NO BROKEN LINE, NO TOUCH, NO PASS In 1972, I came across a single‑line drawing of Lord Ganesha in a well‑known weekly magazine. It instantly inspired me and sparked a strong desire to visualize the entire story of the Sampoorna Ramayana in a continuous, serial form. Filled with enthusiasm, I picked up a pencil and began sketching the important scenes from the Sampoorna Ramayana using a single, unbroken line. Over time, these drawings were published consecutively in Prajaamatha without interruption. The significant scenes of the Sampoorna Ramayana, drawn in a single continuous line, appeared in the renowned magazine Prajaamatha in 1972. Each illustration was created so that the line never crossed or broke from the beginning to the end—for example, starting at one eye of Valmiki and ending at the other.

 In 1972, I came across a single‑line drawing of Lord Ganesha in a well‑known weekly magazine. It instantly inspired me and sparked a strong desire to visualize the entire story of the Sampoorna Ramayana in a continuous, serial form. Filled with enthusiasm, I picked up a pencil and began sketching the important scenes from the Sampoorna Ramayana using a single, unbroken line.

Over time, these drawings were published consecutively in Prajaamatha without interruption. The significant scenes of the Sampoorna Ramayana, drawn in a single continuous line, appeared in the renowned magazine Prajaamatha in 1972. Each illustration was created so that the line never crossed or broke from the beginning to the end—for example, starting at one eye of Valmiki and ending at the other.

 

 NO BROKEN LINE, NO TOUCH, NO PASS

In 1972, I came across a single‑line drawing of Lord Ganesha in a well‑known weekly magazine. It instantly inspired me and sparked a strong desire to visualize the entire story of the Sampoorna Ramayana in a continuous, serial form. Filled with enthusiasm, I picked up a pencil and began sketching the important scenes from the Sampoorna Ramayana using a single, unbroken line. Over time, these drawings were published consecutively in Prajaamatha without interruption. The significant scenes of the Sampoorna Ramayana, drawn in a single continuous line, appeared in the renowned magazine Prajaamatha in 1972. Each illustration was created so that the line never crossed or broke from the beginning to the end—for example, starting at one eye of Valmiki and ending at the other.

 NO BROKEN LINE, NO TOUCH, NO PASS

In 1972, I came across a single‑line drawing of Lord Ganesha in a well‑known weekly magazine. It instantly inspired me and sparked a strong desire to visualize the entire story of the Sampoorna Ramayana in a continuous, serial form. Filled with enthusiasm, I picked up a pencil and began sketching the important scenes from the Sampoorna Ramayana using a single, unbroken line. Over time, these drawings were published consecutively in Prajaamatha without interruption. The significant scenes of the Sampoorna Ramayana, drawn in a single continuous line, appeared in the renowned magazine Prajaamatha in 1972. Each illustration was created so that the line never crossed or broke from the beginning to the end—for example, starting at one eye of Valmiki and ending at the other.

 NO BROKEN LINE, NO TOUCH, NO PASS

In 1972, I came across a single‑line drawing of Lord Ganesha in a well‑known weekly magazine. It instantly inspired me and sparked a strong desire to visualize the entire story of the Sampoorna Ramayana in a continuous, serial form. Filled with enthusiasm, I picked up a pencil and began sketching the important scenes from the Sampoorna Ramayana using a single, unbroken line. Over time, these drawings were published consecutively in Prajaamatha without interruption. The significant scenes of the Sampoorna Ramayana, drawn in a single continuous line, appeared in the renowned magazine Prajaamatha in 1972. Each illustration was created so that the line never crossed or broke from the beginning to the end—for example, starting at one eye of Valmiki and ending at the other.

 In 1972, I came across a single‑line drawing of Lord Ganesha in a well‑known weekly magazine. It instantly inspired me and sparked a strong desire to visualize the entire story of the Sampoorna Ramayana in a continuous, serial form. Filled with enthusiasm, I picked up a pencil and began sketching the important scenes from the Sampoorna Ramayana using a single, unbroken line.

Over time, these drawings were published consecutively in Prajaamatha without interruption. The significant scenes of the Sampoorna Ramayana, drawn in a single continuous line, appeared in the renowned magazine Prajaamatha in 1972. Each illustration was created so that the line never crossed or broke from the beginning to the end—for example, starting at one eye of Valmiki and ending at the other.

SINGLE LINE ART-SAMPOORNA RAMAYANA

 single line art-`Sampoorna Ramayana' No broken, No touch, No Pass, It is an Spirited Art to  Kalaashikshana

In 1966 by nerve's weakness my left leg was fell as strength-less, Paralysis was attacked to my Father, one sister came as mental patient suddenly after some time her marriage (as a mental patient, she was resist with our family from 1966 to 2000) these are all suddenly attacked one by one at a time, by all this my Education was fully stopped.

Next my Father's Accountant (Business Account) duty was came to me, also I start to wrote Name plates and Signboards as painting work on other side.

In 1972 I saw one figure of God Ganesha drawn using single line in a Famous weekly magazine Prajaamatha, It  suddenly impressed me to do an action in my Mind, Quickly, taken a Pencil in my hand, start to wrote the Impartant scenes of the story "Sampoorna Ramayana" in single line.Gradually, these twenty five figures are published in Prajaamatha continuously without gap. I hope that type of Article is very rare. 

Impartant Scenario's of `Sampoorna Ramayana' are drawn in single line are published in the famous magazine `prajamatha' in 1972 along with the story are viewed below.

 

In 1975, I got only the expense of paint by Devotees, when I was painting figures (God and Goddes) on the walls of Sri Veerabhadreshwara Temple of Hosadurga. Once Sri Mallanagowda, Drawing Teacher of TCH College, Hosadurga (CTA) impressed about these figures and pressured me to take drawing exams for improvement.

Figures drawn on the wall in 1974 and are clicked as in 2009 are here in front of you

Passed the Grade exam  in First class, then further Drawing Teacher pressured me to join the  Drawing Teacher's Course and gave suggestion to consult the Principal, Ken School of Art, Bangalore.

Then These situations made me to lose concentration about my studies in my mind, Although I joined to Ken School of Art, But whenever i sit  to draw in the School, my mind was turning out to my house situation. Next completed one year course DTC, and passed exam in DTC, also First class in Kala prathama.

The Principal R.M.Hadapad was very good Sir, their good suggestions, very simple guidelines to draw for Childrens, and also Hard worker. Their all Paintings were given good guides to new Artists, Sir was always simple and got good knowledge in Art and also was one of very famous Artist in the world. I think there is no one word to write it in English, but may be write in Kannada one word ie., `Dhiimantha Kalaavida'. At the free time, Sir gave me well guidence in a few time.

When I am in Service at Government Girl's P.U.College, Arasikere, Sri C. Narayan Bhat, Subject Inspector of Drawing visit to High School, they also given me well guidance about basic Drawing. 

Above well guidance by Sri R.M.Hadapad and Sri C.Narayan Bhat given me are all helped me as a basic knowledge to wrote an art Book Kalaashikshana'-chitrakala Margadarshi, and it was also Released by Sri. C. Narayan Bhat in 17th jan 2004.

 

RAMAYANA: Shri Rama Janana

In 1972, I came across a single‑line drawing of Lord Ganesha in a well‑known weekly magazine. It instantly inspired me and sparked a strong desire to visualize the entire story of the Sampoorna Ramayana in a continuous, serial form. Filled with enthusiasm, I picked up a pencil and began sketching the important scenes from the Sampoorna Ramayana using a single, unbroken line. Over time, these drawings were published consecutively in Prajaamatha without interruption. The significant scenes of the Sampoorna Ramayana, drawn in a single continuous line, appeared in the renowned magazine Prajaamatha in 1972. Each illustration was created so that the line never crossed or broke from the beginning to the end—for example, starting at one eye of Valmiki and ending at the other.

https://www.youtube.com/watch?v=GQx7Z6G0Qig