From among the many artistic greats India has produced, a lithe, gentle giant stood larger than life through his nuanced, sensitive art using the most primitive two-dimensional form – lines.

K.M. Vasudevan Namboothiri (13 September 1925 – 7 July 2023), as he is now remembered, began his journey with little to none, solely drawing inspirations from the culture and life around him and giving them a form by way of his innate artistic sensibilities.

After his stint at the Government College of Fine Arts, Chennai, Artist Namboothiri joined Mathrubhumi in 1960, and he stayed there till 1982 and did many illustrations for classical novels, which brought a modern ambiance to Malayalam literature.

Namboothiri’s illustration career starts with the works of Thakazhi Sivasankara Pillai (1912-1999), Jnanpith laureate and legendary and celebrated writer in Malayalam literature. The essence of Thakazhi’s work is the lives of the oppressed classes in Alappuzha. For readers of these remarkable serialized novels, the characters were animated through Namboorthiri’s sketches as in the books of other celebrated writers like Kesavadev, Uroob, S. K. Pottekkatt, and Edasseri Govindan Nair are acclaimed and much-remembered by the readers.

THE ADVENT OF LINEAR REPRESENTATIONS

Namboothiri stormed into the art scene at a time when readers and illustrators were beginning to define the art scenes in Kerala within the confines of Raja Ravi Varma and the opulent, realism and grandeur it entailed. It was, therefore, a breath of fresh air when Namboothiri, through his simple and honest line drawings recalled Kerala’s robust heritage, bringing along with them the flavours and simplicity of the quotidian in all its purity.

Namboothiri also ventured into other artistic mediums, such as oil on canvas and copper relief works, to express his artistry. He even took to finger painting as a form of artistic expression. His copper relief works on the epics Mahabharata and Ramayana, as well as his fiber-glass works on Kathakali, brought him international recognition and acclaim.

The ability to translate the volume and mass of human figures and mythological entities onto the two dimensions of paper on canvas using techniques of perspective and the semblance of depth are characteristic of his genius.

OF GODS AND HUMANS

“I don’t like to draw ugly women. Let all be beautiful….” K.M. Namboothiri

Figures of gods and humans took prime importance in Namboothiri’s line drawings. Everything from the contours to facial features were duly reproduced linearly, and heavily inspired by the Indic, especially at a time when European-inspired art ruled the roost.
While M.T. Vasudevan Nair retold the Mahabharata through the eyes of Bhima, the second among the Pandavas, Namboothiri complemented it with his illustrations, giving a form and face to the mythical characters. A more simple, relatable parallel to Raja Ravi Varma’s paintings that gave faces to many Hindu gods.

“Bhima” in M. T. Vasudevan Nair’s 1984 iconic novel Randamoozham came almost completely to life through artist Namboothiri’s drawings. He sketched Bhima in his inimitable style — an imposing body with a comparatively small head, conveying myriad emotions in just a curve of the eyebrow or a slant in the gait.

Also notable is Namboothiri’s nuanced treatment of feminine forms. He ensured they looked beautiful despite the emotion expressed and with the characteristic grace and fullness of the body.

“UN- DETAILING” ART

Much of the time when we look at a work of art, we are not looking at it in entirety. We are looking at just one small part of it. We may be trying to figure out what we like or don’t, or even perhaps how the artist worked, or how they were inspired by something else. Detailing provides information, emotional impact, or a sense of resonance.

K.M. Namboothiri was particularly skilled at capturing nuances through detailing, sometimes through its inclusion and at other times, the omission thereof. It resulted in providing an element of awe and surprise to the audience; quirks of awkwardness, shyness, unexpected moments of amusement, fear, and innocence, all came alive through his approach to detailing. Anyone looking for expressions in his work was bound to discover a host of avid conversations happening between the eyes and those masterful strokes.

When asked about his brilliance in drawing, Namboothiri once said, images came to him in versatile three dimensions and elements for experiment and exploration. His initial works carried the minutest details. But gradually, he decided to do away with details. In his book Sketches: The Memoir of An Artist, he goes on to say, “There is no need to spell out everything. I felt better with fluidity over the years”.

INFLUENCES IN NAMBOOTHIRI’S WORKS

In his illustrious career spanning seven decades, K.M. Namboothiri has ignited inspiration in countless artists, filmmakers, and authors from Kerala and across the country.

His profound understanding of literature, Kathakali, and classical music played a significant role in shaping his artistic vision across disciplines. Furthermore, Namboothiri regarded music as the pinnacle or the “best form” of art, considering it the only artistic medium capable of deeply touching and stirring the human heart.

These diverse influences had Namboothiri’s artistic talents expand into the realm of cinema and literature. G. Aravindan, one of the greatest filmmakers in Malayalam cinema, directed his debut film “Uttarayanam”, largely inspired by his cartoon and sketches.

Senior artist Manoj Vyloor, Principal of the Raja Ravi Varma College of Fine Arts, Mavelikara whose works themselves have often drawn thematic inspirations from K. M’s repertoire recalls, “What mainly interested him was the linear representation of human mass and volume on the flat surface of paper or canvas, yet attributing an illusory depth through the use of perspective.”

Artist Namboothiri remained to the end, an artist for his audience. His pioneering works and style have spurred creativity in the young and old alike, across sections of society. True-to-life depictions, minimalism, and expressive mastery over linear forms of drawing will remain synonymous with K.M. Namboothiri for years to come.