TALES FROM THE CAPITAL CITY – 162

 Architectural Memory and Commercial Art in a Travancore Print

Advertisement for Rally Cycles by K.R.K. Achari (early 20th century).

Artist K. Ramakrishnan Achari (1888-1969) is remembered within the lineage of Travancore-associated artists, belonging to a broader tradition of skilled painter-craftsmen who moved fluidly between the royal court and commercial practice. The image presented here is an evocative early 20th-century print, derived from one of his paintings, and representative of the rich visual culture of Indian commercial art—where fine-art idioms were adapted to promote emerging consumer goods, in this case, bicycles.

Produced as an advertisement for Rally Cycles, the composition unfolds within a dreamlike, almost theatrical pastoral setting. Two women—idealised figures—occupy the foreground, arranged in a languid, reclining pose atop a stone parapet. One lie stretched out, her body elegantly aligned along the parapet, her head resting on her hand in a gesture of quiet contemplation. The other sits upright near her feet, her outward gaze suggesting alertness or anticipation. Beneath them, prominently placed and rendered with notable mechanical clarity, is a bicycle—the central object of advertisement.

The background opens into a softly rendered European-style garden landscape, with a fountain at its centre, reinforcing a sense of symmetry and refinement. A lone cyclist in the distance subtly reiterates the theme of cycling as a leisurely pursuit. The artist has carefully incorporated architectural elements to evoke an imagined cosmopolitan milieu. While these details may appear generic to the untrained eye, closer inspection reveals more specific visual references.

The mansion depicted on the right bears a striking resemblance to Belhaven Mansion, the sprawling bungalow located along Vellayambalam–Kowdiar Road. Although the artist has not attempted a faithful reproduction of all its features, the cylindrical tower capped with a shallow dome appears to be clearly inspired by Belhaven. This association is further strengthened by the structure visible on the left, which recalls the Gothic Revival turret of the nearby Kanakakunnu Palace—distinguished by its sharply pointed roof—situated to the south-west of Belhaven.

Belhaven Mansion and its tower. Image courtesy: Ar. T.M. Cyriac.

Kanakakunnu Palace (1970s). Image courtesy: Sharat Sunder R.

Another detail that lends weight to this interpretation is K. Ramakrishnan Achari’s association with Belhaven Mansion. The residence was home to Pānapillai Karthyayini Pillai Kochamma (also known as Vadasherri Ammachi), the consort of Moolam Tirunal Rama Varma, Maharaja of Travancore. Karthyayini Pillai was herself a talented artist and is known to have sought Achari’s guidance in reviewing her works. The mansion later passed to her daughter, Bhagavathi Pillai Kochamma (also known as Thankam), and subsequently to her son, V. Padmanabhan Tampi—popularly known as the ‘Belhaven Tampi’—who served as Honorary A.D.C. to Chithira Tirunal Bala Rama Varma. Tampi, an amateur artist and avid photographer, further fostered artistic activity at the residence. It was during his time that Achari was appointed as an official art tutor at the mansion.

Artist K. Ramakrishnan Achari (1888-1969)

Left: Pānapillai Karthyayini Pillai Kochamma with her daughter Thankam
Right: V. Padmanabhan Tampi

Bringing these strands together, it may be reasonably concluded that the artist drew upon actual architectural references while composing this scene.

This artwork features in my first book, The King’s Craftsmen. To learn more about K. Ramakrishnan Achari and his role as a court painter, look out for my forthcoming book, The Forgotten Atelier.

05.04.2026.