The two new coir clusters recently set up at Uthiyur and Puliyampatti through government and beneficiary contributions is all set to provide employment to 320 artisans and increase the turnover from the said regions by ₹10 crore this financial year.
The targeted developments in terms of revenue and employment are planned to be achieved by undertaking cluster development activities to the tune of ₹8.55 crore, which would be a combination of grants from Union government and beneficiary contributions.
Of the outlay, the government grant portion was ₹5.78 crore.
“We are aiming to increase the turnover from the Uthiyur region from the present ₹27.6 crore to ₹31.74 crore before the end of the current fiscal year through an annual production of 8,760 tonnes of matting and biodegradable coir geo textiles like soil erosion control woven blankets”, Anitha Jacob, deputy director of Coir Board, which is the nodal agency of cluster activities, told The Hindu.
Similarly, the cluster activities at Puliyampatti region would be catapulting the turnover from the present ₹34.06 crore to a projected ₹39.16 crore in the current financial year through a combination of exports as well as domestic sale of products like coir pith and coir growbag.
Common facility centres
As part of the cluster activities, common facility centres were set up at both the clusters where the artisans could collectively use provisions such as fibre extraction equipment, growbag manufacturing gadgets and pith block making facility, among others.
The numbers of units involved in the manufacturing of various coir products too were expected to go up by another 10 to 20 units in each of the clusters because of the enhanced support.
Special purpose vehicles
To streamline activities, Special Purpose Vehicles have been constituted in two clusters with the representation of beneficiaries and officials from the Coir Board and ITCOT Consultancy Services.
source: http://www.thehindu.com / The Hindu / Home> News> Cities> Coimbatore / by R. Vimal Kumar / Tirupur – May 28th, 2018
Chief of the Naval Staff Admiral Sunil Lanba reviewing the parade at Lawrence School, Lovedale, on Saturday.
The Lawrence School in Lovedale, under the aegis of the HRD Ministry, celebrated its 160th Founder’s Day on Saturday.
Following exhibitions in Science, Math, Art and Humanities, an Equestrian Display by the School’s Riding Club and an English play, “Peter Pan” was staged on Friday.
The second day of the celebrations commenced with the parade, keeping in line with the military antiquity and tradition of The Lawrence School, Lovedale.
Chief of the Naval Staff Admiral Sunil Lanba inspected the parade along with Headmaster Rajan Narayanan.
The Beating Retreat marked the end of the 2nd day celebration.
source: http://www.thehindu.com / The Hindu / Home> News> Cities> Coimbatore / by Staff Reporter / Udhagamandalam – May 27th, 2018
The 1343 birth anniversary of the Perumbidugu Mutharaiyar went off peacefully with the local leaders cutting across party lines and garlanding the statue in the city on Wednesday.
The celebrations commenced with two state ministers Vellamandi M Natarajan and S Valarmathi and several other leaders from the AIADMK as well as the Mutharaiyar community associations garlanding the statue on Wednesday morning.
Since the district administration organised the celebration, district collector K Rajamani, AIADMK MPs P Kumar, T Rathinavel, and MLAs participated in the celebrations and garlanded the statue of the king.
AMMK deputy general secretary TTV Dhinakaran’s visit with his supporters created some ruckus at the venue as his men entered into arguments with the police. The arguments erupted after the police refused to allow his van to be parked near the police outpost. His supporters left after raising slogans against the police. Dhinakaran also garlanded the statue and left after addressing the press.
source: http://www.timesofindia.indiatimes.com / The Times of India / News> City News> Trichy News / TNN / May 24th, 2018
n illustration of Vilakkuthoon and rock art at Kidaripatti | Photo Credit: Special Arrangement
A self-help booklet brought out by INTACH Madurai helps to travel back 2,500 years in time.
As a local or a traveller, when you are ‘selfie-bored’ in a city like Madura, give yourself a couple of hours and a drive of 40-odd kms to understand the brilliance of the city through the ages. There are several gorgeous areas steeped in history but people either don’t know or care or are confused with the timeline and hence unable to appreciate.
Led by INTACH member P Rajesh Kanna, who conceived the idea for the small-sized 48 page guide book, P Pavalamani who wrote the bilingual script in Tamil and English and artist P Gunasekaran who did the illustration, the team undertook several trips, discussed and debated for a year and finally connected the dots to make travel, history, learning and tourism attractive and appealing.
The pamphlet titled “Back 2500 years in a few hours – Madurai through the ages” traces half-a-dozen best lesser known places of importance in the city. “One cannot simply live in or visit the city and not see these hidden spots of history that dominated particular eras,” says Rajesh, who also took lot of guidance from well known art-historian Prof.R.Venkatraman, who passed away in March this year. “This book is also a tribute to him,” he adds.
By starting from Vilakkuthoon and finishing at Kidaripatti with a small detour to Varrichiyur, the pamphlet helps to understand the city’s splendid past. If you follow the route map given with some basic details, brief descriptions, interesting facts, anecdotes and illustrations you step back from 20th century to the 16th, 8th and 1st century to 2nd BC. One of the best things about this travel is that it guides you to the most important monument of that period and helps to redefine the travel experience with a brush of history.
Madurai boasts of countless monuments, says Kanna, but we chose six heritage sites that combine the literary, cultural and spiritual evolution of the ancient city. The start point is Vilakkuthoon. The 150 years old structure is today lost in the buzz of heavy traffic, shops, hawkers and shoppers. But the INTACH booklet reminds you of the days when the imposing lamp post was erected in 1840 by the then Collector Blackburn who is remembered for his foresight in expanding the city and taking it to the next level of modernisation. Today the imposing monument stands at the cacophonous junction of East and South Masi streets where vehicles move bumber-to-bumper and it becomes impossible to walk in the area during festival seasons. Most times people walk or drive past the Vilakkuthoon now and even ignore many spots around and beyond. Instead they could pause.
The next rewind spot is the Vandiyoor Mariamman Theppakulam. It is four km eastward from Vilakkuthoon but two centuries back in time. Dug in 1646 and measuring 305 metres in length and 290 metres in width, the tank over 16 acres is the biggest in South India where the famous float festival is held on the full moon day of the Tamil month Thai. The booklet refers to interesting stories about the birth of the tank to entice travellers to visit the place. It also suggests what other things they can see or do at the destination.
Further eastwards from Teppakulam, the journey takes you to Varichiyoor where two rock cut cave temples – Udhayagiri and Asthagiri — were excavated in the 8th century . In between the two is a huge natural cave belonging to 3rd century BC. From this scenic and natural ambience where, it is believed the Pandya king viewed the sunset daily, the traveller is beckoned to move up north on the Trichy highway and leap back into the 1st century at Yanamalai. It is so called given its resemblance to the shape of a sitting elephant and also finds mention as a sacred site in age old literature of saivite poets and Jain monks. The booklet gives more insight into historical importance of Yanaimalai and its cave temples.
The next suggested halt is at Arittapatti which have Jain caves dating to 2nd Century BC. It is also believed that Pandavas stayed on one side of the Arittapatti hill which also has a beautiful 8th century siva cave temple. The last destination is Kidaripatti on way to Melur and close to Azhagar Malai. Here the eye-shaped natural cave belonging to 9BC are believed to be home to the aborigines of prehistoric time as red ochre rock paintings on the walls suggest. From neo-paleolithic style of 13 thematic rock paintings, a perennial spring and Brahmi inscriptions on stone beds to ponder at, you are almost in a time capsule.
“Our aim was to salvage the many authentic parts of the city,” says Kanna, “and we have tried to present an overview of the important structures against the background of history”. “The illustrations added more dimension to the presentation,” he adds.
When you flip through the pages of the booklet, you will see multiple things in it – from an educational journey to what tourism is trending on today – a delicate balance of local pride, iconic drawing power and a new experience of holidaying.
source: http://www.thehindu.com / The Hindu / Home> Life & Style> Travel / by Soma Basu / Madurai – May 24th, 2018
Eminent artist Rm. Palaniappan has a lot to share about his Busan residency
“Palaniappan, you have become more popular here in Korea within a few years than many of us, who have been working for decades.” — This statement is perhaps proof of the Korean artists’ appreciation and respect for senior artist Rm. Palaniappan’s creativity. Palaniappan is an acclaimed artist internationally for his expertise in graphics, drawing, painting and photography.
He was recently in Busan, Korea as an Artist in Residency at the invitation of K-Art International Exchange Association, one of the largest exhibitors of contemporary and traditional art in Busan.
Artist Rm. Palaniappan at Busan
The K-Art International Exchange Association takes up several international activities in India, Japan, and Vietnam, China among the earlier destinations. They already held 10 exhibitions in Chennai, including three Biennales in collaboration with Lalit Kala Akademi and Inko Centre, Chennai.
Now they are planning to have a major collaborative exhibition with Mumbai artists in October. Inko Centre, Chennai, has been organising several cultural activities between India and Korea for the past 11 years , which made it possible for visual artists and performing artistes as also writers of both countries to collaborate .
Artist Rm. Palaniappan’s work
This is Palaniappan’s third visit to Busan and the first residency, though he has been to several art institutions on invitation and also was an ‘Artist at Residency’ in different countries, including the U.S. and the U.K. His stay in Busan gave him an opportunity to be present in person at the 16th International Busan Art Fair, in which besides his paintings, works by C. Douglas and Alphonso Doss from Chennai and a few other artists found a place.
“In this Art fair, several galleries from Mumbai also took part and displayed over a hundred works by Indian artists,” says Palaniappan. Many Indian artists visit Korea to exhibit their work as also for workshops, etc. in painting as well as ceramics. He has been exhibiting regularly in Korea for the past few years and is quite well known in the art circle. His interview was broadcast over radio and articles were published in newspapers.
During the 35 years of his service at the Lalit Kala Akademi, from where he retired last year as the regional secretary, he has had the opportunity to meet and interact with many established national and international artists as well as young and upcoming artists. This experience earned him the invitation as curator/commissioner of international and national exhibitions, such as the Bharat Bhavan (Bhopal) International Print Biennale (1995) and “The Major Trends in Indian Art” Lalit Kala Akademi, New Delhi (1997).
“I had a warm reception there during my residency; I visited museums and galleries to see both traditional and contemporary art and watch artists at work,” says Palaniappan, who initially stayed with a doctor, an art collector, in his medical resort. He took him to many interesting places.
“Korea has a strong tradition in arts. The landscape with its mountains, waterfalls, lakes, etc., has always inspired artists as can be seen from their watercolour wash drawings,” observes Palaniappan. Some artists have developed a penchant for the abstract while some have evolved a contemporary style out of the landscapes, using different mediums and techniques. A lot of artists also work with new media and installations and the results are quite contemporary. I can name a few artists, who paint — Young–sung Kim for realistic work, Bong cheon Kim for digital manipulation, Prof. Hodeuk Kim, Yong-woon kim, Hee-Don Lee and Hyun-Cheol Hong for abstraction and Sung Won Choi, Ji-Yeon Song for a unique landscape approach,” he says.
Since 1982, when he started using the line as a main element in his work for expressing his presence in the creation, Palaniappan’s main concern was expression of movements in the context of physical and psychological perceptions of ‘time-space-environment.’ “In my work, light in the space was outside as a background for the line and movement; but recently I brought light into the line within the confined space, that is, the movement of line itself as light,” he explains.
Known as a master of graphic arts for trying novel and innovative ideas, Palaniappan has been spending his time mostly drawing and painting. “Whatever I am attempting at, I want to be honest to my work,” he says. “I may be using various mediums, including photography, but you will see a continuity — like in music,” he adds. In fact his works are linked — from his earlier etchings, lithographs, etc., to his conte drawings and the recent works. Take for instance, his recent creation, ‘Maze.’ “ there are no blockades anywhere; when one goes through the maze, one can pass through the entire area of the confined space as if walking through one’s life,” he points out.
During his stay in Busan Palaniappan was provided with a studio apartment and a local person to help him with the language and chores. He was painting for long hours — he made ten in all. “Even when my assistant suggested we go out, I refused. When not working, I did some sightseeing and went to a few islands; it is said that there are nearly 2,000 islands around Busan. The landscape is absolutely fascinating. Only a few islands are connected by road; for others one has to go by boat or flight. I visited a few Buddhist temples as also heritage villages. Quite a few artists speak English; the organisers had provided an interpreter for me.”
What about food, Palaniappan being a vegetarian? “Eating out was ruled out. Since I can cook it was fine. I had taken some instant stuff. Besides, vegetables and fruits were available aplenty. So I managed quite well,” he says.
After a second Korean Residency later this year, which would be partly sponsored by Inko Centre, Palaniappan’s works will be exhibited at Busan and Seoul. Also, he will be delivering lectures on Indian art at some universities and art institutions in Seoul and Busan. Painting, of course, is on the cards.
source: http://www.thehindu.com / The Hindu / Home> Entertainment> Art / by Lakshmi Venkataraman / May 17th, 2018
June next year will see All India Radio (AIR) Madras/Chennai celebrate its 80th birthday. The station had evolved from the first broadcasting service in India, V Krishnaswamy Chetty’s Madras Presidency Radio Club established in 1924. It made its first broadcast from Holloway’s Garden in Egmore on July 31. The Club was rescued from financial difficulties in 1927 by the Madras Municipal Corporation which ran it till AIR put down roots in Madras.
AIR itself celebrated the 80th birthday of its naming last year. Lionel Fielden, an Oxonian from the BBC, arrived in India in 1935 to head what had been set up in 1930 as the Indian State Broadcasting Service (ISBS). He thought the name not catchy enough. But to change a Viceroy-approved name was not the done thing. He relates how he got it done:
“I cornered Lord Linlithgow after a Viceregal banquet and said plaintively that I was in great difficulty. … I said I was sure he agreed with me that ISBS was a clumsy title. … But I could not, I said, think of another title; could you help me? … It should be something general. He rose beautifully to the bait. ‘All India?’ I expressed my astonishment … [It was] the very thing. But surely not ‘Broadcasting?’ After some thought he suggested ‘Radio’. Splendid, I said, and what beautiful initials.” (Fielden in The Broadcasting in India, Awasthy G. C., 1965).
Much of that may have been related tongue-in-cheek, but he was more serious — and possibly prophetic — when, as Controller of Broadcasting, he wrote an article for The Hindu’s supplement to mark the inauguration of AIR (Madras). In the article on the future of Carnatic music, written as a letter to the Station Director, Madras, in 2,500 AD, he said:
“I fear that in your day (2,500 A.D.) Indian music as we know it will be forgotten. I can only say we are doing our best to save it. The impact of the West in our time is strong enough to make it clear that the younger generation is drifting into an easy acceptance of Western harmonies and moving away from the static and intricate melodies — often too prolonged — of their own tradition. It seems that if Indian music is not to be drowned by the clangours of jazz, the addition of harmony — or at any rate some growth and progress in that direction — is essential. I do not mean by this that there is any failure to recognise the inherent beauty and individualism of Indian Classical music and the inestimable value of its freedom in improvisation. The trouble is that the Sangit Vidwans refuse to accept the necessity for any measure of adaptation and persist in their contention that Indian music has already reached perfection. Acrobatic feats of the larynx, no matter what quality of voice, are accepted as sufficient indications of a perfected art. In these days of mechanical reproduction and rapid communication, the musical language of four continents cannot but exert pressure on the fifth and while Indian classicists still insist on long performances — stretching to even three hours for a single musician — and ignore the necessity of proper voice production, the youth of India is in danger of forgetting its own musical language altogether.”
A sahib from on high speaking down to the natives, or prophetic? I’m no music fan, so I don’t know. Perhaps Sriram V would like to respond.
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The uncivil civil servant
My reference to Sir Chettur Sankaran Nair (Miscellany, April 30) had MN Nair wondering whether I had heard of Sir Sankaran Nair’s distant cousin, SK Chettur, ICS, who on one occasion had been not only uncivil but vindictive. I had indeed heard the story, but it is worth repeating.
In January 1939, when Chettur was a Sub-Collector, he and his wife and a friend went to an event in Palghat being held as part of the Sri Thyagaraja Festival. When an usher noticed Chettur and his friend smoking, he namaskaramed to them and politely requested them to stop smoking as it was not appropriate to do so on what was a semi-religious occasion. The friend put out his cigarette, but Chettur continued smoking. When several in the audience started shouting at him to stop smoking, the Chetturs and their friend walked out. Outside the temporary pandal, Chettur shouted for the usher and asked him to apologise. In his stead, the organisers apologised, but Chettur walked away in a huff followed by his wife and friend.
The next day, January 11, The Hindu reported, “Sensation prevails in Palghat following the demolition of the entertainment pandal put up at the Ram Dhyan Matom in Kalapathy Agraharam on the order of the Sub-Divisional Magistrate of Palghat (Chettur). The pandal had been put up in connection with the Sri Thyagaraja festival which commenced yesterday.” The report followed the Police informing the organisers that, despite having Municipal permission for it, they had to dismantle it by 4 pm. The organisers rushed to Chettur and apologised all over again. All he would say was that his order stood. And the organisers carried them out in front of a large posse of policemen who were there to keep protesters out.
A few days later, “A memorial on behalf of the citizens of Palghat” was submitted to the Prime Minister (as Chief Ministers were then titled) stating the facts. What Prime Minister Rajagoplachari had to reply is not known, but the next we hear is of a two-column long letter in The Hindu from nine citizens of Palghat reiterating the facts.
Then came the sting in the tail. The Police registered a case against the organisers for “Putting up a pandal in the public street and obstructing traffic.” I am sure the Sub-Divisional Magistrate would have found in favour of the Police.
The chronicler of Madras that is Chennai tells stories of people, places, and events from the years gone by, and sometimes, from today.
source: http://www.thehindu.com / The Hindu / Home> Society> Madras Miscellany – History & Culture / by S. Muthiah / May 21st, 2018
Work to establish a museum at Keezhadi, near Madurai, will start soon, Minister for Tamil Official Language and Tamil Culture K. Pandiarajan has said.
Addressing reporters at the Coimbatore airport on Friday, he added the government had allotted ₹1 crore for the purpose. The museum will house the 2,200-odd artefacts that the recent excavations had helped unearth over 109 acres, and more that could be discovered in the next six months. The 2,200-odd artefacts were unearthed over an 18-day period.
The fourth round of excavations were going on, and thus far, 7,700 artefacts had been unearthed, the Minister said and added that of those, a good number was in Mysuru and the rest was with the State government.
The Minister also said that the government would also establish museums to house artefacts in Arachalur, Erode, Korkai and Thoothukudi.
source: http://www.thehindu.com / The Hindu / Home> News> Cities> Coimbatore / by Staff Reporter / Coimbatore – May 19th, 2018
The State Archaeology Department is in the process of classifying more than 12,000 artefacts found at Azhangakulam in Ramanathapuram district and will send them for carbon dating, an official of the department said.
The department has been undertaking excavations at Azhagankulam and the artefacts found at the site include ivory objects, copper coins, quartz, crystals, iron smelters, furnace, potsherds and terracotta plates, among others.
“These artefacts are now being classified, and will be documented, catalogued, photographed and videographed,” the official said.
“Following this, they will be sent for carbon dating,” the official added.
Last year, the department began its eighth season of excavations.
The Tamil Nadu government had sanctioned ₹55 lakh for the purpose.
source: http://www.thehindu.com / The Hindu / Home> News> States> Tamil Nadu / by T.K. Rohit / Chennai – May 14th, 2018
The death of Lester James Peiris, the father of the ‘New Sinhala Cinema’, brings back to mind his winning in 1965, with his Gamperaliya (The changing village; 1963), the first Golden Peacock awarded and for taking Sinhala film-making not only out of Madras State studios but away from the clichétic Tamil film formula.
Lester was the London Correspondent of The Times of Ceylon when I was its Foreign News Editor in the 1950s. We were in regular touch during that period, when he was experimenting with film-making. When he returned to Ceylon he opted out of journalism and focused on cinema — first with government documentaries and then the making of a new kind of Sinhala film, one drawing inspiration from the realism of Italian and French films. We kept in touch, however, because Iranganie Serasinghe and Sita Jayawardana were two of his leading supporting actresses, both girls who worked with me in features and who were forever asking for time off for ‘shooting’ or who kept dozing after ‘night shoots’. But when I moved to Madras I lost touch with Lester whom many consider one of the greatest South Asian film-makers.
Lester made 20 full-length feature films and about a dozen documentaries and short films. He started with a winner, Rekawa (Line of Destiny, 1956), which focused on village life. It was the first Sinhala film to be shot entirely in the country and the first to be shot mainly outdoors. It was nominated for the Palme d’Or at the 1957 Cannes Film Festival. Gamperaliya, for its part, was shot entirely outside the studio. Besides the Golden Peacock, it also won Mexico’s top international film festival award.
The first Sinhala film to be made, Kadavanu Porundhuva (Broken Promise), was shot entirely in Madras and released in Colombo on January 21, 1947. It was produced by S M Nayagam, who was what they called in Ceylon an Indian Tamil (being from the Tamil districts of Madras Presidency) and who not only pioneered the making of Sinhala films but also the starting of local industries. The film was directed by a Bengali, Joti Sinha. This was followed by 42 other Sinhala films being made in Madras, Coimbatore and Salem. It was only in the 1950s that Sinhala films began to be made in Colombo, where Nayagam had established the first studio. But even then, till legislation in the late 1950s, technicians from Madras continued to work in Ceylon — and the generation of Sinhala technicians who followed them benefited considerably from their mentoring.
One of the earliest from Madras to direct Sinhala films was Anthony Bhaskar Raj. Lenin Moraes was another director from Madras where he had learnt cinematography and make-up. J A Vincent was Art Director for over 100 Sinhala films after starting out with Asokamala being made in Central Studios, Coimbatore. Another connected with Asokamala was experienced cameraman Mohamed Masthan who also shot Sujatha in Salem. When he moved to Ceylon, he was guru to a generation of Ceylonese cameraman. He later went into direction. Other directors from Madras to work in Ceylon included A S A Samy, P Neelakantan, L S Ramachandran who pioneered Sinhala films on village life, and A S Nagarajan. After having been a scriptwriter in Madras, Nagarajan moved to Ceylon and into direction. Among his films was Mathalan, based on the Tamil hit Mangamma Sabatham.
Starting from where the Madras technicians left off, Lester James Peiris gave a completely new face to the Sinhala film industry. R.I.P., Lester.
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They mined for diamonds too
My scrip-collecting correspondent, Sayeed Cassim, has sent me some fascinating material, responding to my gold rush story (Miscellany, April 23). The best of it is a share certificate issued by the Devalah (Devala) Central Gold Mines Company Limited in 1881. This was one of the first companies to be established— even before the gold rush began — and, as I had recorded, it was promoted by Parry & Co, though the certificate (my enlarged picture today) gives no indication of that.
Accompanying it are the headings of three other certificates, those issued by the Western Pathoom Gold Prospecting Company Limited, the Sonepat Proprietary Gold Mining Company Limited, and the Dumra Gold Prospecting Syndicate Limited. Having made a study of these three certificates, Sayeed Cassim feels that “these were companies set up only to rake in the money and hoodwink the public.” He bases his presumption on the fact that there are several identical features in these certificates which “make their intentions suspicious”. He lists the following:
Similar authorised capital of each of these companies:
Date of all issues very close together in 1890
Printer the same: Calcutta Catholic Orphan Press;
Per value of each share only one rupee (to induce greater subscription?), and
Certificates of Western Pathoom and Dumra signed by the same person.
But that is not all. Apparently there were optimists who thought that there were diamonds in the hills too and companies were formed to prospect for them. He names The Madras Diamond Mining Company Limited and The Madras Presidency Diamond Fields Limited. Were they genuine speculators or in it for the quick buck?
If you want to take a better look at these certificates, Sayeed Cassim suggests you have a look at the website of David Barry of London (www.indianscripophily.com), who has “the largest and finest collection of Indian share certificate in the world.”
The chronicler of Madras that is Chennai tells stories of people, places, and events from the years gone by, and sometimes from today.
source: http://www.thehindu.com / The Hindu / Home> Society> History & Culture> Madras Miscellany / by S. Muthiah / May 14th, 2018
The Madurai railway junction has been adjudged the second most beautiful station in the country and behind the laurel is the efforts of two local artists
The side-wall of the escalator on the second platform inside Madurai railway junction, presents a picturesque and colourful painting. The imposing wall of 60 feet by 23 feet depicts a scene from rural Tamil Nadu, replete with bucolic paddy fields, farmers, huts, rolling mountains and lush greenery. The painted wall has become an attraction for passengers who pause to take a look at the grand and elaborate piece of art. Similarly, a two-dimensional mural measuring 14feet by seven feet adorns the wall inside the AC waiting hall on the station’s first platform. The mural painted in the Tanjore style of painting showcases the event of Meenakshi Tirukalyanam and has added a tinge of colour to the hall.
In a bid to beautify one of the biggest railway junctions in the region, the management roped in arists A Kannan and G K Ramesh to do up some art in strategic places inside the station. “It’s part of the ongoing project by Ministry of Railways. The idea is to showcase local talent in beautifying the place.” says Neenu Ittyerah, Divisional Railway Manager, MaduraiDivision. In a contest held recently in which 68 stations took part, the Madurai junction has won the award of second most beautiful railway station in the country, along with Madhubani station of East Central Railways. The first prize is won by Chandrapur and Ballarshah stations of Maharashtra. “It took quite an effort to decide on what and how to paint. We wanted to have some variety so we decided to paint two different things in different styles. Station art is evolving as a genre in itself and has to be big, bold and visible. Hence, we chose the escalator wall and the waiting hall. While the first one was based on a generic theme and made in a modern poster-art style, the second one was traditional Tanjore painting choosing a theme that’s typical of Madurai and what better than Meenakshi Kalyanam, as the event is celebrated by the entire town.”
A Kannan, who works as art teacher in TVS Matriculation School, Palanganatham and his team of assistants worked for over 10 days to complete the painting on the escalator wall. “I have used enamel paint and a combination of soothing cool colours. Since the base colour of the corrugated tin wall was blue, I retained a blue background. We had to build a scaffolding to reach to the height and chalk out a graph, so that the painting can be done to scale,” says Kannan, who has contributed in the Madurai corporation’s beautification projects previously. He has painted the pillars beneath the Kalpalam bridge and the wall around Gandhi Museum. “That’s how I got the opportunity to paint the station as well. I enjoyed the process and I am happy that my work has earned the place the distinction.”
The mural art is done by GK Ramesh, Stapati belonging to Sirkazhi. Having painted some of the famous and big temples across the state, Ramesh is an expert in Temple Art. “I come from a family of temple artists and learnt it from my father. In 2009, I repainted the frescos on the ceilings and walls of Meenakshi Temple. That’s how I was recommended for drawing a mural at the station,” says Ramesh. “I have used acrylic paint and my style is inspired by Indian art before the period of Ravi Varma, characterised by flat two-dimensional figures,” says Ramesh. “Though I have showcased my skills in temples like Tiruparankundram, Pazhamudhircholai and Srivilliputtur, drawing at the railway station gave me a unique experience. I am grateful and glad that my art has bagged a national-level recognition.”
The other stations under Madurai Division that were beautified are Virudhunagar and Kovilpatti, where the side of a staircase and a wall have been painted respectively. “We nailed the brief and that’s one reason we got the prize. From the railways, we will continue to add art and value to stations. The next stations we will be working on are Rameshwaram and Kodai Road/Dindigul, as they attract heavy flow of tourists. In Kovilpatti, one of our staff has done a worli art and we encourage such initiatives,” says Ittyerah. “Railway stations need to look good for two reasons – one is that it’s a highly patronised public space and creating beauty outside home will instil a sense of ownership in people using the space. And secondly, railway junctions are places that leave an impression in the mind of every traveller. You also always take something from a station.”
Madurai Division
Madurai Division was formed on 16.05.1956 and it is the largest Division on Southern Railway with 1363.06 Route Kilometers, extending over 12 districts of Tamilnadu, viz., Madurai, Virudhunagar, Tirunelveli, Tuticorin, Dindigul, Theni, Sivagangai, Ramanathapuram, Pudukottai, Tiruppur, Coimbatore and Tiruchchirappalli and 1 district of Kerala, viz., Kollam.
The total BG line is 1298.80 km and 118.12 km is under gauge conversion ie.89.74 kms between Madurai and Bodinayakkanur.
The division has 99 block stations, 20 flag stations and 20 halt stations. The division is running 39 pairs of daily express trains and 45 pairs of non-daily express trains and 70 pairs of daily passenger trains and 4 pairs of non-daily passenger trains.
Madurai Junction
Madurai Jn. is a ‘A-1’ category station with an average earnings of Rs.37 lakhs per day and an average of 44 lakhs passengers are dealt per day. The station has six platforms, six UTS and eight PRS counters.
Number of trains dealt:
Express trains: 12 pairs of daily, five pairs of bi-weekly, three pairs of tri-weekly, one pair of quadruplet weekly and six pairs of weekly
Passenger trains: 13 pairs of daily
Bookings office, Food plaza, Catering stall, Retiring rooms, Water cooler, Automatic Water Vending machines, RO water plant, Waiting halls, Mother feeding centre, Escalators, Lifts, Wheel chairs and Pay and use toilets are the other facilities provided at the junction.
source: http://www.thehindu.com / The Hindu / Home> Society / by A. Shrikumar / May 11th, 2018
