Advertisement · 728 × 90
#
Hashtag
#rajaravivarma
Advertisement · 728 × 90
Michael
Michael
@mdstamper.bsky.social
1 day ago
What makes the picture gripping is that it stages deception as intimacy. Simhika does not attack; she escorts. Draupadi is not shown as defeated, but as alert, vulnerable, and morally luminous amid danger. Both women move close together through a dim forest path. On the right, Draupadi wears a vivid red sari edged in gold. Her skin is light brown, her face tense, and her body pulled inward. She clasps both hands high near her chin, as if bracing herself. Her eyes are wide, giving the impression that she senses danger before she fully understands it. On the left, Simhika appears calm, almost companionable. She wears a dark blue-black sari with a red blouse, jewelry on her neck and ears, and flowers tucked into her hair. One arm circles behind Draupadi’s shoulders while the other hand gestures ahead, as though politely guiding her onward. Legendary Indian artist Raja Ravi Varma sets them against tall tree trunks, dense foliage, and a narrow opening of light in the distance. The softness of the brushwork makes the forest feel lush but also enclosing. Ravi Varma, who became famous for merging European academic realism with Indian epic and devotional subjects, often gave mythological figures the emotional immediacy of living people. Here, he turns a narrative from the Mahābhārata into a study of trust, threat, and feminine presence. The red of Draupadi’s sari reads almost like an alarm within the green-brown woods, while Simhika’s darker dress helps her blend into the forest and into the role of hidden menace. The scene also reflects Ravi Varma’s gift for making epic women psychologically legible. Draupadi is not just a literary heroine, but a person caught in the instant when courtesy, fear, and intuition collide.

What makes the picture gripping is that it stages deception as intimacy. Simhika does not attack; she escorts. Draupadi is not shown as defeated, but as alert, vulnerable, and morally luminous amid danger. Both women move close together through a dim forest path. On the right, Draupadi wears a vivid red sari edged in gold. Her skin is light brown, her face tense, and her body pulled inward. She clasps both hands high near her chin, as if bracing herself. Her eyes are wide, giving the impression that she senses danger before she fully understands it. On the left, Simhika appears calm, almost companionable. She wears a dark blue-black sari with a red blouse, jewelry on her neck and ears, and flowers tucked into her hair. One arm circles behind Draupadi’s shoulders while the other hand gestures ahead, as though politely guiding her onward. Legendary Indian artist Raja Ravi Varma sets them against tall tree trunks, dense foliage, and a narrow opening of light in the distance. The softness of the brushwork makes the forest feel lush but also enclosing. Ravi Varma, who became famous for merging European academic realism with Indian epic and devotional subjects, often gave mythological figures the emotional immediacy of living people. Here, he turns a narrative from the Mahābhārata into a study of trust, threat, and feminine presence. The red of Draupadi’s sari reads almost like an alarm within the green-brown woods, while Simhika’s darker dress helps her blend into the forest and into the role of hidden menace. The scene also reflects Ravi Varma’s gift for making epic women psychologically legible. Draupadi is not just a literary heroine, but a person caught in the instant when courtesy, fear, and intuition collide.

“Draupadi and the Enchantress Simhika” by Raja Ravi Varma (Indian) - Oil on canvas / 1898 - Sree Chitra Art Gallery (Thiruvananthapuram, Kerala) #WomenInArt #RajaRaviVarma #Varma #SreeChitraArtGallery #IndianArt #Mahabharata #art #artText #artwork #GaneshShivaswamyFoundation #IndianArtist #1890sArt

36 6 0 1
Blaze Trends
Blaze Trends
@blazetrends.bsky.social
1 week ago
Preview
Raja Ravi Varma painting shatters Indian art records with Rs 167.2 crore auction sale Domestic collectors are increasingly treating cultural heritage as serious financial assets. An 1890s masterpiece by Raja Ravi Varma sold for Rs 167.2 crore

Billionaire Cyrus Poonawalla purchased Raja Ravi Varma's 1890s "Yashoda and Krishna" painting for Rs 167.2 crore at Saffronart's Mumbai auction on Wednesday. The 7-minute bidding war shattered previous Indian art records. #RajaRaviVarma #ArtMarket

blazetrends.com/raja-ravi-va...

1 0 0 0
IndiaWest
IndiaWest
@indiawest.bsky.social
1 week ago
Preview
Bringing Raja Ravi Varma’s Heroines To Life - IndiaWest News Bringing Raja Ravi Varma’s Heroines To Life.

Bringing Raja Ravi Varma’s Heroines To Life

Full Story: indiawest.com/bringing-raj...

#RajaRaviVarma #HeroinesOfRaviVarma #IndianArt #MythologicalArt #ArtExhibition #RaviVarmaPaintings

1 0 0 0
Michael
Michael
@mdstamper.bsky.social
3 weeks ago
Eleven women sit in two rows wearing garments varying in color, drape, and ornament. Their jewelry, head coverings, and instruments signal different regions, classes, and communities of South Asia. Their skin tones, textiles, and poses are individualized but idealized, with attentive faces avoiding us. No single performer dominates. Instead, our eye moves across fabrics, hands, and instruments, reading the group as a carefully orchestrated ensemble of women, music, and cultural difference. The women are not presented as named portraits. Scholars have identified some of them: at far left, a Nair woman plays the veena; near the center, a Marathi woman is signaled by her sari drape and green glass bangles; in the back row, a Parsi woman holds a fan, while beside her stands a figure in a feathered hat and dress read as British or Indo-European; at far right sits a Muslim woman. Varma builds the group less as an inventory of individuals than as an idealized gathering of communities, costumes, and musical traditions. Their differences in dress, posture, and instruments create a visual argument for plurality, while their shared space and calm coordination suggest harmony across region, religion, and class. Painted in 1889 for the Mysore court, this work belongs to the mature period of Indian artist Raja Ravi Varma, who was renowned for merging European oil-painting techniques with Indian subjects and settings. Here, music becomes a visual language for plurality as each figure suggests a distinct cultural identity, yet the painting binds them into one harmonious composition. That unity creates an imagined picture of India itself, feminized, elegant, and assembled through regional diversity at a moment of colonial modernity. The women are therefore both musicians and symbols. Varma turns clothing, gesture, and sound into a political and poetic idea of a nation pictured through women’s presence rather than through landscape, battle, or throne.

Eleven women sit in two rows wearing garments varying in color, drape, and ornament. Their jewelry, head coverings, and instruments signal different regions, classes, and communities of South Asia. Their skin tones, textiles, and poses are individualized but idealized, with attentive faces avoiding us. No single performer dominates. Instead, our eye moves across fabrics, hands, and instruments, reading the group as a carefully orchestrated ensemble of women, music, and cultural difference. The women are not presented as named portraits. Scholars have identified some of them: at far left, a Nair woman plays the veena; near the center, a Marathi woman is signaled by her sari drape and green glass bangles; in the back row, a Parsi woman holds a fan, while beside her stands a figure in a feathered hat and dress read as British or Indo-European; at far right sits a Muslim woman. Varma builds the group less as an inventory of individuals than as an idealized gathering of communities, costumes, and musical traditions. Their differences in dress, posture, and instruments create a visual argument for plurality, while their shared space and calm coordination suggest harmony across region, religion, and class. Painted in 1889 for the Mysore court, this work belongs to the mature period of Indian artist Raja Ravi Varma, who was renowned for merging European oil-painting techniques with Indian subjects and settings. Here, music becomes a visual language for plurality as each figure suggests a distinct cultural identity, yet the painting binds them into one harmonious composition. That unity creates an imagined picture of India itself, feminized, elegant, and assembled through regional diversity at a moment of colonial modernity. The women are therefore both musicians and symbols. Varma turns clothing, gesture, and sound into a political and poetic idea of a nation pictured through women’s presence rather than through landscape, battle, or throne.

“A Galaxy of Musicians” by Raja Ravi Varma (Indian) - Oil on canvas / 1889 - Sri Jayachamarajendra Art Gallery, Jaganmohan Palace (Mysuru, Karnataka, India) #WomenInArt #RajaRaviVarma #Varma #JaganmohanPalace #IndianArt #art #arttext #PortraitOfWomen #MusicArt #BlueskyArt #IndianArtist #1880sArt

46 10 1 0
Michael
Michael
@mdstamper.bsky.social
4 weeks ago
In a soft, luminous woodland landscape, three young South Asian women occupy the foreground while a fourth, older figure in pale draped cloth walks away at far left with a staff. At right, Shakuntala stands barefoot on one leg, lifting her other foot behind her with one hand as if pausing to remove a thorn, though her turned face carries a soft, distant, almost secretive expression. She wears a rose-pink sari, floral garlands, earrings, bracelets, and flowers tucked into her dark hair. Beside her, one companion in a pale cream wrap faces us with a knowing smile, while another, seen mostly from the back, wears a pink drape and carries a basket filled with bright flowers. Behind them rise green trees, a narrow stream, and hazy blue hills under a pale sky touched with peach and blue. Indian artist Raja Ravi Varma builds the painting around a moment of emotional disguise. Shakuntala is not truly occupied by a thorn. She is stealing one more look at King Dushyanta, the beloved she is reluctant to leave. That blend of modesty, desire, and performance gives the work its enduring tension. The subject comes from the Shakuntala story known from the Mahabharata and especially from Kalidasa’s celebrated drama, where longing, memory, and recognition shape the lovers’ fate. By 1898, Varma was already famous for painting Indian epic and literary figures with European-inflected realism, helping make such popular. Here he gives the story a texture of lived feeling: friendship, flirtation, hesitation, and the charged instant before departure. The companions are not background figures but co-conspirators who understand what Shakuntala cannot openly say. The painting’s beauty lies in that social intimacy. Love is shown not as spectacle, but as a private emotion briefly made visible through a turned a lifted foot and turned glance backward. Today, it is one of Varma’s most memorable images of feminine intelligence and desire, where gesture itself becomes narrative.

In a soft, luminous woodland landscape, three young South Asian women occupy the foreground while a fourth, older figure in pale draped cloth walks away at far left with a staff. At right, Shakuntala stands barefoot on one leg, lifting her other foot behind her with one hand as if pausing to remove a thorn, though her turned face carries a soft, distant, almost secretive expression. She wears a rose-pink sari, floral garlands, earrings, bracelets, and flowers tucked into her dark hair. Beside her, one companion in a pale cream wrap faces us with a knowing smile, while another, seen mostly from the back, wears a pink drape and carries a basket filled with bright flowers. Behind them rise green trees, a narrow stream, and hazy blue hills under a pale sky touched with peach and blue. Indian artist Raja Ravi Varma builds the painting around a moment of emotional disguise. Shakuntala is not truly occupied by a thorn. She is stealing one more look at King Dushyanta, the beloved she is reluctant to leave. That blend of modesty, desire, and performance gives the work its enduring tension. The subject comes from the Shakuntala story known from the Mahabharata and especially from Kalidasa’s celebrated drama, where longing, memory, and recognition shape the lovers’ fate. By 1898, Varma was already famous for painting Indian epic and literary figures with European-inflected realism, helping make such popular. Here he gives the story a texture of lived feeling: friendship, flirtation, hesitation, and the charged instant before departure. The companions are not background figures but co-conspirators who understand what Shakuntala cannot openly say. The painting’s beauty lies in that social intimacy. Love is shown not as spectacle, but as a private emotion briefly made visible through a turned a lifted foot and turned glance backward. Today, it is one of Varma’s most memorable images of feminine intelligence and desire, where gesture itself becomes narrative.

"Shakuntala Removing a Thorn from Her Foot" by Raja Ravi Varma / രാജാ രവിവർമ്മ (Indian) - Oil on canvas / 1898 - Sree Chitra Art Gallery (Thiruvananthapuram, India) #WomenInArt #RajaRaviVarma #राजारविवर्मा #Varma #SreeChitraArtGallery #IndianArt #IndianArtist #artText #RaviVarma #GaneshShivaswamyFoundation

43 8 1 0
Michael
Michael
@mdstamper.bsky.social
7 months ago
"Rani of Kurupam" was Sri Rani Sahiba Lakshmi Narasayamma Patta Mahadevi, the younger daughter of Maharajah Sir Goday Narayana Gajapthi Rao and wife of Sri Raja Vyricherla Virbhadra Raju Bahadur, the Raja of Kurupam, a small village in the Vizianagaram district of Andhra Pradesh. Renowned Indian artist Raja Ravi Varma was commissioned by her husband who took “very keenly to heart” the death of his young wife. In fact, we are only seeing part of a larger 1902 portrait with both the Raja and Rani of Kurupam: her seated at a small table and him standing in a royal outfit and headress beside the table. In this image, we can only see the right hand of the Raja resting on table. Varma used photographs to recreate her likeness, playing up her features to please the heartbroken monarch. The Rani is depicted in resplendent attire, adorned with Basra pearls, diamonds, sapphires, and gold-woven fabrics. She is dressed in a richly-textured light sky blue sari with subtle embroidery around the sleeves and the edges. She is adorned with an impressive array of jewelry including a large diamond and pearl necklace, multiple strands of pearls, diamond earrings, and numerous bracelets on her wrists—some appear to be diamond and others a darker gemstone. Her hair is neatly styled and accented with a large hair ornament featuring diamonds and sparkling stones. Her pose is relaxed yet dignified. the Rani rests her raised left hand on her temple, her gaze directed towards us with a soft, contemplative expression. Her right hand gently touches a portion of a deep maroon cloth draped over a piece of furniture. The interior background is indistinct, muted tones of brown and beige. The overall lighting is soft and even, highlighting the Rani's features and the sparkle of her jewelry. The mood is one of grace and elegance. The portrait is a poignant reminder of the Raja's grief and love for his wife, and it's considered a significant example of Ravi Varma's work.

"Rani of Kurupam" was Sri Rani Sahiba Lakshmi Narasayamma Patta Mahadevi, the younger daughter of Maharajah Sir Goday Narayana Gajapthi Rao and wife of Sri Raja Vyricherla Virbhadra Raju Bahadur, the Raja of Kurupam, a small village in the Vizianagaram district of Andhra Pradesh. Renowned Indian artist Raja Ravi Varma was commissioned by her husband who took “very keenly to heart” the death of his young wife. In fact, we are only seeing part of a larger 1902 portrait with both the Raja and Rani of Kurupam: her seated at a small table and him standing in a royal outfit and headress beside the table. In this image, we can only see the right hand of the Raja resting on table. Varma used photographs to recreate her likeness, playing up her features to please the heartbroken monarch. The Rani is depicted in resplendent attire, adorned with Basra pearls, diamonds, sapphires, and gold-woven fabrics. She is dressed in a richly-textured light sky blue sari with subtle embroidery around the sleeves and the edges. She is adorned with an impressive array of jewelry including a large diamond and pearl necklace, multiple strands of pearls, diamond earrings, and numerous bracelets on her wrists—some appear to be diamond and others a darker gemstone. Her hair is neatly styled and accented with a large hair ornament featuring diamonds and sparkling stones. Her pose is relaxed yet dignified. the Rani rests her raised left hand on her temple, her gaze directed towards us with a soft, contemplative expression. Her right hand gently touches a portion of a deep maroon cloth draped over a piece of furniture. The interior background is indistinct, muted tones of brown and beige. The overall lighting is soft and even, highlighting the Rani's features and the sparkle of her jewelry. The mood is one of grace and elegance. The portrait is a poignant reminder of the Raja's grief and love for his wife, and it's considered a significant example of Ravi Varma's work.

"Rani of Kurupam" by Raja Ravi Varma (Indian) - Oil on canvas / 1902 - Raja Ravi Varma Heritage Foundation (Bengaluru, India) #WomenInArt #art #artText #IndianArt #PortraitofaWoman #RajaRaviVarma #RaviVarma #Varma #artwork #IndianArtist #beauty #Portrait #OilPainting #RajaRaviVarmaHeritageFoundation

43 4 3 0
The Art Eclectic
The Art Eclectic
@eclectic-art.bsky.social
9 months ago
Post image

In Bed with the Masters (Raja Ravi Varma)

#IBWTM #RajaRaviVarma #indianclassicism #mythicrest #sleepwithgods #catandcanvas #fineartdreams #southasianart

IBWTM is a series that places one man and his cat in the style of a different iconic artist each time. One bed. Infinite brushstrokes.

2 0 0 0
Michael
Michael
@mdstamper.bsky.social
10 months ago
This oil painting by legendary Indian artist Raja Ravi Varma has been associated with varying descriptions beginning with this note from the artist's brother C. Raja Raja Varma's diary from Saturday, February 23, 1901 which says "Towards evening, we went out of our hut (at Ghatkopar) to finish the open scenery in the picture of ‘Sakuntala’s Impending Calamity." The painting by Raja Ravi Varma was immediately thereafter exhibited at the Bombay Art Society Exhibition which was held in March, 1901. The painting went on to win the "His Highness the Late Martanda Varma, First Prince of Travancore Prize" and 70 rupees for the best landscape in oils, with figures, by a native from India. It then finds reference in the Report on the Administration of the Government Museum and Connemara Public Library for the year 1901-1902 where it was gifted to the Museum as "Sakuntala under the Shadow of an Impending Calamity." It's believed the work represents the scene when Shakuntala is lost in contemplation of Dushyanta when Vashishta visits the ashram. Shakuntala, being oblivious to his presence, is cursed by Vashishta that her lover would lose all memory of her. He is thereafter implored to withdraw his curse. Vashishta relents and says the curse would be absolved when Dushyanta sees the signet ring given to Shakuntala. However, curiously, this painting forms the exemplar for a later chromolithograph titled "Sita-Vanavas" where it depicts the scene of Seeta being abandoned in the forest and sheltered by Valmiki in his ashram. Making the narrative even more interesting is that when printed even later as a postcard, the very same image is labeled as depicting Sita in the Ashoka-Van when she is captured by Ravan. Whichever story you prefer, we see a beautiful young South Asian woman wearing a flowing, beige garment that drapes elegantly around her body while quietly seated on a rock beneath a palm tree, overlooking a serene landscape with a figure walking in the distance.

This oil painting by legendary Indian artist Raja Ravi Varma has been associated with varying descriptions beginning with this note from the artist's brother C. Raja Raja Varma's diary from Saturday, February 23, 1901 which says "Towards evening, we went out of our hut (at Ghatkopar) to finish the open scenery in the picture of ‘Sakuntala’s Impending Calamity." The painting by Raja Ravi Varma was immediately thereafter exhibited at the Bombay Art Society Exhibition which was held in March, 1901. The painting went on to win the "His Highness the Late Martanda Varma, First Prince of Travancore Prize" and 70 rupees for the best landscape in oils, with figures, by a native from India. It then finds reference in the Report on the Administration of the Government Museum and Connemara Public Library for the year 1901-1902 where it was gifted to the Museum as "Sakuntala under the Shadow of an Impending Calamity." It's believed the work represents the scene when Shakuntala is lost in contemplation of Dushyanta when Vashishta visits the ashram. Shakuntala, being oblivious to his presence, is cursed by Vashishta that her lover would lose all memory of her. He is thereafter implored to withdraw his curse. Vashishta relents and says the curse would be absolved when Dushyanta sees the signet ring given to Shakuntala. However, curiously, this painting forms the exemplar for a later chromolithograph titled "Sita-Vanavas" where it depicts the scene of Seeta being abandoned in the forest and sheltered by Valmiki in his ashram. Making the narrative even more interesting is that when printed even later as a postcard, the very same image is labeled as depicting Sita in the Ashoka-Van when she is captured by Ravan. Whichever story you prefer, we see a beautiful young South Asian woman wearing a flowing, beige garment that drapes elegantly around her body while quietly seated on a rock beneath a palm tree, overlooking a serene landscape with a figure walking in the distance.

"Shakuntala's Impending Calamity" by Raja Ravi Varma (Indian) - Oil on canvas / 1901 - The Ganesh Shivaswamy Foundation (Bengaluru, India) #WomenInArt #ArtText #art #OilPainting #RajaRaviVarma #Varma #IndianArtist #GaneshShivaswamyFoundation #artwork #fineart #womensart #portraitofawoman #IndianArt

44 2 0 0
History of Portraiture
History of Portraiture
@oldportraiture.bsky.social
11 months ago
Post image

#RajaRaviVarma (1848-1906), who was #BornOnThisDay
Portrait of Krishnaraja Wadiyar IV and Rana Prathap Kumari of Kathiawar
1904
Srikantha Datta Narasimharaja Wadiyar, The Palace, Mysore
#RaviVarma #IndianArt

2 0 0 0
History of Portraiture
History of Portraiture
@oldportraiture.bsky.social
11 months ago
Post image Post image Post image

#RajaRaviVarma (1848-1906), who was #BornOnThisDay
Portrait of Mahaprabha Thampuratti of Mavelikkara, Raja Ravi Varma's daughter, holding her son Marthanda Varma
1893
Kowdiar Palace
#RaviVarma #IndianArt

1 0 0 0
History of Portraiture
History of Portraiture
@oldportraiture.bsky.social
11 months ago
Post image Post image Post image

#RajaRaviVarma (1848-1906), who was #BornOnThisDay
Portrait of Rani Bharani Thirunal Lakshmi Bayi (1848-1901)
1883
Sree Chitra Art Gallery
#RaviVarma #IndianArt

2 0 0 0
History of Portraiture
History of Portraiture
@oldportraiture.bsky.social
11 months ago
Post image Post image

#RajaRaviVarma (1848-1906), who was #BornOnThisDay
Portrait of a Malabar Beauty
before 1906
#RaviVarma #IndianArt

1 0 0 0
History of Portraiture
History of Portraiture
@oldportraiture.bsky.social
11 months ago
Post image Post image

#RajaRaviVarma (1848-1906), who was #BornOnThisDay
Portrait of Pooruruttathi Thirunal Mahaprabha Amma Thampuran (1855-91)
before 1891
Private Collection
#RaviVarma #IndianArt

1 0 0 0
History of Portraiture
History of Portraiture
@oldportraiture.bsky.social
11 months ago
Post image

#RajaRaviVarma (1848-1906), who was #BornOnThisDay
Portrait of Maharani Chimanbai
ca. 1890s
Maharaja Fateh Singh Museum
#RaviVarma #IndianArt

1 0 0 0
History of Portraiture
History of Portraiture
@oldportraiture.bsky.social
11 months ago
Post image Post image

#RajaRaviVarma (1848-1906), who was #BornOnThisDay
Portrait of Thara Varini
1896
Collection of Dr. M.A. Chidambaram, Chennai, Tamilnadu
#RaviVarma #IndianArt

2 0 0 0
History of Portraiture
History of Portraiture
@oldportraiture.bsky.social
11 months ago
Post image Post image Post image

#RajaRaviVarma (1848-1906), who was #BornOnThisDay
Portrait of a Woman Holding a Fan
ca. 1895-1900
Ganesh Shivaswamy Foundation, Bengaluru
#RaviVarma #IndianArt

2 0 0 0
History of Portraiture
History of Portraiture
@oldportraiture.bsky.social
11 months ago
Post image

#RajaRaviVarma (1848-1906), who was #BornOnThisDay
Portrait of A Tamil Lady Playing the Swarbat
1874
Ganesh Shivaswamy Foundation, Bengaluru
#RaviVarma #IndianArt

1 0 0 0
History of Portraiture
History of Portraiture
@oldportraiture.bsky.social
11 months ago
Post image

#RajaRaviVarma (1848-1906), who was #BornOnThisDay
Portrait of Kerala Varma Valiya Koil Thampuran (1845-1914)
1880
Sree Chitra Art Gallery
#RaviVarma #IndianArt

1 0 0 0
Michael
Michael
@mdstamper.bsky.social
11 months ago
Chapter 12 of the Eighth Canto of the Srimad-Bhagavatam describes the episode when the feminine form (avatar) of Lord Vishnu mesmerized Lord Shiva. Mohini manifested herself in the presence of Lord Shiva and his consort Uma in a forest of trees with pink flowers wearing a shining saree and playing with a ball. Verse 21 of Chapter 12, states that as Mohini played with the Ball, her saree came loose and her hair scattered. Raja Ravi Varma captures this moment in this painting. Mohini is depicted in a picturesque outdoor meadow and forest settings as a youthful beautiful South Asian woman, with long thick black hair down to her waist, playing with a small red ball as her exquisite purple saree falls exposing her bare midriff. Raja Ravi Varma painted several versions of this pose, one of which is used as an exemplar for the chromolithograph, Tilottama which was printed at the Ravi Varma Press. Raja Ravi Varma (1848-1906) was a prolific Indian artist who is recognized for his academic realistic style of painting. His portraits of English and Indian royalty and aristocracy were well received. His paintings on Hindu religious and mythological subjects and paintings from classical and literary sources were highly sought after even during his lifetime. As is the case with Mohini, he painted several copies of his works and this demand led to the suggestion to have his paintings printed in the form of oleographs. The Ravi Varma Fine Art Lithographic Press was established in Bombay (now Mumbai) and commenced operations in 1894. Many of Ravi Varma's paintings were printed as chromolithographs at this Press. These chromolithographs have had a tremendous impact on religion, society and aesthetics throughout South Asia and India. They went on to democratize art leading to immortalize Ravi Varma in the minds of the people of the Indian subcontinent.

Chapter 12 of the Eighth Canto of the Srimad-Bhagavatam describes the episode when the feminine form (avatar) of Lord Vishnu mesmerized Lord Shiva. Mohini manifested herself in the presence of Lord Shiva and his consort Uma in a forest of trees with pink flowers wearing a shining saree and playing with a ball. Verse 21 of Chapter 12, states that as Mohini played with the Ball, her saree came loose and her hair scattered. Raja Ravi Varma captures this moment in this painting. Mohini is depicted in a picturesque outdoor meadow and forest settings as a youthful beautiful South Asian woman, with long thick black hair down to her waist, playing with a small red ball as her exquisite purple saree falls exposing her bare midriff. Raja Ravi Varma painted several versions of this pose, one of which is used as an exemplar for the chromolithograph, Tilottama which was printed at the Ravi Varma Press. Raja Ravi Varma (1848-1906) was a prolific Indian artist who is recognized for his academic realistic style of painting. His portraits of English and Indian royalty and aristocracy were well received. His paintings on Hindu religious and mythological subjects and paintings from classical and literary sources were highly sought after even during his lifetime. As is the case with Mohini, he painted several copies of his works and this demand led to the suggestion to have his paintings printed in the form of oleographs. The Ravi Varma Fine Art Lithographic Press was established in Bombay (now Mumbai) and commenced operations in 1894. Many of Ravi Varma's paintings were printed as chromolithographs at this Press. These chromolithographs have had a tremendous impact on religion, society and aesthetics throughout South Asia and India. They went on to democratize art leading to immortalize Ravi Varma in the minds of the people of the Indian subcontinent.

Mohini Playing with a Ball (പന്തുകളിക്കുന്ന വനിത) by Raja Ravi Varma (Indian) - Oil on canvas board / c. 1894 - Ganesh Shivaswamy Foundation (Bengaluru, India) #womeninart #art #oilpainting #IndianArt #RajaRaviVarma #Varma #artwork #womensart #IndianArtist #beauty #RaviVarma #GaneshShivaswamyFoundation

41 4 0 0
Michael
Michael
@mdstamper.bsky.social
11 months ago
During a short stint in Tamil Nadu, legendary Indian artist Raja Ravi Varma painted portraits of many of the royals. Maharaja Thondaiman of Pudukkottai was a patron of the arts and commissioned Varma to paint several portraits of himself, his wife Her Highness Janaki Subamma Bai Sahib, his sons and other members of the royal family. In this vibrant oil on canvas portrait, Varma depicts the lady monarch sitting upright, but relaxed in an ornate chair creating a vivid regal presence. She is dressed in colorful traditional clothing, including a red saree with gold trim and matching gold jewelry. The saree has a intricate pattern of golden dots on the dark fire red fabric. Shiny gold trim along the edges adds to the richness of the garment. She wears an elaborate and beautiful headdress, a thick golden necklace, multiple colored bangles on both arms, gold anklets, exquisite ear and nose rings, and rings with large stones on her fingers and toes. Her eyes are dark and expressive with a steady sympathetic gaze directly at us with a hint of hesitation or thoughtfulness. To the woman's left (our right) is a small table draped with a light peach-colored cloth. On the table rests a fine silver box next to what appears to be a small teacup. The background is muted dark shades of greenish gray. Varma creates an air of classical elegance and sophistication through his use of rich colors, detailed ornamentation, and the sitter's serene expression to create a visually memorable composition. He was a prolific artist who is recognized for his realistic style of painting from a fusion of European academic art with Indian sensibility and iconography. His portraits, like this one, of both English and Indian royalty and aristocracy were well received. His paintings on Hindu religious and mythological subjects and paintings from classical and literary sources were highly sought after even during his lifetime.

During a short stint in Tamil Nadu, legendary Indian artist Raja Ravi Varma painted portraits of many of the royals. Maharaja Thondaiman of Pudukkottai was a patron of the arts and commissioned Varma to paint several portraits of himself, his wife Her Highness Janaki Subamma Bai Sahib, his sons and other members of the royal family. In this vibrant oil on canvas portrait, Varma depicts the lady monarch sitting upright, but relaxed in an ornate chair creating a vivid regal presence. She is dressed in colorful traditional clothing, including a red saree with gold trim and matching gold jewelry. The saree has a intricate pattern of golden dots on the dark fire red fabric. Shiny gold trim along the edges adds to the richness of the garment. She wears an elaborate and beautiful headdress, a thick golden necklace, multiple colored bangles on both arms, gold anklets, exquisite ear and nose rings, and rings with large stones on her fingers and toes. Her eyes are dark and expressive with a steady sympathetic gaze directly at us with a hint of hesitation or thoughtfulness. To the woman's left (our right) is a small table draped with a light peach-colored cloth. On the table rests a fine silver box next to what appears to be a small teacup. The background is muted dark shades of greenish gray. Varma creates an air of classical elegance and sophistication through his use of rich colors, detailed ornamentation, and the sitter's serene expression to create a visually memorable composition. He was a prolific artist who is recognized for his realistic style of painting from a fusion of European academic art with Indian sensibility and iconography. His portraits, like this one, of both English and Indian royalty and aristocracy were well received. His paintings on Hindu religious and mythological subjects and paintings from classical and literary sources were highly sought after even during his lifetime.

Her Highness Janaki Subamma Bai Sahib of Pudukkottai by Raja Ravi Varma (Indian) - Oil on canvas / 1879 - Raja Ravi Varma Heritage Foundation (Bengaluru, India) #womeninart #fineart #oilpainting #RajaRaviVarmaHeritageFoundation #art #artwork #womensart #RajaRaviVarma #Varma #IndianArt #IndianArtist

49 3 1 0
Michael
Michael
@mdstamper.bsky.social
1 year ago
This portrait by Indian artist Raja Ravi Varma of a Maharani of Travancore in three-quarter length, facing slightly to the right is carrying a book-shaped casket in a dish; she wears a gold and cream strapless dress with a red and gold brocade shawl around her shoulders; she has two rings on her right hand, pearl necklaces, gold earrings, and a diamond pendant through her nose. The sitter is reportedly the sister of Visakham Thirunal Rama Varma, Maharaja of Travancore from 1880 to 1885. She is depicted holding a casket containing a loyal address from the ladies of Travancore to Queen Victoria on the occasion of her Golden Jubilee. The painting was presented to Albert Victor, Duke of Clarence on his visit to Travancore in 1889 and then first recorded at Windsor Castle within a year. Raja Ravi Varma was celebrated for his success in depicting scenes from the epics of the Mahabharata and Ramayana in a European academic style. He was influenced by French painters such as William-Adolphe Bouguereau and Gustave Boulanger. His exploitation of lithography to reproduce his paintings ensured that his work reached a mass market. Recognition in Europe came after he was awarded first prize in the Vienna Art Exhibition in 1873. Chiefly remembered for his paintings of shapely women in traditional costume, Varma is recognised as one of the greatest painters in the history of Indian art.

This portrait by Indian artist Raja Ravi Varma of a Maharani of Travancore in three-quarter length, facing slightly to the right is carrying a book-shaped casket in a dish; she wears a gold and cream strapless dress with a red and gold brocade shawl around her shoulders; she has two rings on her right hand, pearl necklaces, gold earrings, and a diamond pendant through her nose. The sitter is reportedly the sister of Visakham Thirunal Rama Varma, Maharaja of Travancore from 1880 to 1885. She is depicted holding a casket containing a loyal address from the ladies of Travancore to Queen Victoria on the occasion of her Golden Jubilee. The painting was presented to Albert Victor, Duke of Clarence on his visit to Travancore in 1889 and then first recorded at Windsor Castle within a year. Raja Ravi Varma was celebrated for his success in depicting scenes from the epics of the Mahabharata and Ramayana in a European academic style. He was influenced by French painters such as William-Adolphe Bouguereau and Gustave Boulanger. His exploitation of lithography to reproduce his paintings ensured that his work reached a mass market. Recognition in Europe came after he was awarded first prize in the Vienna Art Exhibition in 1873. Chiefly remembered for his paintings of shapely women in traditional costume, Varma is recognised as one of the greatest painters in the history of Indian art.

The Maharani of Travancore by Raja Ravi Varma (Indian) - Oil on canvas / 1887 - Royal Collection Trust (London, United Kingdom) #womeninart #portraitofawoman #womensart #art #oilpainting #RajaRaviVarma #IndianArt #artwork #varma #IndianArtist #RoyalCollectionTrust #RoyalCollection #beauty #artbsky

49 3 0 0
Michael
Michael
@mdstamper.bsky.social
1 year ago
Reclining Nair Lady is a 1903 painting (sometimes listed as 1897 or 1902 even though it is signed on the front as 1903) by the Indian artist Raja Ravi Varma. The painting features a recumbent Nair (or Nayar) woman, with a book open in front of her while attended by a maid. The beautiful young bronze woman gazes calmly at directly at us while resting her head in her right hand and relaxes with an open book, while a maid cools her down with a palm leaf fan. The painting highlights the Nair woman's wealth and status with details like the velvet cushions, tassels, and intricate work on her jewelry. The gold borders on the mundu (garment) are done to perfection Believed to have been modeled after the heroine of the popular Malayalam novel "Indulekha" by O.C. Menon, the painting alludes to Édouard Manet’s masterpiece "Olympia" from 1863. Nevertheless, it is apparent that a stylistic and a cultural adaptation have occurred in Ravi Varma’s painting to suit his and other local sentiments. In this painting, the central character, a young educated Nair woman in 19th century Kerala, can be seen wearing a mundum neryathum (a two-set upper and lower garment that eventually evolved into a saree), kasu malai (garland of coins), ruby-studded gold bangles, earrings and necklaces. Her hair is in an elaborate up do as was commonly worn by Nair women. A strand of jasmine flowers and pink roses adorns her elaborate bun. Ravi Varma was among the first Indian artists to use oil paints with this work being a clear example his skills. He frequently painted aristocratic women in traditional attire, reclining on a bed or lost in thought. His specialty was realism so that each costume and piece of jewelry looks exactly like the original and, like furniture and interiors, were accurate at the time he worked.

Reclining Nair Lady is a 1903 painting (sometimes listed as 1897 or 1902 even though it is signed on the front as 1903) by the Indian artist Raja Ravi Varma. The painting features a recumbent Nair (or Nayar) woman, with a book open in front of her while attended by a maid. The beautiful young bronze woman gazes calmly at directly at us while resting her head in her right hand and relaxes with an open book, while a maid cools her down with a palm leaf fan. The painting highlights the Nair woman's wealth and status with details like the velvet cushions, tassels, and intricate work on her jewelry. The gold borders on the mundu (garment) are done to perfection Believed to have been modeled after the heroine of the popular Malayalam novel "Indulekha" by O.C. Menon, the painting alludes to Édouard Manet’s masterpiece "Olympia" from 1863. Nevertheless, it is apparent that a stylistic and a cultural adaptation have occurred in Ravi Varma’s painting to suit his and other local sentiments. In this painting, the central character, a young educated Nair woman in 19th century Kerala, can be seen wearing a mundum neryathum (a two-set upper and lower garment that eventually evolved into a saree), kasu malai (garland of coins), ruby-studded gold bangles, earrings and necklaces. Her hair is in an elaborate up do as was commonly worn by Nair women. A strand of jasmine flowers and pink roses adorns her elaborate bun. Ravi Varma was among the first Indian artists to use oil paints with this work being a clear example his skills. He frequently painted aristocratic women in traditional attire, reclining on a bed or lost in thought. His specialty was realism so that each costume and piece of jewelry looks exactly like the original and, like furniture and interiors, were accurate at the time he worked.

Reclining Nair Lady by Raja Ravi Varma (Indian) - Oil on canvas / 1903 -Raja Ravi Varma Heritage Foundation (Bengaluru, India) #womeninart #oilpainting #art #IndianArt #RajaRaviVarma #artwork #RaviVarma #portraitofawoman #womensart #IndianArtist #fineart #Nayar #beauty #rest #relaxation #reading

50 5 1 1
Michael
Michael
@mdstamper.bsky.social
1 year ago
This portrait of an unidentified beautiful woman traditionally dressed as a lady of Maharashtra was painted by the artist in Bombay in 1893. She is the focal point, seated at an angle and avoiding our direct gaze with a composed expression. She has dark hair pulled back neatly, a bindi (the red dot on her forehead), and various gorgeous jewelry, including earrings, necklaces, bangles, and a nose ring. Her light brown skin tone and the artist's use of lighting draws our attention to her from the dimly-lit, muted interior background. She wears a dark navy-colored sari with gold accents and a pattern of small, light-colored dots. The sari's fabric has a wonderful sheen and luster including prominent shiny gold ribbons at the edges of the garment as well as an exquisite drape over her left shoulder. Varma's attention to detail delivers a truly realistic style for the woman's features, her clothing textures, and the jewelry. His use of rich colors, light, and shadows not only highlight her beauty, but also a mood of formal dignity. Raja Ravi Varma (1848-1906), one of India’s most popular artists, hailed from Kilimanoor, in the state of Travancore. From a very young age, Ravi Varma, was drawn towards art, imbibing techniques from his uncle and mentor Raja Raja Varma and his mother, Umayamba Bayi, a poet in her own right. Varma was much sought after by the Royals and owing to his popularity and reputation, his spectacular and richly-textured works were prolific. His realistic portrayals of contemporary figures and interpretations of religious and mythological figures fetched him instant and enduring success, lifting his standing in the art world. If the Royals and his countrymen were in awe of this great talent, the international world was spellbound by his imagination and creativity. He ensured that art would be accessible to all, through reproductions of his paintings which were made available, and affordable to everyone.

This portrait of an unidentified beautiful woman traditionally dressed as a lady of Maharashtra was painted by the artist in Bombay in 1893. She is the focal point, seated at an angle and avoiding our direct gaze with a composed expression. She has dark hair pulled back neatly, a bindi (the red dot on her forehead), and various gorgeous jewelry, including earrings, necklaces, bangles, and a nose ring. Her light brown skin tone and the artist's use of lighting draws our attention to her from the dimly-lit, muted interior background. She wears a dark navy-colored sari with gold accents and a pattern of small, light-colored dots. The sari's fabric has a wonderful sheen and luster including prominent shiny gold ribbons at the edges of the garment as well as an exquisite drape over her left shoulder. Varma's attention to detail delivers a truly realistic style for the woman's features, her clothing textures, and the jewelry. His use of rich colors, light, and shadows not only highlight her beauty, but also a mood of formal dignity. Raja Ravi Varma (1848-1906), one of India’s most popular artists, hailed from Kilimanoor, in the state of Travancore. From a very young age, Ravi Varma, was drawn towards art, imbibing techniques from his uncle and mentor Raja Raja Varma and his mother, Umayamba Bayi, a poet in her own right. Varma was much sought after by the Royals and owing to his popularity and reputation, his spectacular and richly-textured works were prolific. His realistic portrayals of contemporary figures and interpretations of religious and mythological figures fetched him instant and enduring success, lifting his standing in the art world. If the Royals and his countrymen were in awe of this great talent, the international world was spellbound by his imagination and creativity. He ensured that art would be accessible to all, through reproductions of his paintings which were made available, and affordable to everyone.

Maharashtrian Lady by Raja Ravi Varma (Indian) - Oil on canvas / 1893 - National Gallery of Modern Art (New Delhi, India) #womeninart #art #portrait #portraitofawoman #IndianArt #RajaRaviVarma #NationalGalleryofModernArt #artwork #oilpainting #womensart #IndianArtist #Maharashtrian #fashion #beauty

47 3 0 0
Michael
Michael
@mdstamper.bsky.social
1 year ago
Mohini (मोहिनी) is the Hindu goddess of enchantment. She is the only female avatar of the Hindu god Vishnu. She is portrayed as a femme fatale, an enchantress, who maddens lovers and demons, sometimes leading them to their doom. Mohini is introduced into Hinduism in the narrative epic of the Mahabharata. Here, she appears as a form of Vishnu following the Churning of the Ocean, a mesmerising beauty who distributes the amrita (the elixir of immortality) to the weakened devas (gods) and depriving it to the dominant asuras (demons), allowing the former to defeat the latter with their newfound immortality. This painting is from the tale of the destruction of Bhasmasura, the ash-demon. Ravi Varma portrays Mohini innocently enjoying herself on a swing with long black hair blowing in the wind and her bare feet extended forward in glee within in a fantastic landscape surrounded by nature’s flora amidst woodlands where Bhasmasura was hiding (but watching her every move). The enticement of Mohini is conducted without any vestige of suspicion that could alert Bhasmasura. Raja Ravi Varma is often hailed as one of India’s most important artists. He was from Kilimanoor, in the state of Travancore. His art was much sought after by the Royals of India including realistic portrayals of contemporary figures and interpretations of religious and mythological figures.

Mohini (मोहिनी) is the Hindu goddess of enchantment. She is the only female avatar of the Hindu god Vishnu. She is portrayed as a femme fatale, an enchantress, who maddens lovers and demons, sometimes leading them to their doom. Mohini is introduced into Hinduism in the narrative epic of the Mahabharata. Here, she appears as a form of Vishnu following the Churning of the Ocean, a mesmerising beauty who distributes the amrita (the elixir of immortality) to the weakened devas (gods) and depriving it to the dominant asuras (demons), allowing the former to defeat the latter with their newfound immortality. This painting is from the tale of the destruction of Bhasmasura, the ash-demon. Ravi Varma portrays Mohini innocently enjoying herself on a swing with long black hair blowing in the wind and her bare feet extended forward in glee within in a fantastic landscape surrounded by nature’s flora amidst woodlands where Bhasmasura was hiding (but watching her every move). The enticement of Mohini is conducted without any vestige of suspicion that could alert Bhasmasura. Raja Ravi Varma is often hailed as one of India’s most important artists. He was from Kilimanoor, in the state of Travancore. His art was much sought after by the Royals of India including realistic portrayals of contemporary figures and interpretations of religious and mythological figures.

Mohini मोहिनी (aka Mohini on a Swing) by Raja Ravi Varma (Indian) - Oil on canvas / 1894 - Raja Ravi Varma Heritage Foundation (Bangalore, India) #womeninart #rajaravivarma #oilpainting #indianart #swing #mohini #मोहिनी #goddess #artwork #art #womensart #fun #ravivarma #painting #beauty #femmefatale

44 4 0 0
Michael
Michael
@mdstamper.bsky.social
1 year ago
This painting of Radha is conceivably one of the most beautiful of Raja Ravi Varma’s uttama nayikas, the high minded women of many virtues and qualities that are intrinsic to goddesses and women in classical Indian literature. Radha radiates the soft beauty, intelligence and sensitivity of the uttama nayika, and being Radha of unparalleled beauty, Raja Ravi Varma has painted her with extra care and refinement. Aware of Krishna’s godly qualities Radha has the pooja thali, the platter of flowers and sweetmeats near her, the ritual of worship and adulation to be completed before the love play starts. Human and godly loves are combined in this relationship. She sits at ease on the rocks near the glimmering water and perhaps she has just espied him emerging through the trees.

This painting of Radha is conceivably one of the most beautiful of Raja Ravi Varma’s uttama nayikas, the high minded women of many virtues and qualities that are intrinsic to goddesses and women in classical Indian literature. Radha radiates the soft beauty, intelligence and sensitivity of the uttama nayika, and being Radha of unparalleled beauty, Raja Ravi Varma has painted her with extra care and refinement. Aware of Krishna’s godly qualities Radha has the pooja thali, the platter of flowers and sweetmeats near her, the ritual of worship and adulation to be completed before the love play starts. Human and godly loves are combined in this relationship. She sits at ease on the rocks near the glimmering water and perhaps she has just espied him emerging through the trees.

Radha in the Moonlight by Raja Ravi Varma (Indian) - Oil on canvas / 1890 - Ganesh Shivaswamy Foundation (Bengaluru, India) #womeninart #fineart #radha #artwork #art #rajaravivarma #painting #womensart #indianart #varma #oilpainting #bskyart #artoftheday #indianartist #beauty #goddess #राधा #radhika

230 19 6 0
moon 🍌🐟
moon 🍌🐟
@kulfiiis.bsky.social
1 year ago
A digital illustration of an Indian woman in a pink saree. She is wearing a red bindi and has thick curly black hair that flows to her thighs. She carries a bouquet of flowers matching with her accessories, all woven from flowers, too. She is resting her free arm upon a branch with blooming blue flowers. The illustration is painted in the style of Indian artist Raja Ravi Varma. The inspiration for the illustration is a Vogue photoshoot with Indian actress Anupama Parameswaran.

A digital illustration of an Indian woman in a pink saree. She is wearing a red bindi and has thick curly black hair that flows to her thighs. She carries a bouquet of flowers matching with her accessories, all woven from flowers, too. She is resting her free arm upon a branch with blooming blue flowers. The illustration is painted in the style of Indian artist Raja Ravi Varma. The inspiration for the illustration is a Vogue photoshoot with Indian actress Anupama Parameswaran.

forest princess 🪷 #digitalart #rajaravivarma #desi #india

9 1 1 0
Michael
Michael
@mdstamper.bsky.social
1 year ago
"Disappointed" by Raja Ravi Varma (from India) conveys an emotional tale through expression and light. The woman is holding a letter that appears to contain heart breaking news, and the delicate play of light on her face highlights her expression of calm sadness and reflection. A moment of profound introspection and disappointment is suggested by her hand resting casually on the letter, her slightly furrowed forehead, and the distant expression in her eyes.

"Disappointed" by Raja Ravi Varma (from India) conveys an emotional tale through expression and light. The woman is holding a letter that appears to contain heart breaking news, and the delicate play of light on her face highlights her expression of calm sadness and reflection. A moment of profound introspection and disappointment is suggested by her hand resting casually on the letter, her slightly furrowed forehead, and the distant expression in her eyes.

Disappointed (aka Disappointing News) by Raja Ravi Varma (Indian) - Oil on canvas / c. 1880-1900 - Salar Jung Museum (Hyderabad, Andhra Pradesh) #womeninart #painting #indianart #artwork #fineart #rajaravivarma #salarjungmuseum #indianartist #art #artoftheday #oilpainting #bskyart #bsky.art #varma

41 0 0 1
Indian flash
Indian flash
@indianflash123.bsky.social
1 year ago

#RajaRaviVarma gallery in #thiruvananthapam in #Kerala, #india houses 134 works, including oil paintings, oleographs, and pencil sketches"
indianf.com/raja-ravi-va...

0 0 0 0
Indian flash
Indian flash
@indianflash123.bsky.social
1 year ago

the #RajaRaviVarma #Art #Gallery is a state-of-the-art facility dedicated to the masterpieces of India’s most revered artist, Raja Ravi Varma."
indianf.com/raja-ravi-va....

0 0 0 0
Indian flash
Indian flash
@indianflash123.bsky.social
1 year ago

#RajaRaviVarma #ArtGallery: A Tribute to India’s #Artistic Icon
indianf.com/raja-ravi-va...

0 0 0 0