The demise of kathakali maestro Kalamandalam Ramankutty Nair on Monday has left a void in the art scene, opined fellow artists and admirers.
He was the first kathakali artist to be honoured with a Padma Bhushan and is considered a maestro and a traditionalist par excellence.
“The quintessence of classicism in kathakali is emblematic in the roles enacted by Kalamandalam Ramankutty Nair.
His portrayals of Ravana, Keechaka, Shishupalan, Hanuman and Parasuram were unparalleled.
His body movements and facial expressions were immaculate,” said art critic V Kaladharan.
He said that Ramankutty Nair’s commitment to art is incomparable.
As a teacher and performer he was a role model for his colleagues and generations of artists.
Kaladharan pointed out that the secret behind the style of Ramankutty Nair is the consistent building up of character without compromising on discipline and rigour.
“His improvisations were sharp and pithy.
As an artist, he did not display any sort of concocted wisdom.
His characterisations were spontaneous and full of life.
He navigated the borders of natyadharmi and lokadharmi.
Sadanam Harikumar, also a renowned kathakali artiste told Express: “He was known for maintaining the purity and traditional importance of the art.
Ramankutty master was a stylist who maintained the ritualistic purity associated with the art form.
Whether it was creating ‘rekha’ through his hands or legs, there was a symmetry and flawless stability in performance.
He adhered to the rigid grammar of kathakali and strived to bring aesthetic perfection in his plays.”
While artists like Kalamandalam Krishnan Nair were advocates of realism and romanticism, Ramankutty Nair concentrated on stylism and classicism.
The percussion masters Kalamandalam Krishnankutty Poduval and Appukutty Poduval shared a chemistry with Ramankutty Nair while performing kathakali.
They were known as the ‘kutty trio’ in the kathakali circuit.
Kalamandalam Unnikrishnan, principal, Kerala Kalamandalam reminisced: “I had the fortune to perform on the chenda for eight years for Ramankutty Nair.
Kalamandalam Ramankutty Nair was a stickler for the timings and beats of the melam.
Except for the character of Ravanan in Ulbhavam, in all other plays I independently handled the chenda.
The ‘thiranokku’ signaling the arrival of the character to the stage was for a duration of 20 minutes and for Ramankutty Nair a single beat of the chenda would not overlap or be in excess.
Such was the perfection of the artist and the beauty of his performance.