Appar’s Pasuram will be familiar to all those who have read Kalki’s classic Sivakamiyin Sabatham. The magnum opus is a historical romance spun round Ayana Sirpi, who transforms stones into poetic images with his chisel, and his daughter Sivakami. The wooded outskirts of Kanchipuram, where he lives as a recluse, resounds with the sounds of the sculptor’s tools and Sivakami’s anklets.

Pallava Prince Narasimha falls in love with her and promises to marry her. The novel weaves its way through the war Pulikesin wages, Sivakami’s abduction and the bitter battle for Vathapi and Sivakami. Senior Mahendravarma Pallava categorically says his son should forget his sweetheart. No way the crown prince can marry a sculptor’s daughter. Sivakami surrenders herself to Nataraja and the tome ends with Appar’s Tiruthandagam.

Ayana Sirpi and Sivakami arrive at the shrine of Kanchi Ekambareswara and she becomes His consort. Mamallan, now emperor, visits the temple at that moment and watches as she dances to ‘Munnam Avanudaiya Naamam Kaettal...’ totally oblivious to her surroundings. He leaves, memories flooding him, even as his ears catch the words, “Thalaippattal Nangai Thalaivan Thaalae...”

Maniam, who brought alive Kalki’s Ponniyin Selvan with his brush strokes, was closely associated with this historical too, informs son Maniam Selvan. Although the main illustrations were drawn by a team, his father drew the title and other embellishments. He recalls the film, which was made with Kumari Kamala as the heroine and the huge cut-out that Maniam drew.

“I had the fortune of drawing the pictures when Ananda Vikatan brought out Sivakamiyin Sabatham. The paasuram is unforgettable because unrequited love turns Sivakami towards Ekambareswarar to whom she surrenders, her dance wedded to Him. Therefore I visualised Siva as the hero and the girl waiting to shower him with flowers.”