Artists of tradition

Amaraysan Danasamy and Mohan Maruthamutu are two kolam artists who are passionate about their art.

Amaraysan Danasamy, 46, was a picture of serenity and patience though his appointment was running two hours’ late.

While lesser mortals would have blown their tops and walked off in a huff, Amaraysan was visibly cool as he waited for the tardy appointed to show up at the Mid Valley Mall Centre Court in Kuala Lumpur.

Passionate artists: Mohan (left) and Amaraysan share a love of kolam drawing.

“There is no point in getting angry. No one is going to give you RM10,000 for losing your temper but in place you are going to end up stressed and worn out. So what’s the point? Don’t worry, my friend will show up,” he assured.

Patience is a virtue that Amaraysan has in abundance and this came as no surprise considering that this former navy officer has been a practitioner of the traditional Indian art of kolam drawing since he was 18.

For it is said that the act of kolam drawing is a form of prayer and after having drawn close to hundreds of them for temple ceremonies and private corporations and functions, Amaraysan must have attuned his mind to serenity.

The kolam, he explained, was a sign of welcome, an invitation for luck and prosperity into one’s home and everyday life.

This was one reason why either rice kernels or flour is used so that it will attract the birds and other creatures to signify this invitation.

Vibrant: Mohan with his kolam masterpiece of two peacocks.

The man’s patience paid off when fellow kolam artist, Mohan Maruthamutu, finally turned up. Immediately, Mohan, who was a despatch ride for a motor shop by day, led Amaraysan to his latest masterpiece, a pair of peacocks formed by free hand with glutinous rice kernels in varied vibrant hues.

“Aiyoh, someone must have stepped on it,” muttered Mohan who looked visibly vexed.

Having worked on the kolam design, which spanned about 1.5m by 2m, for close to eight hours, using more than 5kg of rice grains the night before, his detailed eye had spotted some irregularities at the border.

At once, he and Amaraysan kicked off their shoes, and started to fix things.

Such mishaps are nothing new to Amarayson.

Sometime in the 1990s, one of his clients, a bank in Jalan Ampang had SOSed him with the terrible news that an excited child had run thorough his kolam design, making his image go helter skelter.

In this case, the problem was a minute one and it would take no more than a mere few minutes for the men to gingerly sweep the stray grains into place with their hands.

Finished, Mohan breathed a huge sigh of relief. Amaraysan had met Mohan when the former had participated in a kolam drawing competition that he was judging this year.

According to Amaraysan, Mohan would have won the competition if not for the fact that he had done the job by himself. The rules dictated that it had to be a joint effort of four contestants.

“I don’t work as well when there are other people involved,” was Mohan’s simple reply. In his view, too many cooks have a tendency of spoiling the broth.

Still, he got Amarayson’s attention and this led to a friendship which saw the elder imparting the finer points of the art to the younger artist.

“In kolam drawing, there are many aspects such as colour combination and toning. There is also the method of adding depth to the image by applying a thicker coat of rice in certain places to impart a 3D effect,” said Amaraysan.

Both men had started kolam drawing in their respective temples and the part-time commissions they received during the Deepavali season and wedding parties had come when their work got noticed at competitions.

“We see ourselves as preservers of tradition because we believe that the significant meaning of the kolam should not be lost,” concluded the duo.

For enquiries, call Mohan 016-617 6765 or Amaraysan 016-396 6638.

> Mohan’s work can be viewed at Mid Valley Center Court and The Wall at Jalan Jelatek, KL.

Published in The Star on Sunday October 26, 2008.