The Life and Legacy of Painter Ramani (V. Sivasubramaniam) was a legendary figure in the Sri Lankan Tamil art world, known for his versatility as a painter, sculptor, and educator.

1. Personal Profile & Education

• Full Name: V. Sivasubramaniam (Popularly known as Painter Ramani).
• Birth: Born in 1942 in Alaveddy, Jaffna.
• Died  29.12.2025
• Early Training: He began his artistic journey under the guidance of renowned artists S. Ponnambalam and Mark.
• Academic Excellence: He completed five years of training at the Government College of Fine Arts, graduating with a first-class Diploma in Art.
• Mentors: Between 1962 and 1967, he received advanced training from celebrated Sri Lankan artists Stanley Abeysinghe and Costa Karunaratne.

2. Professional Career

• Teaching: He studied at the Palaly Teachers' Training College and served as a specialized art teacher at Alighar Maha Vidyalayam in Eravur.
• Museum Work: He spent three years as a Production Assistant at the National Museum.
• Literary Impact: His art graced the works of Sri Lanka's most famous intellectuals, including Dominic Jeeva, Sengai Aaliyan, K. Daniel, and Prof. So. Krishnarajah.

3. Notable Works in Illustration and Design

• Book Covers: He designed the iconic first edition cover of K. Daniel’s novel Panchamar. He also illustrated several books by Sengai Aaliyan, such as Pore Nee Poividu, Kidukuveli, and Mazhaikkalam.
• Magazine Art: His sketches were a staple in the famous Mallikai and Sirithiran magazines.
• Identity Design (Mastheads): He was the creator of the original masthead for the Eelamurasu daily newspaper, which is still recognized globally today. He also designed logos for the Tamil Fund and the Thirumaraikkala Mandram.

4. Sculptural ContributionsRamani was a master sculptor whose work defined public spaces in the North and East:

• Sivakumaran Statue: Sculpted the statue of Urumpirai Sivakumaran.
• Miller Statue: The first statue of the fighter Miller at Nelliady Central College.
• Memorials: The "Seven Heroes" (Maaveerar) memorial at Theeruvil.
• Final Work: His last sculpture was of the Tamil leader M. Sivasithamparam in Nelliady.

5. A Moment of TragedyThe text notes a deeply emotional chapter in his life: while working as a school official nearby, he had to witness his own sculptures at the Theeruvil grounds being destroyed. Despite such heartbreak, his artistic legacy remains central to Eelam Tamil culture.

தனிப்பட்ட விவரங்கள்
இயற்பெயர்:  சிவசுப்பிரமணியம்.
பிறப்பு: 1942, அளவெட்டி.
இறப்பு : 2025
சிறப்பு: ஈழத்தின் முதற்தரமான ஓவியராகக் கருதப்படுபவர். 'சிரித்திரன்' சுந்தர் இவரைப் பாராட்டித் தனது இதழில் களம் அமைத்துக் கொடுத்துள்ளார்.

கல்வியும் பயிற்சியும்
ஓவியர்கள் எஸ். பொன்னம்பலம், மாற்கு ஆகியோரிடம் ஆரம்பப் பயிற்சி பெற்றார்.
அரசினர் நுண்கலைக்கல்லூரியில் 5 ஆண்டுகள் பயின்று, 'Diploma in Art' படிப்பில் முதற்தரத்தில் சித்தியடைந்தார்.
இலங்கையின் புகழ்பெற்ற ஓவியர்களான ஸ்ரான்லி அபயசிங்க, கொஸ்தா கருணரட்னா ஆகியோரிடம் 1962-1967 காலப்பகுதியில் பயிற்சி பெற்றார்.

பணி அனுபவம்
தேசிய நூதனசாலையில் தயாரிப்பு உதவியாளராக 3 ஆண்டுகள் பணிபுரிந்தார்.
பலாலி ஆசிரியப் பயிற்சிக் கல்லூரியில் கல்வி கற்று ஆசிரியராகப் பணியாற்றினார்.
ஏறாவூர் அலிகார் மகாவித்தியாலயத்தில் விசேட ஆசிரியராகப் பணியாற்றியுள்ளார்.

ஓவியப் பங்களிப்புகள்
இவர் ஈழத்து முக்கிய எழுத்தாளர்களின் படைப்புகளுக்கு உயிரூட்டியுள்ளார்:
நூல் அட்டைகள்: எழுத்தாளர் டானியலின் 'பஞ்சமர்', செங்கை ஆழியானின் 'போரே நீ போய்விடு', 'கிடுகுவேலி', 'மழைக்காலம்' ஆகிய நூல்களுக்கு அட்டைப்படங்கள் வரைந்துள்ளார்.

இதழ்கள்: 'மல்லிகை' இதழின் முகப்பு மற்றும் ஆண்டு மலர்களில் இவரது ஓவியங்கள் தொடர்ந்து இடம்பெற்றன. 'சிரித்திரன்' சஞ்சிகையிலும் இவரது ஓவியங்கள் புகழ்பெற்றவை.

இலச்சினைகள் (Logos): * ஈழமுரசு நாளிதழின் முகப்புத் தலைப்பு (Masthead).
'தமிழர் நிதியம்' அமைப்பின் இலச்சினை.
திருமறைக் கலாமன்றத்தின் இலச்சினை மற்றும் 'கலைமுகம்' சஞ்சிகையின் முகத்தலைப்பு.

சிற்பக்கலை
ஓவியம் மட்டுமன்றி சிற்பக்கலையிலும் ரமணி சிறந்து விளங்கினார்:
உரும்பிராய் சிவகுமாரன் சிலை.
நெல்லியடி மத்திய மகா வித்தியாலயத்தில் அமைக்கப்பட்ட மில்லரின் சிலை.
தீருவிலில் அமைக்கப்பட்ட மாவீரர் நினைவுச் சிலைகள்.
அவரது கடைசிச் சிற்பம்: தமிழர் தலைவர் சிவசிதம்பரம் அவர்களின் சிலை.

குறிப்பு: தான் செதுக்கிய சிலைகள் (தீருவில் சிலைகள்) தன் கண் முன்னாலேயே உடைத்தழிக்கப்பட்டதைக் கண்டு மிகுந்த மனவேதனையை அனுபவித்தவர் ஓவியர் ரமணி.

18 & 19 oct 2025 @ ​Morvan - Bourgogne

Spiritual Journey and Ritual in BurgundySpirituality and ritual are deeply woven into the culture of northern Sri Lanka, where I was born and raised until the age of thirteen. These traditions have shaped my sensibility as an artist — the connection between body, earth, and spirit remains at the heart of my practice.

Last summer, in Tonnerre, Burgundy, I collaborated with the town hall’s art gallery to create an open-space performance titled “Joint Family.” The piece involved fifteen participants and unfolded over forty-five minutes, using natural materials inspired by the five elements. I invited my artist friend Cécile Maldera, who then introduced me to Eric Marshall, a guide in shamanism. His connection to natural performance practices led to an invitation for me to join a shamanic ritual at the end of October 2025.

I became a prominent participant in this two-day ceremony held in the hills of the Morvan forest in Burgundy. Saturday was devoted to prayer and dance rituals; Sunday centered on nature, fire prayer, and sona. With no mobile network in the forest, the experience felt deeply spiritual — a return to simplicity and connection. Participants shared food and meals together, reinforcing a sense of community. The conch and organic percussion instruments guided the rhythm of the ritual. I mainly played the conch, which awakened childhood memories of Hindu temples near my birthplace.

The conch I used carried its own story — I had bought it in Pointe-à-Pitre, Guadeloupe, from a street vendor near the canal where Tamil laborers from South India first arrived in 1854.

Those two days of autumn sunlight and spiritual prayer felt like a healing retreat from urban life. On Saturday night, after a long prayer, we sat in silence for a few minutes. Eric spoke about spirituality and the awakening of the third eye. Afterward, we shared a “Joint Family” dinner and I drifted into peaceful dreams.

At dawn, I woke at 5 a.m., made a few sketches, and began writing part of this reflection. I planned to paint a third eye on canvas as an offering for the prayer room. After a simple breakfast of green tea, I returned to the open space, unfolded my canvas, and painted as the sun rose. When I presented the work to Eric, he embraced me warmly and hung the painting — the Third Eye — on the main wall of the prayer room.

Later, we gathered outdoors to build the main fireplace, guided by four guardians of the fire. As the organic drums echoed through the forest, we began the fire prayer. In that moment of devotion, I felt inspired to paint — capturing Eric’s presence and the essence of the ritual. When it was complete, Eric named the painting “Guardian of the Fire.” It felt like the perfect title. We ended the day with a group photo beside the flames.

As the sun set, I said goodbye to Eric and the others. Before I left, he handed me his latest book on shamanism — a gesture of connection and gratitude. The slow, three-hour drive back to my home near Paris felt like a gentle return from another world. Even now, the spirit of that ritual lingers within me.

Eric and I are already planning another performance inspired by the five elements for spring 2027 — naturally, it will include rice and curry.

​

Spiritualité et Rituel : Un Voyage à Travers les Cinq Éléments
​La spiritualité et le rituel sont profondément enracinés dans la culture du nord du Sri Lanka, où je suis né et où j’ai grandi jusqu’à l’âge de treize ans. Ces traditions ont façonné ma manière de voir le monde — en mêlant la nature, la famille et le sacré dans la vie quotidienne.
L’été dernier, à Tonnerre, en Bourgogne, en collaboration avec la galerie d’art de la mairie, j’ai créé une performance intitulée « Joint Family ». Elle s’est déroulée dans un espace ouvert, avec quinze participants, et a duré quarante-cinq minutes. La performance explorait les cinq éléments, en utilisant des matériaux naturels comme médiums d’expression. J’ai invité mon amie artiste Cécile Maldera, qui m’a ensuite présenté Eric Marshall, un guide du chamanisme. Son lien profond avec la performance spirituelle et naturelle l’a conduit à m’inviter à un rituel chamanique à la fin du mois d’octobre 2025.
Je suis devenu un participant actif de cette cérémonie de deux jours, organisée dans les collines de la forêt du Morvan, en Bourgogne.
Le samedi était consacré à la prière et aux rituels de danse, tandis que le dimanche mettait à l’honneur la nature, la prière du feu et le sona.
Sans réseau téléphonique ni distractions, nous étions pleinement présents — connectés à la nature et les uns aux autres. Nous partagions les repas, les histoires et les moments de silence. Les principaux instruments du rituel étaient le coquillage (conque) et les percussions organiques. Je jouais principalement de la conque, dont le son me rappelait les cérémonies des temples hindous de mon enfance.
La conque elle-même portait son histoire. Je l’avais achetée à Pointe-à-Pitre, en Guadeloupe, à un vendeur ambulant près du canal où les ouvriers tamouls venus d’Inde du Sud étaient arrivés pour la première fois en 1854. Le son de la conque ce jour-là résonnait comme un écho de mémoire et de migration — un pont entre les continents et les siècles.
Ces deux journées d’automne, sous un ciel clair, furent une véritable guérison — une pause bienfaisante loin de l’intensité de la vie citadine. Le samedi soir, après la dernière prière, nous nous sommes assis en silence. Eric a parlé de l’éveil du troisième œil, la vision intérieure de la spiritualité. Ensuite, nous avons partagé un dîner joyeux de « Joint Family », avant de tomber dans un sommeil profond et paisible.
Je me suis réveillé à l’aube, vers 5 heures, rempli d’une énergie créative. J’ai esquissé quelques dessins, écrit une partie de cette réflexion, et j’ai eu l’inspiration de peindre le Troisième Œil sur une toile en guise d’offrande pour la salle de prière. Après un petit déjeuner simple au thé vert, je suis allé dans l’espace de prière ouvert et j’ai peint tandis que le soleil se levait. Lorsque j’ai présenté l’œuvre à Eric, il m’a chaleureusement enlacé et a accroché la peinture — Le Troisième Œil — sur le mur principal de la salle de prière.
Plus tard dans la matinée, nous nous sommes réunis pour construire un grand foyer avec l’aide des quatre gardiens du feu. Au moment où les tambours organiques ont commencé à résonner dans la forêt, la prière du feu a débuté. J’ai ressenti une profonde dévotion et j’ai commencé à peindre à nouveau — cette fois, en capturant l’essence de la présence d’Eric dans les flammes. Lorsque j’ai terminé, Eric a regardé la peinture et a dit : « Appelons-la Gardien du Feu. » Le titre m’a semblé parfaitement juste.
Alors que le soleil se couchait, nous avons pris une photo de groupe près du feu. Avant mon départ, Eric m’a offert son dernier livre sur le chamanisme — un beau symbole de notre cheminement spirituel partagé. J’ai conduit lentement jusqu’à ma maison en banlieue parisienne, encore imprégné du rythme du rituel.
Aujourd’hui encore, cette expérience reste vivante en moi — un rappel que la spiritualité, l’art et la nature sont inséparables. Eric et moi prévoyons déjà une nouvelle performance autour des cinq éléments pour le printemps 2027 — et oui, elle se terminera par du riz et du curry.

The memorial day of Ruth Keshishian- On September 20th, I visited her cemetery early in the morning at 9 a.m. The sun was already strong, and the Cyprus heat lingered softly in the quiet air. After a brief religious prayer, I took a walk with Anastasia. During our conversation, she mentioned the archaeological sites of Kition, located just behind the cemetery.

Although time was short, our curiosity drew us to the nearby museum. There, surrounded by artifacts and fragments of ancient history, we felt a deep connection between past and present — a serene and meaningful way to honor the day of remembrance.
​
Beneath the streets of modern Larnaca, Cyprus, lie the evocative remains of Kition, a powerful ancient city-kingdom whose archaeological sites offer a rare, tangible journey through the island's complex history. Dating back to the Late Bronze Age, Kition served as a vital cultural, religious, and economic crossroad in the Eastern Mediterranean for millennia.

A Tale of Two Civilizations
The city’s monumental architectural ruins provide clear evidence of two dominant cultures:

• The Mycenaean Greeks (13th - 11th century BC): The arrival of the Mycenaean Achaeans marked Kition's emergence as a significant urban center. They fortified the city with massive "Cyclopean Walls"—built from giant, unworked blocks of stone—and constructed impressive sanctuaries, including the foundations of five successive temples that speak to a thriving Late Bronze Age city engaged in the copper trade.
• The Phoenicians (9th century BC onwards): Following a period of transition, Phoenician settlers from Tyre took control of the city, transforming it into a major commercial hub and the first known Phoenician colony in the region. They rebuilt and expanded the city, a period that saw the construction of some of the most famous remains.

The Legacy of Kition

Kition's strategic position and deep harbor allowed it to flourish as an essential naval base and a major trade center, exporting agricultural products and importing goods across the Mediterranean. The city-kingdom continued to thrive until its destruction by the Egyptian Pharaoh Ptolemy I Soter in 312 BC, but habitation persisted into Christian times.
​
Today, the Kition Archaeological Sites are one of the most important historical attractions in Cyprus. They serve as a powerful testament to the island’s rich past, offering a layered view of ancient life where Cypriot, Mycenaean Greek, and Phoenician cultures intersected and coexisted for centuries

Nestled within the heart of Nicosia's walled city, the Byzantine Museum of the Archbishop Makarios III Foundation stands as a testament to Cyprus's profound religious and artistic heritage. Housing the richest collection of Byzantine art on the island, the museum offers a captivating journey through centuries of faith and creativity.

A Treasure Trove of Sacred Art
The museum boasts an impressive collection of approximately 230 icons, spanning from the 9th to the 19th centuries. Visitors can trace the evolution of icon painting, from the formalized figures of the early Byzantine period to the more expressive and naturalistic styles of later centuries. The collection is particularly strong in works from the 12th century, a period considered the golden age of iconography in Cyprus.

The Return of Lost Masterpieces
A poignant and significant part of the museum is dedicated to repatriated art. A key highlight is the collection of 6th-century mosaics from the Church of Panagia Kanakaria. These precious artifacts were illegally removed and sold abroad following the Turkish invasion in 1974. After a lengthy legal battle, they were returned to Cyprus and now serve as a powerful symbol of the island's enduring cultural identity and the ongoing efforts to protect its heritage.

The museum also displays fragments of 15th-century frescoes from the Monastery of Christ Antiphonitis, which were also looted and later recovered. These rescued treasures tell a story not only of artistic brilliance but also of cultural resilience.

A Modern Museum Experience
First opened in 1982, the Byzantine Museum has undergone significant renovations to enhance the visitor experience. The exhibits are now arranged chronologically, allowing for a clearer understanding of the development of Byzantine art in Cyprus. The museum has also embraced modern technology, with interactive digital displays, QR codes for 3D views of objects, and even virtual reality and hologram stations that bring the ancient world to life.

Housed within the esteemed Pierides Foundation Museum in Larnaka, Cyprus, is a small but profoundly significant artifact: a terracotta figurine of a sitting man from the Chalcolithic Period (c. 3900-2500 BCE). This enigmatic figure offers a rare and intimate glimpse into the beliefs and artistic expressions of one of the island's most pivotal prehistoric eras.

The ArtifactCrafted from local clay, the figurine is characterized by its highly stylized and abstract form. The man is depicted in a seated position, often with his legs crossed or folded beneath him. Key features, such as the face, are typically rendered with simple, incised lines or small pellets of clay, giving it a minimalistic yet expressive quality. The figure is often depicted as ithyphallic (with an erect phallus), a common trait in prehistoric art that is widely interpreted as a powerful symbol of fertility, virility, and the continuation of life. The artist's focus was clearly not on realistic portraiture but on conveying a symbolic or ritualistic idea.

Archaeologists believe such statuettes served various purposes: 

• Fertility Idols: As a symbol of male potency, the figurine may have been used in rituals intended to ensure the fertility of the land, livestock, and the community itself. 
• Ritual Objects: It could have represented a deity, an ancestor, or a shamanic figure used in religious ceremonies.
• Grave Goods: Placed in tombs, it might have been intended to serve or protect the deceased in the afterlife.
  
  A Lasting Legacy
  Today, the Terracotta Figurine of a Sitting Man stands as a testament to the rich artistic and spiritual world of ancient Cyprus. It is a powerful reminder that long before the island became a crossroads of great empires, it was home to a unique and vibrant culture, whose silent symbols continue to fascinate and inspire us.

My artistic practice is inspired by nature, civilization, displacement, ethnic conflict, and questions of identity. It is deeply rooted in both memory and geography, brought to life through materials gathered during my travels—sand, seashells, driftwood, and spices from my birthplace.
​
I have visited many archaeological sites across South Asia, the Middle East, and the Caribbean islands, but the La Rozel Neanderthal site was uniquely exciting and profoundly significant for my artistic field. This was my first visit as both an archaeologist and a discoverer, and working on it was truly unforgettable. Guided through the site’s story and history, I took photographs and left with Dominique Cliquet’s book on Le Rozel, carrying the experience forward in memory and research.

That day, the sun did not set—it shone brightly, holding back the rain. On the dry earth, Neanderthal footprints appeared with striking clarity. Seagulls circled above, as if guarding the site until my arrival. The atmosphere of the forest, the breeze from the sea—unchanged since their time—connected present and past in a single moment.

The Rozel site, located on the western coast of the Cotentin Peninsula (Manche, France), is one of the most remarkable Paleolithic complexes in Western Europe. Dated to approximately 80,000 years ago, it has yielded an exceptional corpus of remains linked to Neanderthal occupation. Its outstanding significance lies in the extraordinary preservation of habitation surfaces, including Neanderthal hand and footprints—an exceptionally rare occurrence in the global archaeological record.

Archaeological excavations, initiated in the 1960s and conducted systematically since the 2010s, have revealed the remarkable integrity of the occupation layers. Unlike most prehistoric sites, which primarily yield tools or faunal remains, Le Rozel preserves direct traces of human presence: footprints and handprints of adults, adolescents, and children. These ichnological records suggest a small group of about ten to fifteen individuals who frequented or resided at the site.

Situated at the base of an Armorican sandstone cliff, the site lies in an area of intense erosional processes. Stratigraphic analysis shows alternating sandy and silty deposits, sealing and protecting archaeological surfaces. These conditions enabled the fossilization of activity zones and movement paths, largely undisturbed post-deposition.

Excavations, directed by Dominique Cliquet and his team (CNRS, INRAP, Regional Archaeology Service), revealed:

• a rich lithic assemblage dominated by flint flakes and Mousterian scrapers,
  
• faunal remains of large herbivores (horse, aurochs, deer) with butchery marks,
  
• constructed hearths, attesting to fire mastery for cooking and spatial organization.
  

Together, these finds confirm the residential function of the site, interpreted as a temporary encampment associated with hunting and carcass processing.

The most striking contribution of Le Rozel is the discovery of several hundred footprints and handprints attributed to Neanderthals. Morphometric and biometric analyses indicate a group composition of around fifteen individuals, spanning adults, adolescents, and children. These ichnological records provide a rare window into group demography and the spatial organization of daily activities.

Le Rozel offers unprecedented insights into the social and economic dynamics of Neanderthal groups in northwestern Europe. The preservation of entire habitation surfaces allows for detailed behavioral reconstructions in situ, whereas most Mousterian sites preserve only fragmentary evidence. It also illustrates the adaptability of Neanderthals to Atlantic coastal environments during a climatic transition toward glacial conditions.​

The Paleolithic site of Le Rozel represents a key milestone in Neanderthal studies. Its combination of stratigraphic, lithic, faunal, and ichnological data makes it a unique laboratory for Paleolithic archaeology. Given its fragility under the threat of marine erosion, safeguarding efforts—including 3D digitization and timely publication of findings—remain critical to preserving this irreplaceable heritage.