Raja Ravi Varma

Raja Ravi Varma (Malayalam: രാജാ രവി വര്‍മ) (April 29, 1848 - October 2, 1906) was an Indian painter from the princely state of Travancore who achieved recognition for his depiction of scenes from the epics of the Mahabharata and Ramayana. His paintings are considered to be among the best examples of the fusion of Indian traditions with the techniques of European academic art.

Varma is most remembered for his paintings of beautiful sari-clad women, who were portrayed as shapely and graceful. His exposure in the west came when he won the first prize in the Vienna Art Exhibition in 1873. Raja Ravi Varma died in 1906 at the age of 58. He is considered among the greatest painters in the history of Indian art.

Raja Ravi Varma was born as Ravi Varma Koil Thampuran of Kilimanoor palace in the erstwhile princely state of Travancore in Kerala. His father Ezhumavail Neelakanthan Bhattatiripad was an accomplished scholar, and his mother Umayamba Thampuratti (d.1886) was a poet and writer whose work Parvati Swayamvaram would be published by Raja Ravi Varma after her death. His siblings were C. Goda Varma (b.1854), C. Raja Raja Varma (b.1860) and Mangala Bayi Thampuratti, who was also a painter. At a young age he secured the patronage of HH Maharajah Ayilyam Thirunal of Travancore, a relative, and began formal training thereafter.^[1] He was trained in water painting by Rama Swami Naidu, and later in oil painting by Dutch portraitist Theodor Jenson.

Art career

Umayamba Thampuratti, Ravi Varma's mother

The Lady in the picture is Mahaprabha Thampuratti of Mavelikara, the artist's daughter and mother of HH Sethu Lakshmi Bayi

The demi-god vulture Jatayu is struck down by the demon Ravana, as Jatayu attempted to intercede in the demon's kidnapping of Sita

Raja Ravi Varma received widespread acclaim after he won an award for an exhibition of his paintings at Vienna in 1873.^[2] He travelled throughout India in search of subjects. He often modeled Hindu Goddesses on South Indian women, whom he considered beautiful. Ravi Varma is particularly noted for his paintings depicting episodes from the story of Dushyanta and Shakuntala, and Nala and Damayanti, from the Mahabharata. Ravi Varma's representation of mythological characters has become a part of the Indian imagination of the epics. He is often criticized for being too showy and sentimental in his style. However his work remains very popular in India.

Title of Raja

In 1904 Viceroy Lord Curzon, on behalf of the King Emperor bestowed upon Raja Ravi Varma the Kaiser-i-Hind Gold Medal. At this time his name was mentioned as "Raja Ravi Varma" for the first time, raising objections from Maharajah Moolam Thirunal of Travancore. Ravi Varma however defended the title stating that his ancestors had been the Rajahs of Beypore in Malabar and besides, as per the Marumakkathayam tradition, the name of the maternal uncle (Raja Raja Varma) was prefixed to the name. Thereafter he was always referred to as Raja Ravi Varma.^[1]

In 1993, art critic Rupika Chawla and artist A Ramachandran jointly curated a large exhibition of Raja Ravi Varma's works at the National Museum, New Delhi. Considering his vast contribution to Indian art, the Government of Kerala has instituted an award called Raja Ravi Varma Puraskaram, which is awarded every year to people who show excellence in the field of art and culture. Awardees include:

• K.G. Subramanian (2001)
• M.V. Devan (2002)
• A Ramachandran (2003)
• Vasudevan Namboodiri (2004).
• Kanai Kunhiraman (2005)
• V.S. Valliathan (2006)

A college dedicated to fine arts was also constituted in his honour at Mavelikara, Kerala. The renewed interest in Raja Ravi Varma has spilled into the area of popular culture as films and music videos have started using his images.

Personal life

Maharani Sethu Lakshmi Bayi, granddaughter of Raja Ravi Varma

Raja Ravi Varma was married to Pururuttathi Nal Bhageerathi Amma Thampuran (Kochu Pangi) of the Royal House of Mavelikara and they had two sons and three daughters. Their eldest son, Kerala Varma, born in 1876 went missing in 1912 and was never heard of again. Their second son was Rama Varma (b.1879), an artist who studied at the JJ School of Arts, Mumbai, married to Srimathi Gowri Kunjamma, sister of Dewan PGN Unnithan. Raja Ravi Varma's elder daughter, Ayilyam Nal Mahaprabha Thampuran, appears in two of his prominent paintings and was mother of Maharani Sethu Lakshmi Bayi of Travancore. He had another daughter, Thiruvadira Nal Kochukunji Thampuran, grandmother of Chithira Thirunal Balarama Varma Maharajah. His third daughter, born in 1882, was Ayilyam Nal Cheria Kochamma Thampuran.

His descendants comprise the Mavelikara Royal house while two of his granddaughters, including the said Sethu Lakshmi Bayi, were adopted to the Travancore Royal Family, the cousin family of the Mavelikara House, to which lineage the late Travancore Maharajah Uthradom Thirunal Marthanda Varma belongs. Well known among his descendants are writer Shreekumar Varma (Prince Punardam Thirunal), artists Rukmini Varma (Princess Bharani Thirunal) and Jay Varma, classical musician Aswathi Thirunal Rama Varma and others.

List of major works

The following is a list of the prominent works of Ravi Varma.

Village Belle Lady Lost in Thought Damayanti Talking to a Swan The Orchestra Arjuna and Subhadra Lady with lamp The broken Swarbat Player Shakuntala Lord Krishna as Ambassador Jatayu, a bird devotee of Lord Rama is mauled by Ravana

Victory of Indrajit A Family of Beggars A Lady Playing Swarbat Lady Giving Alms at the Temple Lord Rama Conquers Varuna Nair Woman Romancing Couple Draupadi Dreading to Meet Kichaka Shantanu and Matsyagandha Shakuntala Composing a Love Letter to King Dushyanta Girl in Sage Kanwa's Hermitage (Rishi-Kanya)

Asthasiddi	Lakshmi	Murugan	Saraswati
Bhishma Pledge	Yashoda decorating Krishna	Radha Madhavam	Arjuna and Subhadra
Gangavataranam	Ravi Varma's Shakuntala, a character in the epic Mahabharata	Shakuntala despondent	Draupadi carrying milk honey
Draupadi's Humiliation	Simhaka Sairandari	Krishna and Balarama

Indian Art

Indian Art is the art produced on the Indian subcontinent from about the 3rd millennium BC to modern times. To viewers schooled in the Western tradition, Indian art may seem overly ornate and sensuous; appreciation of its refinement comes only gradually, as a rule. Voluptuous feeling is given unusually free expression in Indian culture. A strong sense of design is also characteristic of Indian art and can be observed in its modern as well as in its traditional forms.

The vast scope of the art of India intertwines with the cultural history, religions and philosophies which place art production and patronage in social and cultural contexts.

Indian art can be classified into specific periods each reflecting particular religious, political and cultural developments.

• Ancient period (3500 BCE-1200 CE)
• Islamic ascendancy (1192-1757)
• Colonial period (1757–1947)
• Independence and the postcolonial period (Post-1947)

A visual timeline of the evolution of Indian art.

The Indian period is unique in its art, literature and architecture. Indian art is constantly challenged as it rises to the peak of achieving the ideals of one philosophy in a visual form, then begins anew for another. This challenge and revolution in thought provides, Indian artists with reasons for innovation and creation, and the process of visualizing abstract ideas and the culture of the land.

Each religion and philosophical system provided its own nuances, vast metaphors and similes, rich associations, wild imaginations, humanization of gods and celestial beings, characterization of people, the single purpose and ideal of life to be interpreted in art.

Rock-art

The earliest Indian religion to inspire major artistic monuments was Buddhism. Though there may have been earlier structures in wood that have been transformed into stone structures, there are no physical evidences for these except textual references. Obscurity shrouds the period between the decline of the Harappans and the definite historic period starting with the Mauryas. Soon after the Buddhists initiated the rock-cut caves, Hindus and Jains started to imitate them at Badami, Aihole, Ellora, Salsette, Elephanta, Aurangabad and Mamallapuram.

Indian rock art has continuously evolved, since the first rock cut caves, to suit different purposes, social and religious contexts, and regional differences.

Indian Fresco

The tradition and methods of Indian cliff painting gradually evolved throughout many thousands of years - there are found multiple locations with prehistoric art. The oldest frescoes of historical period have been preserved in Ajanta Caves from 2nd century BC. In total there are known more than 20 locations in India with paintings and traces of former paintings of ancient and early medieval times (up to 8th - 10th century AD)^[1]. The most significant frescoes of ancient and early medieval period are located in Ajanta Caves, Bagh Caves, Ellora Caves, Sittanavasal.

Folk and tribal art

Folk and tribal art in India takes on different manifestations through varied medium such as pottery, painting, metalwork, paper-art, weaving and designing of objects such as jewelry and toys.

Often puranic gods and legends are transformed into contemporary forms and familiar images. Fairs, festivals, and local deities play a vital role in these arts.

It is in art where life and creativity are inseparable. The tribal arts have a unique sensitivity, as the tribal people possess an intense awareness very different from the settled and urbanized people. Their minds are supple and intense with myth, legends, snippets from epic, multitudinous gods born out of dream and fantasy. Their art is an expression of their life and holds their passion and mystery.

Folk art also includes the visual expressions of the wandering nomads. This is the art of people who are exposed to changing landscapes as they travel over the valleys and highlands of India. They carry with them the experiences and memories of different spaces and their art consists of the transient and dynamic pattern of life. The rural, tribal and arts of the nomads constitute the matrix of folk expression.

Indian Art

Indian Art


Indian Art is the art produced on the Indian subcontinent from about the 3rd millennium BC to modern times. To viewers schooled in the Western tradition, Indian art may seem overly ornate and sensuous; appreciation of its refinement comes only gradually, as a rule. Voluptuous feeling is given unusually free expression in Indian culture. A strong sense of design is also characteristic of Indian art and can be observed in its modern as well as in its traditional forms.

The vast scope of the art of India intertwines with the cultural history, religions and philosophies which place art production and patronage in social and cultural contexts.

Indian art can be classified into specific periods each reflecting particular religious, political and cultural developments.

* Ancient period (3500 BCE-1200 CE)
* Islamic ascendancy (1192-1757)
* Colonial period (1757–1947)
* Independence and the postcolonial period (Post-1947)

A visual timeline of the evolution of Indian art.

The Indian period is unique in its art, literature and architecture. Indian art is constantly challenged as it rises to the peak of achieving the ideals of one philosophy in a visual form, then begins anew for another. This challenge and revolution in thought provides, Indian artists with reasons for innovation and creation, and the process of visualizing abstract ideas and the culture of the land.

Each religion and philosophical system provided its own nuances, vast metaphors and similes, rich associations, wild imaginations, humanization of gods and celestial beings, characterization of people, the single purpose and ideal of life to be interpreted in art.
Rock-art

The earliest Indian religion to inspire major artistic monuments was Buddhism. Though there may have been earlier structures in wood that have been transformed into stone structures, there are no physical evidences for these except textual references. Obscurity shrouds the period between the decline of the Harappans and the definite historic period starting with the Mauryas. Soon after the Buddhists initiated the rock-cut caves, Hindus and Jains started to imitate them at Badami, Aihole, Ellora, Salsette, Elephanta, Aurangabad and Mamallapuram.

Indian rock art has continuously evolved, since the first rock cut caves, to suit different purposes, social and religious contexts, and regional differences.


Indian Fresco
The tradition and methods of Indian cliff painting gradually evolved throughout many thousands of years - there are found multiple locations with prehistoric art. The oldest frescoes of historical period have been preserved in Ajanta Caves from 2nd century BC. In total there are known more than 20 locations in India with paintings and traces of former paintings of ancient and early medieval times (up to 8th - 10th century AD)[1]. The most significant frescoes of ancient and early medieval period are located in Ajanta Caves, Bagh Caves, Ellora Caves, Sittanavasal.


Folk and tribal art

Folk and tribal art in India takes on different manifestations through varied medium such as pottery, painting, metalwork, paper-art, weaving and designing of objects such as jewelry and toys.

Often puranic gods and legends are transformed into contemporary forms and familiar images. Fairs, festivals, and local deities play a vital role in these arts.


It is in art where life and creativity are inseparable. The tribal arts have a unique sensitivity, as the tribal people possess an intense awareness very different from the settled and urbanized people. Their minds are supple and intense with myth, legends, snippets from epic, multitudinous gods born out of dream and fantasy. Their art is an expression of their life and holds their passion and mystery.

Folk art also includes the visual expressions of the wandering nomads. This is the art of people who are exposed to changing landscapes as they travel over the valleys and highlands of India. They carry with them the experiences and memories of different spaces and their art consists of the transient and dynamic pattern of life. The rural, tribal and arts of the nomads constitute the matrix of folk expression.

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