In the diverse and dynamic world of Indian art, few personalities resonate with the same reverberation as K. G. Subramanyan, affectionately known as ‘Mani Da.’ Mani Da, celebrated for his artistic versatility and innovative approach, continues to be an enduring figure whose contributions have left an indomitable mark on modern Indian art. Akhilesh, a perceptive observer and documenter of Mani Da’s legacy, views Mani Fateh in the light of “silent revolution,” whose works straddle tradition and modernity with no one else can. The genius of Mani Da, according to Akhilesh, is in his ability to breathe meaning into the ordinary, infusing quotidian experiences with artistic sensibility. We try to tap into the extraordinary journey of Mani Da and how his life, art, and philosophies dwelled in the cultural and emotional psyche of India.
‘Mani Da’—this was the name by which everyone addressed him. The name was coined by his students. When it originated, no one knows, but now everyone recognizes him by this name. Born in 1924 in the village of Kuthuparambu in northern Kerala to a Tamil Brahmin family, Mani Da grew up in a culturally rich environment, nurtured by his diverse interests. His long life was filled with many hardships, and amidst these, he was drawn towards Gandhi’s Swadeshi Movement and remained deeply influenced by Gandhi’s ideas throughout his life. In art, he adhered to the simplicity and steadfastness of Gandhi’s philosophy. Mani Da himself used to say, “I am not an activist in art; I am an activist for art.” His creative fervor confirms this statement. He worked quietly and prolifically. Here, I particularly want to talk about his paintings.
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After the Bhopal Gas Tragedy, an exhibition was organized by Roopankar, Bharat Bhavan, on this horrific disaster, which included works by leading artists of the country who depicted the tragedy in their art. Four of Mani Da’s paintings titled Visit of a White Crow were part of this exhibition. These four paintings poignantly depict the people who perished in the tragedy, along with the trees, plants, animals, and birds affected by it. These four paintings are distinct yet unified—not only due to their subject matter but also because of their depiction and the way they convey the catastrophe up close. Mani Da portrayed the impact of the tragedy not just on humans but also on trees, plants, animals, and birds. In this sense, these paintings are unique. In all these paintings, the ‘White Crow’ also symbolically represents America, observing the disaster with detachment. Made on acrylic sheets, Mani Da used the traditional Tanjore style in a modern way in these works. The colors used in these paintings are not oil paints but non-traditional materials adapted to modern techniques, expressing powerful emotions. These paintings are preserved in the collection of Roopankar, Bharat Bhavan, and are a special highlight of the collection.
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Here, I would like to mention another remarkable quality of Mani Da, which seemed like a divine gift to him—his use of proportionately vast spaces (vacancies). Mani Da created many murals during his lifetime, one of which is particularly notable—the public mural made in 1963 at Ravindralaya in Lucknow. This mural was commissioned on the occasion of Rabindranath Tagore’s centenary celebrations and was based on Tagore’s play The King of Dark Chamber. It measures eighty-one feet in length and nine feet in height.
This mural, created on the exterior wall of Ravindralaya using terracotta bricks, is an extraordinary example of imagination, ornamentation, and composition. What also captivates is the multifaceted use of clay. Mani Da created it in terracotta, using various shapes baked in a kiln and affixed them to the wall. It is a stunning amalgamation of Indian traditions and forms. Mani Da was well-versed in the diverse uses of clay and terracotta in Kerala, and this artistic activism expanded in Lucknow. Interestingly, the soil of Lucknow is as flexible and strong as Kerala’s. The terracotta tiles in Lucknow’s Imambara still retain their original shine and strength.
Mani Da recognized the local soil and created a beautiful artwork. His mastery is evident in how he managed to organize this awkwardly long wall. The mural includes approximately seventeen human figures participating in a festival, surrounded by ritualistic and environmental elements. This mural is full of symbolism. Queen Sudarshana, engrossed in vanity, and the pretentious King Vikram Bahu, desperate to showcase their power, fail to recognize the true king due to their arrogance. Eventually, they realize that the unsuppressable, multifaceted truth resides in the dark corners of their hearts. Creating this mural was a challenge. Mani Da’s sense of space, its division, and its composition are extraordinary. The viewer is left in awe. Recently, he made a black-and-white mural in Shantiniketan, which is undoubtedly unique. When I visited him in Baroda, he enthusiastically showed me photographs of this mural. His natural curiosity for murals kept him continuously active. Recently, he agreed to create a mural on the exterior wall of the art gallery at Baroda School, which was cleaned and prepared for the project. Mani Da had started sketching for this mural, but unfortunately, he couldn’t complete it.
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After this, Mani Da’s attention seemed to shift entirely to indigenous materials, and he created several works in terracotta. While they were not as large, he made unique pieces using four or six plates. One of them is Wardrobe Drama, where he portrayed human emotions trapped inside a wardrobe. Instead of hanging garments, the wardrobe contains emotions belonging to its owner. This wardrobe is divided into four sections, each telling its own story. Coats, clothes, mufflers, pajama-like outfits, and children’s clothes are part of this narrative. The drawers of the wardrobe further expand this drama. One piece from this series is part of the Bharat Bhavan collection. The mural Faces consists of four faces, each of which can be defined in a thousand ways. These faces share a commonality—they depict neglect, pain, suffering, and troubled individuals. One face seems crushed under the weight of agony, another has swollen eyes from crying, one continues to cry incessantly, while the last tries to compose itself to face the present. Mani Da mastered organising vast spaces and skilfully encapsulated the subtlest human emotions in clay.
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One painting of Mani Da’s that I particularly like is titled Windows. This work consists of nine small canvases joined together, and its uniqueness lies in its division of space. Mani Da, while adept at organising vast spaces, also divided spaces with childlike simplicity. This painting encapsulates this skill. These are nine windows, where nine incidents take place, with nine characters and nine scenarios. Hidden within these are faint forms that could be characters in these stories. These forms appear as a solace to the viewer, though they do not actually exist. Familiar objects like curtains, tables, beds, sheets, vases, and balconies seem visible but remain intangible. Mani Da painted their essence. The color composition brings a sense of motion to the painting, making everything seem alive. Mani Da, though known as a figurative painter, excelled in depicting emotions within objects in his surroundings. He was a sculptor of emotions, able to make sensations come alive in forms.
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Like many other painters, Mani Da was influenced by Picasso, and his works clearly reflect this. Mani Da’s connection with Picasso’s approach to painting is direct. We see that Mani Da carried this style throughout his life. Many of his paintings demonstrate that he kept his creative world open for various subjects. These paintings not only feature human figures but also their surroundings, environments, and often animals. These elements are depicted with great freedom. Mani Da did not rely solely on proportional anatomy to complete figures. He used ornaments, clothing, and other elements to complement their physicality. While the themes are Indian, his subjects sometimes originated from notebook pages or sketchbooks. Mani Da’s sharp vision wasn’t confined to subjects alone; he also explored composition. Dividing a canvas into multiple parts and combining them into one painting was a playful practice for Mani Da. Each section stands as a complete painting and yet contributes to a larger narrative.
This approach often left the viewer captivated. Mani Da’s paintings reflect a deliberate disarray that fascinates yet anchors the observer. His artworks echo the diversity of India’s cultural fabric, blending influences from Kerala, Shantiniketan, and Baroda. Mani Da’s work, in its fragmented wholeness, reflects a masterly grasp of narrative, space, and emotion.
Living a life of quiet dedication, K. G. Subramanyan, fondly remembered as Mani Da, devoted his 92 years to creativity, teaching, and the pursuit of artistic excellence. My heartfelt homage to this tireless artist.
4th July 2016
Excerpt from the Book ‘Unke Baare Me‘ by Akhilesh. Original text in Hindi translated into English.
Feature Image Courtesy: DAG
Born in 1956, is an artist, curator and writer. He has gained worldwide recognition and appreciation for his works through extensive participation in numerable exhibitions, shows, camps and other activities.
