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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
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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
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Kojamo Acquires Extensive Housing Portfolio to Drive Rental Growth #Finland #Kojamo #Helsinki #Varma #Lumo_Kodit
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Ydinpointit tuosta Wahlroosin rahantekokonetta koskevasta artikkelista: "Kyseessä on vakuutuksilla, etenkin lakisääteisillä vakuutuksilla, vaurastumisen lyhyt oppimäärä. Vuosilta 1997 – 2018. Vaihe 1 Hoidetaan omien tulevien päätoimialojen laillisuusvalvonta mieleiseksi. Vaihe 2 Hyödynnetään olemassa olevaa infrastruktuuria täysimittaisesti. Vaihe 3 Nautitaan työn hedelmistä täysimääräisesti ja niin sanotusti laillisesti Vaihe 4 .. puf – paf. Tämähän taisi olla vain unta. Tosin varsin todentuntuista. Hymiö." Tuo Wahlroosin ekosysteemin menestysresepti liittyy näihin kahteen kysymykseen, joita ei olla vielä(kään) kuultu pää- taikka taloustoimittajien suusta: Valtiovarainministeri Purralle: 1. "Miten ja milloin valtiovarainministerinä saksisitte vakuutusyhtiöt irti yhteiskunnan kukkaroilta?" Talousvaikuttaja Wahlroosille: 2. "Suostuisitteko talousvaikuttajana siihen, että valtio saksiinnuttaisi Sampo/If Vakuutus/Varma/Mandatum-yhteenliittymän irti valtion kukkaroilta?" Tässä tiedot mobiiliflaijerissa mainittuihin artikkeleihin: Björn Wahlroos Julkaistu: 19 elokuun, 2016 Uskaltaako edes Björn Wahlroos laukoa auki oman lähihistoriansa avainkohtia? https://suomi2017.wordpress.com/2016/08/19/bjorn-wahlroos/ Nelikanta Wahlroos Julkaistu: 15 huhtikuun, 2015 Suomen todellisen hallintamuodon tuominen päivänvaloon etenee hitaasti. Edes Björn Wahlroos ei uskalla sanoa oikeaa tilannetermiä, joka on korporatismi. https://suomi2017.wordpress.com/2015/04/15/nelikanta-wahlroos/ Luottamus Julkaistu: 15 huhtikuun, 2013 Rahan arvo perustuu luottamukseen. Kaupankäynti ja merenkulku perustuvat luottamukseen. Osakkeen arvo perustuu myös luottamukseen https://suomi2017.wordpress.com/2013/04/15/luottamus/
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Menestysresepti, joka on ainakin Wahlroosin ekosysteemin kohdalla toiminut hyvin.
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"Näin rahasampo luodaan ja pidetään käynnissä"
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suomi2017.wordpress.com/2019/02/12/n...
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#rahasampo
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Sama meno on jatkunut ainakin yli 25 vuotta. Meno on tainnut mennä vieläkin enemmän kafkamaiseksi?
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"Työkyvyn arviointi tulisi siirtää pois kasvottomilta tahoilta"
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#vakuutuslääketieteellinenarvio
#työkyvyttömyys
Entä #Kela #Varma #Ilmarinen #PCAmenetelmä tulokset 2005?
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#AHMAD #SHAMLOU
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Raja Ravi Varma wikipedia.org commons.wikimedia.org Kali Half-clothed Tilottama flying in the sky playing with a red Wellcome Lakshmi Matsya Avatar of Vishnu Murugan Lord Garuda Taraka Ramayana God...
#raja #ravi #varma
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Indian artist Rukmini Varma paints a “lady of noble lineage, possibly a princess,” echoing her legendary great-great-grandfather Raja Ravi Varma’s 1894 "Nair Lady With a Mirror." The mirror theme is a way to explore how royal and elite women of Travancore fashioned themselves in private: arranging hair, choosing jewelry and quietly judging the image they present to the world. A young South Asian woman with brown skin fills the canvas from chest up, turned slightly while checking herself out in a oval hand-mirror with an ornate gold frame with a focused sidelong gaze. Dark, wavy hair spills over her shoulders as she lifts a gold forehead ornament into place along her hairline. Her large kohl-lined eyes, arched brows and soft red lips are rendered with precision. Dense gold jewelry including a broad gem-set necklaces, pearl strands, armlets, bangles and rings encircles her neck, chest and arms over a bodice edged in pearls. A dark, softly blended background throws her illuminated skin, hair, ornaments and mirror into focus, turning a routine moment of grooming into an intimate close-up. Painted in Bengaluru in 2018, when Varma was in her late seventies, the work belongs to a mature period in which she balanced studio time with leading the Raja Ravi Varma Heritage Foundation, researching, documenting and exhibiting her ancestor’s art. Born in 1940 as Princess Bharani Thirunal Rukmini Bayi, granddaughter of Maharani Sethu Lakshmi Bayi, she grew up between palace traditions and post-independence Bengaluru, absorbing stories of court life and how images of gods and royals shaped public ideas of beauty and power. The young woman's composure, heavy jewelry and gaze into the mirror allude to the splendor and constraint of royal womanhood, while the act of adjusting her own adornment suggests agency and self-fashioning. Varma preserves a familiar ideal of South Indian femininity yet infuses it with familial history and a belief that women are authors of their own image.
"Lady With a Mirror" by Rukmini Varma (Indian) - Oil on canvas / 2018 - Sandeep & Gitanjali Maini Foundation (Bangalore, India) #WomenInArt #RukminiVarma #Varma #WomensArt #WomanArtist #WomenArtists #art #ArtText #BlueskyArt #SandeepGitanjaliMainiFoundation #IndianArt #SouthAsianArt #IndianArtist
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#Elisa takoo voittoa ja silti ilmoitti jätti-irtisanomisista muutosneuvotteluilla.
Elisan suurimmat omistajat: #Solidium (valtio), suuret #InstitutionaalisetSijoittajat, kuten #BlackRock ja #TheVanguardGroup, Inc..myös eläkevakuutusyhtiöt, kuten #Keskinäinen, #Ilmarinen ja työeläkeyhtiö #Varma
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Varma entra en el ranking de las mejores empresas para trabajar en Europa en 2025 #MejoresEmpresas #Trabajo2025 #RankingEmpresas #Varma #TrabajoEnEquipo
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Suomalaisilla työeläkeyhtiöilläkin on palestiinalaisten verta käsissään. Hirviöt!!
" #Työeläkeyhtiöt #Varma #Elo ja @ilmarinen.fi ovat sijoittaneet suomalaisia eläkevaroja kansainvälisiin yhtiöihin, jotka toimivat Israelin siirtokunnissa palestiinalaisalueilla ja ovat YK:n “mustalla listalla”.
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"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
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Cash row: SC objects when lawyer refers Justice Varma simply as ‘Varma’ #Cash #SC #JusticeVarma #Varma #socialnewsxyz
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Varma firma un acuerdo para distribuir en exclusiva Kick The Rules, la marca líder de cremas con tequila en España #Tequila #CremasConTequila #Varma #KickTheRules #AcuerdoExclusive
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Varma asume la distribución exclusiva de Kick The Rules en España tras un acuerdo con Lasil Exclusive Brands #Varma #KickTheRules #tequila #cremasdeTequila #LasilExclusiveBrands
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Richard E. Grant, Varada Sethu and Indira Varma Join BBC Period Drama ‘The Other Bennet Sister’ Star Wars alumni Richard E. Grant, General Pryde in Star Wars: The Rise of Skywalker, Varada Seth...
#Film, #Music #& #TV #Indira #Varma #Richard #E. #Grant #Varada #Sethu
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Richard E. Grant, Varada Sethu and Indira Varma Join BBC Period Drama ‘The Other Bennet Sister’ Star Wars alumni Richard E. Grant, General Pryde in Star Wars: The Rise of Skywalker, Varada Seth...
#Film, #Music #& #TV #Indira #Varma #Richard #E. #Grant #Varada #Sethu
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