Blog 176 - Marine Musings - The Artistry of Gopulu - An Illustrator and Cartoonist Par Excellence (1 of 2)
I started this article with one destination in mind. It somehow meandered along to a different end point.
I thought that a comparison of two stalwart illustrators / painters / cartoonists from yesteryears and totally disparate backgrounds will be an interesting project. Little did I foresee the deluge of prodigious work from one will make me rethink my course of action.
At the outset, let me unabashedly confess that Google has been my source for most of the material I have published in this blog. The illustrations are all from Google.
S Gopal - Gopulu - and Norman Rockwell were the two subjects considered. Although they cannot be considered contemporary, there was something in their respective paintings and drawings which grouped the two of them together, at least in my mind.
S. Gopalan, pen-name Gopulu (18 June 1924 – 29 April 2015), was an Indian illustrator and cartoonist. He was best known for his work for the Tamil magazine Ananda Vikatan.
Gopulu was born in Thanjavur, Tamil Nadu. He died on 29 April 2015, aged 91. It is impossible to choose the great ones amongst the thousands of his illustrations. He was already famous when he illustrated the happenings of a marriage in Washinton. He also gave life to a detective comedy, ‘Thuparium Saambu’ (துப்பறியும் சாம்பு). Saambu the Detective, a classic Tamil comedic detective fiction series written by the renowned humorist Devan (R. Mahadevan) in the mid-20th century
During my childhood and teenage years, Gopulu was a constant companion, as we used to buy the weekly magazine Ananda Vikatan. During the 1950s and 1960s, there was not one week that the magazine did not print Gopulu’s illustrations, drawings. If he was not on the cover, he would be drawing a depicted scene from one or two of the stories that the magazine carried. The female form attained a unique beauty and sexuality under his pencil. Deeply religious, he turned out thousands of drawings of Hindu Gods and Goddesses. He was at his best illustrating a multitude of people in his scenery, old to young, each with distinct and discernible personalities.
His illustrations are all related to South Indian people. He used the South Indian Brahmin community as his tapestry and brings to light an average, middle class, conservative Hindu family.
More of Norman Rockwell in another chapter.
Marriages
Gopulu illustrated the salient, social and comical pieces of a story titled ('வாஷிங்டனில் திருமணம்') ‘Marriage in Washington’’ This story caught the interest of the general public like no other for 11 weeks in 1963. The story goes that Mrs Rockefeller wanted to see a South Indian marriage and, since she could not come, she asked for the whole marriage party to conduct the ceremony in Washington. The story was a riotous success, Gopulu’s illustrations more so. The name of the author of the story was kept a secret till the last (11th) episode, affectionately and pen-name-wise known as ‘Saavi’
The following few illustrations are related to the Marriage in Washington. Each illustration carries my comment. So, if anyone is to blame, it is me alone.
The actual, traditional, marriage invitation in Tamil. It states Rukmani is marrying Rajagopalan, after having been finalised by the Elders, at Washington, George Town, No. R 3328, ‘Summer House’. You are invited along with whomsoever you may choose - friends, relatives - to attend the wedding and to bless the wedded couple.
The marriage party from India has landed at Washington. Welcomed by Mrs Rockefeller and her retinue with garlands.. Except for the groom, who is in a suit, all the Indian participants are in their traditional dresses. They had landed a week before the wedding, to prepare all aspects of the wedding in the same South Indian style, as back home.
There was at least one flight, if not more, every day from Madras and Washington to bring in men, women, children, material related to the marriage.
Mrs and Mr Rockefeller greeting the bride’s party, after they land in Washington.
A Washington newsboy announcing the headlines of the newspaper of the arrival of the marriage party. (The newsboy shouting out the headlines and selling his newspaper was a common sight in the 1950s).
The ‘Saastrigal’ (Brahmin priests) who are to conduct the marriage ceremony are off to the Potomac the next morning after landing in Washington, to wash their ‘dhotis ‘ and towels, bathe and perform ‘Sandhyavandanam’ (obeisance to all deities) and to recite the Gayatri mantra.
NOTE: Sandhyavandanam is a mandatory daily religious ritual in Hinduism centered on the recitation of the Gayatri mantra and salutation to the twilight or junctions of the day.
The Capitol can be see in the background of the drawing.
When India was mostly rural, it was the practice to do all the washing (men and women) by the river that flowed close to the village and dry their clothes in the breeze that would always be present and tie the clothes to the nearest tree or bush and hold it spread out for a quick drying out. No need of a spin dryer. That it was being done on the Potomac was the interesting part.
Preparations start getting underway for the marriage. Full grown banana plants with hanging fruits (brought from Madras) are tied to the posts at the entrance of the particular building that is hosting the marriage. It is considered auspicious. It is also an indicator to the guests not in the know of the exact location of the abode where the marriage is taking place. They can spot the banana plants easily.
Here, the Americans are eagerly watching.
The ‘Saastrigal’ explaining an important Hindu philosophical point to reporters.
Mrs and Mr Rockefeller inspecting pumpkins brought in from Madras and commenting that each should have a plastic handle.
Some of the ‘paatis’ grandmothers are preparing ‘appalams’ for the marriage.
Other ‘paatis’ grandmothers are preparing ‘butshanam’ sweet items, with the Americans admiringly looking on. On the left top is a stone urn called ‘ural’ meant for powdering any grain with the two heavy wooden rods provided.
In the final stages of preparation for the marriage is the auspicious ‘Kolam’ designs that are elaborately designed and executed with rice powder, by the young and old females alike, making it practically a competition to see whose design is the most intricate and, at the same time, beautiful. (Fabernacci’s Equation is often used in the design).
The evening before the wedding - ‘Maapillai Azhaippu’ - (மாப்பிள்ளை அழைப்பு ) or ‘Jaanvasam’ - one of the very colourful ceremonies of the prelude to the marriage. The groom, along with his family and some members of his future father-in-law’s household go to a nearby temple. After the puja in the temple, he is then given a suit and shoes to wear (in modern times). In olden times, it used to be a silk ‘dhoti’, a silk shirt, a designer ‘angavastram’ , ( a traditional unstitched rectangular cloth or stole draped over the shoulders and upper body by men in India, particularly in South India and Maharashtra).
He then sits in an open, decorated, car and is driven very slowly, at walking speed, in a procession to the marriage venue. Children also scramble into the car. Usually, this car is one of the older, larger, open type American models. (Older version - he walks or is taken in a bullock cart.
Ahead of the car, traditional musicians play the ‘naadaswaram’ and ‘tavil’, usually Carnatic music. Behind the car, the rest of the retinue, ladies and gents alike, walk along.
On the left one can see a person carrying a gas lamp (Petromax). There will be many more to bring light to dark areas along the route.
The parading of the groom in public has a hidden sinister motive also. The households along the parade route all come out of their houses and see the groom. He may be recognised as already being married, in which case a hulabaloo may arise between both parties. In olden times, fisticuffs and the sickle coming out of hidden places were also prevalent.
On arrival at the venue (mandapam) the bride’s parents and relatives formally welcome the groom and his retinue with sandal paste, rosewater, flowers, and a traditional tray of fruits and betel leaves.
This illustration is that of the ‘naadaswaram’ party that goes ahead of the groom in his car. This troupe plays an important part in all phases of the marriage, rendering the background music. A dais would have been prepared for them in the marriage hall.
The ‘Nischitartham’ ceremony is underway. Nischitartham is a traditional South Indian engagement ceremony that officially confirms a wedding alliance and brings the bride and groom's families together.
Mrs and Mr Rockefeller are in the forefront, with the groom strutting around proudly.
Coconuts, betel leaves, flowers and fruits are traditionally exchanged. The ‘saastrigal’ (priest) who is going to officiate at the wedding the next day, reads out the antecedents of the groom and his party and the bride and her party and asks both parties to promise to carry out the marriage.
(Often, it used to be that the question of what has been promised as ‘dowry’ gets settled at this juncture. Nowadays seen less and less, although not completely eliminated).
Official Announcement: The word nischita means "decided," marking the formal point where the marriage is set in stone.
Family Bonding: It serves as the first official meeting for both families to consent to the union, exchange gifts, and build a harmonious relationship.
Muhurtam Fixation: A priest uses the couple's birth charts to calculate an auspicious date and time (muhurtam) for the wedding. Actually, he just goes through the motions, as the auspicious date and time have been calculated months ago.
The Day of The Marriage:
In the early hours of the day, after a ceremonial bath, the groom suddenly realises that he has other duties to perform in this life and marriage is not on this list. This thought brings about one of the hilarious and traditional moments of the day. On this thought, he tells all that he is refusing to get married and is going to Kashi to spend his life in introspection to attain self realisation and leaves the venue. So, clad only in his cotton ‘dhoti’, a cotton shawl, an umbrella, a copy of the Bhagavad Gita and a pair of wooden sandals, he makes his way into the street outside the venue on his way to become a sanyasi. The humorous part is that the umbrella, the copy of the Gita and the wooden sandals are given by his would be father-in-law.
The bride’s brother, supposedly upset on seeing the groom leave his sister stranded, runs after the groom, stops him and explains to him that, in life, the sanyasam state is the last stage of a man’s life as per the ‘ashramas’, when he is old and it is not right for him to neglect the second stage of life, that of the grihastha. Persuaded, the groom comes back, where the bride is waiting for him inside the venue (mandapam) and immediately garlands him, before he changes his mind, tying him to the marriage. (Picture above)
Ashramas are the four ideal stages of life in Hindu philosophy that guide a person's duties and spiritual growth from childhood to liberation
(In fact, in disputes that have taken place at this stage where the bride has garlanded the groom, with marriages stopped at this stage, many parties have gone to court, saying with the garlanding, the marriage is as good as over).
OONJAL (Swing) : Once the Kasi Yatra and garlanding are over, both parties come into the mandapam and go to their respective rooms to change into some silken finery. The bride is adorned with jewels and wears a Kanchipuram saree.
When they return, the ‘Oonjal’ ceremony starts, mostly a ladies’ affair.
The 'oonjal' (or swing ceremony) is a joyful and symbolic ritual in South Indian weddings, particularly in Tamil Brahmin traditions, where the bride and groom sit together on a decorated swing to face life's ups and downs as a team.
What Happens During the Ceremony
Seating on the Swing: The bride and groom sit side-by-side on a floral-decorated swing (oonjal) right after events like the Kashi Yatra and the exchange of garlands.
The Rocking Motion: Married women from both families gently rock the swing back and forth, ensuring the couple's feet do not touch the ground.
Traditional Songs: Female relatives sing traditional call-and-response songs (lali) to bless the couple and create a festive mood. Rama and Sita are invoked, as a comparison to their marriage.
Offerings of Milk and Banana: The couple is fed sweetened milk and pieces of banana as a sign of sweetness and merriment in their new life.
Warding Off Evil: Elder women wave lamps and colored (red and yellow) rice balls around the couple, throwing the rice in four directions to turn away the evil eye and offer protection.
Once the ‘Oonjal’ ceremony is over, the bride and groom retire to their respective sections to, once again, change into new silk finery. The colour of the saree that the bride wears is totally dependent on family traditions, each family having their own set of rules.
Religious rituals take place.
The above illustration depicts the final part of the marriage, where the groom is seen tying the ‘mangalsutra’ on the bride’s neck. In most cases, the bride is sitting on the lap of her Father, as the holy thread is being tied.
The sitting on the lap is mostly reminiscent of the years gone by, when child marriage was practiced, the girl sitting on her Father’s lap so as not to be frightened of the pomp and show around her.
Nalangu (நலங்கு ) - a post marriage playful activity that takes place in the afternoon, in order for the bride and groom to become acquainted and comfortable with each other. It includes childish games like fishing for ring ina pot of water, breaking pappads over each other’s heads. It is mostly conducted by the young women and girls, the groom bearing the brunt of it of the teasing.
‘Cross Dressing’ of a kind for the evening reception. Indian teens dress in western clothes, while the American girls dressed in typical Indian clothes, called ‘half saree’ or ‘Paavaadai - Dhaavani’ (பாவாடை தாவணி). One culture mimics and eulogises another, even in those days.
More about Gopulu and Norman Rockwell in the next blog.
AR
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