Latest news with #LakshmiNarayanan
The Hindu
20-07-2025
- Business
- The Hindu
Be curious, creative and critical in thinking, Cognizant co-founder tells IIT graduates
Lakshmi Narayanan, co-founder of Cognizant and Chancellor of KREA University, called upon young graduates to nurture curiosity, creativity, and critical thinking as they step into the next phase of life. Speaking at the seventh convocation of the Indian Institute of Technology-Tirupati (IIT-T) on Sunday, he emphasised the importance of being unique and different from the rest. 'Always pay attention to diverse perspectives, lend a hand to those in need and speak up for what is right. Write your own stories and be the heroes of those stories,' he advised the graduating students. To inspire the young audience, Mr. Narayanan cited the example of Ole Kirk Kristiansen, a skilled carpenter who built the world-renowned Lego brand by taking the path less travelled. JSW Group Chairman Sajjan Jindal, also Chairman of IIT-T's Board of Governors, highlighted India's major policy thrusts in technology and service sectors. He underscored the importance of the 'Viksit Bharat' vision of transforming India into a developed nation, achievable only through the collective dedication and perseverance of all citizens. In his annual report, IIT-T Director K.N. Satyanarayana spoke of the institute's progress, including the completion of its permanent campus and significant developments in academic and research initiatives. A total of 417 degrees were awarded during the ceremony: 212 91 53 16 MPP, 13 MS (Research), 28 PhD, one dual degree, one MS (Research)-PhD dual degree, one diploma, and one certificate in Foundations in Engineering Sciences. Eighteen students were presented with medals and prizes. Arvind Srinivasan received the President's Gold Medal for outstanding academic performance, while Mega Varshini was awarded the Governor's Prize for excellence in both curricular and extracurricular activities among the 2025 batch.
The Hindu
05-06-2025
- General
- The Hindu
How the Kalamkari craft travelled from Srikalahasti to Thanjavur
When people think of Kalamkari, the first words that come to their minds are Srikalahasti or Machilipattanam and not Karuppur or Thanjavur, though the art form has its roots in the latter towns too. 'Kalamkari first found royal patronage in Tamil Nadu in 1540, when Sevappa Nayak, the first Nayaka ruler of Thanjavur , brought a contingent of artists from Karuppur to adorn Thanjavur's palaces and temples ,' says Kalamkari artist Rajmohan, son of National Award-winning Kalamkari artist R. Emperumal. These artists were descendants of migrants from Andhra Pradesh, where Kalamkari originated. Also known as Chitrapadaam ('chitra' meaning picture and 'padaam', tracing), the art form was once used to depict stories from the Ramayana and the Mahabharata. It was later used to create tapestries for palaces, temple hangings, panels for door frames, canopies, umbrella covers, door hangings and tubular hangings and even decorating temple chariots. It eventually evolved into wearable art like sarees and duppattas, and utility items such as bags and bookmarks. Touch of modernity As Rajmohan shows us the works of his ancestors, including a tapestry that is more than 400-years-old, he says, 'I recreate old pieces with a touch of modernity, yet try to keep alive the methodology adopted by my ancestors. For instance, he uses freshly-obtained paints or dyes the same day. The paints do not have a shelf life, as they are derived from nature. I do not use paints or dyes containing preservatives as they do notmatch the depth and richness that naturally-derived ones impart.' The handmade pens or kalams that he uses are crafted from bamboo and tamarind twigs. While bamboo twigs are used as it is, the tamarind ones are burnt and covered in soil overnight before use. Rajmohan's family has been practising kalamkari for more than 800 years now. A BFA graduate, who also studied filmmaking from MGR Film Institute, Rajmohan learnt the kalamkari art from his father. 'There were no formal classes, I learnt by observing him. My son also learns the same way', he says. 'The art form has been slowly fading into obscurity. When royalty was abolished in India, the patronage disappeared, and with it, the livelihood of many artists. They were given land and money, but not the means to learn another trade, and hence languished', he shares. Contibuing the family tradition Not far away from Rajmohan's residence, Lakshmi Narayanan keeps the art alive in a different way. 'This is an endangered art,' says Lakshmi Narayanan, who runs a unit with Kalamkari workers in his two-storeyed home. Narayanan, whose family has been practising the art form that obtained a GI (geographical indication) tag for more than 400 years, explains how the motifs and colours set the Karuppur style of Kalamkari apart from the Srikalahasti style. Narayanan, who began working as a Kalamkari artist at the age of 15, feels that the market remains uncertain even today as handmade items are slowly regaining appreciation from customers. 'We wait for over 20 days for profits to come our way. And if there is a small error, then we lose up to ₹ 17,000 or even ₹20,000 — that is how much a fully-worked kalamkari saree can cost' he shares. 'People who buy it need to understand the volume of work that goes into making a saree or even a dupatta. First, the design is traced using charcoal. It is then treated with a mixture of cow's milk, starched and dried. Then, we fill in the black colour, wash and dry it; the process is repeated for each colour ,' he explains. 'Black is derived from rusted iron, yellow from turmeric, and red from cinnamon,' he shares. A single saree can take 15 to 20 days, depending on the intricacy of the design. 'Sales mostly happen through word-of-mouth,' he says. 'Sometimes, boutiques approach us, but sporadically. We are the only family in this village that makes and sells Kalamkari products commercially,' he says and adds that both his sons (still studying) will eventually take up the craft. Now, with quiet persistence, both Rajmohan and Narayanan ensure that this endangered art is not forgotten. They're not just preserving a technique but a tradition that is passed on through generations.
