coloured image of the saint [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.9: Parumala Thirumeni. Painting by K. M Varghese. Reproduced from Fr. Jacob Kurian (ed.) Parumala Smruthi (Parumala Memory), Malankara Saba Magazine, Kottayam, 2002.<\/h2>\">Fig. 09<\/a> - Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.10: Parumala Thirumeni. Painting by Raja Ravi Varma, 1903. Reproduced from Fr. Jacob Kurian (ed.) Parumala Smruthi (Parumala Memory), Malankara Saba Magazine, Kottayam, 2002 (This painting is on display at Attamangalam Church, Kumarakom).<\/h2>\">Fig. 10<\/a>]. It could be observed that there was not much change when artist K. M Varghese painted Parumala Thirumeni, except for the vibrant coloured visual effects of each object in the photographs [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.9: Parumala Thirumeni. Painting by K. M Varghese. Reproduced from Fr. Jacob Kurian (ed.) Parumala Smruthi (Parumala Memory), Malankara Saba Magazine, Kottayam, 2002.<\/h2>\">Fig. 09<\/a>].  From Ravi Varma’s painting onwards [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.9: Parumala Thirumeni. Painting by K. M Varghese. Reproduced from Fr. Jacob Kurian (ed.) Parumala Smruthi (Parumala Memory), Malankara Saba Magazine, Kottayam, 2002.<\/h2>\">Fig. 09<\/a>], a slight but distinguishable change occurred in the visual vocabularies of the image where a radiant and shimmer light appear in the background of the image that further illuminated and projected the holiness of Thirumeni [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

A modified version of Ravi Varma\u2019s Parumala Thirumeni (artist unknown). Reproduced from www.saintgregorios.org (Accessed on August 2007).<\/h2>\">Fig. 11<\/a>]. When he started painting the portrait of Thirumeni by using the photograph as model and completed one picture, Ravi Varma was not satisfied with the result and began to paint another one. The artist recalled later that after completing the picture he also felt that Thirumeni had the extraordinary magnificence of a holy man (Karingattil 2002, 378). Ravi Varma could successfully insert supernatural and religious elements radiating power into the painting, providing a different aesthetic dimension to the image. Considering the dimension of reality of the image, one can argue that the particular discourses and the social imaginary that it produced attributed meanings to such constructions.<\/p>\r\n\r\n

At present, this particular Ravi Varma picture of Thirumeni is in circulation, and has also been was further retouched to evoke maximum pleasing nature, lustrous and benevolence [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

A modified version of Ravi Varma\u2019s Parumala Thirumeni (artist unknown). Reproduced from www.saintgregorios.org (Accessed on August 2007).<\/h2>\">Fig. 11<\/a> - Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.12: Parumala Thirumeni, another painting in circulation. Reproduced from www.parumalathirumeni.com (Accessed on August 2007).<\/h2>\">Fig. 12<\/a>]. After K. M Varghese and Ravi Varma, there were many others who have produced images of Thirumeni, but all of them tend to be emulations of Ravi Varma’s effort. However, these publicly circulated painted images have been replete with more illuminated signs of divinity. The range of images given here will show this transition among which, the last two images which attain the zenith of the pictorial iconiastion of Thirumeni, were drawn by Babu Chenganur, the artist who studied at Ravi Varma Fine Arts College, Mavelikkara [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.13: Painted image of Parumala Thirumeni by Babu Chenganur (first printed by MGM Book House). Reproduced from Malayala Manorama 3rd November 2006.<\/h2>\">Fig. 13<\/a> & Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.14: Painted version of Parumal Thirumeni from http:\/\/www.parumalachurch.com and www.parumalathirumeni.com (Accessed on August 2007).<\/h2>\">Fig. 14<\/a>]. Babu Chenganur pictured Thirumeni’s image against a background of clouds to add a further sheen to the facial expression and graceful aura. Babu Chenganur knew that “even though Thirumeni had a dark complexion, in the minds of the mass his face is replete with the glowing whitish” (Karingattil 2002, 379-80). According to K. K Philip, another artist who has painted a number of Thirumeni’s pictures, “dark-skin (mixed complexion), lean body, commanding eyes, devout lips have been given to the picture which I have drawn” (Karingattil 2002, 380). Still, all these artists’ images had their origin in the photographic model that was captured by D’Cruz in 1902. In this context, it can be said that it is through a careful juxtaposition of real and imaginary ideas that the ideal icon of this religious leader has been created. This ideal icon is constituted by combining certain notions such as the representation of the real body and symbolic objects (such as the rod of the Bishop which has symbolic power (amshavadi<\/em>), the religious attire of the sect, and the crucifix), with the illusory and imaginative ideas of tranquility, devoutness, holiness, and blissful facial expressions with a sparkling and shining halo as well as the posture of blessing. A close reading of such icons show their interesting movement across a spectrum following certain hierarchical notions.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

The Process of Iconic Construction<\/strong><\/p>\r\n\r\n

Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.15: A Thanksgiving advertisement in which St. Judas and Mother Mary are reproduced as photo images. Reproduced from Malayala Manorama, 15th September 2007, Kottayam Edition.<\/h2>\">Fig. 15<\/a><\/span>     Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.16: Extracted from a 2006-calendar in which leaders of Malankara Church are displayed.<\/h2>\">Fig. 16<\/a><\/span><\/p>\r\n\r\n

In Christianity, the practice of iconolatry is more prevalent where the icon making often begins with the symbolic representation of Jesus Christ, Mother Mary and the different apostles of Christ [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.15: A Thanksgiving advertisement in which St. Judas and Mother Mary are reproduced as photo images. Reproduced from Malayala Manorama, 15th September 2007, Kottayam Edition.<\/h2>\">Fig. 15<\/a>]. There is a tradition and hierarchy in the iconographic representation of Christian religious leaders in modern Kerala. One can extend this point into the iconographic representation of Hindu religious and reform leaders as well, which is discussed in the latter part of this essay. [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.16: Extracted from a 2006-calendar in which leaders of Malankara Church are displayed.<\/h2>\">Fig. 16<\/a>] indicates a hierarchical order in which Parumala Thirumeni is in third place. In this calendar art composite of the different saints of the Malanakara Syrian Church, Holy Mother Mary is accorded first place followed by St. Thomas and the holy Parumala Thirumeni. All known visual vocabularies and cherished imaginations are used here to construct the universal meanings of iconography. However, the spectator or viewer needs to be aware of the particular discursive cultural context of the image to experience the iconic value of these images. In other words, an active or a subjective visual experience is needed to perceive the diffused sign value of any iconic image. This habituated experience (both cultural and visual) might have varied according to the inner inclinations of the person who is seeing this image\/icon. Therefore, the iconic value of the image and its cultural effects depends on the person who is seeing it as well.<\/p>\r\n\r\n

Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.17: Reproduction of the original samadhi photograph of Parumala Thirumeni, from Catholicatinte Nidhi (Biography and Study of H.H Baselius Gheevargheese), Baselius Research Centre, Vakathanam, 2005.<\/h2>\">Fig. 17<\/a><\/span>   Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.18: Samadhi of Parumala Thirumeni. Photograph in colour tone. Reproduced from www.icbs.com\/prayer\/Parumala\/Default.htm (Accessed on October 2007)<\/h2>\">Fig. 18<\/a><\/span>   Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.19: Samadhi of Parumala Thirumeni, painting. Reproduced from www.icbs.com\/prayer\/Parumala\/Default.htm (Accessed on October 2007).<\/h2>\">Fig. 19<\/a><\/span>   Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.20: Parumala Thirumeni in another samadhi painting. Reproduced from Fr. Jacob Kurian (ed.) Parumala Smruthi (Parumala Memory), Malankara Saba Magazine, Kottayam, 2002.<\/h2>\">Fig. 20<\/a><\/span><\/p>\r\n\r\n

This can be further illustrated with Parumala Thirumeni’s samadhi photographs and pictures. [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.17: Reproduction of the original samadhi photograph of Parumala Thirumeni, from Catholicatinte Nidhi (Biography and Study of H.H Baselius Gheevargheese), Baselius Research Centre, Vakathanam, 2005.<\/h2>\">Fig. 17<\/a> - Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.20: Parumala Thirumeni in another samadhi painting. Reproduced from Fr. Jacob Kurian (ed.) Parumala Smruthi (Parumala Memory), Malankara Saba Magazine, Kottayam, 2002.<\/h2>\">Fig. 20<\/a>] show samadhi<\/em> posture images of Thirumeni (1902) and its extractions and transitions, or the pictorial process of icon making.[Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.17: Reproduction of the original samadhi photograph of Parumala Thirumeni, from Catholicatinte Nidhi (Biography and Study of H.H Baselius Gheevargheese), Baselius Research Centre, Vakathanam, 2005.<\/h2>\">Fig. 17<\/a>]displayed here is the reproduction of an original photograph. Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.18: Samadhi of Parumala Thirumeni. Photograph in colour tone. Reproduced from www.icbs.com\/prayer\/Parumala\/Default.htm (Accessed on October 2007)<\/h2>\">Fig. 18<\/a> is the cropped and coloured image of the same photo\/event. While looking at the other two images [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.19: Samadhi of Parumala Thirumeni, painting. Reproduced from www.icbs.com\/prayer\/Parumala\/Default.htm (Accessed on October 2007).<\/h2>\">Fig. 19<\/a> - Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.20: Parumala Thirumeni in another samadhi painting. Reproduced from Fr. Jacob Kurian (ed.) Parumala Smruthi (Parumala Memory), Malankara Saba Magazine, Kottayam, 2002.<\/h2>\">Fig. 20<\/a>], we can get a clear idea about what is visually excluded as well as newly incorporated into the picture.  All other characters and background figures are eliminated from the last two images, and new signs such as the shadow of a church with a cross as well as an aura are affixed. These acts of exclusion and inclusion on the surface of the picture are actually deviating the image from its original moment. At the same time, the newly constructed image and interconnected signs are able to trigger multiple conscious and unconscious meanings for the viewer.  This conscious or unconscious inducement might emerge either from cultural habit, the momentum of visual experience, or from a subjective religious and spiritual mentality. Again, the viewer’s mental landscape is a crucial element in constructing the iconic value of any image. <\/p>\r\n\r\n

To elaborate this, I shall extract the visual experiences of an observer who has seen a painted version of Tirumeni’s samadhi<\/em> [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.20: Parumala Thirumeni in another samadhi painting. Reproduced from Fr. Jacob Kurian (ed.) Parumala Smruthi (Parumala Memory), Malankara Saba Magazine, Kottayam, 2002.<\/h2>\">Fig. 20<\/a>]:<\/p>\r\n\r\n

“There is nothing wrong in that we are familiar with the picture of Thirumeni in his prime youth.  When we go beyond the photograph we could meditate on the holiness that Thirumeni’s body radiates even when it is laid in state. I have seen the portrait in the Aramana at Devalokam (Bishop House). But now, I am able to recall and meditate on it. What is enchanting to me more than the liveliness of the picture created by the dexterity of the painter is the peacefulness visible on the face of the skeleton-like remains of corpse the presence of God on him that Thirumeni left behind when he passed away. I am unable to capture in words, the spiritual merriment that I have experienced on numerous occasions when I stood in front of the portrait in meditation. It is a unique moment of fulfillment of union of worshiper and worshipped that became tangible to us when we fix our eyes on that portrait. I felt nearer to the heavenly experience in front of that portrait. There are no other moments in which I was jealous of Parumala Thirumeni” <\/em>(Babupaul, quoted Karingattil 2002, 382*).<\/em><\/p>\r\n\r\n

Photographs taken by D’cruz formed the template on which many other artists innovated and ‘reformed’ the icons of the Thirumeni. These reformed iconic images are used in different domains like church, houses and public places for the practice of worship where “he shines in the cloud of witnesses as a bright luminary giving rays of hope to millions in their sufferings and struggles.”<\/em><\/p>\r\n\r\n

 <\/p>\r\n\r\n

Ayyankali (1863-1941)<\/strong><\/p>\r\n\r\n

Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.21: Ayyankali’s portrait. Printed photograph. Publication details are not available.<\/h2>\">Fig. 21<\/a><\/span>          Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.22: Ayyankali in calendar art. Kottayam, 2007. Photograph by author<\/h2>\">Fig. 22<\/a><\/span>          <\/span>Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.23: A painted image of Ayyankali in billboard of Akhila Kerala Cheramar Hindu Mahasabha, Kottayam, 2007. Photograph by author.<\/h2>\">Fig. 23<\/a><\/span><\/p>\r\n\r\n

Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.24: Poster image of Ayyankali (A3 size), Kannur, 2007.<\/h2>\">Fig. 24<\/a><\/span>          <\/span>Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.25: Ayyankali’s picture displayed in poster of Akhila Kerala Cheramar Hindu Mahasabha.Kottayam, 2007. Photograph by author.<\/h2>\">Fig. 25<\/a><\/span><\/p>\r\n\r\n

It is against this background that I would like to further illustrate the process of iconic meaning-making around images of other male social reform leaders whose personalities were deified in the subsequent decades. Let us look at the currently circulated images of Ayyankali, the most important Dalit leader of twentieth century Kerala. These mark the sudden transformation of his image in accordance with the images of social reformers who came to occupy the status of gurus [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.21: Ayyankali’s portrait. Printed photograph. Publication details are not available.<\/h2>\">Fig. 21<\/a> - Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.25: Ayyankali’s picture displayed in poster of Akhila Kerala Cheramar Hindu Mahasabha.Kottayam, 2007. Photograph by author.<\/h2>\">Fig. 25<\/a>]. The installation of his statue in Trivandrum and the mass production of his calendar portrait [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.22: Ayyankali in calendar art. Kottayam, 2007. Photograph by author<\/h2>\">Fig. 22<\/a> and Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.24: Poster image of Ayyankali (A3 size), Kannur, 2007.<\/h2>\">Fig. 24<\/a>] can be associated with a substantial change in the popular perception of his image. His poster portrait shows a halo around his head [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.24: Poster image of Ayyankali (A3 size), Kannur, 2007.<\/h2>\">Fig. 24<\/a>]. In many wayside memorial plaques as well, we notice corresponding changes [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.23: A painted image of Ayyankali in billboard of Akhila Kerala Cheramar Hindu Mahasabha, Kottayam, 2007. Photograph by author.<\/h2>\">Fig. 23<\/a>]. Ayyankali’s image articulates a personified symbolic power that he acquired in the social sphere. As a cultural image, it bears an iconic reference to history. In publicly circulated paintings, placards, and calendar art, Ayyankali’s image re-presents the aura of his personified power and splendour as well as the people’s perception of his charisma.<\/p>\r\n\r\n

But these visual images of Ayyankali also evolve out of the cultural practices of representing saintly personalities in Kerala. The most preferred term for such a personage is “guru,” following perhaps the example of Sree Narayana Guru (who I write about a little later). In some printed notices and small time publications, Ayyankali is currently referred to as Ayyankali Gurudevan [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.25: Ayyankali’s picture displayed in poster of Akhila Kerala Cheramar Hindu Mahasabha.Kottayam, 2007. Photograph by author.<\/h2>\">Fig. 25<\/a>]. Along with this, we find usages such as “Sree Srimad Ayyankali.” Those who use such terms make use of already circulating notions of the greatness of specific historical personalities. Along with this, we observe the tendency to mythologise the biography of an individual, leading to the production of hagiographies. It is significant to note here that the process of visual iconisation follows a visual continuum or a set of visual idioms to construe divinity for a historical personality that is also part of the popular visual culture. It is in this context that it is important to show that a Dalit leader achieves this kind of divine status in popular visual culture.<\/p>\r\n\r\n

Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.26. Chattambi Swamikal. Photograph. Reproduced from Mathrubhumi Archive, Calicut, Janaury 2008.<\/h2>\">Fig. 26<\/a><\/span>   Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.27: Chattambi Swamikal. Painting by unknown artist. Reproduced from Sri Chattambi Swamikal Shadabta Smaraka Grandham,1955.<\/h2>\">Fig. 27<\/a><\/span>   <\/span>Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.28: Chattambi Swamikal Maha Samadhiyil. Photograph by Vidwan Kurisserry Narayana Pillai. Reproduced from Sri Chattambi Swamikal Shadabta Smaraka Grandham, 1955.<\/h2>\">Fig. 28<\/a><\/span><\/p>\r\n\r\n

Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.29: Chattambi Swamikal. Painting displayed in Krishnan Nair Studio, Ernakulam, 2004.<\/h2>\">Fig. 29<\/a><\/span>   <\/span>Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.30: A painted image of Chattambi Swamikal. Reproduced from www.kottayamtemples.com (Accessed on December 2007).<\/h2>\">Fig. 30<\/a><\/span>   <\/span>Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.31: A painted image of Chattambi Swamikal. Mathrubhumi Archive, Calicut, January 2008.<\/h2>\">Fig. 31<\/a><\/span>   <\/span>Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.32: Chattambi Swamikal as a deity for worship. Photograph. Mathrubhumi Archive, Calicut, January 2008.<\/h2>\">Fig. 32<\/a><\/span><\/p>\r\n\r\n

Kunhan Pilla Chattambi, who later came to be known as Chattambi Swamikal, was a contemporary of Narayana Guru. Unlike Narayana Guru, however, he did not establish any institution but played an explicitly provocative role in challenging the caste hierarchy and associated practices such as untouchability and caste pollution. He supported his activism through practices such as mishrabojanam<\/em>(inter-dining with members of other castes), with scholarly writings of a philosophical nature often dealing with linguistic history and developing a critique of caste. He attained a personified charisma as a spiritual saint during his lifetime. Different contemporary photographs, sketches and paintings signify this spiritual power as a sign of his charisma [see Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.26. Chattambi Swamikal. Photograph. Reproduced from Mathrubhumi Archive, Calicut, Janaury 2008.<\/h2>\">Fig. 26<\/a> - <\/strong>Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.32: Chattambi Swamikal as a deity for worship. Photograph. Mathrubhumi Archive, Calicut, January 2008.<\/h2>\">Fig. 32<\/a>]. This value is constructed through an objectification of the individuality of the Chattambi Swamikal within the network of social relations. In this discursive representation, Chattambi Swamikal also attains iconic divinity like other religious and reform leaders who I have discussed earlier.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

Poyikayil Yohannan (1879-1939)<\/strong><\/p>\r\n\r\n

Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.33: Poykayil Yohannan. Photograph, date and photographer unknown, Reproduced from Rejikumar K.T, Sree Kumara Gura: Oru Charithra Roopa Rekhayil (Sree Kumara Guru: In a Historical Document). Sahodharan Publication, Vaakathanam, 2004.<\/h2>\">Fig. 33<\/a><\/span>   Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.34: Poykayil Yohannan. Photograph, date and photographer unknown. Reproduced from Rejikumar K.T, Sree Kumara Gura: Oru Charithra Roopa Rekhayil (Sree Kumara Guru: In a Historical Document). Sahodharan Publication, Vaakathanam, 2004.<\/h2>\">Fig. 34<\/a><\/span>   <\/span>Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.35: Poykayil Yohannan. Sketch, date and artist unknown. Reproduced from Rejikumar K.T, Sree Kumara Gura: Oru Charithra Roopa Rekhayil (Sree Kumara Guru: In a Historical Document). Sahodharan Publication, Vaakathanam, 2004<\/h2>\">Fig. 35<\/a><\/span>   <\/span>Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.36: Poykayil Yohannan. Reproduced from Rejikumar K.T, Sree Kumara Gura: Oru Charithra Roopa Rekhayil (Sree Kumara Guru: In a Historical Document). Sahodharan Publication, Vaakathanam, 2004<\/h2>\">Fig. 36<\/a><\/span><\/p>\r\n\r\n

Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.37: Poykayil Yohannan. Painting. Reproduced from Adiyar Deepam: Sri Kumara Gurudeva Janmadina Supplement (Magazine), 1999.<\/h2>\">Fig. 37<\/a><\/span>   <\/span>Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.38: Poykayil Yohannan. Painting. Reproduced from Poykayil Sri Kumara Guru deva Geethakangal, 2000.<\/h2>\">Fig. 38<\/a><\/span>   <\/span>Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.39: Poykayil Yohannan. Painting. Reproduced from Adiyar Deepam: Sri Kumara Gurudeva Janmadina Supplement (Magazine), 2000.<\/h2>\">Fig. 39<\/a><\/span><\/p>\r\n\r\n

The case of Poikayil Yohannan is revealing, as it initiates a particular kind of discourse that over a period of time constructed his image as Sree Kumara Gurudevan derived from his childhood pet name as Komaran\/Kumarran [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.33: Poykayil Yohannan. Photograph, date and photographer unknown, Reproduced from Rejikumar K.T, Sree Kumara Gura: Oru Charithra Roopa Rekhayil (Sree Kumara Guru: In a Historical Document). Sahodharan Publication, Vaakathanam, 2004.<\/h2>\">Fig. 33<\/a> - Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.39: Poykayil Yohannan. Painting. Reproduced from Adiyar Deepam: Sri Kumara Gurudeva Janmadina Supplement (Magazine), 2000.<\/h2>\">Fig. 39<\/a>]. To his followers today, he is not Poyikayil Yohannan, but Poyikayil Sree Kumara Guru Devan following the practice of investing leaders of social reform movements with the power of the guru, as noted earlier. His real life as Yohanann is erased and a new icon is constructed through the imaginative practice of retelling the biography of Yohannan attributing divinity to him. As a result of this process, biographies in circulation today are hagiographies. He was born in the Paraya community, but because of the prevalence of caste practices in Christianity, he had to leave various Church denominations and became the founder of Prathyaksha Raksha Daiva Sabha in 1909-10. As the leader of the movement as well as a member of the Travancore Popular Assembly, Sree Mulam Praja Sabha, and before that, as an itinerant preacher who worked alongside native and British missionaries, he was once represented in the modern attire [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.36: Poykayil Yohannan. Reproduced from Rejikumar K.T, Sree Kumara Gura: Oru Charithra Roopa Rekhayil (Sree Kumara Guru: In a Historical Document). Sahodharan Publication, Vaakathanam, 2004<\/h2>\">Fig. 36<\/a>]. But once he had attained divine status, there is a visible change in his pictorial representation with the addition of a halo around his head, and his right hand positioned in the gesture of blessing the devotees [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.37: Poykayil Yohannan. Painting. Reproduced from Adiyar Deepam: Sri Kumara Gurudeva Janmadina Supplement (Magazine), 1999.<\/h2>\">Fig. 37<\/a>- Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.39: Poykayil Yohannan. Painting. Reproduced from Adiyar Deepam: Sri Kumara Gurudeva Janmadina Supplement (Magazine), 2000.<\/h2>\">Fig. 39<\/a>]. His facial expressions and body postures begin to resemble those of other saintly figures. The everyday circulation of such pictures and the ideas generated through the continuous inculcation of them drive home the divinity of Sree Kumara Gurudevan.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

Sree Narayana Guru (1855-1928)<\/strong><\/p>\r\n\r\n

Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.40: Photographs of Sree Narayana Guru. Reproduced from Sree Narayana Album, (photograph details not available), Shivagiri Maddam, Varkala, 1954.<\/h2>\">Fig. 40<\/a><\/span>   Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.41: Photographs of Sree Narayana Guru. Reproduced from Sree Narayana Album, (photograph details not available), Shivagiri Maddam, Varkala, 1954.<\/h2>\">Fig. 41<\/a><\/span>   <\/span>Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.42: Photographs of Sree Narayana Guru. Reproduced from Sree Narayana Album, (photograph details not available), Shivagiri Maddam, Varkala, 1954.<\/h2>\">Fig. 42<\/a><\/span><\/p>\r\n\r\n

Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.43: Sree Narayana Guru. Photograph. Reproduced from Swami Subamganantha (et al), Sree Narayana Gurudeva Bhakavatam. Surabhi Publications, Changanassery, 2005.<\/h2>\">Fig. 43<\/a><\/span>   <\/span>Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.44: Sree Narayana Guru. Photograph. Reproduced from Swami Subamganantha (et al), Sree Narayana Gurudeva Bhakavatam. Surabhi Publications, Changanassery, 2005.<\/h2>\">Fig. 44<\/a><\/span>   <\/span>Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.45: Sree Narayana Gurus Photograph. Reproduced from K.N Shaji, Narayana Guru: Jeevitham, Krithikal, Dharshanam (Narayana Guru: Life, Works, Philosophy), Current Books, Kottayam, 1995.<\/h2>\">Fig. 45<\/a><\/span><\/p>\r\n\r\n

Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.46: Photograph of Narayana Guru. Reproduced from Sree Narayana Album, (photograph details are not available), Shivagiri Maddam, Varkala, 1954.<\/h2>\">Fig. 46<\/a><\/span>   <\/span>Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.47: Photograph of Narayana Guru. Reproduced from Sree Narayana Album, (Photograph details not available), Shivagiri Maddam, Varkala, 1954.<\/h2>\">Fig. 47<\/a><\/span>   <\/span>Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.48: Photograph of Sree Narayana Guru. Reproduced from Swami Subamganantha (et al). Sree Narayana Gurudeva Bhakavatam. Surabhi Publications, Changanassery, 2005.<\/h2>\">Fig. 48<\/a><\/span>   <\/span>Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.49: Photograph of Sree Narayana Guru. Reproduced from Swami Subamganantha,(et al). Sree Narayana Gurudeva Bhakavatam. Surabhi Publications, Changanassery, 2005.<\/h2>\">Fig. 49<\/a><\/span><\/p>\r\n\r\n

Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.50: Sree Narayana Guru, Sree Narayana Album (Photograph details not available). Shivagiri Maddam, Varkala, 1954.<\/h2>\">Fig. 50<\/a><\/span>   <\/span>Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.51: Painted image of Sree Narayana Guru displayed in Sumons house, Kumarokam, near Kottayam, December 2007. Photograph by author<\/h2>\">Fig. 51<\/a><\/span>   <\/span>Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.52: A painting by Ponnan, displayed at SNDP Higher Secondary School, Kiliroor, Kottayam. Photograph by author, December 2007.<\/h2>\">Fig. 52<\/a><\/span><\/p>\r\n\r\n

Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.53: Framed painting of Narayana Guru displayed at SM Photo Frame Works shop, Kottayam, November 2007. Photograph by author.<\/h2>\">Fig. 53<\/a><\/span>   <\/span>Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.54: Framed painting of Narayana Guru displayed at SM Photo Frame Works shop, Kottayam. Photograph by author, November 2007.<\/h2>\">Fig. 54<\/a><\/span>   <\/span>Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.55: Framed painting of Narayana Guru displayed at SM Photo Frame Works shop, Kottayam. Photograph by author, November 2007.<\/h2>\">Fig. 55<\/a><\/span>   <\/span>Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.56: A calendar advertisement for Kunnathukulathil Jewellery in which Narayana Guru image is inserted, 2005.<\/h2>\">Fig. 56<\/a><\/span><\/p>\r\n\r\n

With the coming of camera it was possible to produce pictures of popular reform leaders in large quantities. Of these, images of Sree Narayana Guru are the single largest cache available today. The series of images given here display the different stages and moments of his life [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.40: Photographs of Sree Narayana Guru. Reproduced from Sree Narayana Album, (photograph details not available), Shivagiri Maddam, Varkala, 1954.<\/h2>\">Fig. 40<\/a> - Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.49: Photograph of Sree Narayana Guru. Reproduced from Swami Subamganantha,(et al). Sree Narayana Gurudeva Bhakavatam. Surabhi Publications, Changanassery, 2005.<\/h2>\">Fig. 49<\/a>]. Another set of serialized pictures also shows the evolution of the visual persona of a Guru [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.50: Sree Narayana Guru, Sree Narayana Album (Photograph details not available). Shivagiri Maddam, Varkala, 1954.<\/h2>\">Fig. 50<\/a> - Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.56: A calendar advertisement for Kunnathukulathil Jewellery in which Narayana Guru image is inserted, 2005.<\/h2>\">Fig. 56<\/a>]. It seems that the iconising elements begin to proliferate in the later pictures, whereas some of the earlier ones retain a measure of the 'thereness' or palpability of the object of photography [see Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.40: Photographs of Sree Narayana Guru. Reproduced from Sree Narayana Album, (photograph details not available), Shivagiri Maddam, Varkala, 1954.<\/h2>\">Fig. 40<\/a> - Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.49: Photograph of Sree Narayana Guru. Reproduced from Swami Subamganantha,(et al). Sree Narayana Gurudeva Bhakavatam. Surabhi Publications, Changanassery, 2005.<\/h2>\">Fig. 49<\/a>].<\/p>\r\n\r\n

In fact the later pictures show the seeping in of the iconizing elements in contrast to the earlier pictures of the Guru. The early photographs are so raw that they cannot, without retouching or painting, function as an icon. Iconisation is accomplished through the use oftechnologies of printing, and painting over the photographic image.<\/p>\r\n\r\n

It is in this context that I would like to consider some of the earlier photographs of Sree Narayana Guru and their contemporary pictorial representation.The iconography of the calendar and painted images of Sree Narayana Guru clearly had their genesis in photography. Here the Guru's image becomes an 'icon of history,' functioning as an index of a social movement.<\/p>\r\n\r\n

Using photographs, which in themselves have no iconic value, the images nevertheless acquire such value through the overlay of painted elements which are common to a whole series of photographs. Thus the halo around the head of popularly circulated images of the Guru suggests his divinity.<\/p>\r\n\r\n

Painted images of Narayana Guru supplement the physical presence of the photographed subject with painted ornamentation that met prevailing aesthetic tastes. In this process, it can be observed that a trend of replacing photographic backdrops with painted landscapes began. In this practice, the images were located within another atemporal space created by local artists. The original backgrounds were obliterated in these pictures, and subjects were transposed into a cherished imaginary space where Narayana Guru's image was qualified with several new features that include a saintly posture and look, ochre coloured robes, ritual paraphernalia such as the sacred spout, books, etc. [see Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.50: Sree Narayana Guru, Sree Narayana Album (Photograph details not available). Shivagiri Maddam, Varkala, 1954.<\/h2>\">Fig. 50<\/a>- Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.56: A calendar advertisement for Kunnathukulathil Jewellery in which Narayana Guru image is inserted, 2005.<\/h2>\">Fig. 56<\/a>].<\/p>\r\n\r\n

In the case of earlier images of Sree Narayan Guru [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.46: Photograph of Narayana Guru. Reproduced from Sree Narayana Album, (photograph details are not available), Shivagiri Maddam, Varkala, 1954.<\/h2>\">Fig. 46<\/a> - Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.49: Photograph of Sree Narayana Guru. Reproduced from Swami Subamganantha,(et al). Sree Narayana Gurudeva Bhakavatam. Surabhi Publications, Changanassery, 2005.<\/h2>\">Fig. 49<\/a>], although we occasionally find him wearing a ochre-colour dhoti on a few occasions, such as when he left for Ceylon, most other times he appears in white. It may be recalled that the ochre colour dhoti was presented to him by one of his
\r\ndisciples. It is noteworthy that he had advised his followers to use yellow dhoti coloured so by turmeric water on the occasion of Sivagiri pilgrimage. Calendar art must have helped cater to a variety of demands such as the display of the Guru in yellow dhoti. Today, for instance, followers of the Guru in SNDP (Sree Narayana Dharma Paripalana Yogam) use yellow colour flags and clothes as sign of their community (Ezhava) strength and unity.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

From Photograph to Icon<\/strong><\/p>\r\n\r\n

In other words, the body with its posture, halo and the overall look of the finished image facilitate its iconic function, and turns it into a sacred object\/deity for worship. The viewer then seeks a darshana<\/em> of the image, which in turn, has the power to return the look and fulfill the darshanic<\/em> function of ‘being seen.’ A close analysis of the different photographs of Sree Narayana Guru shows the progressive deification of his image. This is accomplished by various means. To begin with, this process has to be located in the images themselves, and in this case, in photographic space. The posture, body language and the facial expressions provide the basic ingredients for the new image. Along with these, one needs to consider the narratives and hagiographies that were in circulation among the followers of the movement and circulated at large in the wider society. In the process of the iconisation of Sree Narayana Guru, there were crucial elements such as the yogic posture, the trimmed body, the leopard skin spread out as his seat, serene facial expressions, and the radiating halo. In painted and calendar art, which brought together all these elements with the additional presence of books and the blazing halo, this iconisation reaches its zenith.<\/p>\r\n\r\n

Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.57: Photograph of Mishrabojanam (inter-dining). Reproduced from Sree Narayana Album (photograph details not available). Shivagiri Maddam, Varkala, 1954.<\/h2>\">Fig. 57<\/a><\/span>   Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.58: Narayana Guru and Chattambi Swamikal with other disciples at Prakulam, near Thotuvayal, 1924. Reproduced from a book titled Sri Chattambi Swamikal Shadabta Smaraka Grandham, 1955.<\/h2>\">Fig. 58<\/a><\/span>   <\/span>Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.59: Narayana Guru at all religions conference with a Buddhist monk. Reproduced from an old book, publication other details are not available.<\/h2>\">Fig. 59<\/a><\/span><\/p>\r\n\r\n

Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.60: A commemorative stamp of Narayana Guru issued by Government of India. Reproduced from an old book, publication other details are not available.<\/h2>\">Fig. 60<\/a><\/span>   <\/span>Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.61: Sree Narayana Guru with Gandhiji, from Swami Subamganantha (et al). Sree Narayana Gurudeva Bhakavatam. Surabhi Publications, Changanassery, 2005. See also www.snms.net\/photogallerymain.html<\/h2>\">Fig. 61<\/a><\/span>   <\/span>Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.61: Sree Narayana Guru with Gandhiji, from Swami Subamganantha (et al). Sree Narayana Gurudeva Bhakavatam. Surabhi Publications, Changanassery, 2005. See also www.snms.net\/photogallerymain.html<\/h2>\">Fig. 62<\/a><\/span><\/p>\r\n\r\n

Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.63: Photograph of Narayana Guru with Rabindranath Tagore. Reproduced from Swami Subamganantha (et al). Sree Narayana Gurudeva Bhakavatam. Surabhi Publications, Changanassery, 2005.<\/h2>\">Fig. 63<\/a><\/span>   <\/span>Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.64: Naryana Guru with Rabindranath Tagore. Reproduced from Swami Subamganantha (et al). Sree Narayana Gurudeva Bhakavatam. Surabhi Publications, Changanassery, 2005<\/h2>\">Fig. 64<\/a><\/span>   <\/span>Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.65: An artists imagination of Narayana Guru with Rabindranath Tagore, painting. Reproduced from Sree Narayana Album, (other details are not available), Shivagiri Maddam, Varkala, 1954.<\/h2>\">Fig. 65<\/a><\/span><\/p>\r\n\r\n

The pictorial reproduction of the photographs of Narayana Guru with national leaders such as Mahatma Gandhi and Rabindranath Tagore further elucidate this ‘greatness’ in their personified power [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.61: Sree Narayana Guru with Gandhiji, from Swami Subamganantha (et al). Sree Narayana Gurudeva Bhakavatam. Surabhi Publications, Changanassery, 2005. See also www.snms.net\/photogallerymain.html<\/h2>\">Fig. 62<\/a> and Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.65: An artists imagination of Narayana Guru with Rabindranath Tagore, painting. Reproduced from Sree Narayana Album, (other details are not available), Shivagiri Maddam, Varkala, 1954.<\/h2>\">Fig. 65<\/a>]. On the surface, the latter two pictures of actual events share certain common elements in representation. Both pictures tried to accommodate the nature of ‘greatness’ of these leaders (Gandhi, Tagore, Guru) without violating or imposing any personal hierarchy;  rather these pictures show an inclusion of mutual acceptance of each personality and their values [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.61: Sree Narayana Guru with Gandhiji, from Swami Subamganantha (et al). Sree Narayana Gurudeva Bhakavatam. Surabhi Publications, Changanassery, 2005. See also www.snms.net\/photogallerymain.html<\/h2>\">Fig. 62<\/a> <\/strong>-Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.65: An artists imagination of Narayana Guru with Rabindranath Tagore, painting. Reproduced from Sree Narayana Album, (other details are not available), Shivagiri Maddam, Varkala, 1954.<\/h2>\">Fig. 65<\/a>].<\/p>\r\n\r\n

It is equally important to observe that photographs and other images of major events of social movements and their leaders that were in circulation were used to spread their ideas and values, such as the claims for equality and respect [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.57: Photograph of Mishrabojanam (inter-dining). Reproduced from Sree Narayana Album (photograph details not available). Shivagiri Maddam, Varkala, 1954.<\/h2>\">Fig. 57<\/a> - Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.60: A commemorative stamp of Narayana Guru issued by Government of India. Reproduced from an old book, publication other details are not available.<\/h2>\">Fig. 60<\/a>]. Photographs create and circulate new ideas and practices such as misrabhojanam<\/em> (inter-dining) as important aspects of social change during the time of the reform movement [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.57: Photograph of Mishrabojanam (inter-dining). Reproduced from Sree Narayana Album (photograph details not available). Shivagiri Maddam, Varkala, 1954.<\/h2>\">Fig. 57<\/a>]. Such photographs were largely circulated in the print media to spread the ideas of movement and for mass social awakening. The photographs of inter-dining [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.57: Photograph of Mishrabojanam (inter-dining). Reproduced from Sree Narayana Album (photograph details not available). Shivagiri Maddam, Varkala, 1954.<\/h2>\">Fig. 57<\/a>], of Sree Narayana Guru with Chattampi Swamikal [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.58: Narayana Guru and Chattambi Swamikal with other disciples at Prakulam, near Thotuvayal, 1924. Reproduced from a book titled Sri Chattambi Swamikal Shadabta Smaraka Grandham, 1955.<\/h2>\">Fig. 58<\/a>], and Narayana Guru at All-Religions Conference with a Buddhist monk [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.59: Narayana Guru at all religions conference with a Buddhist monk. Reproduced from an old book, publication other details are not available.<\/h2>\">Fig. 59<\/a>], are important in this regard. They themselves became a social icon and qualitative sign in the public domain in their lifetime itself. In this regard, photography can be seen to play an important social role as visual depictions feeded these emerging ideas of new public life. In the contemporary scenario, as these social reformers are invoked by a variety of political and social movements claiming allegiance to them and the precepts and visions of life that they had articulated, these images set the canons that display their ‘greatness’.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

Sacred Icons, Divine Functions<\/strong><\/p>\r\n\r\n

Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.66: Calendar image of Ayyankali, displayed along with other deities in a house in a Dalit settlement near Kallara, Kottayam, October 2007. Photograph by author.<\/h2>\">Fig. 66<\/a><\/span>          Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.67: Poykayil Kumara Gurudevans image in a worship room, Janardhanans house Neelambara, Kottayam, 2007. Photograph by Sanalmohan<\/h2>\">Fig. 67<\/a><\/span><\/p>\r\n\r\n

Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.68: A small image of Narayana Guru in the pooja room of Irupathinalil Chira House, Kanjiram, Kottayam, November 2007. Photograph by author.<\/h2>\">Fig. 68<\/a><\/span>          <\/span>Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.69: Security officers room at SNV Sadnam Womens Hostel, Pullarikunne, Kottayam, November 2007. Photograph by author.<\/h2>\">Fig. 69<\/a><\/span><\/p>\r\n\r\n

Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig 70:Sree Narayana Gurus framed picture displayed in the veranda of a house at Kumarakom, Kottayam, October 2007. Photograph by author.<\/h2>\">Fig. 70<\/a><\/span>   Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig 71:Painted photo-image of Sree Narayana Guru placed next to a deitys image, Puttangheril house, Kanjiram, Kottayam, November 2007. Photograph by author.<\/h2>\">Fig. 71<\/a><\/span>   <\/span>Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig 72:Photographs displayed in Puttangheril house, Kanjiram, Kottayam. Inside the house another painted photograph of Narayana Guru is also visible, November 2007. Photograph by author.<\/h2>\">Fig. 72<\/a><\/span><\/p>\r\n\r\n

Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.73: Sree Narayana Guru. Framed painting displayed in the veranda wall of Irupathinalil Chira House, November 2007. Photograph by author.<\/h2>\">Fig. 73<\/a><\/span>   <\/span>Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.74: Sree Narayana Gurus painted and framed image displayed decorated in Pattankheril house, Kanjiram, Kottayam, November 2007. Photograph by author.<\/h2>\">Fig. 75<\/a><\/span>   <\/span>Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.75: Sree Narayana Guru, close-up view of Fig 74.<\/h2>\">Fig. 76<\/a><\/span><\/p>\r\n\r\n

The rest of this essay visually elucidates the many spheres in which these modified paintings and calendar art of the socio religious reform leader are circulated and produce multiple meanings. In contemporary Kerala society, these images have found a place in various private as well as public spaces.  For instance, these images traverse into the different spheres like homes and temples for religious worship. They are also displayed in public places as assertive symbols of political, secular and community identity.<\/p>\r\n\r\n

The assemblage of pictures on this page illustrate how some of these reform leaders’ images have acquired symbolic functions in family rituals [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.66: Calendar image of Ayyankali, displayed along with other deities in a house in a Dalit settlement near Kallara, Kottayam, October 2007. Photograph by author.<\/h2>\">Fig. 66<\/a> - Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.74: Sree Narayana Gurus painted and framed image displayed decorated in Pattankheril house, Kanjiram, Kottayam, November 2007. Photograph by author.<\/h2>\">Fig. 75<\/a>]. It is usual to find framed picture of ‘gurus’ placed alongside those of other gods as well as photographs of ancestors on the walls of homes, along with permanent illumination and other ornamentation such as garlands. Thus, the framed pictures of Ayyankali [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.66: Calendar image of Ayyankali, displayed along with other deities in a house in a Dalit settlement near Kallara, Kottayam, October 2007. Photograph by author.<\/h2>\">Fig. 66<\/a>], Poykayil Kumara Gurudevan [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.67: Poykayil Kumara Gurudevans image in a worship room, Janardhanans house Neelambara, Kottayam, 2007. Photograph by Sanalmohan<\/h2>\">Fig. 67<\/a>],<\/strong> and various images of Sree Narayana Guru are kept either inside the sacred (puja<\/em>) room, or hang on the veranda walls of homes. They are ritualised through placing them alongside the divine figures and other sacred objects such as nilavilak<\/em>e (lamps using for ritual functions) [see Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.68: A small image of Narayana Guru in the pooja room of Irupathinalil Chira House, Kanjiram, Kottayam, November 2007. Photograph by author.<\/h2>\">Fig. 68<\/a> - Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.74: Sree Narayana Gurus painted and framed image displayed decorated in Pattankheril house, Kanjiram, Kottayam, November 2007. Photograph by author.<\/h2>\">Fig. 75<\/a>]. The space itself becomes a sacred space where the historical image is transformed into a divine icon. It should be borne in mind that the icons of worship might vary according the caste and community identity of the family; occasionally, the display of the images in the home manifest the caste or community identity of its inhabitants. In this discourse of iconolatry, the ‘history’ that is invisibly subsumed within the inside space of these image fades, and they (iconic images) will appear as any other divine icon (god) for ritual worship. This phenomenon demands an analysis of how this ritualised icon functions in family spaces. It is believed that the ritualised image is observing and watching all activities of the family from its vantage point. This power of the ancestral gaze and the family member’s obedience to it, their spiritually oriented consciousness and the observance of the moral codes can be seen as iconolatry.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

Icons and Ideological Terrains<\/strong><\/p>\r\n\r\n

Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.76: Poster of BSP Samsthana Sahodarya Sammelanam Kerala (BSP-Kerala State Brotherhood Meet, Kottayam, December 2007. Photograph by author.<\/h2>\">Fig. 77<\/a><\/span>   Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.77: Billboard of BSP Samsthana Sahodarya Sammelanam Kerala (BSP-Kerala State Brotherhood Meet, Kottayam, December 2007. Photograph by author.<\/h2>\">Fig. 78<\/a><\/span>   Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.78: Poster of Dravida Varga Aikya Munnanis Conference (Dravida Caste United Front), December 2007. Photograph by author.<\/h2>\">Fig. 79<\/a><\/span><\/p>\r\n\r\n

Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.79: Painted images of socio-religious reform leaders, extracted from the billboard (Fig77) displayed in Kottayam, December 2007.<\/h2>\">Fig. 80<\/a><\/span><\/p>\r\n\r\n

As noted earlier, the reformed icons of the leaders have not only circulated as divine figures, but they are also used to assert religious and political claims and ideological contestation.  The portraits of reform leaders deployed in the billboards and posters of BSP [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.75: Sree Narayana Guru, close-up view of Fig 74.<\/h2>\">Fig. 76<\/a> & Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.76: Poster of BSP Samsthana Sahodarya Sammelanam Kerala (BSP-Kerala State Brotherhood Meet, Kottayam, December 2007. Photograph by author.<\/h2>\">Fig. 77<\/a>], and of the Dravida Caste [class] United Front (Dravida Varga Aikya Munnani-DCUF) [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.77: Billboard of BSP Samsthana Sahodarya Sammelanam Kerala (BSP-Kerala State Brotherhood Meet, Kottayam, December 2007. Photograph by author.<\/h2>\">Fig. 78<\/a>], highlights the categorical usage of such ideological strands. There is a marked segregation in the assortment of images presented by political and quasi-political community organisations. In the case of lower caste community movements and their political parties, the images on their posters and propaganda materials consist only of those reform leaders who worked among them. Images of others are absent. Communal\/political movements propagating upper caste\/class ideologies present, however, another spectrum of images. For instance. [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.75: Sree Narayana Guru, close-up view of Fig 74.<\/h2>\">Fig. 76<\/a> & Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.76: Poster of BSP Samsthana Sahodarya Sammelanam Kerala (BSP-Kerala State Brotherhood Meet, Kottayam, December 2007. Photograph by author.<\/h2>\">Fig. 77<\/a>] which show a poster and a billboard of the political party BSP [Bahujan Samaj Party], displays images of Ayyankali, Poykayil Yohannan, Periyar E.V. Ramaswami Naiker etc. All of these are popular socio-religious reformers of south India who campaigned for the equality and social uplift of lower caste people [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.78: Poster of Dravida Varga Aikya Munnanis Conference (Dravida Caste United Front), December 2007. Photograph by author.<\/h2>\">Fig. 79<\/a>]. What is striking in both is the absence of the equally known reformer such as Chattambi Swamikal. However, images of leaders like Dr.B.R.Ambedkar and such national leaders find their place instead of Vivekananda and Sreeramakrishna, two widely known national icons.  Another important feature of these icons chosen--which represent lower caste political ideology--is their conscious refrain from claiming\/invoking any mythical lineages of Guruparampara (lineage of gurus).<\/p>\r\n\r\n

Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.80: Billboard of 3rd Hindu Dharma Parikshat lecture series, displayed in Kottayam, November 2007. Photograph by author.<\/h2>\">Fig. 81<\/a><\/span>   Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.81: Homepage of the website of Hindumatha Maha Mandalam, http:\/\/www.hmmp.org\/ChattampiSwamikal.html (Accessed on November 2007).<\/h2>\">Fig. 82<\/a><\/span><\/p>\r\n\r\n

In stark contrast, [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.79: Painted images of socio-religious reform leaders, extracted from the billboard (Fig77) displayed in Kottayam, December 2007.<\/h2>\">Fig. 80<\/a>] shows a billboard erected as part of the propaganda of a Neo-Hindu organization, in which the pictures of the Gurus in Hindu pantheon are serially ordered to indicate the idea of a Gurupampara. <\/em>As the legend goes, Siva is the adiguru<\/em> in the Hindu pantheon who is incarnated as Dakshinamurthy for imparting the ultimate truth of salvation for the benefit of three assistants of Brahma the Creator. All the Gurus of the Hindu pantheon are identified as Siva’s (Dakshinamurty’s) subsequent incarnations of whom Sankara is accepted as the first. The billboard signifies such a lineage by serially ordering the Gurus of past and present who can be appropriated ideologically as part of a larger Advaitin<\/em> tradition. In the display, the order of lineage shown is: Siva, Adi Sankara, Sree Ramakrishna, Vivekananda, Chattambi Swamikal, Narayana Guru, Chinmayananda, Sawarkar, Golwarker, Saibaba of Puttaparthy, Mata Amrithananda Mayi and Sree Sree Ravisankar. When we look at the visual vocabulary of this serial iconisation, it can be noticed that all these representation shares a unique set of formal conventions when it comes to to the matter of gender. Most often, female gender differences are visually obliterated. When Mayawati or Mata Amrithananda Mayi are in the company of male leaders, it can be seen that the representation their femaleness is erased from the surface level of posters and billboards.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

The Aura of the ‘Sacred’ and the ‘Secular’<\/strong><\/p>\r\n\r\n

Now let us consider another of such order of gurus presented in the home page of the website belonging to the same ideological group [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.80: Billboard of 3rd Hindu Dharma Parikshat lecture series, displayed in Kottayam, November 2007. Photograph by author.<\/h2>\">Fig. 81<\/a>]. Though not placed in a hierarchical order, most of the Gurus portrayed in [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.79: Painted images of socio-religious reform leaders, extracted from the billboard (Fig77) displayed in Kottayam, December 2007.<\/h2>\">Fig. 80<\/a>] are displayed here.  An acceptable common factor among all the images used by these two organisations is that of Sree Narayana Guru. His in, in a way, the most commodified icon among all others. Principles of inclusion and exclusion would be meaningful only when the images are inserted in the specific ideological context. Further, in the current social context, the sign value of Sree Narayana Guru achieves circulation in multiple realms of commodification [see Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.81: Homepage of the website of Hindumatha Maha Mandalam, http:\/\/www.hmmp.org\/ChattampiSwamikal.html (Accessed on November 2007).<\/h2>\">Fig. 82<\/a> - Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.84: Billboard of Sree Narayana Employees Forum, State Leadership Camp, Kottayam, 2007. Photograph by author.<\/h2>\">Fig. 85<\/a>].<\/p>\r\n\r\n

Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig. 82: Sree Narayana Gurus pictures, inserted in a leaflet of shashtipurthi (60th birthday) celebration of Vellapalli Nadesan, September 2007.<\/h2>\">Fig. 83<\/a><\/span>   Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.83: Sree Narayana Gurus pictures, inserted in a leaflet of shashtipurthi (60th birthday) celebration of Vellapalli Nadesan (reverse of leaflet shown in Fig. 82) September 2007.<\/h2>\">Fig. 84<\/a><\/span><\/p>\r\n\r\n

Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.84: Billboard of Sree Narayana Employees Forum, State Leadership Camp, Kottayam, 2007. Photograph by author.<\/h2>\">Fig. 85<\/a><\/span>   Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.85: Poster of SNDP Yogam, announcing procession for spreading messages of Sree Narayana Guru, Kannur, 12th December 2007. Photograph by author.<\/h2>\">Fig. 86<\/a><\/span><\/p>\r\n\r\n

Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.86: Tea Shop (Hotel) where Sree Narayana Guru calendar image is displayed alongside images of various Gods, Irinave, Kannur, October 2007. Photographs by Vinoy and Nikhil.<\/h2>\">Fig. 87<\/a><\/span>   Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.87: Another view of image in Figure 86.<\/h2>\">Fig. 88<\/a><\/span><\/p>\r\n\r\n

Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.88: A restaurant near Chaganassery where Sree Narayana Gurus image (painted and framed) is placed alongside images of Jesus Christ and Lord Krishna, Kottayam, January 2007. Photograph by author.<\/h2>\">Fig. 89<\/a><\/span>   Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.89: Another view of image in Figure 88.<\/h2>\">Fig. 90<\/a><\/span><\/p>\r\n\r\n

 <\/p>\r\n\r\n

Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.90: Another wall in restaurant shown in Figures 88 and 89, January 2007, Photograph by author.<\/h2>\">Fig. 91<\/a><\/span><\/p>\r\n\r\n

Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.91: Inside view of a private bus where Sree Narayana Gurus painted image is displayed, Poothotta-Ernakulam Route, December 2007. Photograph by author.<\/h2>\">Fig. 92<\/a><\/span>   Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.92: Inside view of Bobby Bus, where another image of Sree Narayana Guru is displayed, Ettumannur-Kottayam route, July 2007. Photograph by author.<\/h2>\">Fig. 93<\/a><\/span>   Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.93: Inside view of a private bus (Tripunithura- Ernakulam route) where Sree Narayana Gurus painted image is displayed for public view, December 2007. Photograph by author.<\/h2>\">Fig. 94<\/a><\/span><\/p>\r\n\r\n

The group of images on this signifies other public spaces: restaurants and public eating places [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.85: Poster of SNDP Yogam, announcing procession for spreading messages of Sree Narayana Guru, Kannur, 12th December 2007. Photograph by author.<\/h2>\">Fig. 86<\/a> - Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.89: Another view of image in Figure 88.<\/h2>\">Fig. 90<\/a>] and private buses [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.90: Another wall in restaurant shown in Figures 88 and 89, January 2007, Photograph by author.<\/h2>\">Fig. 91<\/a> - Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.92: Inside view of Bobby Bus, where another image of Sree Narayana Guru is displayed, Ettumannur-Kottayam route, July 2007. Photograph by author.<\/h2>\">Fig. 93<\/a>]. In all of these sites, Sree Narayana Guru’s pictures are prominently displayed. What particular meaning does the insertion and display of his image intended to provide these public spaces? What kind of visibility does this image foreground when it is installed in these interactive spaces?<\/p>\r\n\r\n

In the eating places photographed here, Narayana Guru’s image finds place among other images of divinities of various religions [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.85: Poster of SNDP Yogam, announcing procession for spreading messages of Sree Narayana Guru, Kannur, 12th December 2007. Photograph by author.<\/h2>\">Fig. 86<\/a> - Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.89: Another view of image in Figure 88.<\/h2>\">Fig. 90<\/a>]. One may in a quick reading consider this as a religious space, or a space indicating the religiosity of the proprietor. However, the very presence of Narayana Guru’s image adds another dimension to the space. What enables the production of this public space here is Narayana Guru’s teaching, of which the most famous and general dictum is ‘One Caste, One Religion and One God for the Mankind’. In other words, for the spectator who is already informed of an ideal ‘image’ of Narayana Guru, this picture is another reminder of the popular perception of Guru, which is ‘secular’. The secular aspects of Naryana Guru’s image achieve maximum visibility when it is exhibited along with different religious icons as in the Figs.86-88, and this space is rendered harmonious. It is the same societal imaginary of Sree Narayana Guru that catalyses production of the public space in a bus, where a large image of Narayana Guru is displayed on the panel separating the driver’s cabin from the passenger’s space [Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.90: Another wall in restaurant shown in Figures 88 and 89, January 2007, Photograph by author.<\/h2>\">Fig. 91<\/a> - Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.92: Inside view of Bobby Bus, where another image of Sree Narayana Guru is displayed, Ettumannur-Kottayam route, July 2007. Photograph by author.<\/h2>\">Fig. 93<\/a>]. The icon of Narayana Guru is deployed here owing to its ability to enunciate the ‘publicness’ of such spaces. This fact is highlighted when we examine the private-sacred spaces that are found invariably associated with such public spaces. In the case of restaurants and tea stalls, such spaces are found in a prominent corner with images of gods, and  of worship [see Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.89: Another view of image in Figure 88.<\/h2>\">Fig. 90<\/a>]. In the bus similar private-sacred space is found in the diver’s cabin<\/p>","pageBackColor":"#cccccc","topLineTextColor":"#000000","title":"

Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/p>","subTitle":"","footNotes":"

*Karingattil, John Thomas, Fr. 2002. “<\/em>Parumala Thirumeni Chithrakalayil (Parumala Thirumeni in the art of painting)”. In Jacob Kurian ed., Parumala Smruthi,<\/em> 375-382. Kottayam: Malankara Sabha.<\/p>","authorUrl":"sujithkumar-parayil","visitgallery":"Icons of the Reformist Period and ‘Re-formed’ Icons of the Present<\/h4>Sujithkumar Parayil<\/span>

Fig.93: Inside view of a private bus (Tripunithura- Ernakulam route) where Sree Narayana Gurus painted image is displayed for public view, December 2007. Photograph by author.<\/h2>\">Visit the Gallery<\/a>","unsubscriber":1}