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Papers by Sharat Sunder Rajeev
Abstract: The objective of the paper is to study in detail the ‘guild system’ followed by the tra... more Abstract: The objective of the paper is to study in detail the ‘guild system’ followed by the traditional craftsmen of Kerala, the modes they adopted for the transfer of traditional knowledge systems down the generations and the association the guilds maintained with the other communities in the social setup of a village. The study also will cover the changes brought about by the industrial revolution in the field of craft. Industrial revolution has both good and bad effects affecting the social setup of the craftsmen and their traditional guild system. The introduction of modern technologies and the factories aimed at mass production freed the craftsmen from their status of ‘village artisan’ and helped in improving their social status and economic profile. The industrial schools established in various parts of the country thus played an important role in determining the social status of the traditional craftsmen community.
Raja Ravi Varma is undoubtedly a colossal figure in the history of Western academic art in India.... more Raja Ravi Varma is undoubtedly a colossal figure in the history of Western academic art in India. As a pioneer in the field, the excellence of the indigenous artist from the erstwhile Princely State of Travancore aided India to relate with the art movements across the world. Ravi Varma’s life and works had influenced and shaped the lives of numerous generations of artists that followed. The ‘Ravi Varma Style’ is still a favourite amongst the art connoisseurs from India and abroad. An artist who enjoyed lavish patronage and appreciation in the apogee of his career, Ravi Varma is also remembered as one of the outstanding artists associated with the Travancore durbar. I do not intend to follow Ravi Varma’s successful career, but this monograph looks into the life and times of the lesser-known group of ‘Durbar Artists’ who came after Varma. The works of the later Durbar Artists were greatly influenced by the trend set by Ravi Varma. Even though some of their works excelled in artistic quality and fineness in execution, being employed by the royals, the works of these artists often remained in private collections, shutting off public recognition. In a democratic nation, the institution of ‘Durbar’ and the charisma associated with the Royal Durbars may now be seen as anachronism; nevertheless, it should be kept in mind that the epoch in history had a major role in shaping the aesthetic perception of Travancoreans. This monograph, while tracing the history of the Durbar Artists of the erstwhile Princely State of Travancore, also tries to trace the artistic traditions of the State. In addition, an attempt is made to examine the socio-political scenario of the times, the various institutions, and the modes of patronage that shaped the lives of the Durbar Artists.
Teaching Documents by Sharat Sunder Rajeev
Conference Presentations by Sharat Sunder Rajeev
Reflections of an old student’ for International Conference on Future Cities -2019, Indian Institute of Technology, Roorkee, and ISPER (Institute for Spatial Planning and Environment Research), 2019
"Abstract: Thiruvananthapuram, the capital of Kerala boasts of a rich royal heritage. The walled ... more "Abstract: Thiruvananthapuram, the capital of Kerala boasts of a rich royal heritage. The walled city forming the core of the old settlement houses the famed Sree Padmanabha Swamy temple, the palace complex and the residential quarters of the various other communities. Like all the major South Indian temple towns, Sree Padmanabha Swamy temple is surrounded by the settlements of the priestly class, the Brahmins, and their unique housing pattern, the Agraharams. Linear in planning, designed for the specific use of a particular community, this housing typology reflects the social stratification, hierarchy, and culture of an immigrant population, a population that had an elevated position until the first quarter of the twentieth century. The main aim of this paper is to explore the origin of this particular housing stock in Thiruvananthapuram and the various religious and climatic aspects that played an important role in defining this typology. Due to the changing socio-economic and political scenario, this unique housing stock is now under the threat of extinction. The change of the social structure to nuclear families and also migration of its original occupants to various parts of the globe for job opportunities, have resulted in a number of these agraharams being abandoned. The few existing, occupied agraharams also face some serious threats. This paper tries to explore the rich history of this settlement, the traditional and new modes for the protection of this valuable heritage. After studying the settlement and its character, the author has also tried to suggest some ways for the management of this traditional historic housing stock.
"
Newspaper Articles by Sharat Sunder Rajeev
Kaipally Veedu at Palkulangara has an interesting history linking it to the Sree Padmanabhaswamy ... more Kaipally Veedu at Palkulangara has an interesting history linking it to the Sree Padmanabhaswamy Temple and the royal family of erstwhile Travancore.
Valiya Koikkal and Vettakorumakan temple are survivors of an eventful past
Veteran artist P. Siddharthan Nair goes down memory lane.
Padmatheertham, the pond and its environs in the heart of the city, had an intimate relationship ... more Padmatheertham, the pond and its environs in the heart of the city, had an intimate relationship with the Sree Padmanabhaswamy Temple and the people living in the Fort area.
Ottapanamoodu had several creepy tales associated with the history of erstwhile Travancore
Artist Devi Prasad Roy Chowdhury sculpted the statue of Chithira Tirunal Balarama Varma at Pattom... more Artist Devi Prasad Roy Chowdhury sculpted the statue of Chithira Tirunal Balarama Varma at Pattom Thanu Pillai Park.
Old photographs of the ancient structure at Chitaral, complete with its gopuram, have surfaced fr... more Old photographs of the ancient structure at Chitaral, complete with its gopuram, have surfaced from a private collection of the late Durbar Artist C. Neelakanta Pillai.
K. Madhavan was a pioneer commercial artist, who set the patterns for film posters and ‘cut-outs’... more K. Madhavan was a pioneer commercial artist, who set the patterns for film posters and ‘cut-outs’ in South Indian filmdom
Uthram Thirunal Marthanda Varma had a scientific bent of mind and he sought to study chemistry, m... more Uthram Thirunal Marthanda Varma had a scientific bent of mind and he sought to study chemistry, medicine and anatomy
Swaroopathu Veedu at Sreevaraham is a fine example of traditional Kerala architecture
August Theodor Schoefft was commissioned by King Swati Tirunal Rama Varma to paint seven portrait... more August Theodor Schoefft was commissioned by King Swati Tirunal Rama Varma to paint seven portraits of the members of the royal family
Abstract: The objective of the paper is to study in detail the ‘guild system’ followed by the tra... more Abstract: The objective of the paper is to study in detail the ‘guild system’ followed by the traditional craftsmen of Kerala, the modes they adopted for the transfer of traditional knowledge systems down the generations and the association the guilds maintained with the other communities in the social setup of a village. The study also will cover the changes brought about by the industrial revolution in the field of craft. Industrial revolution has both good and bad effects affecting the social setup of the craftsmen and their traditional guild system. The introduction of modern technologies and the factories aimed at mass production freed the craftsmen from their status of ‘village artisan’ and helped in improving their social status and economic profile. The industrial schools established in various parts of the country thus played an important role in determining the social status of the traditional craftsmen community.
Raja Ravi Varma is undoubtedly a colossal figure in the history of Western academic art in India.... more Raja Ravi Varma is undoubtedly a colossal figure in the history of Western academic art in India. As a pioneer in the field, the excellence of the indigenous artist from the erstwhile Princely State of Travancore aided India to relate with the art movements across the world. Ravi Varma’s life and works had influenced and shaped the lives of numerous generations of artists that followed. The ‘Ravi Varma Style’ is still a favourite amongst the art connoisseurs from India and abroad. An artist who enjoyed lavish patronage and appreciation in the apogee of his career, Ravi Varma is also remembered as one of the outstanding artists associated with the Travancore durbar. I do not intend to follow Ravi Varma’s successful career, but this monograph looks into the life and times of the lesser-known group of ‘Durbar Artists’ who came after Varma. The works of the later Durbar Artists were greatly influenced by the trend set by Ravi Varma. Even though some of their works excelled in artistic quality and fineness in execution, being employed by the royals, the works of these artists often remained in private collections, shutting off public recognition. In a democratic nation, the institution of ‘Durbar’ and the charisma associated with the Royal Durbars may now be seen as anachronism; nevertheless, it should be kept in mind that the epoch in history had a major role in shaping the aesthetic perception of Travancoreans. This monograph, while tracing the history of the Durbar Artists of the erstwhile Princely State of Travancore, also tries to trace the artistic traditions of the State. In addition, an attempt is made to examine the socio-political scenario of the times, the various institutions, and the modes of patronage that shaped the lives of the Durbar Artists.
Reflections of an old student’ for International Conference on Future Cities -2019, Indian Institute of Technology, Roorkee, and ISPER (Institute for Spatial Planning and Environment Research), 2019
"Abstract: Thiruvananthapuram, the capital of Kerala boasts of a rich royal heritage. The walled ... more "Abstract: Thiruvananthapuram, the capital of Kerala boasts of a rich royal heritage. The walled city forming the core of the old settlement houses the famed Sree Padmanabha Swamy temple, the palace complex and the residential quarters of the various other communities. Like all the major South Indian temple towns, Sree Padmanabha Swamy temple is surrounded by the settlements of the priestly class, the Brahmins, and their unique housing pattern, the Agraharams. Linear in planning, designed for the specific use of a particular community, this housing typology reflects the social stratification, hierarchy, and culture of an immigrant population, a population that had an elevated position until the first quarter of the twentieth century. The main aim of this paper is to explore the origin of this particular housing stock in Thiruvananthapuram and the various religious and climatic aspects that played an important role in defining this typology. Due to the changing socio-economic and political scenario, this unique housing stock is now under the threat of extinction. The change of the social structure to nuclear families and also migration of its original occupants to various parts of the globe for job opportunities, have resulted in a number of these agraharams being abandoned. The few existing, occupied agraharams also face some serious threats. This paper tries to explore the rich history of this settlement, the traditional and new modes for the protection of this valuable heritage. After studying the settlement and its character, the author has also tried to suggest some ways for the management of this traditional historic housing stock.
"
Kaipally Veedu at Palkulangara has an interesting history linking it to the Sree Padmanabhaswamy ... more Kaipally Veedu at Palkulangara has an interesting history linking it to the Sree Padmanabhaswamy Temple and the royal family of erstwhile Travancore.
Valiya Koikkal and Vettakorumakan temple are survivors of an eventful past
Veteran artist P. Siddharthan Nair goes down memory lane.
Padmatheertham, the pond and its environs in the heart of the city, had an intimate relationship ... more Padmatheertham, the pond and its environs in the heart of the city, had an intimate relationship with the Sree Padmanabhaswamy Temple and the people living in the Fort area.
Ottapanamoodu had several creepy tales associated with the history of erstwhile Travancore
Artist Devi Prasad Roy Chowdhury sculpted the statue of Chithira Tirunal Balarama Varma at Pattom... more Artist Devi Prasad Roy Chowdhury sculpted the statue of Chithira Tirunal Balarama Varma at Pattom Thanu Pillai Park.
Old photographs of the ancient structure at Chitaral, complete with its gopuram, have surfaced fr... more Old photographs of the ancient structure at Chitaral, complete with its gopuram, have surfaced from a private collection of the late Durbar Artist C. Neelakanta Pillai.
K. Madhavan was a pioneer commercial artist, who set the patterns for film posters and ‘cut-outs’... more K. Madhavan was a pioneer commercial artist, who set the patterns for film posters and ‘cut-outs’ in South Indian filmdom
Uthram Thirunal Marthanda Varma had a scientific bent of mind and he sought to study chemistry, m... more Uthram Thirunal Marthanda Varma had a scientific bent of mind and he sought to study chemistry, medicine and anatomy
Swaroopathu Veedu at Sreevaraham is a fine example of traditional Kerala architecture
August Theodor Schoefft was commissioned by King Swati Tirunal Rama Varma to paint seven portrait... more August Theodor Schoefft was commissioned by King Swati Tirunal Rama Varma to paint seven portraits of the members of the royal family
R. Haridas’ painting of the Kundara proclamation had won him a prize and it was displayed in the ... more R. Haridas’ painting of the Kundara proclamation had won him a prize and it was displayed in the Sri Chitra Art Gallery
The caretakers of the Mani Meda were from the Kollan Vilakam Veedu
The Padmanabhapuram palace served as the setting for many significant episodes in the history of ... more The Padmanabhapuram palace served as the setting for many significant episodes in the history of erstwhile Travancore
The grand old Fouzdar House in the Fort area was the home of the last ‘Fouzdari Commissioner’ of ... more The grand old Fouzdar House in the Fort area was the home of the last ‘Fouzdari Commissioner’ of Travancore, Anantharama Iyer
R. Vasudeva Poduval played a key role in the conservation of the architectural and artistic herit... more R. Vasudeva Poduval played a key role in the conservation of the architectural and artistic heritage of Travancore.
Palliadakku mukku was once used as a cremation ground of the members of the royal family of erstw... more Palliadakku mukku was once used as a cremation ground of the members of the royal family of erstwhile Travancore
K.R. Ravi Varma’s contributions in the artistic domain were eclipsed by his other undertakings
Pokku Moosa Maraykkar was a prosperous merchant of Poovar who had close links with the royals of ... more Pokku Moosa Maraykkar was a prosperous merchant of Poovar who had close links with the royals of erstwhile Travancore.
Kaithavilakam Bungalow’s story is tied to that of its famous occupants of yore, including Kathaka... more Kaithavilakam Bungalow’s story is tied to that of its famous occupants of yore, including Kathakali exponent Easwara Pillai Vicharippukar, Aswathi Tirunal Marthanda Varma and his wife, Narayani Pillai Thankachi.
This work explores a social domain hitherto unstudied or marginalized, that too a craftsperson co... more This work explores a social domain hitherto unstudied or marginalized, that too a craftsperson community that for various historical reasons that left little written evidence. The author, through meticulous archival work and the collection of oral history, has finally succeeded in constructing a reliable historic narrative of the origin and progress of the ivory craft in Travancore.
The book traces the transformation, through time, of both the craftsperson and the craft. The narrative starts with the popular tales associated with the ivory craftspersons and takes the reader to the historic context in which ivory craft thrived in Travancore. In the process, the author brings to light the artistic and cultural contributions of the artisan community.
Panel discussion on ‘We walk to keep architectural heritage,’ conducted by DC Books (Sept, 2019) ... more Panel discussion on ‘We walk to keep architectural heritage,’ conducted by DC Books (Sept, 2019) at Kanakakunnu Palace. Panellists: Dr. Bina Thomas Tharakan (Moderator), Ar. Rajasree Rajmohan, Sumesh Mangalassery and Sharat Sunder R.
Lecture delivered at the Three Day National Seminar (4-6 Dec, 2017) ‘Thiruvananthapuram Charithra... more Lecture delivered at the Three Day National Seminar (4-6 Dec, 2017) ‘Thiruvananthapuram Charithrathil’ organized by The Dept. of History, University College, Thiruvananthapuram