Raja Ravi Varma was an Indian painter and artist, considered as one of the greatest painters in the history of Indian art. He is known for his amazing paintings, which revolve mainly around the Puranas and the great Indian epics, Mahabharata and Ramayana. Ravi Varma is one of the few painters who managed to accomplish a beautiful union of Indian tradition with the techniques of European academic art. This is one of the reasons why he is considered as one of the most, if not the most prominent Indian painters. Varma was also responsible in taking the Indian art all over the world with his impeccable technique. While the Europeans and other art lovers admired his technique, the laymen of India enjoyed his work for its simplicity. More often than not, Varma’s paintings highlighted the beauty of South Indian women which were admired by all. His portrayal of Hindu gods and goddesses went on to become worship material for many people belonging to the lower castes. Back then, these people were often forbidden from entering temples and thus they celebrated Varma's works, for they gave them an idea of how the deities looked inside the temple. He also managed to improve the artistic knowledge and spread the importance of art among Indian people. He achieved this by making affordable lithographs, which were accessible even to the poor. Alternatively, this also made him a household name and Raja Ravi Varma soon captured the hearts of all. Recognizing his feat, Viceroy Lord Curzon honored him with the Kaisar-i-Hind Gold Medal for his service in the furtherance of public interest.

EXHIBITION OF RARE OLEOGRAPHS OF RAJA RAVI VARMA

Oleograph, also called chromolithograph or chromo, colour lithograph produced by preparing a separate stone by hand for each colour to be used and printing one colour in register over another. The term is most often used in reference to commercial prints. Sometimes as many as 30 stones were used for a single print. The technique was pioneered in the 1830s but came into wide commercial use only in the 1860s. It was the most popular method of colour reproduction until the end of the 19th century, when more efficient techniques rendered it obsolete.

SHRI LAXMI

Laxmi, the Goddess of Wealth, is the consort of Vishnu. She is said to have sprung up from a lotus, and is represented as one of the fourteen jewels churned out of the ocean by Devas and Asuras in a mighty churning competition.

SARASWATI

Saraswati is the goddess of Learning and Music. The peacock is not only her favourite bird but also the one she always rides on. In the above picture, she is sitting on a rock in woodland scenery and is playing soft music on the Sitar.

VISHNU RIDING ON THE EAGLE

Vishnu, the principal God of the Hindu trinity, is believed to have the eagle as his favourite transportation. In the above picture, he is seen riding on the eagle with two celestial damsels.

VISHWAMITRA AND MENAKA

The above picture represents Vishwamitra and Menaka. The former was a Rishi practicing great austerities, and the latter a celestial beauty ordered by Indra to rule Vishwamitra into sin. The image depicts the manner in which Menaka uses her charm to attract the attention of the great devotee who finally fell prey to her seduction.

SHRI DATTATRAYA

Hindus believe in a trinity of God-heads. Dattatray is popularly believed to be the unification of the three chief Gods: Brahma, Vishnu, and Mahesh. Therefore, he is always painted having three heads and six arms.

THE MEETING OF HARI HARA

Hari(Vishnu) on his elephant and Hara(Shiva) on his riding bullock, meeting each other.

THE DESCENT OF THE GANGES

River Ganga was originally a dweller of the heavens. Bhagiratha wanted to bring holy waters down to purify his ancestors who were undergoing great torment for their past sins. As a reward for his great penance and asceticism, Ganga agreed to come down to Earth. However, it was feared her mighty waters would crush the. To prevent such a catastrophe, Bhagiratha called for the help of Shankara. Shankara agreed to bear the falling water on his head and shoulders and thus break the force of its downward fall. In the above picture, Shankara is shown standing tall, with his head thrown back and his chest expanded, ready to receive the torrent of falling waters. Bhagiratha and Parvati, the wife of Shankara, are watching the event with apprehension. Nandi, Shankara’s favourite bull , is also watching the scene.

MOHINI

When the Gods and the Asuras churned the ocean, they produced both nectar and a deadly poison. The Asuras being the more powerful group of the two, took the nectar for themselves. However, Vishnu assumed the disguise of Mohini(a lovely woman) and pretented to serve the nectar in due proportion to all. The Asuras were enchanted by the beauty and attractiveness of Mohini unaware of the secret plot. She served all the nectar to the Gods and it was too late when the demons found out that they had been deceived. Here, Mohini is shown enjoying the free movement of a garden swing.

AHALYA

Ahalya was an incredibly beautiful lady, and many were the suitors who sought her hand in marriage. Ahalya’s father had. However, vowed he would marry her to the man who could circumumbulate the Earth in a short span of time. On hearing this, men and Gods began a race around the world. Meanwhile, Gautama, a leared and austere man, circled round a cow giving birth to a calf. This confered him as much religious credit as one would get by travelling around the world. Thus, Ahalya was rightfully married to Gautama. However, Indra, among many Gods, returned to find to this utter dismay that he was depreived of his reward. Unsatisfied, he disguised himself as Gautama and passed the night with the beautiful Ahalya while Gautama was away. When Gautama returned the next morning, he found Indra in possession of his wife and house. Enraged, he cursed Indra with the penalty of having a thousand holes in his body, and for Ahalya to be stratified into a rock. Ahalya’s curse was put to an end only when she was touched by Rama’s feet.

BREAKING OF SHIVA’S BOW

King Janaka, the father of Sita, vowed that he would marry Sita only to a man who could break Shiva’s bow, and thus achieve the impossible. Many suitors, inclusding Ravana, were unable to achieve this feat. Howerer, Rama, son of Dasharatha, broke into two the bow of Shiva and won her hand in marriage. The above picture depicts the actual nuptial marriage scene of Rama and Sita subsequesnt to the breaking of the bow.

THE TRIUMPH OF INDRAJIT

Indrajit, son of Ravana, defeated Indra, the king of the Gods. In the above picture, Indrajit is seated on Indra’s throne, under his umbrella. Indra’s wife, Sachi, now a captive slave, is being dragged before him.

THE LOPPING OFF OF JATAYU’S WING

When Ravana kidnapped Sita, he drove away to Lanka in his mighty chariot. Jatayu, a powerful bird, was a friend to Rama and pounced upon Ravana’s chariot, breaking it into pieces. Jatayu was almost successful in rescuing Sita. However, in an unguarded moment, he accidentally revealed to Ravana that his invincibility lay in his strong wings. Ravana at once lopped off his wings one after the other. Sita, unable to witness the woeful plight of her friend, covered her eyes with her hands to hide her sorrows.

SITA IN THE ASHOKA FOREST

When Ravana took Sita to Lanka, he kept her in an Ashoka forest with a group of ugly and fearsome ogresse keeping watch. The above picture represents this part of Sita’s exile.

MEETING WITH BHARAT

Rama was sent into 14 years of exile by his step mother Kaikeyi. Bharat, the son of Kaikeyi, was, however, very fong of Rama. The above picture represents the meeting of the brothers Rama and Bharat after Rama’s exile.

HARISHCHANDRA

The life of Harishchandra is the crowning piece of Indian tragedy. Harishchandra was a disciple of Sage Vasistha, who once remarked that Harishchandra would always remain true to his word and would put honour before life. Sage Vishwamitra, Vasistha’s mortal enemy, pledged that he would someday persecute Harishchandra so brutally that he will have to consider himself defeated. One night, Harishchandra dreamt that he surrendered all his possessions, including his kingdom, to Sage Vishwamitra. On the following day, Vishwamitra demanded possession of the gift. Harishchandra, true to his word given in a dream, made over his kingdom to Vishwamitra. Vishwamitra banished King Harishchandra, Queen Taramati and their son Rohidas to Kashi, much beyond the borders of their kingdom, and demanded Dakshina. Harishchandra, his wife, and his son, were made to work for different masters. Harishchandra became the bond-slave of a Dom , the lowest outcaste known to Hindu society. The Dom ill-treated Harishchandra, and asked him to keep watch on burning ground in the dead of the night and to attend to the proper cremation of the dead bodies. Now it so happened that Rohidas was bitten by a snake while plucking flowers in a garden, leading to his death. Taramati, the former queen of Harishchandra, came to the cremation ground to set fire to the dead body of her child. There she met her royal husband, now doomed to duty as a charnel horseman.

MALADASA AND RUTHUDWAJ

Maladasa was the daughter of a Gandharva and was uncommonly lovely. She was kidnapped by a Rakshasa or a ferocious barbaric chieftainwho kept her shut up in a garden house. The Rakshasa was also in the the habit of unnecessarily annoying Rishis or hermits who were practicing religious austerities in their hermitages. These Rishis summoned King Ruthudwaj to red themselves of the tormention of the Rakshasa(demon) Ritudhavaj did as he was requested and killing the demon liberated the fair Madalasa from her captivity. This picture represents the first meeting of Madalasa with her liberator. She became the favourite queen of Ruthudwaj who had four sons by her.

DAMAYANTI AND HANSA

Damayanti was the daughter of Raja Bhimaka of the Berars. She was so beautiful that even the Gods were desirous of securing her hand in marriage. However, she oved raja Nala, the king of the Nishadhas. Nala did not know that she loved him. She despatched a Hansa(royal goose) to ascertain the state of Damayanti’s feelings towards himself. The Hansa goes to Damayanti’s pleasure garden where she catches him. In the picture she is represented as talking to the Hansa who is communicating to her the gladsome information that Nala is as deeply in love with her as she evidently with him.

DAMAYANTI NO. 2

(In a condition of love-separation). Though Nala and Damayanti loved each other, the course of their love did not run smoothly. In the picture, Damayanti is shown pining for her lover’s company.

NALA AND DAMAYANTI

After Nala and Damayanti wed, they were banished from their kingdom by Kali. In their exile in a wilderness, Nala abandons Damayanti while she is fast asleep.

DAMAYANTI NO. 4

Damayanti woke up and found that she was left all alone in the forest. She then gave vent to inexpressible grief and sorrow.

OLEOGRAPH SIZE: 10" x 14"

Shri Shankar (S. S. Bribasi)

OLEOGRAPH SIZE: 14" x 20"

Shivaji (Raja Ravi Varma)

Chitralekha (Raja Ravi Varma)

OLEOGRAPH SIZE: 20" x 28"

Shiv Panchayatan (Raja Ravi Varma)

Shakuntala Janma (Raja Ravi Varma)

Date of Birth: April 29, 1848

Place of Birth: Kilimanoor, Travancore

Place of Death: Attingal, Travancore

Profession: Painter, artist

Spouse: Pooruruttati Nal Bhageerathi Bayi Thampuratty

Children: Kerala Varma, Cheria Kochamma, Uma Amma, Mahaprabha Amma, Rama Varma

Father: Ezhumavil Neelakanthan Bhattatiripad

Mother: Umayamba Bayi Thampuratty

Awards: Kaisar-i-Hind Gold Medal (1904)