ಕವಿಕಿರಣ: Karma yogi Kalavallabha S.K. LINGANNAIYA

This Book is a Biography of one of the greatest personalities of Keladi Kavi Family, S.K.LINGANNAIYA. The entire book is re-produced here for the benefit of the interested readers.

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Karmayogi - Kalavallabha
S.K.LINGANNAIYA

Author:
KAVI SURESH

Publisher:

KAVI PRAKASHANA
"Souparnika, 3rd Main, 3 Cross,
Basaveswaranagar, Shivamogga-577204
T: 08182-223670

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S.K.LINGANNAIYA - a vivid personality - A concise biography of S.K.Lingannaiya, a worthy and proud descendant of the famous erst-while Keladi Kavi family written by Kavi Suresh, Shivamogga (also a 9th generation descendant of the Keladi Kavi Family!)

Copy Right : Author

First Print : 2007

No.of Copies : 500

Pages : 106+8

Price : Rs.80/-

DTP : KAVI SURESH

Printers : Royal Printers, Shimoga.

Publishers : KAVI PRAKASHANA

“Souparnika”, 3rd Main,

3rd Cross, Basaveswara-

nagar, Shivamogga - 577 204.

e-mail: bsr_kavisuresh@yahoo.co.in

Front cover Page : Portrait of late SK Lingannaiya sketched by Smt.Nagaveni, his grand-daughter

Front Inner cover Page : Vayu Stuti Maruthi - Drawing by SK

Lingannaiya

Back Inner Cover Page : Sons & Daughters of SK Lingannaiya

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PUBLISHER’S NOTE

“Kavi Prakashana” is indeed very happy to bring out its second publication within one year. “Hale Beru-Hosa Chiguru”, a book in Kannada written by the same author was published in January, 2007. This book contains details of the Keladi Kavi families right from the year 1750 A.D. covering 10 generations. Besides containing some important historical information, the book also has brought out the talents of the present-day Kavi generation in various fields. The book has been well received.

This is our second attempt to introduce to the readers one of the greatest personalities of the Keladi Kavi family, late S.K.Lingannaiya. His life, achievements, creative abilities, perseverence and an un-ending zeal and enthusiasm coupled with untiring efforts, as brought out in this book, it is hoped, would be a guiding and inspiring factor to the present generation and the generations to follow. It is hoped that this effort would help in unfolding the sofar less known facts about the Keladi Kavi family.

Keladi history in general and the heritage of the Keladi Kavi family in particular contain invaluable source materials for research scholars and historians to work on. Though a few research works have taken place, much remains to be explored. It is hoped that this publication would serve as one of the most important source materials to any research person interested in Keladi history. The Publishers also take this opportunity to request all individuals and organisations to share any additional information relating to the Keladi Kavi family and also extend their generous help in our endeavour to bring out all available information in this regard in published form so that this great tradition is preserved for posterity.

December, 2007 KAVI PRAKASHANA
S H I V A M O G G A

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AUTHOR’S PROLOGUE

The urge to know and unearth my ancestors’ details had been at the back of my mind for quite some time. Entanglement with official work and routine family issues had kept that urge suppressed, or at least, sidelined so far. After relief from my official commitments, the chain of events that has happened subsequently is hard to believe for me itself. May be that it was my ancestors’ blessings and my urge coupled with the instant support of many like-minded relatives that culminated in compiling comprehensive details about my ancestors - the Keladi Kavi family and publication of a book in Kannada, titled “Hale Beru - Hosa Chiguru” in January 2007. This exercise helped unravel many unknown facts about our ancestors, one of them being SK Lingannaiya, and also re-identify the relations of the present generation within the Kavi family.

Inspired by his (SK Lingannaiya) astounding achievements in such a short span of time, I was brooding on the idea of bringing out a biography of Lingannaiya in English in an effort to immortalise his feats in several fields. Lingannaiya is none other than my great-grand father’s (Kavi Venkanna) younger brother! I fervently wish to present this as my humble tribute to all my ancestors in general and to Lingannaiya in particular.

I am particularly indebted to Shriyuths S.K.Krishna Murthy (son of Lingannaiya), Smt. Subbalakshmamma (d/o Lingannaiya), Prof.Gunda Jois and Smt.Shylaja Prabhakara, Astro-Physicist, Bangalore Planetarium who have shared lot of information, ably vetted the draft sparing their invaluable time and whole-heartedly encouraged and supported me in this little effort of mine. In fact, while collecting data, I have received information, guidance and moral support from so many other quarters as well and I wish to place on record my grateful thanks to all of them. I am particularly thankful to my wife, Renuka, and my children, Deepak and Ambika, for their unstinted support and encouragement throughout.

I am sure this would serve as one of the important source materials to anyone interested in Keladi history. I hope this book will be well-received and will prompt the discerning readers, especially those belonging to Keladi Kavi family, for further probe about our ancestors.

KAVI SURESH

December, 2007 SHIVAMOGGA

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Contents

Chapter 1:       Introduction
Chapter 2:                                                             Family Background
Chapter 3:                                                            Early Days and Education
Chapter 4:    Marriage and family details
Chapter 5:                                                            Professional career
Chapter 6:                                                          Lingannaiya & his Miniature scripts on art works.
Chapter 7:                                                           Other Important works of Lingannaiya.
Chapter 8:                                                           Other publications of Lingannaiya
Chapter 9:      Lingannaiya - the individual
Chapter 10:                                                          Lingannaiya - his daily routine
Chapter 11:                                                       Lingannaiya - the legacy continues

Appendices

Footnotes

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Chapter-1
Introduction

Don’t we aspire to be remembered in this world or in our country, or the State or by our descendants in our own home ……..after we are no more? Let us give this question a serious thought. Undoubtedly many of us may have been tickled by this question at one time or the other. However, the domestic chores and involvement in wordly affairs easily wash out all the time needed for pondering about it. Let us, therefore, try to digest this question right away. For, in its answer lies a tenet, which, has the potential to mould our life, at least, henceforth. That is important, irrespective of how short or long it is likely to be. No one born in this world is remembered for ever (though there may be a very very few exceptions!). People’s memory is very short and one has to do something really note-worthy to be in that elusive list, of course, for a limited time only! The hard truth is that those supposed-to-be immortals also vanish one day from the people’s memory! Because ‘change’ is a natural phenomenon and with it brings new things in life and in the process, slowly but surely erasing the past. Here again, another question arises: Whether we wish to be remembered for our worldly feats and achievements or whether we feel satisfied by such deeds which bring us lot of inner peace and enlightenment; a spiritual, religious, dignified and disciplined way of life, which a few people in this world choose?

Our life-span is limited and unsure. The ‘final call’ may come at any time and most of the times, without any notice! As such, finding a suitable answer to the questions posed in supra is definitely not an easy task. There are several avenues, avocations and challenges in the world. Which one of these suits us better has to be decided by us only after a thorough self-analysis, assessment of our strengths and weaknesses and of course, right and dispassionate advice by parents, elders and not to forget of professional counsellors in the present day world. Going by the ‘Karma’ theory of the Bhagavad Geeta, one has to perform his duties in a dispassionate way and there is no question of total detachment from the worldly duties (though one can practice such a detachment for himself innerly). A combination of a goal of doing one’s duty and attainment of material and worldly achievements, preferably, upto a certain level (which includes academic and research pursuits) with a spiritual, religious and God-fearing background and of course, with a non-chalant attitude could perhaps be aimed for. The identification of the goal only marks the beginning of the pursuit. Having identified our goal in life, the real test of our will-power and determination to stick to our goal under any circumstances, starts from then onwards. “Arise, Awake and stop not till the goal is reached”, declared Swamy Vivekananda. Remember, there is no short-cut to success and to reach our set goals there is no way other than perseverance, hard work, dedication and a firm belief in ourselves! Journey to Himalayan top or to the stars starts with our first step from our home! The problem with most of us is to get started. Having made a successful beginning, some people, half-way, find some other goal/target more alluring and tend to oscillate. Many people encounter this dilemma. The result is that neither they are able to accomplish what had been originally planned nor find complete sense of achievement in the new found target, as by then, they would have lost both their precious time and effort. One has, therefore, to be very firm and decisive in his pursuit of the set goal and should not let other things influence his/her decision later on. “Sadhana” or “penance” is the only way. “Sadhana” can be broadly defined as doing a particular thing, at a particular place and time, preferably under the guidance of a Guru (of course, a genuine one!), with cent percent regularity, keeping the goal set up for oneself, at the back of his mind always alive. Sincere “Sadhana” will never let us down and is sure to take us to our destination and even beyond. The examples are the great lives of Sri Ramakrishna Paramahamsa, Sri Vivekananda, Sharada Devi, Ramana Maharshi, HH Sri Chandrashekhara Bharati of Sringeri Sharada Peetha, Mahatma Gandhi, Bhagat Singh, Gopalakrishna Gokhale, Lal Bahadur Shastri and of course, a long list to quote, demonstrate in unequivocal terms that “Sadhana” is the only panacea to achieve our goals, the intentions of which, of course, should definitely be positive. In the words of Mahatma Gandhi, both our ends and means to achieve those ends should be good and sincere. A study of life-stories of such and many other great personalities also help to instil in us a sense of confidence and moral support to tread the path of our “Sadhana” with more zeal, enthusiasm and determination. In other words, what we do not lack is will power. But what we really lack is the power to make a will, sustain it and pursue it ...... till it is accomplished!

Late S.K.Lingannaiya (Sagarada Kavi Lingannaiya) is one such less-known personalities, whose life and achievements could be an inspiring story to the youngsters. Despite several odds and handicaps, Lingannaiya rose from the status of the son of a humble Keladi Kavi family brahmin to that of a person with multi-faceted capabilities. His life-story, as it unfolds in the forthcoming pages, tells how his reverence to elders, spiritual way of life, dedication and hard work, commitment to the cause and, of course, self-discipline has brought out the best in him. His contributions to the field of art, education, spirituality etc., though less-publicized, speak volumes of his varied capabilities. His achievements in these fields stand out on a high footing, especially because they were accomplished at a time when there were no modern amenities, gadgets and professional expertise. His creations are original and bear ample testimony to his extra-ordinary creative abilities. Let us all, therefore, take a leaf out of the life of this great personality and endeavour to follow his foot-steps in the pursuit of our own set goals. Let his life be a source of abundant inspiration to the young generation and drive them towards scaling new heights thus bringing glory and fame to themselves in general and to the nation, as a whole, in particular. The younger generation in the Keladi Kavi family have inherited a rich bounty of creative traits of their ancestors, as is evident from the accomplishments of the generations-next of Lingannaiya.[This has been briefly brought out in the last chapter of this book]. Lingannaiya’s life and achievements (of course, not to forget the glorious tradition of his ancestors as well) should, therefore, serve as a special guiding force to them and should prompt them for still higher, still greater and still creative accomplishments in varied fields of their interest. That will only be a fitting tribute to our Keladi Kavi family ancestors.

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Chapter - 2
Family Background
Lingannaiya belongs to a family of the most revered Keladi Kavi family of the erst-while famous Keladi dynasty [1499 to 1763 A.D] in Shimoga district, Karnataka State. The famous Keladi dynasty reigned South India for almost 250 years from 1499 to 1763 A.D. Their capital Keladi is now a small town in Sagar taluk of Shimoga district, Karnataka State. This dynasty has etched an immortal place in the history of India. Their administration techniques, patriotism, heroic deeds are well documented in history. Many of his fore-fathers were the ‘Asthana Kavi’ of the Keladi rulers then and had played a leading and prominent role in the literary and cultural scenario of that period, by their invaluable contributions. Viewed from this angle, a brief introduction and outline of the contributions of a few of his ancestors here would not be out of place.

Kavi Linganna or Kavi Linga Bhatta [1765 A.D.]:

Kavi Linganna son of Venkatappa was the ‘Asthana Kavi’ during the Keladi rule. From his literary works, it is believed that he lived during the rule of Basappa Nayaka-II [1739-1755]. ‘Keladi Nrpa Vijaya’, ‘Dakshadhwara Vijaya’ and ‘Shivapooja Darpana’ are some of his works of immense historical, literary, aesthetic and spiritual value. ‘Keladi Nrpa Vijaya’ depicts the history of the entire Keladi Kings with a faithful narration of events of that era. It is known more for its historical importance than its literary values; though at several places, Kavi Linganna’s literary command is clearly demonstrated. However, the book is more cited for its historical content. It depicts the Keladi rule right from its inception till its downfall during 1763. It is said that anEnglish version of the Keladi Nrpa Vijaya got prepared by Mckenzie during his visit to Keladi is available in the London Historical Museum! Sa.Shi.Marulaiah in his Kannada book on Keladi Kings and Kannada literature rightly observes that ‘Keladi Nrpa Vijaya’ is one of the invaluable contributions of Kavi Linganna to the history of Karnataka. The other works - ‘Dakshadhwara Vijaya’ and ‘Shivapooja Darpana’ unravels the literary hold of Kavi Linganna in no uncertain terms. ‘Shivapooja Darpana’ details, step-by-step, the various rituals to be performed while worshipping Lord Shiva; perhaps this is the first attempt which narrates the method of worship in Kannada (which is still mainly in Sanskrit language).( The latest attempt is one that of Hiremagaluru Kannan who has translated the Sanskrit pooja verses into Kannada and practicing the same.) Kavi Linganna has included several musical compositions in the above two works and has also mentioned the ‘Raaga’ of each Krithi. No doubt, Kavi Linganna was an eminent scholar in carnatic music as well. It was during the time of Linganna that the prefix ‘KAVI’ was added to the name and the sur-name ‘KAVI’ has continued even till the present 10th generation!

Kavi Venkanna or Venka Kavi:

Kavi Venkanna who lived during 1770 is the son of Kavi Linganna. ‘Narahari Vijaya’, ‘Ganasahasranama’ and ‘Parvathivallabha Shathaka’ are some of his well-known literary works. He has also written several compositions on Kollur Mookambike (the ‘Aradhya Daiva’ of the Keladi Kavi family - Keladi rulers were also staunch devotees of Kollur Mookambika3) and Keladi Rameswara4, which speaks eloquently about his devotion, grip over the language and also musical knowledge. Many of the compositions are comparable to the compositions of great devotee and composer Purandara Dasa. These compositions are published by Prof.Gunda Jois during 1977 under the auspices of the Bangalore University [‘Keladi Venkanna Kaviya Keerthanegalu’]. The edited version of ‘Parvathivallabha Shathaka’ has been published by Dr.KG Venkatesh Jois recently.

Kavi Krishnappa or Kavi Krishna Bhatta:

Kavi Krishnappa and Subbamma were the parents of Lingannaiya. Though the works of Kavi Krishnappa are not found, it is mentioned by the then editor of the ‘Malenadu Samachara’ patrike that a brief description of the Keladi history was written by Kavi Krishnappa and that this was quoted by late A.R.Krishna Shastry in the ‘Upodghatha’ (preface) to the ‘Keladi Nrpa Vijaya’ Book. It is also believed that there was a book on ‘Keladi Raya Paddathi’ which was, after some time, sent to Asiatic Library of Bengal by the then Dewan Poornaiah. The statement of Francis Buchanan in this connection reads thus: “I here found a Brahman named Belur Dewappa whose ancestors have been the hereditary writers of the chronicles of the Kilidi family. It is in the old dialect and character of Karnata and contains 400 slokas or distinchs; for like all other works of any note among the Hindus it is poetical. He afterwards forwarded a copy of the work to Poornaiah who was so good as to add a translation into the modern language and character and both of them have been delivered to the Bengal Government. The family of the histeriographer enjoyed an Inam, or free land, to the amounting of 60 pagodas a year” [AJMCMC & MFB vol.II p.378].

Certain precious documents and literary works of Kavi Krishnappa and his ancestors are believed to be in Keladi and Sagar and yet to see the light of the day!

It would be pertinent to quote what Lingannaiya had to say about his parents. This is extracted from the Preface (written by Lingannaiya himself) to the pocket-sized book on ‘Balakanda’.

“...................I deem it my bounden duty to express my heartfelt gratitude to the following devotees of Sri Rama.

First to my saintly parents whose example and discipline served to make me what I am now.

Secondly and doubly to my Guru and precepter, my own father, whose special training in my younger days contributed to the development of my spirit within, without being affected by the environments of my adult days......”

From the above remarks of Lingannaiya about his parents, one can deduce that both Kavi Krishnappa and Subbamma were very pious, religious and disciplined couple who gave their best in bringing up Lingannaiya. The family tree of Kavi Krishnappa is shown here.

KAVI KRISHNAPPA

SUBBAMMA
Children

1. Kavi Ramanna (Narasamma - later Subhadramma)

2. Kavi Venkanna (Lakshamma)

3. Gangamma (Krishna Jois)

4. Thungamma (Dyavappa of Hebbailu)

5. S.K.LINGANNAIYA (Janakamma - later Lakshamma)

Thus, Lingannaiya was the youngest member of the Kavi Krishnappa’s family and naturally must have enjoyed all the care, love, affection and guidance of his parents. A secure, happy and well-guided childhood, which Lingannaiya was really fortunate to enjoy must have naturally moulded Lingannaiya in the right groove and has enabled him to blossom all his (most of them in-born) creative capabilities to the optimum level. No wonder, Lingannaiya emerged as a worthy successor and a torch-bearer of the Keladi Kavi tradition. The family tree prior to Lingannaiya is at Annexure-1.

Although the details of the Kavi family lineage is available, the complete contributions to the literary and other fields by each one individual of those generations have not yet been traced.

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CHAPTER - 3

Early days and education

As already stated, Kavi Krishnappa and Subbamma were the parents of Linganniya. Linganniya was born in the year 1879 at Sagar in Shimoga district. Kavi Ramanna and Kavi Venkanna were is brothers and Gangamma and Thungamma his sisters. Kavi Ramanna was an Amaldar and led a very religious and disciplined life. It is said that he was given a horse for his official duties. He had a golden-laced ‘Shivalinga’ at home and during Mahashivarathri and Pradosha occasions, it is said that he used to offer silver flowers to the Linga. He was a good astrologer and had even predicted the time of his own death! He had also predicted that after him, the new three Kavi generations would suffer from poverty and other miseries and thereafter again the Kavi family would come to limelight and gain prominence. The time and events since then has proved how true this prediction has been! Another elder brother, Kavi Venkanna passed away as early as in 1916 and hence not much is known about him.

The family trees of Kavi Ramanna and Kavi Venkanna can be seen at Annexure-2 and Annexure-3. Gangamma was married to Keladi Krishna Jois2 while Thungamma was married to Nadig Devappa of Hebbailu in Hosanagar taluk of Shimoga district; this Hebbailu has been referred as Perbailu in the ‘Keladi Nrpa Vijaya’ of Kavi Linganna.

Lingannaiya had his primary education in Sagar and completed his Matric there. Though his parents were not in a position to support his higher education, he ventured on his own and set out to Bangalore and joined a College there. It is said that besides the blessings of his father, he had only Rs.25/- with him at that time! He stayed in Bangalore in an extension known as ‘Seegebeli’, which was behind the present Chiklalbagh. The name ‘Seegehalli’ is no more in vogue in Bangalore. To meet his expenses towards education and maintenance, he held tuitions to several children in the locality. Pradhani Venkata Subbaiah4-1 (also known as Venkappaiah- his father-in-law), who was an Amaldar then, helped Linganniya in his educational pursuits. Thus, with strong will and determination, Linganniya completed his B.A. degree from the Madras University in the year 1898 securing II Grade and III Grade in Kannada and English subjects respectively. The original degree certificate (though slightly damaged) is still with Prof.Gunda Jois in Keladi.

As already mentioned, Lingannaiya spent his early days in Sagar. After completing his matriculation, he must have left for Bangalore for further studies. Much is not known about his ancestoral properties in Keladi and Sagar. However, a letter written on 3.4.1923 to Sri Kottige Nagappa of Keladi states that his share of paddy from the ancestoral lands be given to Shri Nanjunda Jois, his son-in-law, henceforth. In another letter to one Shri Sadashiva Rao (who was then posted to Sagar Sub-Division) dated 19.7.1926, he states thus: "I may be permitted to express hereby my immense pleasure in seeing a well-wisher of mine like yourself placed in charge of a Sub-Dn., the Hd.Qrs. of which is my birth place though I did not avail myself of any ancestoral possessions & rights in the locality....". The above clearly indicate Lingannaiya having some ancestoral inheritances in Keladi and Sagar; details are yet to be found. Being fully occupied in pursuit of his born-talent - art, it can also be presumed that he did not evince much interest in these ancestoral inheritances. In the same letter he requests: "....My brother in law (Krishna Jois of Keladi) happens to be the Shanbhog of Hurali Circle in Sorab Taluk, and he intends to transfer the Shanbhogship to his son, Nanjunda Jois who is my son in law (daughter's husband)...."

The signs of born-talent in arts and drawing was visible in Linganniya right from his childhood. One of the beautiful paintings of Vinayaka done during his childhood can be seen displayed even now at the Keladi Museum. The colours used in the picture are extracted from different flowers!

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CHAPTER - 4
Marriage and family details

Lingannaiya married Smt.Janakamma, daughter of Amaldar Pradhani Venkatasubbaiah of Tumkur. Muttamma and Mookamma were his two daughters. Muttamma was married to Belur Srinivasa Rao; much information is not available about Muttamma. Muttamma’s grand-son, Dr.Gururaj, is in USA presently. The other daughter, Mookamma was married to Nanjunda Jois (son of Keladi Krishna Jois) of Keladi. Incidentally, the famous Palm-leaf and tigalari script decipher expert, historian, founder of Keladi Museum, Rajyotsava Awardee and Project Coordinator, National Manuscripts Mission, Government of India, New Delhi, Prof.Gunda Jois, is the son of late Nanjunda Jois and late Mookamma!

S.K.LINGANNAIYA

[Smt.Janakamma and Lakshamma]

Sons Daughters

late SK NARAYANA RAO late Muthamma

SK KRISHNA MURTHY late Mookamma

SK RAMA RAO late Saraswathamma

SUBBALAXMAMMA

late Rathnamma

PADMAVATHAMMA

GIRIJAMBA

Consequent to the sad demise of Smt.Janakamma, Linganniya married subsequently one Smt. Lakshmamma of Satnur in Mandya district.Smt. Lakshmamma was a loving mother and she treated Muttamma and Mookamma (daughters of late Janakamma) with equal love and affection. Smt. Lakshmamma passed away on 23rd June 1948 in Bangalore. The family tree of Lingannaiya is given here.

The detailed family trees of each of the children of Lingannaiya is also given separately in Annexures: 5 to 8.

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  CHAPTER - 5
Professional career

Lingannaiya spent his early days in Sagar. After completing his matriculation, he must have left for Bangalore for further studies. Much is not known about his ancestoral properties in Keladi and Sagar. However, a letter written on 3.4.1923 to   Shri Kottige Nagappa of Keladi states that his share of paddy from the ancestoral lands be given to Shri Nanjunda Jois, his son-in-law, henceforth. In another letter to one Shri Sadashiva Rao (who was then posted to Sagar Sub-Division) dated 19.7.1926, he states thus: “I may be permitted to express hereby my immense pleasure in seeing a well wisher of mine like yourself placed in charge of a Sub-Dn., the Hd.Qrs.of which is my birth place though I did not avail myself of any of my ancestoral possessions & rights in the locality......” The above clearly indicate Lingannaiya having some ancestoral inheritance in Keladi and Sagar; details are yet to be found. Being fully occupied in pursuit of his born-talent - art, it can also be presumed that he did not evince much interest in these ancestoral inheritances. In the same letter, he requests: “....My brother in law (Krishna Jois of Keladi) happens to be the Shanbhog of Hurali Circle in Sorab taluk, and he intends to transfer the Shanbhogship to his son, Nanjunda Jois who is my son in law (daughter’s husband)....”

As an Officer/Administrator:

    Lingannaiya served the then Mysore Government in Atthara Kacheri (present High Court of Karnataka) in the Office of the Stamp Supervisor located on the ground floor. He was working as a Stamp Supervisor there. While in service, Lingannaiya had passed the Local Service Examinations in the following subjects: Revenue (1903), Registration (1903), Excise (1904), Prisons Part I & II (1906), Criminal Examination (1906), Civil Part-I (1907), Accounts (1909) and Civil Part-II (1909).; certificates of these examinations are still with his son, SK Krishna Murthy. A torn and shaded photograph of Lingannaiya with other officers taken in front of the present High Court is with Prof.Gunda Jois. Prior to this, there is an evidence to show that he worked as Sub-Registrar in Soraba taluk in the year 1905; he had also worked as Sub-Registrar in Belur also. An extract of the said document registered in Soraba can be seen here. Another important point to be noted here is that the said document has been registered in the local Kannada language at a time when Britishers were at the helm! It is ironical and rather distressing to note that even today we are struggling for use of Kannada in all official machinery!

    Several of his art works bear his signature with date and with that one can presume   that he must have come down to Bangalore and settled there around 1910. Before joining Government service, it was required then that a security bond for a specified amount was to be executed in favour of Government. His brother-in-law, late Krishna Jois, had hypothecated his own old house and property, and thus had helped Linganniaya join Government service. The said document is still in Keladi.   May be, as a matter of gratitude, and secondly Keladi and Sagar being his ancestors’ places, Lingannaiya later might have offered to marry his daughter, Mookamma to Nanjunda Jois of Keladi, who was the son of Krishna Jois. It is also likely that he tried to keep alive the ancestral links this way.

    Along with his Government work, Linganniaya nurtured his natural talents in drawing and painting with all earnestness.   Art was his first priority and he sacrificed his promotion tagged with a transfer, fearing that a stay out of Bangalore would hamper his artistic activities. But with the graceful help of the then Dewan M.Kantharaj Urs6, who appreciated his love for art, the promotion was not denied. Lingannaiya was given a senior post in Atthara Kacheri (present High Court). At a time when Government appointment was a dream, it required lot of determination and will-power on the part of Lingannaiya to refuse promotion to the coveted post of Amaldar. In other words, Lingannaiya demonstrated his commitment and love for his art and cultural pursuits in no uncertain terms by this act. Impressed by his innate talent and imaginative art works, the then Dewan Kantharaj Urs, got imported a Litho Press5 from England and presented it to Lingannaiya. This Litho Press was first installed in a rented house at H.B.Samaj Road, Bangalore. Dewan Kantharaj Urs also got allotted a site to Lingannaiya at Visveswarpuram   (measuring 30’ x 80’); the Litho Press was shifted to this place and housed in a special room measuring 20’x12’. Subsequently, Lingannaiya purchased the adjoining site also   for Rs.500/- (interestingly, the name of that owner also was Linganna). The small house that existed then was known as Roshan Bagh (site Nos.366 and 367). Lingannaiya continued the same name even thereafter and even now it is known as Roshan Bagh.   He built a small house and a Show Room in this premises.

Lingannaiya started his Home Industry in the year 1914. Besides three workers - Naranappa, Santhappa and Gangochi - his sons, S.K.Narayana Rao (now deceased) and S.K.Krishna Murthy were also working in the Press; sons engaged themselves in manufacture and supply to various places in the State. The approximate cost of the Press at that time was Rs.300-400. In 1938, Lingannaiya subsequently bought a Caxton Letter Press for Rs.200 from a private press at Shankarapuram. Ramayana-in Pictures and the Bala Kanda [Pocket-size English version] was printed on the Litho Press. The Letter Press was also used to print the names of places on the maps, charts etc. A Show-Room for marketing the various educational and artistic productions of Lingannaiya was opened in Avenue Road in Bangalore. A Branch (known as SK Lingannaiya & Sons) was also opened in Durgigudi extension of Shimoga (by his son-in-law, late Gundu Rao) and was closed after the transfer of Gundu Rao to Bangalore. Besides, it is interesting to note that Lingannaiya also served as a Director on the Board of Bangalore City Cooperative Bank when Masti Venkatesh Iyengar was its Chairman.

    That Lingannaiya was a law-abiding citizen can be seen from the letter he wrote to the then Municipal Commissioner on 11.11.1926 which reads thus: “I request you to be so good as to renew the licence no.64 dated 24.7.1925 kindly granted to me for adding a room to my house on site Nos.366 & 367 in V’Puram as I had allowed the stone work foundation to settle until now. The licence and plan are herewith submitted for favour of perusal & return.” This letter, in his own hand-writing, is in a letter pad, along with other correspondences; now with Prof.Gunda Jois of Keladi. In reverence to the favours showered on him by Dewan Kantharaj Urs, Lingannaiya named his press as “ Sri Kantharaja Chromo Litho Press”. It is in this press that Lingannaiya prepared and printed innumerable number and varieties of maps, flags, globes (in 7 languages) etc., and supplied to various departments of Government, and specially to the Education Department. Most of these maps and globes were distributed to various schools.   Another notable feature is while getting these maps etc., printed    the names of places, rivers and other important land-marks were written by Lingannaiya in his own hand-writing on litho stones in reverse direction. One can imagine the amount of patience and time that has gone into preparing them. From out of the remaining and retrieved materials, a few of the maps and charts now available are detailed below:

1. Atlas (in Kannada) published in 1930: Maps of Asia, Europe, Africa, Asia (geographical features), North America, South America, Africa (geographical features), geographical feature maps of North America, South America, Australia, islands of east India, India, England, France, Spain, Portugal, and several other places. The other useful information found in this Atlas book relate to: Solar system - distance of each planet from the sun, the time taken by each planet for its one orbitration round the sun, the duration of the shortest and longest day, extent of earth, extent of continents, extent of water cover on earth, extent of different States and its population, extent of major cities in India and their population etc. It is interesting to note that then Mysore had a population of 83,951, Hubli 69, 206, Mangalore 53877! Unbelievable! Mysore flags in two sizes: 12’ x 9’ and 4’ x 6’ were printed and supplied to all Government establishments in the State. Lingannaiya held this as monopoly without any competitor till 1943.

2. Mysore Atlas - a small book published in 1935: This book measurig 19.0 x 11.0 cms contains maps of earth, Asia, India, Mysore (political), Mysore (geographical), Bangalore-Kolar, Mysore, Shimoga, Tumkur, Hassan, Kadur and Chitradurga. Mysore then had 8 districts only. It is interesting to note that Kadur was also a district headquarters and covered Chikmagalur, Hassan. Kadur now is a taluk headquarters in Chikmagalur district!

3. Pocket maps of Mysore (road map), Africa, India (pilgrimage map), Madras etc. (all these are in a torn shape).

4. India Map: Measures 54.5 x 44.2 cms (in Kannada) dated 18.3.1938; carries the signature of Lingannaiya. Maps of all continents, world, India, Mysore, District Maps, Madras Presidency, Historical Maps - all in Kannada.

5. Pilgrimage Map in Telugu titled: “Rameswara Kshetra Swaroopa”: Measures 57.5 x 44.4 cms (in Telugu language) and carries the sub-title: Swan Series No.4, Ananthpur.

6. Terrestrial Globes in different languages (Kannada, Telugu, Tamil, Hindi, Marathi and English) measuring 6” dia; presently unavailable.

7. Mysore flags with Gandha-Berunda, the official flag of Mysore, printed on cloth measuring 110 x 110 cms; can be seen in Keladi Museum.

8. Kantharaj Chromo Litho Press Calender 1921; in English. Measures 33.9 x 23 cms and carries the title: SK Lingannaiya, B.A. Artist, Amateur Lithographer, Leisure hours Home Industry; it gives model pictures of different types of Litho Press; quotations containing guides for good conduct and righteous living are also quoted.

    At a time when education system in India was itself in a nascent stage, Lingannaiya’s contribution to facilitate learning at school and college levels by these illustrative, educative and exhaustive maps, globes, charts etc., needs a special mention. Slowly, but surely, nepotism and corruption raised its ugly head in Government departments and as Sri S.K.Krishna Murthy (second son of Lingannaiya) recalls, they had to close down the Press (1944) within two years of the demise of Lingannaiya unable to cope up with competition and corruption, and the   machineries were sold away.

    The Press was unique in the sense that it had a stream of accredited visitors regularly such as great scholars, Dewans, senior Officers, etc. Late A.R.Krishna Shastry was one of the regular visitors to Press and always encouraged Lingannaiya in his works. Former Governor and late Nittoor Srinivasa Rao was also a close associate of Lingannaiya and Prof.Gunda Jois recollects several information shared by late Nittoor Srinivasa Rao pertaining to Lingannaiya. Sri Kantharaja Chromo Litho Press has disappeared from Roshan Bagh in VVPuram and a new modern building has now come up on this site. Undoubtedly, the Press must have been one of the things most dear to Lingannaiya’s heart.

    Being in Government service and ensuring that his home industry runs, at least, on a ‘break-even’ basis, was not an easy task. Lingannaiya was a very up-right and straight-forward person and was against adopting any dubious methods to further his business of supplying maps and other educational materials to schools and colleges through the Government departments. A series of correspondence with the then Education Department and Stores Purchase Committee amply substantiate the above statement. An extract of one of such letters written by Lingannaiya to the Inspector of Primary and Medium Education on 24.11.1926, which is given below, stands testimony to his fine calibre:

“......I may in this connection beg permission to add that being in Government service and knowing the results of monopoly enjoyed by some individual firms and persons in the matter of supplying these maps, I took opportunity of utilizing my best resources for the interests of Government and started my Home Industry under the auspices of the late Dewan Sahib Sir M.K.Urs so far back as 1914. My University education combined with a sound knowledge of Fine Arts which is more a blessing from my birth than an attainment of hard training has enabled me to make myself of some use to the Government, whereof I have the privilege of being a humble servant and subject, and with this object in view, I took up the work of preparation and supply of Kannada wall maps to the Education Department from the year 1924. The gracious patronage favoured to me by the Edn.Dept., notwithstanding the obstacles I had to face in certain quarters some of which at first threatened once for all to blow my humble industry out of existence, has been a stimulant for me in my work......”

Note the command of Lingannaiya on the English language also!

    The technique of litho-printing or lithography is a very tedious one.   The object or the artwork had to be engraved on a stone base. If it had to be a colour print, the artwork corresponding to each colour had to be engraved separately. The exact matching of the artwork on each piece was a very delicate task. Since the colour would be coated on the stone and a paper pressed on it, it was important that the engraving had to be a mirror image. This was true with lettering, therefore one had to write mirror images of the alphabets.
    Most important was the fact that one could not afford even a smallest error on the engraving, which would render the slab a waste. Printing work on Litho Press was quite a cumbersome procedure. Any small defect in application of oily ink, transparent paper, pressing etc., would render the final output a waste. Sri S.K.Krishna Murthy son of Lingannaiya recalls that his father, therefore, stopped using transfer paper and instead used to write on the stone directly in reverse direction with a special ink or Indian ink with much success. Besides, his innovative mind, the task of writing in reverse direction was really a daunting and challenging one. The fact that Lingannaiya did this with much success is another example of his perseverence and patience! Lingannaiah also had mastered the technique of drawing mirror images of not only artworks but the legends too – both in English and in Kannada. The only person whose name is quoted in the context of such expertise is that of Leonardo da Vinci!

Medals and Accolades:

The following are some of the medals awarded to Lingannaiya for his great contribution towards education in the form of maps, charts, calenders, globes, art   works, paintings etc.

1. Silver Medal - Mysore Dasara Exhibition - 1933 for Maps & Globes.
2. Silver Medal - Mysore Dasara Exhibition - 1934 for Wall Maps of Mysore &       Atlas
3. Silver Medal - Mysore Dasara Exhibition - 1934 for Imaginative Art & Original Colour               Paintings.
4. Silver Medal - Mysore Dasara Exhibition - 1935 for Maps & Charts.
5. Gold Medal -    All India Swadesi Fair & Exhibition, Calicut - 1934 for Puranic                                      Pictures, Globes, Wall Maps.
6. Gold Medal - Exhibition at Trivandrum - 1932 - for Maps & Globes.
7. Certificate of Merit at the All India Educational Conference & Exhibition,Nagpur for                 manufacture of geographical requisites and educational pictures.
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  CHAPTER - 6
Lingannaiya and his miniature scripts on art works
Miniature art is a fine art. Miniature art is a speciality art, not a novelty art. Through the ages it has been considered an art form. Miniature art is most often extremely detailed work, exquisite in color with a strength of composition which can more than compete with larger paintings. A miniature usually takes as long or longer time to produce as a large piece of art. Miniature script writing also stand on the same footing.

    Lingannaiya was a gifted miniature scriptist. Most of his miniature works are on large art works. In other words, he has scripted religious hymns and mantras on art works of gods and goddesses (drawn by him only) so minutely that they can be read only through a magnifying glass. The hand-writing, when magnified, looks very natural and in fact, very beautiful. The kind of grip Lingannaiya had over his hand-writing, especially when scripting so minutely, is quite amazing. Still amazing is his ability to write in reverse direction on Litho stones to make copies of the pictures. Some of his such works are discussed below:

1. Vayustuti Maruthi:
This is a beautiful colour painting of Hanuman or Maruthi; a legendary and popular figure in the famous Indian epic, Ramayana. It is a beautiful colour painting and is believed to have been got printed at the Poona Press, Poona   on 15.8.1910 and measures 34.5 x 25.0 cms. Even now, this colourful painting is being worshipped in many households in Karnataka. In this picture, Lingannaiya has scripted complete Vayu-stuti, a religious stotra, on different parts of Lord Hanuman. This is in Deva Nagari lipi (script). (Another painting with kannada lipi (script) is with Prof.Keladi Gunda Jois.) A view of these scripts through a magnifying glass shows how beautifully and legibly these scripts are written. The hand-writing, especially, is very good and uniform throughout. A fine miniature can be magnified many times and it   will still hold together as a fine work of art of much greater size. Most artists can work large, but few have the skill and discipline to work miniature. No doubt, Lingannaiya had this rare talent; it was perhaps a born gift to him.

    A look at this great art work reveals that Lingannaiya has scripted the Vayu-stuti on several parts of Hanuman and even on the mountain which Lord Hanuman is holding in his hand. Each line of Vayu-stuti has its own meaning and message. The opening of the Stuti, ‘Om’ rightly appears on the top of Hanuman’s crown! It would be a worthwhile study to examine whether Lingannaiya had scripted these lines on particular parts of Hanuman to correlate with the meaning of the different lines of Vayu-stuti and that of the particular part of Hanuman’s body on which it has been scripted. If this is confirmed, naturally this would stand out as one of the most imaginative, well-thought of and beautifully executed art works. Besides, bringing out such an analytical version would also be a very good contribution to the literary field as well.

    It is left to the imagination and probing eyes and thoughts of the discerning reader to try to analyse these scripts vis-a-vis the miniature scripts on different parts of Hanuman and try to establish whether there is a relationship between the meaning of such scripts and the particular part of the Hanuman’s body on which it is scripted.

2. Geetopadesha or Parthasarathy: This precious work of art measures 60.0 x 45.8 cms and the entire Bhagawad Gita in Deva Nagarilipi is scripted in this. Lord Krishna and the horses carrying the charriot are a real treat and has brought out the best drawing talent of Lingannaiya. It is said that before drawing the pictures of horses, Lingannaiya thoroughly studied the anotomy of horses and accordingly reduced them in the form of drawing with horses standing in different postures and the legs and the muscles around them being prominently brought out.

3. Lalitha-Triupra-Sundari: Measuring 42.0 x 27.0 cms it has Lalitha Sahasranama in kannada lanaguage   scripted on the beautiful picture of Lalitha Tripura Sundari. Even now, this can be seen in many households of Karnataka.

4. Lord Vishnu blessing Vasudeva & Devaki7 : This beautiful painting, which was recently discovered in the residence of Sri Narasimha Murthy of Somanahalli, Anavatti hobli, Sorab taluk, [on 16.03.2007 with the help of Dr.K.G.Venkatesh Jois, Curator, Keladi Museum] has the inscription of entire Vishnu Sahasra Nama (in kannada) on it. The other two characters in this art work are that of Vasudeva and Devaki, who were exiled by Kamsa. [Notice the chain around Vasudeva’s legs in the said painting].

    The depiction of this great event through this wonderful work of art is really extraordinary. The aura around Lord Vishnu, miniature scripts on the crown, jewellery and garlands, on the conch and ‘Vishnu Chakra’ as also on the attire of Lord Vishnu and the submissive expressions of Vasudeva and Devaki to Lord Vishnu have all come out alive. No wonder, this has found place in many households in Karnataka.

ದಕ್ಷಾಧ್ವರ ವಿಜಯ - ಎಸ್.ಕೆ.ಲಿಂಗಣ್ಣಯ್ಯ

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CHAPTER - 7
Other important art works of Lingannaiya:
1. Ganapathi: This beautiful colour drawing was created by Lingannaiya during his younger days using different colours extracted from flowers! (A technique of producing natural dyes, which is being rediscovered

now!) This drawing measures 24 x 10 cms and displayed in the Keladi Museum. Even after such a long time, the colours have retained their originality and the picture is really a treat to watch.

2. Rambha and Urvashi: This beautiful and lively piece of twin- art measures 46.0 x 22.3 cms and is in the Keladi Museum. However, the art work is half-torn and is in a a bad shape. The beautiful matching colours, flower, ornaments, colour of the saree, background, all have enhanced the quality of this art work immensely. The looks of the woman is really captivating to the eyes of any connoisseur. This appears to be the only painting of non- mythological theme among his surviving paintings.

3. Sri Ramapattabhisheka: This beautiful piece of art measures 53.0 x 39.6 cms. The picture depicting the formal crowning of Rama as king of Ayodhya in the presence of saints, gods, goddesses, musicians, dancers, soldiers and other subjects has succeded in bringing out the cerenity and grandeur of that important occasion. Even now this picture can be seen in several house-holds. One such painting is in the house of Sri Narasimha Murthy of Samenahalli of Anavatti hobli, Sorab taluk, Shimoga district besides a few other works of Lingannaiya, namely, Narasimhavatar and Lord Vishnu. Sri Ramapattabhisheka is the last scene of the great epic, Ramayana. The moment people of Ayodhya got the news of Sri Rama’s arrival from forest, they were all jubilant. Each house was decorated and flower-arches were erected in all the roads. The moment Sri Rama alighted from the ‘Pushpaka Vimana’, people started shouting - Victory to Sri Rama (‘Sri Ramanige jayavagali’). Lord Rama was taken in a procession to the palace and he was warmly received by his loyal younger brother, Bharatha, mothers Kousalya, Kaikayee and Sumitra. He was crowned the king of Ayodhya on an auspicious day in the presence of Guru Vasistha, Hanuman at his feet, many saints, many princes and the joyous and jubilant subjects of Ayodhya. This Ramapattabhisheka drawing has succeeded in bringing alive that happy occasion. The ‘Mantap’ is indeed very gorgeous and enchanting. The picture contains the figures of more than 300 individuals yet retaining the over-all balance of the work. The colour combination is also outstanding. The following writing can be seen below the drawing: “Sri Kantharaj Chromo Litho Press - Kavi Series No.2” ; this implies that under ‘Kavi Series’ several such works must have been brought out.

4. Chamundeswari or Mahishasura Mardhini: This beautiful painting is in the house of Shri S.K. Thyagaraj grand son of Lingannaiya in Bangalore.

5. Veerabhadravatara: Measuring 48.0 x 35.0 cms and dated 28.6.1918; this art work is in Keladi. Dr.Venkatesh Jois has put this art on the cover-page of his book on: “Dakshadwara Vijaya and Shivapooja Darpana”8:.

6. Viswaroopa darshana: This wonderful work of art measures 65.0 x 5.03 cms. This is in the house of late S.N.Ratnamma, daughter of Lingannaiya in Bangalore. The available painting has become very old and colours have become dull.

7. Narasimhavatara9: Created on 30.5.1927, this is a picture of Lord Narasimha coming out of the pillar to slain Hiranyakashipu. The original drawing measures 44.8 x 28.7 cms. and carries a foot-note: Kavi Series No.1. The imagination of the artist showing the Shuklacharya running from the scene and the pieces of the pillar being thrown all around is quite impressive; one piece is flying through the window! This drawing is also found in several house-holds in Karnataka and speaks of its popularity.

    From the pre-face to his book, “Principles of Free Hand Drawing”, it appears that this ‘Narasimhavatara’ drawing was the first drawing released under the heading, ‘Kavi Series’. Lingannaiya in the pre-face to the above book also details the background in which this was conceived; he writes -

    “......ಈಗ ಒಂಭತ್ತು ವರ್ಷಗಳ ಮುಂಚೆ ಪ್ರಾರಬ್ಧವಶಾತ್ ನನ್ನ ಮಾತಾಪಿತೃಗಳು, ಭ್ರಾತೃ, ಪತ್ನಿ, ಪುತ್ರ ಮೊದಲಾದವರು ಕೊಂಚ ಕಾಲದಲ್ಲಿಯೇ ಗತಿಸಿ ಹೋಗಿ ಇದರಿಂದ ಮಹತ್ತರವಾದ ಕಷ್ಟವೂ ದು:ಖವೂ ಪ್ರಾಪ್ತವಾದವು. ಸದಾ ವಿಷ್ಣುನಾಮಸ್ಮರಣೆಯೇ ದೊಡ್ಡದೆಂದು ನಂಬಿಕೊಂಡಿದ್ದರಿಂದ ಆ ಕಾಲದಲ್ಲಿ ಗುರುಪದೇಶವಾಗಿದ್ದ "ಜಲೇರಕ್ಷತು ವಾರಾಹ: ಸ್ಥಲೇ ರಕ್ಷತು ವಾಮನ: || ಅಟವ್ಯಾಂನಾರಸಿಂ:ಶ್ಚಸರ್ವತ: ಪಾತುಕೇಶವ:" ಎಂಬ ಶ್ಲೋಕವು ಗಮನಕ್ಕೆ ಬಂದು "ಅತವ್ಯಾಂನಾರಸಿಂಹಸ್ಚ" ಎಂಬುದರಿಂದ ಅಪಾರವಾದ ಕಷ್ಟದಲ್ಲಿ ಶ್ರೀ ನರಸಿಂಹ ಸ್ಮರಣೆಯಾಗಬೇಕೆಂದು ಭಾವಿಸಿ ಪ್ರಹ್ಲಾದ ರಕ್ಷಕನಾದ ಶ್ರೀ ಲಕ್ಷ್ಮೀನರಸಿಂಹಸ್ವಾಮಿಯ ಆಕಾರವನ್ನು ಧ್ಯಾನಮಾಡಿ ತತ್ಕಾಲದಲ್ಲಿ ನನಗೆ ತೋರಿದಂತೆ ಆ ಸ್ವಾಮಿಯ ಚಿತ್ರವನ್ನು ಬರೆಯಲಾರಂಭಿಸಿದೆನು. ಆ ಕೂಡಲೇ ನನ್ನ ಎಲ್ಲಾ ದು:ಖಗಳೂ ಮಾಯವಾದವು. ನರಸಿಂಹಸ್ವಾಮಿಯ ಆಕಾರವೇ ಆ ಪಠವು ಮುಗಿಯುವವರೆಗೂ ನನ್ನ ಮನಸ್ಸಿನಲ್ಲಿ ನೆಲೆಗೊಂಡು ನನ್ನನ್ನು ಪಾರುಮಾಡಿತು...."

(About nine years ago, unfortunately, my parents, brother, wife, son and others passed away in quick succession, leaving me in great sorrow and grief. I had firm faith in chanting ‘Vishnunama’ and at that time, I remembered a Sloka taught to me by a Guru about Narasimha. I thought that chanting his name would relieve me of my grief and difficulties. Accordingly, I formulated a picture of Sri Lakshminarasimhaswamy in my mind and started praying to him. At the same time, I started writing the picture of Lord Narasimha. My sorrow and difficulties withered away and the picture of Narasimha stayed-put in my mind till the drawing was completed).

Thus, these rare creations of Lingannaiya are the result of his personal experience, pain and pleasure, and of course, his rare vision, not to speak of his firm faith in the Almighty.

8. Gaurdian Angel of British Empire: This enchanting piece of work is displayed in the Keladi Museum. It has a great historical value in that it depicts the extent of the then most powerful British empire. The picture measures 60.0 x 45.8 cms and is dated 2.9.1913. The Victoria Queen, the head of the British empire, is the focus of attention of this drawing. England, Scotland, Wales find thier place in the crown of the queen. The names of other provinces and countries under the British Rule then find a place in the picture. India is shown at the heart of the Queen; an indication of how India was one of the most important countries among all other provinces and countries under the then English regime. “Prajavani” one of the leading Kannada newspapers of Karnataka had put up a front-page news item on 4.1.1977 about this picture and had described it as an invaluable work of art depicting history. It also mentions that this work of art has been valued upto one lakh rupees! The Queen is standing in an Ocean and the sun is shining brightly signifying that British empire was then a “kingdom where the sun never sets!” The imagination and presentation of the theme is indeed exemplary. Lingannaiya’s both artistic and creative abilities are at its best in this work. This has attracted the attention of many foreign art historians also.

    Here are two letters of appreciation received by Lingannaiya about his art works:
Letter from E.J.Lopez, Esq., Member, Royal Society of Arts, Member, Institution of Electrical Engineers, Indian Telegraphs (retd):

“I have received with extreme pleasure and intense delight, your two very original, unique and high class pictures viz., ‘The Guardian Angel of the British Empire’ and ‘Parthasarathi’, and have scrutinized them most carefully in all their bearings in comparison with other original works of Art produced in India, Europe and America, and those found in various journals from the earliest times and have come to the opinion, which I do not hesitate to express frankly in this letter that your two original works of Art mentioned above exhibit very rare and high class talent, they are masterpieces fit for the Drawing Room of a king, and they should find their way in every household throughout the world.
    I congratulate you most heartily on your original productions, and wish you every success and trust that you may soon receive public recognition, and your talents duly appreciated in a fitting manner.”

Letter from the Assistant Private Secretary to the Viceroy, Vice-Regal Lodge, Simla, dated 1st February, 1916.

“I am directed to acknowledge the receipt of your letter of the 25th January 1916, and to thank you for the copies of the “Guardian Angel of the British Empire” which have been laid before His Excellency the Viceroy. His Excellency has much appreciated the originality of the design.”

[Letter extracts obtained from Shri S.K.Krishna Murthy, son of Lingannaiya].

9. RAMAYANA10 in pictures: Ramanaya is a great and holy epic for all Hindus and here Lingannaiya has re-created this epic in pictures.
    It would not be easy to understand the essence of scriptures. Even if one is able to get the meaning of the expressions hidden beneath and beyond the explicit form and sound, to understand the essence one needs to experience the truths in them. It would take months to read this voluminous work of Valmiki and for the common man, it is indeed very difficult. The Ramayana in pictures by Lingannaiya is an unique attempt to reach this great epic even to the common man and spread its valuable principles and unravel the essence of this great epic. He has attempted to bring out the theoretical aspects of truth and dharma contained in the scriptures in the form of drawings. At a time when TV and other visual aids were absent, Lingannaiya chose this medium for spreading the great messages of Ramayana to those who were unable to read and understand the great epic written by Valmiki. Below each picture, Lingannaiya gives slokas and in brief the meaning and significance of each ‘slokas’   making it easy for any class of reader to comprehend the same easily. It would be more clear to read in his own words the purpose and intention of his effort: “......Abstracts of the contents of each of the 537 cantos or sargas have been prepared and published by me in my own vernacular of Kanarese for each part, and this has enabled the reader to grasp the whole subject matter within a proverbially short time of 2 hours, which otherwise would have required months. To make these abstracts still more impressive to my illiterate brothern and even to children and ladies, I took upon myself the huge task of preparing 624 expressive pictures for explaining them in full, and these have also been printed and published by me in the corresponding 6 parts of Chitra Ramayana, with the abstracts printed underneath each picture in Kanarese. As such, the scope of the work is limited, and the benefit is available only to a small portion of the Hindu population. The sublime nature of the work with its effects on the morals and religions of mankind in general, and Hindus in particular, induced me to publish my above work of Chitra Ramayana in some leading vernaculars of India, as Tamil Telugu, Hindi, Mahrati and Bengali also, as well as in the western languages of English, French and German, in which languages our Vedic and other works are being got translated by the Westerners themselves. This attempt of mine has as usual many to laugh at, but I hope that the divine work undertaken by me will survive......The task of transforming into expressive pictures the subject matter of the whole Epic, of which this little book forms the first part, was never anticipated to be finished during my life time, as the drawing of 624 such pictures which had to evolve from my brain after a careful study of the subject at length by necessary meditation, would in the ordinary course of things be very difficult for a man to attempt even....”

    Written during the pre-independence days, this picture-Ramayana consists of the following parts:

Date of pub-        Title               No.of Pictures    Price(then)       Remarks
lication
12.7.1928       Balakanda 96 1-8-0 Pocket Edition in English has also been                                                  published.
3.4.1930            Ayodhyakanda      128             2-0-0
2.10.1930          Aranyakanda           80             1-8-0
24.11.1930        Kishkindakanda      80            1-8-0
8.12.1931          Sundarakanda         80             1-8-0        - do - (in kannada)
19.8.1932          Yuddhakanda        160             2-4-0
            Total    ..         624             10-4-0

In his pre-face to the Yuddhakanda edition dated 19.8.1932, Lingannaiya narrates briefly his feelings and the background on this work. He acknowledges whole-heartedly that this work was possible only on account of the full blessings of Lord Sri Rama and his aim is to spread his message through pictures and make everyone, who are unable to read the great epic of Valmiki, understand easily and succintly the main theme of Ramayana. He further states that he had meditated deeply on each of the ‘sargas’, visualised the scene mentally and then reduced it in his drawing, as per the principles of drawing. No doubt, Lingannaiya was also a great spiritual person and that he has been able to mentally visualise each of the events of Ramayana in his mind and then bring out the same in the form of pictures in his own indomitable creative style is an ample proof of the same. His works of art which are an extension of his deep conviction in the Indian great epics of Ramayana and Mahabharatha have their own special significance. He humbly pleads that these pictures are not drawn to exhibit his drawing skills and, therefore, the message and meanings which the pictures convey should only be taken note of. “ಚರಿತಂ ರಘುನಾಥಸ್ಯ ಶತ ಕೋಟಿ ಪ್ರವಿಸ್ತರಂ | ಏಕೈಕಮಕ್ಷರಂ ಪ್ರೋಕ್ತಾಂ ಮಹಾಪಾತಕ ನಾಶನಂ || ರಾ ಶಬ್ದೇಚ್ಚಾರ ಮಾತ್ರೇಣ ಮುಖಾನ್ನರ್ಯಾಂತಿ ಪಾತಕ: | ಪುನ: ಪ್ರವೇಶಭೀತ್ಯಾಚ ಮಕಾರಸ್ತನ್ನರಧವತ್ ||”   A simple utterrance of the word ‘Rama’ would wipe away all the sins of an individual and the above sloka aptly highlights the importance of reading Ramayana. Valmiki, through his penance for years, created this great epic and saint Thyagaraja, through his musical creations, praised Rama in his own eloquent words. Lingannaiya states that this is one such humble effort on his part. He also gratefully acknowledges the patronage and help of the then Maharaja of Mysore, Sri Krishnaraja Wodeyar, pontiff of Sri Sringeri Mutt and the then Dewan Sardar Sir.M.Kantharaja Urs besides his father, Kavi Krishnappa in accomplishing this work.

    An extract from the preface to the ‘Aranya Kanda’ book written by Lingannaiya published in 1930 (2.10.1930), is reproduced below :

    “ಶ್ರೀ ರಾಮಸ್ಮರಣೆಯ ಸುಖವೆಂಬುದನ್ನು ಸಂಗೀತ ಮೂರ್ತಿಗಳಾಗಿದ್ದ ತ್ಯಾಗರಾಜರು ತಮ್ಮ "ಶ್ರೀ ರಾಮನಾಮ ಸ್ಮರಣೇ ಸುಖಂ" ಎಂಬ ಕೀರ್ತನೆಯಲ್ಲಿ ಗಾನ ಮಾಡಿ ವರ್ಣಿಸಿರುವುದನ್ನು ತಾವೆಲ್ಲರೂ ಕೇಳಿರಬಹುದು. ಅಂತಹ ಸುಖವೇ ಈ ಚಿತ್ರ ರಾಮಾಯಣವನ್ನು ಬರೆಯಲು ಪ್ರಯತ್ನ ಪಟ್ಟಿರುವ ಪಾಮರನಾದ ನನಗೂ ಸಂತತವೂ ಅನುಭವಿಸುತ್ತಾ ಇರುವ ಐಹಿಕವಾದ ತಾಪತ್ರಯಾದಿಗಳನ್ನು ಮರೆಸಿ ಇಂದಿಗೆ ಈ ಕೆಲಸವು ಅರ್ಧವಾದಂತೆ ಮಾಡಿರುತ್ತದೆ. ದೇಹವು ಕ್ಷೀಣವಾಗುತ್ತಾ ಇದೆ. ಉತ್ಸಾಹವೂ ವೃದ್ಧಿಯಾಗುತ್ತಾ ಇದೆ. ಭಗವಂತನಿಂದ ಪ್ರೇರಿತವಾದ ಈ ಉತ್ಸಾಹವೇ ಕೈಕೊಂಡಿರುವ ಈ ದೊಡ್ಡ ಕೆಲಸವನ್ನು ಪೂರೈಸುವಂತೆ ಮಾಡಿ ಈ ಜಡದೇಹವನ್ನು ಸಾರ್ಥಕ ಮಾಡಲೆಂದು ಆ ಭಗವಂತನನ್ನೇ ನಿರಂತರವೂ ಪ್ರಾರ್ಥಿಸುತ್ತಾ ಇದ್ದೇನೆ."

(You may be aware of the Keerthana (“ಶ್ರೀ ರಾಮನಾಮ ಸ್ಮರಣೇ ಸುಖಂ”) of Saint Thyagaraja, which explains the bliss and happiness one can attain by praying to Lord Rama. The same bliss has enabled me to write this picture-Ramayana, by keeping me aloof from daily trials and tribulations of this material world. The work is half-complete now. My physical energy is depleting whereas my enthusiasm and urge to do more is growing. I am praying God relentlessly to bless me to complete this gigantic work, which has, in fact, has been inspired by the God himself!)

The spiritual tenor of the note as also the fact of his falling health need to be noted. In a post-card12 dated 13.8.1932 written to his son-in-law, late Nanjunda Jois in Keladi, Lingannaiya mentions that the work of Ramayana in pictures is over and that his right hand has become very weak and needs rest.

    As already mentioned, Lingannaiya was a great spiritual person. Shri SK Krishna Murthy, his son, has the following to say in this regard:

“ಪರಮಾತ್ಮನಲ್ಲಿ ಸಂಪೂರ್ಣ ಭಕ್ತಿ ಇದ್ದ ಅವರಿಗೆ ರಾಮಾಯಣ, ಭಗವದ್ಗೀತೆ ಬಹಳ ಇಷ್ಟವಾದ ಗ್ರಂಥಗಳಾಗಿದ್ದವು. ಪ್ರತಿದಿನ ಅವುಗಳ ಪಾರಾಯಣವಿಲ್ಲದೆ ಅವರು ಊಟ ಮಾಡುತ್ತಿರಲಿಲ್ಲ. ಅವರ ಉದ್ದಿಶ್ಯ ತಮ್ಮ ಕೊನೆಕಾಲದಲ್ಲಿ ಭಗವಂತನ ಚಿಂತನೆಯಾಗಿತ್ತು. ಅದಕ್ಕಾಗಿ ಅವರು ನಿತ್ಯವೂ ರಾಮಾಯಣದ ಒಂದ ಶ್ಲೋಕವನ್ನು ಚಿಂತೆ ಮಾಡುತ್ತಾ ಚಿತ್ರೀಕರಿಸುತ್ತಿದ್ದರು. ತತ್ಫಲವೇ ಅವರ ಚಿತ್ರ ರಾಮಾಯಣ. ಅದು ಮುಗಿಯುವುದರೊಳಗೆ ಅಂತ್ಯ ಬರಬಹುದೆಂದು ಎಣಿಸಿದ್ದ ಅವರಿಗೆ ನಿರಾಶೆಯಾಯಿತು. ನಂತರ ಶ್ರೀಮದ್ಭಾವತವನ್ನು - ಅದರ ದಶಮ ಸ್ಕಂಧವನ್ನು ಷುರು ಮಾಡಿದರು. ಅದು ಅವರ ಜೀವಮಾನದಲ್ಲಿ ಮುಗಿಯಲಿಲ್ಲ. ಆದರೆ ಅವರ ಅಂತ್ಯದ 3 ದಿನಗಳು ಅವರು ಜ್ಞಾನಹೀನರಾಗಿದ್ದರಿಂದ, ಭಗವಂತನ ಸ್ಮರಣೆ ಅಂತ್ಯದಲ್ಲಿ ಆಯಿತೋ ಇಲ್ಲವೋ ಗೊತ್ತಿಲ್ಲ. ಬಹಿರಂಗವಾಗಿ ಇಲ್ಲದಿದ್ದರೂ ಅಂತರಂಗದಲ್ಲಿ ಆಗಿರಲೂ ಸಾಧ್ಯ."

(Having firm faith and belief in God, Ramayana and Bhagwad Gita were very dear to his heart. He never used to have food without a reading of these two epics. It was in his mind that he should be remembering God when his end comes. Accordingly, everyday he used to ponder over a Sloka of Ramayana and draw the picture; the resultant output is the Ramayana-in pictures. He had expected his end by the time he completed this work; he was disappointed as it did not happen. He then started Bhagavat-in pictures. However, that could not be completed during his life time. As he was unconscious for about three days prior to his passing away, one cannot say whether his wish to remember God at the end fulfilled or not. Though not externally, he could have accomplished this internally.)

    Copies of these Ramayana-in pictures can be seen in Keladi. Unfortunatley, all the books have become very old and worn out; papers have become very delicate and difficult to handle. It is not practically possible to re-print all the pictures; a few of them are published here for the benefit of the readers. This would also give an idea of the enormity of the work involved as also the patience and perseverence that has gone into this production. With so much advancement in visual gadgets, this may not, on the face of it, impress the modern reader and especially children. However, the constraints within which this work was brought out, the limited facilities available then and the dedication and spiritual force that has gone into this work besides his innate creative straits needs to be understood in its proper perspective and appreciated by any discerning reader.

    ‘Aundh’ (ಔಂಧ್) was a small kingly province then that existed between Pandarapura and Sataara in Maharashtra. The King of Aundh was also an Artist and on his invitation, Lingannaiya stayed there for about a week (during 1935) as a ‘ State Guest’. The King was happy to see the book of Ramayana in pictures of Lingannaiya. While returning, he had brought a book containing about 20 coloured paintings of Ramayana done by the Aundh king. Sri S.K.Krishna Murthy (his second son) even today remembers having seen that book, though it is not now available.

10. BHAGAVATHA12 in pictures:

    About 64 drawings are preserved and each drawing measures 21.5 x 13.5 cms and is dated 1934.

    Like Ramayana-in pictures, Lingannaiya, in his own characterstic style has created several pictures depicting various scences from Bhagavatha. Like his works on Ramayana, these pictures carry the brief descriptions of the relevant verses below each picture. However, this is an incomplete work. Brought out in 1934, many of these drawings are missing. It is said that about 4 volumes (containing 16 drawings each) were published. Only a few drawings pertaining to 10th Skanda - 14th Chapter are available. These drawings mainly depict the interesting ‘leelas’ of Krishna as ‘Gopala’ in the Goverdhanagiri, fighting with his seers, dance by Balarama and Krishna, slaying of Dhenukasura demon, various scences relating to taming of Kalinga (serpent) etc. A few pictures are given in this book.   One has to appreciate and marvel at the skill and craftsmanship of Lingannaiya in making these pictures come alive. Not to forget, we should also appreciate the efforts put in, techniques utilised and the themes adopted by Lingannaiya in condensing the events of Bhagavatha in the form of pictures.

    These pictures of Bhagavatha and Ramayana of Lingannaiya bring forth multiple expressions of an artist - his thoughts, his imagination and not the least, his creative impulses. Perhaps the ultimate aim of the artist, as could be analysed from the life-style of Lingannaiya himself, is to bring to the readers these art-works, not for their knowledge value alone, but the art, stylistics and ‘culture’ that went into the creation, and most importantly, to high-light our great heritage. No doubt, in his own humble way, Lingannaiya has accomplished the same with distinction and great aplomb.

11. Archaradi Maarga: This painting measuring 65.0 x 50.3 cm is in the Keladi Museum. This picture depicts the concept of Sree Vaishnavas as to how a human being attains salvation and merges ultimately with the Lord Vishnu through various stages of purification and ‘Sharanagathi’ (meaning total surrender). This picture can also be found in the Pooja Rooms of many Vaishnavite’s houses.

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   CHAPTER - 8
Lingannaiya - A Writer

1. Principles of Free Hand Drawing: Published in the year 1927 (1000 copies) and printed at the Mysore Government Press, Bangalore, this is a very illustrative and simple work which enables one to learn the art of drawing in an easy way. He has written in the preface to the book that every individual has a hidden talent and given the right training and opportunities, it would blossom to the full. Besides a source of income, such an accomplishment would also bring name and fame as well to the individual. He has hoped that such a book would help many aspiring learners to know the basics of drawing and initiate them in that direction for higher achievements.

    This informative book deals in brief about the articles needed for taking up drawing, practice of writing straight lines, practice of writing uneven lines, methods of drawing different parts of human body, dresses, writing of photographed pictures, light and shades, art of perspective presentation of pictures etc. The book also contains different shapes of chins of individuals as shown in Annexure-10; one scholar has said that each type of chin indicates the nature and character of an individual. One of the illustrative drawings of leaves and flowers included in this book is shown here.

2. Photography: Part-I : This was published in the year 1933 and carries a heading on the cover page: Art Science Series No.5 (which indicates that there were other related publications which are not available now). Written in Kannada to familiarise the art of photography to local people, this book contains details of different types of photographic instruments, films, principles of light adjustment, tripod, focussing cloth, Hand cameras, plates, methods of exposure, developing techniques, photo printing papers, printing frame includingg the names of dealers of photographic cameras and materials of those days.   Photographic techniques have since undergone a sea-change. Still the attempt of Lingannaiya to narrate the photographic techniques of that time (when photography itself was in an evolution stage) in a simple manner is really laudable.

3. Portrait Painting in Water Colours: Published in the year 1933, this book has been printed at Sri Gowri Nilaya Printing Press, Bangalore; Art Science Series No.3. The price of the book then was 9 Annas. The book is intented to serve as a guide to all those interested in learning portrait painting. His preface to the said book elucidates this clearly:
“......ದೈವಾನುಗ್ರಹದಿಂದ ನನಗೆ ಲಭಿಸಿರುವ ಈ ಚಿತ್ರ ವಿದ್ಯೆದಲ್ಲಿ ಭಾವಚಿತ್ರ ಪಠಗಳನ್ನು ಬರೆಯಲು ಕಲಿಯುವುದಕ್ಕೆ ನಾನು ಅನುಭವಿಸಿದ ಶ್ರಮೆಯು ನಮ್ಮ ದೇಶೀಯರಿಗೆ ಯಾವ ವಿಧವಾಗಿಯಾದರೂ ಪ್ರಯೋಜನಕಾರಿಯಾಗುವುದಾದರೆ ಅದು ಸಾರ್ಥಕವಾಯಿತಲ್ಲ ಎಂದು ಭಾವಿಸಿ ಈ ಸಣ್ಣ ಪುಸ್ತಕವನ್ನು ಬರೆಯಲು ಪ್ರಯತ್ನ ಮಾಡಿರುತ್ತೇನೆ. ಕಳಾಶಾಲೆಗಳಲ್ಲಿಯೂ ಪಾಠಶಾಲೆಗಳಲ್ಲಿಯೂ ಕ್ರಮವಾಗಿ ಶಿಕ್ಷಿತರಾಗುವ ವಿದ್ಯಾರ್ಥಿಗಳಿಗೆ ಇದು ಅಷ್ಟು ಪ್ರಯೋಜನ ಕಂಡುಬರದೇ ಇದ್ದರೂ ಆಂಗ್ಲೇಯ ಭಾಷಿಯನ್ನರಿಯದೆಯೂ ದೊಡ್ಡ ಪಟ್ಟಣಗಳಿಗೆ ಬಂದು ಇತರರಿಂದ ಶಿಕ್ಷಿತರಾಗಿ ಈ ವಿದ್ಯವನ್ನು ಕಲಿಯುವುದಕ್ಕೆ ಅವಕಾಶವಿಲ್ಲದೇ ಇರುವಂತಹ ವಿದ್ಯಾರ್ಥಿಗಳಿಗೂ ಇದರಲ್ಲಿ ಸ್ಪಷ್ಟಪಡಿಸಿರುವ ವಿಷಯಗಳಿಂದ ತಕ್ಕಮಟ್ಟಿಗೆ ತಿಳುವಳಿಕೆಯುಂಟಾಗಿ ಚಿತ್ರಪಠಗಳನ್ನು ಬರೆಯುವ ಯೋಗ್ಯತೆಯು ಖಂಡಿತವಾಗಿಯೂ ಪ್ರಾಪ್ತವಾಗುವುದರಲ್ಲಿ ಸಂಶಯವಿಲ್ಲ."

[The efforts put in by me to develop this art of portrait writing, of course, with the God-given abilities would be fruitful when the same is of some use to our people; with this in mind, I started writing this small book. Though this may not be of much use to the students regularly studying in schools, this is intended to those who do not know English and who have no opportunity to learn this art in big cities. The subjects dealt herein would enlighten them on the art of portrait drawing and enable them to become good artists....]

Besides containing the list of equipments needed for portrait writing, the book contains detailed information about different water colours viz., Chinese White, Indian Yellow, Gamaboge, Yellow Ochre, Venetian Red, Light Red, Indian Red, Vermilion, Rose Madder, Crimson Lake, Carmine, Pink Madder, Purple Lake, Alzarin Crimson, Cobalt, French Ultramarine, Smalt, Indigo, Prussian Blue, Brown Madder, Burnt Sienna, Raw Sienna, Vandyke Brown, Sepia, Burnt Umber, Raw Umber and Neutral Tint. Similarly, the book also contains details about different types of brushes required, methods of writing portraits, drawing of outlines, light shades, various types of dresses, method of applying colours, background of the pictures, method of making changes in colours etc. The book also gives names of certain Companies supplying the materials required for portrait drawing such as paper, colours, brushes etc. Lingannaiya elsewhere in the book writes about attainment of the power of concentration and prayer through this unique art: “ .....ಇದು ಪ್ರಥಮದಲ್ಲಿ ವಿದ್ಯಾರ್ಥಿಗೆ ಬೇಸರವಾಗಬಹುದು. ಆದರೆ ಘನವಿದ್ಯೆಗಳನ್ನು ಪ್ರಾರಂಭ ಮಾಡಿ ಅವುಗಳಲ್ಲಿ ಹೆಚ್ಚು ತಿಳುವಳಿಕೆಯುಂಟಾದ ಹಾಗೆಲ್ಲಾ ಅಂತಹ ಬೇಸರವು ನಶಿಸಿಹೋಗಿ ಉತ್ಸಾಹ ವೃದ್ಧಿಯಾಗಿ ಆಹಾರಾದಿಗಳ ಮೇಲೆ ಕೂಡ ಗಮನ ತಪ್ಪಿ ಏಕಾತ್ರಚಿತ್ತದ ಆನಂದವು ಪ್ರಾಪ್ತವಾಗುವುದಾಗಿದೆ. ಕವಿಗಳಿಗೂ, ಚಿತ್ರಗಾರರಿಗೂ, ಸಂಗೀತಗಾರರಿಗೂ ಲಭ್ಯವಾಗಿರುವ ಏಕಾತ್ರಚಿತ್ತವೂ ಆನಂದವೂ ಎಂತಹ ಐಹಿಕ ಸುಖಗಳಿಂದಲೂ ಉಂಟಾಗಲಾರವು. ಈ ಐಹಿಕ ಸುಖಗಳು ಸಾಮಾನ್ಯವಾಗಿ ಘನವಿದ್ಯಗಳುಂಟಾದವರಿಗೆ ಪೂರಾ ಲೋಪವಾಗಿಯೇ ಇರುತ್ತವೆ. ಘನವಿದ್ಯಗಳನ್ನುಂಟಾಗಿ ಐಹಿಕ ಸುಖಗಳಿಂದ ಮೆರೆಯುವಂತಹವರು ಲೋಕದಲ್ಲಿ ಎಲ್ಲಿ ಹುಡುಕಿದರೂ ಸಿಕ್ಕಲಾರರರು. ಇಂತಹ ಘನವಿದ್ಯಾವಂತರಿಗೆ ಲಭಿಸಿರುವ ಧ್ಯಾನಶಕ್ತಿಯೂ ಏಕಾಗ್ರಚಿತ್ತವೂ ನೂರಾರು ವರ್ಷಗಳು ತಪಸ್ಸು ಮಾಡಿ ಪ್ರಾಣಾಯಾಮಾದಿಗಳಿಂದ ಮೋಕ್ಷಸಾಧನಾಪೇಕ್ಷಿಗಳಾಗಿದ್ದ ಋಷಿಗಳಿಗೆ ಮಾತ್ರ ಸಾಧ್ಯವಾಗುತ್ತಿತ್ತೆಂದು ಪುರಾಣಾದಿಗಳಿಂದ ತಿಳಿಯುತ್ತದೆ..."
“.......Initially this may not interest the students. Once he starts learning and acquires more and more knowledge and expertise, his interest automatically grows; he may even forget about his food and other things and attain the bliss of concentration. The poets, artists, musicians who are blessed with this power of concentration and the consequent bliss, cannot be matched by any material comforts. Ironically, persons endowed with this great abilities, generally lack these material comforts. Persons having both the abilities of great scholars and material comforts are a rarity. The bliss attained or attainable by these great persons, it is said in Puranaas, was achieved by great saints (seeking emancipatrion) only after several years of hard penance.....”

    In addition to being a guide in portrait drawing, the book, at various places, gives us insights into Lingannaiy a’s remarkable knowledge in this field as also his high thinking that has emerged as a result of his deep involvement in this great art.

    The other publications of Lingannaiya which are not available now include: 1.Landscape Painting in Water Colours,   2. Principles of Oil Painting, 3. Photography (Advanced), 4. Tricks in Photography, 5. Lithography (Mono chrome),6.Chromo Lithography and 7. The Practical Study of Veena (Elementary). (If any of these books are available anywhere, kindly make available for preservation).

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CHAPTER - 9
Lingannaiya - The individual

The discussion so far has centered around the artistic feats of Lingannaiya. A peep into his personal life will, however, unfold many more surprises. Besides his born creative abilities and his unstinted perserverence to give vent to the same over-coming several obstacles, Lingannaiya, as an individual is an interesting character. His life-style reveals that he rather loved loneliness and was always averse to spending time in unnecessary gossip. He gave great importance to time and engaged himself in one or the other activity all the time. Less talk - more work was his motto. He always insisted that his children also never wasted time. In his preface to the pocket-sized book on Balakanda, he writes: “to the numerous public who do not know me for my lonely habits, I beg to state hereby that this little book is the beginning of an attempt on my part to bring to the knowledge of the civilized world the whole subject matter of India’s great Epic Ramayana of Valmiki.....”. A staunch devotee of Lord Rama, he engaged himself relentlessly in one or the other creative activities and did them as a matter of his humble service to Lord Rama. It is said that when someone asked him if he is not worried if his works are not sold, he had replied that he would rather love to be in the company of Lord of Rama, created by himself in different creative modules and take it as a permanent blessing of Lord Rama and did not care for monetary returns! He was affectionately called “Raayaru” (ರಾಯರು) by his children.

    Lingannaiya never went to any hotel during his life-time. In fact, none of his family members also visited any hotel till he was alive. Even in office also, he never took or accepted any food from others, except fruits, which also he used to bring home and give to children. Perhaps this was one of his major secrets of his good health. He had very limited contacts with his relatives. He used to occasionally correspond with Sri Devappa of Hebbailu (his brother-in-law), Keladi Nanjunda Jois (his son-in-law) and Kavi Subramanaiya (his brother’s son and grand father of the author of this book).

    It is said that once he was writing an article in English on the topic - “What After Death” and while introspecting lost his conscience. After sometime and after much efforts by his son, he regained consciousness. He expressed that what is meant and destined to be a secret by the God ( (e.g. death) should remain a secret and saying this he tore off the article!

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CHAPTER - 10
Lingannaiya- His daily routine:
As has already been narrated earlier, Lingannaiya was a great spiritiual person   and led a disciplined life throughout. He would daily get up around 5.30 a.m., finish his morning ablutions and set out to garden to pluck flowers. He had a beautiful small garden around his house with a variety of flowering, fruits and medicinal plants. Smt.Subbalakshmamma, his daughter, recalls that the garden comprised of jasmine plants of 6 varieties, different varities of rose, neem tree, 4 coconut trees, banana plants, gauva trees, ornamental plants etc. The garden had a beautiful stone bench covered with flowering creepers. He used to chant Bhaja Govindam and Vishnu Sahasranama while plucking flowers. He would then go to Litho Press around 7.30 a.m.; give instructions to the workers and then teach ‘Amara Kosha’ to his sons, late SK Narayana Rao and SK Krishna Murthy. He used to teach English (grammar in particular) and Mathematics to his children regularly. He had also taught his sons, after their threading ceremony, the method of performing daily pooja and other vedic chants. Every Sunday, he used to chant ‘Aruna Paraayana’ (salutations to the sun-God) and perform ‘Surya Namaskara’. Around 10 am, he would take his bath, perform his daily morning poojas, reading of one chapter of Bhagavad Gita and some parts of Ramayana. He had shouldered the entire responsibility of his family. Luckily, the marriage of all his daughters went off smoothly; in fact, most of the proposals came from the grooms’ side itself! Everyday, ladies at home had to prepare food with all cleanliness and sanctity for being offered to God. ‘Vinayaka Vratha’ and ‘Ananthapadmanabha Vratha’ were regularly performed every year. (Even today, this Vratha is being conducted every year in many Keladi Kavi families). He had also visited Kashi, Rameshwara and Thirupathi along with his family. Lingannaiya was not a frequent traveller to pilgrimage places nor visited temples regularly. He had the firm belief that God was in him and everywhere, although, he did not object others in the family visiting temples. He would leave for office around 11 a.m. on a bicycle and return around 5.30 a.m. (His son, SK Krishna Murthy even now remembers the way Lingannaiya used to ride the cycle; he used to push the cycle for a distance and in one jump sit on the seat and proceed!). He used to wear white dhoti with a close-collared coat and a Mysore Peta (Rumal). After retirement, he used to attend to the Press work full time; with a half-an-hour nap in the afternoon. In the evening he used to visit regularly the Reading Room at Mavalli and return around 7.30 p.m.

    Lingannaiya had a very sound knowledge of Carnatic music as well. While playing the Veena himself, he used to teach his children every day various kritis of Carnatic music. Some of the krithis taught by him which his daughter remembers even today are: ‘Vataapi ganapathim Bhaje (hamsadwani raaga), Ramaaneyeda (kharaharapriya raaga), ‘Sangeetha Shastra Gnanamu (Mukhari Raaga), ‘Neelakantam Bhaje’ (Kedara gowla raaga), ‘Kanjadalaayataakshi’ (Kamalaamanohari raaga), ‘Meenakshi Me mudam’ (Purvi Kalyani), ‘Sri Ramam Shrithakalpitha bhuruham’ (Narayani Raaga) etc. Lingannaiya had also written a book about the learning methods of Veena; the same is not available now. One Nikhilnath Maitra of Bengal   learnt Veena from Lingannaiya. When he had to return to Bengal abruptly due to personal reasons, he had presented his Veena to Mookamma (daughter of Lingannaiya). The same Veena is in the house of grand-son of Smt.Mookamma in Bangalore even now. His daughter recalls his father playing Piyano as well; it was later disposed off for want of space. Lingannaiya also practiced ‘Jala Tarang’. He used to organise musical concerts at the time of wedding of his children which shows his keen interest in music.    [SK Krishna Murthy, his son, continuing the same tradition, is now the Cultural Secretary of the Devagiri Venkateswara Dewasthanam in Banashankari, Bangalore, and is responsible for holding musical events and other cultural activities on a regular basis!] He was a regular Member of the Gayana Samaj of Bangalore and used to take his son SK Krishna Murthy and daughter Smt. Subbalakshmma every week to the music concerts organised there. Besides an artist, no doubt, Lingannaiya was also an accomplished Karnatic musician.

    Lingannaiaya was very keen that women also be made literate. He had taught his wife, late Lakshmamma, to read Sanskrit also! She was regularly chanting Viswanathasthaka, Kalabhaira- vashtaka, Annapoornashtaka and Lalitha Sahasranaama by reading from the Sanskrit texts. Lingannaiya had a small library in his house. Some of the books which his sons and daughters remember to have seen are: Book of Knowledge ( in 10 parts) (brought from England on instalment basis), Magazines from the Subhodha Rama Rao’s press, novels of Bankimchandra Chattopadhyaya of Bengal, kannada translated versions of Rani Chaudurani, Durgesha Nandini, Rajasimha, books on Ramayana, Mahabharatha (Mysore Palace Publications) etc. It is said that he was insisting his wife and all pregnant women in the family to read the ‘Anushasaneeka Parva’ of Mahabharatha.

    Lingannaiya brought up his children in a very disciplined manner. Nobody used to talk in a raised voice at home. Children should chant bhajans every evening before God and girls should chant traditional songs and Gowri songs. Girls were encouraged to learn ‘Rangoli’, ‘kasooti’ etc. A separate room was kept to exhibit dolls during the Navarathri festival. Children had to obey the orders of elders without questioning. After marriage of his daughters, all the ‘Vrathas’ as per the traditions in the family used to be performed by Lingannaiya. A rice bowl was kept in the verandah of the house so that no beggar returned without any offering!

Once Lingannaiya had been to Chikballapur to discuss certain matters with Kyalanoor Bheemarao (the father-in-law of his eldest son), who was a Pleader. There he had a paralytic stroke and was brought to Bangalore and after about 3 days in coma, he attained the heavenly abode in the year 1943. Thus, S.K.Lingannaiya, a legend in his own right, an un-sung hero and a role-model, especially to youngsters, became a part of history.

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CHAPTER 11
Other facets of Lingannaiya
Lingannaiya - The Photographer:
It is indeed interesting to note that Lingannaiya was also an accomplished photographer and had tried several experiments and new techniques. His son, SK Krishnamurthy, recalls an incident related to photograpy. At that time, Courts used to accept photographs as a reliable source of evidence in trial cases. In order to prove that false picturisation could be done by various techniques in photography, Lingannaiya produced a photograph in which on a high rock in the midst of the Jog falls, the local Amaldar was photographed as being with a ‘Nayakasani’ (prostitute). In fact, the rock on which they were shown to be sitting was inaccessible from any quarter! This was just a sheer photographic trick. It is said that thereafter Courts desisted from accepting photographs as a ‘conclusive evidence’.

Lingannaiya - The Doctor!
    Lingannaiya led a healthy life throughout. He never visited any doctor or a hospital during his life-time! He chewed ‘Paan’ (a combination of areca and beetle-leaves smeared with lime - natural calcium supplement) twice daily and when he breathed his last, he had all his teeth in tact (except two)! This healthy concoction has been unfortunately degraded into “Paan” today, after messing it up with tobacco. The ‘Ghutka’ culture, especially among the youth, is the worst thing that is happening now. He always had natural and ayurvedic herbs and medicines ready at home for treatment of ailments of children and women in the family. He maintained sound health except sometimes when he complained of stomach ache. For any ailment in family members, he used to refer to a book, “Moores Family Medicine”13 and apply home treatments himself. He was keenly involved in and practiced (at least at home) chromotherapy14; a system of healing by colours. He used to keep water in blue bottles, place it in the sunlight throughout the day and advised all in the family to drink it everyday before going to bed. It was believed to ward off any possibility of fever; similarly water kept in different coloured bottles was used for treatment of other ailments. Once when his son contacted Typhoid, besides normal medicine (water of broken milk and water stored in blue coloured bottle exposed to sun - once in 3 hours), he kept a blue coloured bulb in such a way that its light fell on the forehead and the Typhoid was cured in 5 days!

    Whenever children had fever and other troubles, he used to chant ‘Indrakshi Stotram’ and ‘Shivakavachaparayana’ holding the sacred vibhooti and then apply the sanctified vibhuthi on the forehead of the children. It is said that it also worked miraculously and children used to be all right within a couple of days without any treatment!

Lingannaiya - The Astrologer!
    He used to cast horoscopes himself, particularly when births took place in the house. Those days child deliveries used to take place in the houses itself. Before the scheduled date of parturition (i.e., when the indications of parturition were visible), Lingannaiya, used to make his own calculations and predict whether the child would be a boy or girl. It is said that all his predictions were proved right! In fact, it is said that he had even predicted the time of his own departure from this world! But he lived exactly one year more than his prediction, which he said was due to some unknown reasons (or because of his past karma!).. ***********************************************************************************
  CHAPTER-12
Lingannaiya lives........

    The life-story of Lingannaiya, which is mainly woven around his achievements in different fields, perhaps appears incomplete, as details of his childhood, relations with his parents, elders and relatives are wanting. However, the attractive painting of Ganapathi (a symbol of his budding artistic talent), proceeding to Bangalore for studies from such a small village of Sagar, staying in a room independently, taking tuitions to meet his expenses suggest that as a boy, he was quite intelligent, creative, bold and above-all full of self-esteem. Perhaps his firm determination to reach his goal must have prompted him to take the path of "earn while you learn". Once he shifted to Bangalore, his relations with his parents, brothers and sisters, statrted diminishing. While in Bangalore, he was so immersed in his artistic and other pursuits that he did not evince any interest in the ancestral property at his native place; a fine example of his maturity, broad-mindedness and spiritual outlook.

   How Pradhani Venkappaiah of Tumkur (his father-in-law) who was also a Dewan of the then Nagar Division came in contact with Lingannaiya is also not clear. May be Lingannaiya's extra-ordinary brilliance both in studies and other extra-curricular activities must have come to the notice of Venkappaiah and prompted him to help in his studies, of course, with a pre-conceived idea of marrying his daughter to Lingannaiya!

             Another interesting happening in the list of Lingannaiya is the gift of Litho Press by Dewan M.K.Kantharaj Urs. Though it is not clear how this association developed, one can safely presume that Dewan Kantharaj Urs, was a connoisseur of art and must have taken a liking to Lingannaiya's talent in this field. His peers included late A.R.Krishna Shastry, late Nittoor Srinivasa Rao and many scholars, dewans and senior officers; an indication of his sober and mature personality.

           Production of a variety of maps and other educational aids and catering to the needs of the Education Department in such a dedicated and systematic manner is a remarkable indicator of his valuable contribution to the field of education. His productions are a proof that he never compromised with quality! His master-pieces, Vayustuti Maruthi, Geethopadesha, Lalitha Tripura Sundari, Lord Vishnu, Chamundesewari, Viswaroopa Darshana etc., some of them with miniature inscriptions of hymns of Gods and Goddesses are simply out of the ordinary. Ramayana and Bhagavatha in pictures are perhaps his 'most-dear-to-heart' productions. Besides giving an insight into his spiritual bent of mind, the pictures are a stamp of his creativity and originality. The writer in Lingannaiya has blossomed in his few available publications on varied subjects of free hand drawing, photography, painting, music etc.

                     Lingannaiya had three sons and eight daughters! His first wife, Janakamma, passed away early. All his children and grand-children today are occupying good positions in society which bears ample proof of Lin;gannaiya's able handling of family matters and at the same time, ensuring that the tract of other activities, so dear to his heart, is not lost - a person of rare qualities of head and heart indeed!

              S.K.Lingannaiya is not with us today. But his life and mission will continue to guide everyone keen on leading a purposeful and meaningful life. His rare works of art will definitely be a source of valuable information and guidance to the budding artists. The legacy left behind by Lingannaiya is a very precious one and it is upto us, the present generation in general and the Keladi Kavi family in particular, to preserve it with all care and respect and strive, in our own humble way, to uphold this great tradition. Let his memory and works live long in our hearts!

          Let us not further forget that paths are treaded after a long effort. But Lingannaiya's path was an Elephant's path (an elephant does not need a path; it makes its own). His deft handling of family matters, official matters and press matters, always with a sense of responsibility laced with humility, speak eloquently about his outstanding leadership qualities. Let us all, therefore, "FOLLOW THE LEADER AND BE LEADERS".
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CHAPTER - 12
Lingannaiya - the legacy continues...

It is significant to note that the great tradition set by late Lingannaiya is being contin ued in the Keladi Kavi family by the present generation in their own humble way. A brief note is given below about some of the later Kavi family members who have done/doing   exemplary works in various fields viz., music, literature, art, history, drawing, spirituality, research, miniature script drawings, journalism, medicine, astro-physics, nuclear physics, engineering etc.

1. late S.K.NARAYANA RAO: Eldest son of Lingannaiya. A fine exponent of Veena and an expert in playing Veda mantras on veena. It is said that tears used to pour from his eyes when he was engrossed in playing Veena. A former employee of HAL. He was very religious in nature. He was also interested in Art and produced pictures of Narasimha Avathar etc.

2. Sri S.K.Krishna Murthy: The second son of Lingannaiya and the eldest member of the Kavi family as of now (as per the lineage). A retired Officer of Binny Mills. Closely associated with his father and his Litho Press activities. Presently, Executive Committee Member of the Chinmaya Mission and Cultural Secretary of Sri Varaprada Ventakeswara Swamy temple, Banashankari, Bangalore. Has knowledge of music and an ardent student of Vedantic philosophy.

3. Sri S.K.Rama Rao: Third son of Lingannaiya and a retired officer of the Indian Railways. Most of the works of Lingannaiya had been earlier preserved by him before being handed over to Keladi Gunda Jois. Very sober person with a spiritual blend of mind, doing voluntary service in Ramakrishna Mission, Bangalore.

4. late S.N.RATHNAMMA (daughter of Lingannaiya) :

    S N Rathnamma inherited several of the wonderful skills of her father, music, drawing and literature. Her marriage with Sundara Rao was a great turning point, since he nourished her hidden talent and encouraged her to prepare articles and travelogues. The fact that she wrote the novel “Kannadambeya Adigalalli” when she was barely 30, is a testimony to this. She continued her writing though on a low key initially owing to domestic responsibilities. She earned several prizes in “Lalitha Prabhandha” category and radio dramas. Several of her short stories appeared in leading dailies like “Samyuktha Karnataka”, “Tai Nadu” and “Prajavani”. Many monthlies like “Kasturi”, “Madhukara” , “Jagritha Karnataka” and “Kailasa” carried her articles on a variety of topics. The travelogue “Tirupathiyinda Kanyakumari” which she wrote with her husband is still being remembered as an authority. She effectively transformed several classic stories by eminent authors like Gorur Ramaswamy Iyengar, Masti Venkatesha Iyengar, Ananda etc into radio versions. All her creative skills are beautifully incorporated in “Shankara Kathamritha” which saw six successful editions. As a token of her devotion   she entrusted the copyrights to the Sringeri Math, a couple of years before her death. Now (2007) it has seen yet another edition.

4. Dr.Shylaja Prabhakara: B. S. Shylaja (d/o Rathnamma Ba.Na.Sundar Rao) obtained her M Sc in Physics from Bangalore university. Subsequently she joined the National Aerospace Laboratories, and then to Central Power Research Institute. She got an opportunity to continue for a doctoral degree in the Indian Institute of Astrophysics. She worked under the guidance of late Prof M K V Bappu (who founded the Indian Institute of Astrophysics) for her thesis on the hottest stars called Wolf-Rayet stars. She also worked on comets and other special types of stars. She worked as a post doctoral fellow in the Physical Research Laboratory at Ahmedabad. Presently she has been associated with the Jawaharlal Nehru Planetarium, Bangalore and continuing her research work. Over week ends she is busy teaching the undergraduates who are interested in astronomy and astrophysics apart from the regular activities of the Planetarium. She has contributed to the encyclopedia in Kannada both the hard copy and the CD version. She has over 40 publications in national and international journals. She has presented papers in international conferences in Germany, Italy, Indonesia and South Africa. She has been invited to visit astronomical institutes in Austria, Switzerland and Netherlands. She is also interested in literature. She has several short stories and travelogues published in various periodicals in Kannada. Her writings in astronomy are more frequent and total to over 150. The astronomy related articles in English total to about 75. She has written several books “Grahana”, “Soura Vyuha”, “Galielo”, “Surya”, “Shukra grahada Sankramana”. The book “Grahana” received HN endowment award from Kannada Sahitya Parisht. “Shukra grahada Sankramana” was awarded Karanataka Sahitya Academy award for 2006 for science literature. She has also written “Baanigondu Kaipidi” (an introduction to the night sky) and “Safari emba Luxury” (travelogue). Her husband, H R Prabhakara was born in Tyamagondlu to late H N Ramakrishnappa and Nanjamma.    After obtaining M. Sc., in physics from Bangalore University he continued his studies for doctoral work in nuclear physics at the Indian Institute of Technology, Kanpur. After working as a postdoctoral fellow at the Physical Research Laboratory, Ahmedabad, he joined the South Gujarat University at Surat. Then he joined the Institute for Plasma Research, Gandhinagar for continuing research in plasma physics. Currently he has his own laboratory and specialises in thin film coatings for industrial applications. Their daughter, H P Kaumudi has been a topper in studies and won several prizes. She is a NTS and KVPY scholar and currently studying B Sc in St Joseph’s college, Bangalore.
Address:Dr. Shylaja Prabhakara, (Astro-Physicist-Bangalore Planetarium) (D/o S.N.Rathnamma d/o Kavi Lingannaiah), # 302, R.V.Apartments (II floor), Sri Rama Mandiram Road, Basavanagudi, BANGALORE-560 004. Tel: 080-26575165:   e-mail: shylajaprabhakara@yahoo.com

5. Netravathi Abhirama Murthy: Working in AIR, Bangalore. Nethravathi (w/o Abhiramamurthy) (d/o Rathnamma Ba.Na.Sundar Rao), (daughters Dr Vidya (married to Dr Ashok) and Triveni (married to Bharath), Uma Devi ( w.o Ananthramu) (daughter Mahalakshmi)

6. Keladi Gunda Jois. M.A.,: Grand son of Lingannaiya (son of Nanjunda Jois and Mookamma). Date of birth: 27.10.1931. Researcher, Writer, Rural Historian and Social Worker. Founder: Keladi Museum. Project Co-ordinator, MRC, National Manuscripts Mission, Government of India, New Delhi. President Karnataka History Acacemy Conference. Honnalli 2004. Co-Ordinator, NMM Govt. of India New Delhi. Research Board of Adviser ABI. Participated and Presented papers at many seminars in India and elsewhere. The handing over of the Keladi Museum which was founded and developed by him for over 40 years to the Kuvempu University in January 2007, without taking any compensation, is a unique gesture befitting the Keladi Jois and Kavi families.

Publications: Ikkeri Arasaru (1972) Kempe Gowda (1974) Bedanurina Keladi Nayakaru (1980) Keladi Rajadhanigalu (1981) Keladi Venkanna Kritigalu (19800 Keladi Nrupavijaya Gadyanuvada 1977. History of Tanjavur, History of Govinda Dixit 2003 Inscriptions of Gokarna. Glorious of Keladi (English) Descriptive Catalogue of Palmleaf Manuscripts in the 3000 Mutt, Hubli 1989, Catalogue of Ancient Tigalari Palm Leaf Manusscripts in India. Selected Review in the Government Archives, Japan. Catalogue of Shri Ramachandrapura Mutt 2002 Vol. I, 2003 Vol II, Vol III 2004 and more than 250 research papers.

Awards: Karnataka Rajyotsava Award 1994, Karnataka Sandesha Award and many others.
7. Dr.K.Krishna Jois: Brother of Keladi Gunda Jois. Retired PU College Principal. Well-versed with Veda and Vedanta matters. Has brought out a book in kannada titled:”Samkshipta Deva Pooja Vidhi”. Resident of Bangalore.
Address: # 1220. ‘Srivatsa’, 12th Cross, Girinagar II Phase, Bangalore-560 085. Tel: 080-26421074.

8. Dr.K.G.Venkatesh Jois, Keladi: Son of Keladi Gunda Jois and presently Curator of the Keladi Museum.
1. Qualifications: M.A. Kannada, (Madras University), M.A. History & Archaeology, (Karnataka University, Dharwad), Ph.D. ( Mumbai University, Mumbai) - A cultural Study of Keladi Inscriptions
2. Books published:
ಕೆಳದಿ ಸಂಸ್ಥಾನ - ಸುತ್ತಮುತ್ತ, ಶ್ರೀ ಕೆಳದಿ ಸರಸ್ವತಿ ಸೇವಾ ಸಮಿತಿ, ಕೆಳದಿ,
ಕೆಳದಿ ಶಾಸನಗಳ ಸಾಂಸ್ಕೃತಿಕ ಅಧ್ಯಯನ, ಕನ್ನಡ ಸಾಹಿತ್ಯ ಪರಿಷತ್, ಬೆಂಗಳೂರು,
ಕೆಳದಿ ಅರಸರ ಶಾಸನ ಸಂಪುಟ, ಗದಗ ತೋಂಟದಾರ್ಯ ಮಠ, ಗದಗ,
ಲಿಂಗಣ್ಣ ಕವಿ - ಕನ್ನಡ ಅಭಿವೃದ್ಧಿ ಪ್ರಾಧಿಕಾರ, ಬೆಂಗಳೂರು,
ಮರೆಯಲಾಗದ ಕೆಳದಿ ಸಾಮ್ರಾಜ್ಯ, ಶ್ರೀ ಸರಸ್ವತಿ ಸೇವಾ ಸಮಿತಿ, ಕೆಳದಿ [This has been recently translated to English by Kavi Suresh]
ಕವಿ ಪರಮದೇವ ಮತ್ತು ಇತರ ಅದ್ವೈತ ದಾಸರ ಕೃತಿಗಳು, ಕನ್ನಡ ಸಂಸ್ಕೃತಿ ನಿರ್ಧೇಶನಾಲಯ, ಬೆಂಗಳೂರು,
ಆಚಾರ್ಯತ್ರಯರು, ಕನ್ನಡ ಪುಸ್ತಕ ಪ್ರಾಧಿಕಾರ, ಬೆಂಗಳೂರು
ಶಿವಪ್ಪನಾಯಕ, ವಯಸ್ಕರ ಶಿಕ್ಷಣ ಸಮಿತಿ, ಮೈಸೂರು
ಕೆಳದಿ ಅರಸರು, ಶ್ರೀ ಸುತ್ತೂರು ಮಠ, ಮೈಸೂರು
ಕೆಳದಿಕಾಲದ ಐತಿಹಾಸಿಕ ದಾಖಲೆಗಳು, ಸಂಪುಟ 1, ಕೆಳದಿ ವಸ್ತು ಸಂಗ್ರಹಾಲಯ, ಕೆಳದಿ
ಕೆ ಳದಿಕಾಲದ ಐತಿಹಾಸಿಕ ದಾಖಲೆಗಳು, ಸಂಪುಟ 2, ಕೆಳದಿ ವಸ್ತು ಸಂಗ್ರಹಾಲಯ, ಕೆಳದಿ,
ಜಾನಪದ ಆಟಗಳು - (ಅಚ್ಚಿನಲ್ಲಿ)
ಪಾರ್ವತಿ ಪರಿಣಯ, ಕೆಳದಿ ವಸ್ತು ಸಂಗ್ರಹಾಲಯ, ಕೆಳದಿ,
ಕೆಳದಿ ಇತಿಹಾಸ ವಾಙ್ಮಯ ಸೂಚಿ (ಅಚ್ಚಿನಲ್ಲಿ)
3. No.of articles: About 70 articles relating to Keladi History and general subjects.
4 Seminars/Workshops attended: International Workshop On Folkloristic, M.G.M.College, Udupi. Seminars conducted by the Director of Archaeology, Govt.of Karnataka, Karnataka Itihasa Academy, Karnataka Itihasa Parishat, Kuvempu, Mysore, Dharwad Universities, and   Hampi Utsava from the last 9 years.
5. Prizes & Awards: Gold Medel ( M.A.Kannada), Jawaharalal Nehru award.
Wife Smt.Sumana is also a M.A.(Hindi) High school teacher.
Address: Dr.K.G.Venkatesh Jois, Curator, Keladi Museum, Keladi, Sagar taluk, Shimoga district. Tel: 08183-260140: Mobile: 94488-39739. e-mail: kgvjois@yahoo.co.in

10. K.V. (Kavi Venkatasubba Rao) Nagaraj: Great grand-son of Kavi Venkanna (elder brother of Lingannaiya) and eldest son of Sri Kavi Venkatasubba Rao. B.Sc., graduate and Tahsildar by profession; served in different parts of the State with great distinction. An expert in drawing/painting on glass and cloth. Author of many poems and articles. Resident of Hassan. A very good poet and has written a number of poems resembling the DVG’s Mankuthimmana Kagga; has plans to publish the same shortly. Daughter Bindu and son Vinay   both are software engineers.
Address:”Nagabharana”, 7th Cross, 2nd Main, Shantinagar, Hassan-577 201. Mobile: 94485-91804.

11. K.V. (Kavi Venkatasubba Rao) Suresh: Great grand-son of Kavi Venkanna (elder brother of Lingannaiya) and second son of Sri Kavi Venkata Subba Rao. A B.Com., graduate and retired (voluntarily) Section Officer of the Karnataka Government Secretariat. Has served as Private Secretary to several very senior IAS officers of the State Government. Brought out a book recently (titled: ‘Hale-Beru Hosa Chiguru’) containing the Keladi Kavi family lineage. Author of this book as well. Writes articles on matters of common interest (other than politics) in papers and magazines regularly. Other areas of interest: horticulture, music, playing mridangam, travelling. Resident of Shimoga.
Address: “Souparnika”, 3rd Main, 3rd Cross, Basaveswaranagar, Shimoga-577204.     Tel: 08182-223670. e-mail: bsr_kavisuresh@yahoo.co.in. & keladisuresh@yahoo.com

10. Dr.K.Srinivas, MBBS, MD,DGO & M.A. (lit.): Grand-son of late Mookamma (d/o Lingannaiya) and son of Dr.K.Krishna Jois. A very good and accomplished vocalist of Karnatic music. Has given many musical concerts at several places including Mysore and Tiruchhi. Surgeon to Hon.Governor of Karnataka. Resident of Bangalore.
Address: # 1220, “Srivatsa”, 12th Cross, Girinagar II Phase, Bangalore-560 085. Mobile: 98451-01621

12. Kavi BSR Deepak: Great grand-son of Kavi Subrahmaniya and son of Sri K.V.Suresh & Renuka. An accomplished Violinist in Karnatic Music; has nearly 150 public performances (including Mysore Dasara, Sringeri Navarathri festivities, Bharathiya Vidya Bhavan, Chowdaiah Memorial Hall, State Level Music Conference, Shimoga., ‘Arohana” solo programme at ANANYA, Malleswaram, Bangalopre etc., already to his credit at the young age of 18. Has passed the Pre-Vidwath examination in Violin securing II Place to the State in 2007. Has won several prizes and medals at district/regional and State levels ( including State level Youth Award -2007 for Instrumental Music). Secured Distinction in both SSLC and II PUC examinations. A student of B.A.M.S. in Shimoga Bapuji Ayurvedic Medical College and Hospital. Good in oration and compeering as well. Has done lot of background work in collecting the Keladi Kavi family links by extensive travelling. Good at photography as well. Has an inquisitive and research-oriented mind.
Mobile: 94485-09763 / 08182-223670. e-mail:deepak_violin@rediffmail.com &   deepak.ayurveda@gmail.com
13. BSR Ambika: Great grand-daughter of Kavi Subrahmanya and daughter of Sri K.V.Suresh & Renuka. A good vocalist and violinist in karnatic music. Has completed Junior exams in both vocal and violin scoring over 95%. Has also given several public performances and won prizes and medals at district and regional level music competitions. Presently doing PUC in DVS Composite College,Shimoga.
14. Smt. Nagaveni: Daughter of late Subba Rao and Smt.Subbalakshamma (d/o SK Lingannaiya). An expert in painting, especially pertaining to nature. Has painted several beautiful and near-to-life nature pictures which are a treat to watch. The painting of Lingannaiya on the cover page of this book is, in fact, painted by none other than Smt.Nagaveni.
15. M.S.Nagendra: Grand-son of Lingannaiya (son of Smt.Padmavathamma (d/o Lingannaiya) w/o late Subba Rao. Proprietor of MSN Enterprises (Plywood dealers) in Bangalore. Having keen interest in and respect for Kavi family elders, he has extended financial help in the publication of a concise biography of Lingannaiya in Kannada by Keladi Gunda Jois in 1999. Resident of Bangalore.
Address: MSN Enterprises (Plywood Dealers), 9, Subrama Setty Street, Basavanagudi, Bangalore-560 004. Tel: 080-26611346 & 080-26683708.
16. Smt.Kashi Bai, M.Com: Grand-daughter of late Srikantaiah and Bhagirathamma and daughter of Smt.Vinodamma and late Gopala Rao. She is, in fact, the great grand daughter of late Kavi Ramanna, who was the eldest brother of Lingannaiya. Resident of Shikaripur; working in a High School in Shikaripur. A very good light-music vocalist; good in classical music as well. A ‘B’ Grade AIR artist in light music. Two light music cassettes, titled ‘Rasagange’ and ‘Kugiri Maadevana’ where she has sung along with one Sri K.Yuvraj have been released. Has performed at many platforms and has also given background music to many dramas as well (including at Ravindra Kala Kshetra, Bangalore and Ranagayana at Mysore). Her elder sister, Smt.Suvarna is also a ‘B’ grade AIR light music artist. Her younger brother, Dr.Somashekhar, Vet.Doctor, is good at playing ‘Tabala’ and has accompanied Smt.Kashibai in several programmes.
Address: Car Street, Shikaripur, Shimoga district. Mobile: 99024-89789
17. K.V.SHASHI KUMAR: Son of Smt.Suvarna and late Venkatesh at Shikaripur. Has already passed Senior examination in Carnatic Classical Music and has given several programmes. Has participated in the “Ede Tumbi Haaduvenu” programme of ETV and has reached upto the Quarter final level. Has also been interviewed by the AIR, Bhadravati as a ‘Balakalavida’ in the ‘Chinnara Balaga’ programme. Presently doing I PUC in Shikaripur.

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ANNEXURE-9
Different shapes of chins of individuals and their purported significance.
No.1: an intelligent; would attend to his personal work first in preference to others; good person; not a good friend.
No.2: rigid and tough; do not hesitate even to fight.
No.3: educated and romantic; fickle-minded
No.4: not compatible to women;
No.5: obedient; extravagent; sentimental and honest; reliable
No.6: obedient and highly extravagent
No.7: Calm and honest
No.8: always pensisve
No.9: fickle-minded and sturdy
No.10: Gentleman and honest; always finds fault
No.11: always likes calmness and sexy
No.12: As at No.10
No.13: materialistic
No.14: Strict and finds fault with others
No.15: Cunning
No.16: kind and gentle mannered
No.17: indecent
No.18: very delicate-minded, advocates justice, egoistic
(From the Book: Principles of Free Hand Drawing by SK Lingannaiya)

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FOOT NOTES
1Lingannaiya wrote a book on PRINCIPLES OF FREE HAND DRAWING during the year 1927. In the preface to the said book he writes that he lost his parents, brother, wife and son about 9 years ago. Based on that, it is presumed that Kavi Venkanna passed away during 1916.

2Keladi Jois family also has a long history of its own. The relationship between the Keladi Kavi family and Keladi Jois family appears to have begun with the marriage of Gangamma with Keladi Krishna Jois. Both the Keladi Kavi family and Jois family have played a significant role in Keladi history and are even now doing their best to uphold that great tradition. Subsequently, several marital relationships have taken place between these two families, and the descendants of these two families are working in varied fields such as historical research, preservation of old and historical materials/documents, medicine, astro-physics, electronics, electricals, administration, literature etc., and have made their own mark in the respective fields.

3 Kollur is in South Kanara district of Karnataka. Mookambika is the main deity of this place. The goddess symbolises :”shiva-shakthi” combined in one. Besides being worshipped by the Keladi rulers, Mookambika is the family-deity of the Keladi Kavi family. The worship of the deity in this temple is done strictly according to set traditions and with lot of devotion and sanctity.
It is located at a distance of 147 km from Mangalore. The nearest railhead is Udupi, and it is well connected with tourist centers such as Mangalore and Shimoga in Karnataka and Kannanur in Kerala. Kollur is known for its association with Aadi Sankara. Mookambika is said to have appeared before Aadi Sankara here, and he is said to have installed her image at this shrine. There is a room near the sanctum - enshrining the Sankara Simhasanam which is regarded as the very spot where he meditated and had a vision of Mookambika. Mookambika is regarded as a manifestation of Shakti, Saraswathi and Mahalakshmi. The Kudachadri hill houses sites such as Ambavanam and Chitramoolam where Adi Sankara is believed to have meditated.
    The swayambhu lingam in front of the image installed by Adi Sankara, has a golden rekha (line) approximately at the center, and is considered to be a Shiva-Shakti manifestation. The image of Mookambika is in a seated posture, bearing the conch and the discus. Also enshrined near this image are those of Mahakali and Saraswathi.
Kollur is on the banks of the river Sauparnika (said to possess medicinal properties) at the foot of the hill Kudashadri. It is believed that Aadi Sankara entered the temple through the western entrance.

4Keladi Rameswara Temple is a historical temple built, stage by stage, during the rule of the Keladi kings. Rameswara Linga and Parvathi Devi are the main deities. The style and sculpture of the temple is a treat to watch and it is declared as a national monument and is presently under the care of the Archaeological Survey of India. Vijayanagar-style pillars with hippogryphs are common, called ‘yali columns’ (depiction of horses and lions as seen in Hampi) is found here. A roof sculpture depicting Gandabherunda, the mythical two-headed bird of Karnataka is found in this temple. A Pillar sculpture shows Maratha Rajaram with Keladi Chennamma (history has it that Rajaram was given shelter by the queen when he was on the run from the Mughals). The annual Car festival during Magha Masa [February] is celebrated with all geity and religious fervour. The GAJA HAMSA stone carving of this temple is adopted by the Kuvempu University of Karnataka as its official logo!

Visit to Jog via Sagar (a deviation of just 5 kms) would perhaps be incomplete without a visit to Keladi Rameswara temple and   the Keladi Museum and Historical Research Centre, so studiously set up by Prof.Gunda Jois! Incidentally, this Museum has been handed over to the Kuvempu University, Shankaraghatta, Shimoga on 30th January, 2007 by Prof.Gunda Jois without taking any compensation as per the promise made to his mother, late Mookamma. A laudable gesture and commitment indeed!

4-1Keladi Manuscripts Resource Centre has recently un-earthed a palm-leaf manuscript (with the help of Vidwan Hulimane Ganapathi Bhat). In one of the palm-leaves, it is mentioned that Venkappaiah (Venkatasubbaiah) of Tumkur (father-in-law of SK Lingannaiya) was the Pradhani of the then Nagar Division.

5Litho Press: ‘Litho’ means stone and ‘graph’ means write. It is an art of producing printed matter from a stone or metal plate on which the design or matter to be printed consists of a meterial that accepts ink, the other parts being ink-repellant. This is a process of printing using a special stone of German origin. The stone is milk-white in colour and even-surfaced capable of absorbing oily ink. The matter to be printed is first drawn on a paper known as ‘transfer paper’ and transferred to the stone by a process involving heating the surface of the stone and securely pressing the transfer paper in the Press. A small defect in any of this process would spoil the output. Litho Presses were in vogue till 1960s and vanished with the advent of better and improved versions. Litho Press mainly printed pictures, posters and urdu matters. There were four Litho Presses at that time in Bangalore viz., The Art Litho Press in Cottonpet, Al-Kalam Press in Kalasipalyam, one in City Market and one in VV Puram of Lingannaiya.

Also refer ‘The father of Lithography; An early Lithographical Workshop in Germany; Types of early Press Machines used for Lithography” by Aloys Senefelder (1771-1921 A.D.).

6An exract of the Mysore Gazette - July 13, 1899 - Part-I p.395 is given below:
“No.2-4-D.C., dated 8th July 1899.
Mr.M.Kantharaj Urs, B.A., Assistant Private Secretary to Her Highness the Maharani-Regent, is appointed Special Assistant Commissioner and attached to the Bangalore District.....”

It appears that Kantharaj Urs later became the Dewan and perhaps due to his proximity to Her Highness, the Maharani-Regent, was able to get the Litho Press imported from England, free of cost, for being given to S.K.Lingannaiya. It is also said that the Litho Press was gifted to Lingannaiya by Kantharaj Urs around 1920.

7The related story in Bhagavatha goes like this: Mother Earth, unable to bear the burden of sins committed by evil kings and rulers, appealed to Bramha, the Creator for help. Bramha prayed to the Supreme Lord Vishnu, who assured him that he would soon be born on earth to annihilate tyrannical forces. One such evil force was Kamsa, the ruler of Mathura (in northern India) and his people were utterly terrified of him. On the day Kamsa’s sister Devaki was married off to Vasudeva, an ‘aakashavani’ or voice from the sky announced that Devaki’s 8th son would be the destroyer of Kamsa. The frightened Kamsa immediately took his sword to kill his sister but Vasudeva intervened and implored Kamsa to spare his bride, and promised to hand over every new born child to him. Kamsa relented but imprisoned both Devaki and her husband Vasudeva. When Devaki gave birth to her first child, Kamsa came to the prison cell and slaughtered the new born; similarly he killed the next six children also. Even before the 8trh child was born, both Vasudeva and Devaki were very panicky and worried about the future of their child and themselves. Then suddenly Lord Vishnu appeared before them and said he himself was coming to rescue them and the people of Mathura.

8“Dakshadwara Vijaya and Shivapooja Darpana”:.: Originally written by Keladi Kavi Linganna. Dr.K.G.Venkatesh Jois has edited the same and brought out the text in the above titled book (having cover page picture of Veerabhadravatara); published in 2002. Copies are available with Dr.Venkatesh Jois of Keladi.

9Narasimha (“man-lion”) is described as the fourth incarnation (avatara) of Vishnu   who takes the form of half-man / half-lion, having a human torso and lower body, but with a lion-like face and claws. He is worshipped in deity form by a significant number of Vaishnava groups throughout India. Whilst Hiranyakashipu had been performing the penance to be granted the boon of immortality, his home had been attacked by Indra and the other devas, seizing the opportunity in his absence. At this point the divine sage, Narada intervened in order to protect Hiranyakashipu’s wife, Kayadu, who he describes as ‘sinless’. Following this event Narada takes Kayadu into his care and while under the guidance of Narada, her unborn child (Hiranyakashipu’s son) Prahlada, became influenced by the transcendental instructions of the sage even at such a young stage of development in the womb itself. Thus, Prahlada when later growing as a child began to show symptoms of this earlier training by Narada, gradually becoming recognised as a devoted follower of Vishnu, much to his father’s disappointment. Hiranyakashipu eventually becomes so angry and upset at his son’s devotion to Vishnu that he decides he must kill him, but each time he attempts to kill the boy, Prahlada is protected by Vishnu’s mystical power. When asked, Prahlada refuses to acknowledge his father as the supreme lord of the universe and claims that Vishnu is all-pervading and omnipresent, to which Hiranyakashipu points to a nearby pillar and asks if ‘his Vishnu’ is in it: If He is everywhere, then why is He not present before me in this pillar?” Prahlada then answers, He was, He is and He will be. In an alternate version of the story, Prahlada answers: He is in pillars, and he is in the least twig. Hiranyakashipu, unable to control his anger, smashes the pillar with his mace, and then following a tumultuous sound, Vishnu in the form of Narasimha appears from it and in defence of Prahlada moves to attack his father. In order to kill Hiranyakashipu and not upset the boon given by Brahma, the form of Narasimha was chosen. Hiranyakashipu could not be killed by human, deva or animal, Narasimha is neither one of these, as he is a form of Vishnu incarnate as a part-human, part-animal. He comes upon Hiranyakashipu at twilight (when it is neither day nor night) on the threshold of a courtyard (neither indoors nor out), and puts the demon on his lap (neither earth nor space). Using his nails (neither animate nor inanimate) as weapons, he disembowels and kills the demon.
Even after killing Hiranyakashipu none of the present demigods were able to calm Narasimha’s fury, not even Shiva.   His consort, the goddess Lakshmi,    was also unable to do so. Then, at the request of Brahma, Prahlada was presented to Narasimha, and finally, he was calmed by the prayers of his devotee.

10The original Ramayana written by Saint Valmiki contains about 24,000 slokas or stanzas. The Ramayana for which Valmiki is famously known for composing these slokas tells the story of a prince, Rama of Ayodhya, whose wife Sita is abducted by the demon (Rakshasa) king of Lanka, Ravana. In its current form, the Valmiki Ramayana is dated variously from 500 BC to 100 BC. Rama and Sita - Who has not heard these two names in our country?   Ramanavami is a sacred festival. People observe the Ramotsava and listen to the stories of Rama and Sita again and again. They worship Rama and Sita with great devotion.The story of Rama and Sitadevi is the ‘Ramayana’. The incarnation of the Supreme Being as Lord Rama is to protect the righteous, destroy the wicked and re-establish dharma - the rule of law, virtue and peace. It is remarkable that Sri Rama himself listened to the story of the Ramayana’ and was pleased. Lava and Kusha sang the story before Rama very sweetly; Rama did not know that they were his own sons!
The poet who composed ‘Ramayana’ and taught the song and story to Lava and Kusha, was a great sage by name Valmiki. How this man became a sage and a singer-poet is itself a very interesting story. Valmiki’s Ramayana is in the Sanskrit language. It is a very beautiful poem. Long poem narrating the story of a very great hero is called an epic. Valmiki’s ‘Ramayana’ is the very first such poem in Sanskrit. Therefore, it is also called the ‘Adikavya’ or -the First Poem; Valmiki is also known as the ‘Adikavi’, which means the First Poet. Valmiki’s ‘Ramayana’ can be sung. It is delightful to the ears like the sound of the cuckoo. Valmiki has been described as a cuckoo on the tree of poetry, singing sweetly -   [ಕೂಜಂತಂ ರಾಮ ರಾಮೇತಿ ಮಧುರಂ ಮಧುರಾಕ್ಷರಂ | ಆರುಹ್ಯ ಕವಿತಾ ಶಾಖಾಂ ವಂದೇ ವಾಲ್ಮೀಕೀ ಕೋಕಿಲಂ”] Those who read the ‘Ramayana’ bow to the great Valmiki first and then turn to the epic.

11This post-card is preserved even now in Keladi by Prof.Gunda Jois.

12Bhagavata is the story of the Lord who incarnated himself on this earth in the form of Lord Krishna demonstrating in his own indomitable style his love for his staunch devotees and his power in destroying and eliminating all evil forces. It is a sacred possession of all aesthetic people in India and is regarded as a friend, philospher and guide of all those who seek mental and spiritual peace and ultimately emancipation in life. The name bhagavata can be applied to every account of the experiences of those who have contacted God and the Godly (bhagavân and bhakta). God assumes many forms and enacts many activities. The name bhagavata is given to the descriptions of the experiences of those who have realised Him in those forms and of those who have been blessed by His grace and chosen as His instruments. The great work known by that name is honored by all masters of the Vedas. It is a panacea which cures physical, mental and spiritual illnesses. The Bhâgavatam is saturated with the sweetness of nectar, it shines with the splendor of God. The principle of avatâra or the descent of God on earth, the incarnation of the formless with form, for the uplift of beings - is the basic fact that makes the Bhâgavatam authentic. By bhagavata we also mean those with attachment to God, those who seek the companionship of God.   To be in the midst of such bhagavatas is to foster one’s own devotion. Unless you have a taste for godward thoughts, you will not derive joy therefrom. To create that taste, the Bhâgavatam tells stories relating to incarnations to the earnest inquirer. Then, one developes the yearning to experience the thrill of God through all the levels of consciousness. He who has this intense yearning, can be a true bhagavata. The story of the Lord’s adventures (lîlâs) is all nectar; it has no other component, no other taste, no other content. Every one can drink his fill, from any part of that ocean of nectar. The same sweetness exists everywhere, in every particle. There is nothing inferior to mar the sweetness. The love of God and the love for God are both eternally sweet and pure, whatever the method of your accepting or attaining them. Such love is holy and inspiring. Sugar is sweet when eaten during day or during the night. For it is night or day for the person who eats, not for the sugar. Sugar behaves uniformly always. In short, Bhagavatha is the gist of Bramhasutras, Mahabharatha, Gayathri, the Vedas, and other Puranas - told by Lord Narayana himself!

13“Moores Family Medicine” Published in London (Printed at Spottiswoode And Co., Ltd., New Street Square, London) during September 1893. This book contains details of symptoms and treatment of almost all diseases and is now preserved by Sri S.K.Krishna Murthy, the second son of Lingannaiya.

14Chromotherapy, sometimes called colour therapy or colourology, chromopathy, chromotherapy, or color healing is an alternative healing method used to balance energy wherever our bodies are lacking, be it physical, emotional, spiritual, ormental. Since everything in existence (including all life & solid matter) is vibrating at specific frequencies, and each color vibrates at specific frequencies, we can use specific colors to influence our own frequency. This method is said to have a wide ranging curative effects. Color therapy often is a form of chakra healing. They use a light with very specific frequency colour gels to bath you in deep colour during your holistic intuitive massage.
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ಕವಿಕಿರಣ

ಗುರುವಾರ, ಜುಲೈ 14, 2011

Karma yogi Kalavallabha S.K. LINGANNAIYA

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