R. K. Laxman (1921 – 2015): The Uncommon Visionary Behind The Common Man

Rasipuram Krishnaswami Laxman (24 October 1921 – 26 January 2015), affectionately known as R.K. Laxman, was one of India’s most beloved cartoonists, illustrators, and humorists. Renowned for his creation The Common Man and his iconic cartoon strip You Said It in The Times of India, Laxman’s works offered profound, often humorous reflections on Indian society and politics. With a career that spanned over seven decades, R.K. Laxman not only chronicled India’s post-independence journey through satire but also shaped the very contours of modern political cartooning in the country.

Laxman started his career as a part-time cartoonist, working mostly for local newspapers and magazines. While as a college student, he illustrated his older brother R. K. Narayan’s stories in The Hindu. His first full-time job was as a political cartoonist for The Free Press Journal in Mumbai. Later, he joined The Times of India and became famous for The Common Man character which turned out to be the turning point in Laxman’s life.

Rasipuram Krishnaswami Laxman (R. K. Laxman)

Name: Rasipuram Krishnaswami Laxman
Born: 24 October 1921, Mysore, Kingdom of Mysore, British India
Died: 26 January 2015 (aged 93), Pune, Maharashtra, India
Occupation: Cartoonist, Illustrator, Humorist
Nationality: Indian
Notable works: The Common Man, You Said It
Spouse(s): Kamala (first), Kamala Laxman (second)
Children: Srinivas Laxman
Alma mater: University of Mysore
Awards: Padma Bhushan (1973), Padma Vibhushan (2005), Ramon Magsaysay Award (1984), Karnataka Rajyotsava Award (1983), Lifetime Achievement Award (CNN-IBN, 2008)

Known for: Political and social satire through cartooning, creation of The Common Man
Museum: R. K. Laxman Museum, Pune

Early Life and Childhood

Born in Mysore in a Tamil Hindu family, Laxman was the youngest of eight children in a household steeped in education and creativity. His father was a school headmaster, and his elder brother, R.K. Narayan, would go on to become one of India’s most celebrated literary figures. This environment fostered a love for storytelling, words, and images. From an early age, Laxman exhibited an uncanny flair for drawing, often spending hours sketching on walls, floors, and his schoolbooks.

Laxman’s artistic inspiration came from foreign illustrated magazines like The Strand, Punch, Tit-Bits, Wide World, and Bystander, which captivated his imagination even before he learned to read them. Enthralled by their visual storytelling, he began replicating the illustrations and developing his own cartoons. He delighted in caricaturing teachers and neighborhood personalities, much to the amusement—and occasional annoyance—of his peers and elders.

Though academically underwhelming and often dismissed as inattentive, Laxman found solace and identity in the world of lines and ink. His earliest sketches captured Mysore’s quiet domestic scenes: crows loitering on rooftops, firewood-chopping servants, vegetable sellers, street cows, and indifferent schoolmasters. He would cycle around the city in search of subjects, and his keen observational skills laid the foundation for the visual realism that defined his later works.

During his teenage years, Laxman’s confidence grew as local newspapers began accepting his cartoons. He submitted pieces lampooning global figures like Winston Churchill, Adolf Hitler, and Mahatma Gandhi. This early success emboldened him to pursue a career in art professionally.

Despite his growing talent, Laxman was rejected by the prestigious Sir J.J. School of Art in Mumbai on the grounds that he lacked the required “spark.” The irony of this decision did not deter him. He returned to Mysore and enrolled at Maharaja’s College, where he earned a Bachelor of Arts degree. Meanwhile, he remained committed to freelance work, regularly contributing cartoons and illustrations to magazines such as Swarajya, Koravanji, and even an animated short film based on the mythological character Narada.

These formative years, filled with persistence and artistic exploration, solidified R.K. Laxman’s path as one of India’s most enduring cartoonists.

Career

Laxman’s earliest work was for newspapers Rohan and magazines including Swarajya and Blitz. While still at the Maharaja College of Mysore, he began to illustrate his elder brother R. K. Narayan’s stories in The Hindu, and he drew political cartoons for the local newspapers and for the Swatantra. Laxman also drew cartoons for the Kannada humor magazine, Koravanji (which was founded in 1942 by Dr. M. Shivaram who had a clinic in the Majestic area of Bangalore. He started this monthly magazine, dedicating it to humorous and satirical articles and cartoons.

Shivaram himself was an eminent humourist in Kannada. He encouraged Laxman.)Laxman held a summer job at the Gemini RohanStudios, Madras.

His first full-time job was as a political cartoonist for The Free Press Journal in Mumbai, where Bal Thackeray was his cartoonist colleague. In 1951, Laxman joined The Times of India, Mumbai, beginning a career that spanned over fifty years. His “Common Man” character, featured in his pocket cartoons, is portrayed as a witness to the making of democracy. Anthropologist Ritu G. Khanduri notes, “R. K. Laxman structures his cartoon-news through a plot about corruption and a set of characters. This news is visualized and circulates through the recurring figures of the Mantri (minister), the Common Man and the trope of modernity symbolized by the airplane (2012: 304).”

Laxman also created a popular mascot for the Asian Paints Ltd group called “Gattu” in 1954. He also wrote a few novels, the first one of which was titled The Hotel Riviera. His cartoons have appeared in Hindi films such as Mr. & Mrs. ’55 and a Tamil film Kamaraj. His creations also include the sketches drawn for the television adaptation of Malgudi Days which was written by his elder brother R. K. Narayan, directed by Shankar Nag, and a Konkan coast based Hindi sitcom, Wagle Ki Duniya. Laxman also drew caricatures of David Low, T.S. Eliot, Bertrand Russell, J.B. Priestly, and Graham Greene.

The Rise of The Common Man

Laxman began his professional journey illustrating for his brother’s stories in The Hindu, a collaboration that laid the groundwork for his distinctive narrative style. In Mumbai, he joined The Free Press Journal, where he worked alongside another budding cartoonist, Bal Thackeray. The newspaper, known for its bold editorial stance, became Laxman’s training ground for sharp political satire. His early works already displayed an uncanny ability to mix wit and observation—qualities that would define his legacy.

In 1951, he made a defining move to The Times of India, marking the beginning of a historic association that would span over five decades. Here, The Common Man was born—a bespectacled, balding, dhoti-clad figure who silently bore witness to the absurdities of modern Indian life. Always standing slightly in the background, The Common Man was the quiet observer of noisy politics, the long queues at ration shops, the pothole-filled roads, and the tall promises of politicians. He became a symbolic everyman, reflecting the unspoken frustrations, hopes, and resilience of India’s middle class.

The cartoon strip You Said It debuted in The Times of India and quickly grew into a national institution. Appearing almost daily on the front page, it wielded humor like a scalpel, cutting through the layers of bureaucracy, political excesses, and social contradictions. Laxman’s genius lay in his ability to criticize without cruelty, to provoke thought without malice. His pen danced around scandals and ministerial missteps, exposing truths through gentle irony.

The Common Man also became a cultural icon, appearing on stamps, public murals, and even inspiring short films. His appeal transcended linguistic and regional barriers, uniting readers across India in shared laughter and recognition. Laxman’s art offered catharsis in difficult times, from the Indo-China War and Emergency years to corruption scandals and changing governments.

Beyond The Times of India, Laxman left his mark in many other arenas. He designed “Gattu,” the playful mascot for Asian Paints in 1954, which became an enduring face of Indian advertising. He also lent his artistic talents to the visual world of Malgudi Days, based on his brother R.K. Narayan’s stories, where his sketches brought the fictional South Indian town vividly to life. His contributions to television included the much-loved sitcom Wagle Ki Duniya, which portrayed the trials of an average middle-class family and was widely appreciated for its realism and humor.

Laxman’s political caricatures found a place in popular culture too—appearing in Hindi cinema like Mr. & Mrs. 55, and in civic awareness campaigns that used humor to engage public interest. His illustrations weren’t merely background art; they became central to how Indians visualized their contemporary socio-political landscape.

Personal life

Laxman was first married to Kumari Kamala, a Bharatanatyam dancer and film actress who began her film career as a child actress named “Baby Kamala” and graduated into adult roles under the name “Kumari Kamala” (“Miss Kamala”). They had no children and after their divorce, Laxman married his niece whose first name was again Kamala. This was the author and children’s book writer Kamala Laxman.

In a cartoon series named “The star, I never met” in film magazine Filmfare he painted a cartoon of Kamala Laxman, with the title “The star I only met!” The couple had a son Srinivas, who worked for a while with The Times of India too. In September 2003, Laxman suffered a stroke that left him paralyzed on his left side. He recovered from it partially. On the evening of 20 June 2010, Laxman was admitted to Breach Candy Hospital in Mumbai after being transported by an air ambulance from Pune.

Personal Life and Later Years

Laxman was first married to Bharatanatyam dancer Kamala, and later to children’s author Kamala Laxman. His son, Srinivas Laxman, became a noted space journalist. Laxman suffered a stroke in 2003, which limited his mobility, and another in 2010. Despite health setbacks, he remained engaged with his art until his final days.

He passed away on Republic Day, 26 January 2015, due to multiple organ failure. He was accorded a state funeral and remembered across the nation with tributes from leaders, artists, and common citizens alike.

Artistic Philosophy and Legacy

Laxman’s style combined classical draftsmanship with a subtle yet penetrating wit, often reflecting an incisive awareness of the political and cultural climate of his time. His finely detailed lines and precise compositions echoed the influence of traditional Indian art, while his thematic choices brought the ironies of modern Indian democracy into sharp relief. According to scholars like Lee Spiegel and Sushmita Chatterjee, Laxman’s cartoons did not clamor for attention through loud provocation but instead served as a contemplative, steady gaze at the country’s evolving sociopolitical landscape.

His satire was rooted in realism rather than exaggeration, and his characters were designed not to caricature individuals but to represent broader archetypes—ministers, clerks, policemen, and of course, the enduring Common Man. The Common Man, though silent, embodied the collective voice of a nation weary of broken promises and political drama. Indians found in him a mirror of their own daily frustrations and wry humor about the system.

While some critics accused Laxman of being apolitical or too gentle in his critique, others lauded his ability to evoke introspection without alienating audiences. Unlike many of his contemporaries who used biting satire, Laxman’s strength lay in nuance and understatement. His cartoons transcended language and literacy barriers, enabling even the semi-literate to grasp the core message. He once remarked that his cartoons never changed the course of politics, but they contributed to public discourse by simply bearing witness, observing with unwavering dedication as democracy unfolded around him.

Moreover, his work maintained a delicate balance between humor and melancholy. It revealed not just the flaws of governance but also the resilience of the Indian spirit. His Common Man, perpetually wide-eyed and bewildered, stood not only as a silent protestor but also as a symbol of endurance. In Laxman’s hands, cartooning became not merely a journalistic tool but a form of moral inquiry and civic engagement.

Awards and Honors

Laxman received several accolades during his lifetime, including:

• Padma Bhushan (1973)
• Padma Vibhushan (2005)
• Ramon Magsaysay Award (1984)
• Karnataka Rajyotsava Award (1983)
• Lifetime Achievement Award by CNN-IBN (2008)

A statue of The Common Man stands at the entrance of the Symbiosis Institute in Pune, where the R.K. Laxman Museum now houses over 35,000 of his works.

Death

Laxman died in Deenanath Mangeshkar Hospital in Pune on India’s Republic Day in 2015 at the age of 93. He was hospitalized three days earlier for urinary tract infection and chest problems that ultimately led to multiple organ failure. He had reportedly suffered multiple strokes since 2010. A cartoon that Laxman had made following the successful landing of Mangalyaan on Mars was posted by the Indian Space Research Organisation on its Facebook and Twitter pages on 27 January. Maharashtra Chief Minister Devendra Fadnavis announced that Laxman would be accorded a state funeral and a memorial would be built in his honor.

Laxman’s body was kept at the Symbiosis Institute’s Pune premises near the “Common Man” statue and his body was cremated at the Vaikunth crematorium. Laxman is survived by his wife Kamala, son Srinivas, daughter-in-law and granddaughter Mahalaxmi.