Notable work;;;AwardsSignatureRaja Ravi Verma (29 April 1848 – 2 October 1906) was a celebrated Indian painter and artist. He is considered among the greatest painters in for a number of aesthetic and broader social reasons. Firstly, his works are held to be among the best examples of the fusion of European techniques with a purely Indian sensibility. While continuing the tradition and aesthetics of Indian art, his paintings employed the latest European techniques of the day. Secondly, he was notable for making affordable of his paintings available to the public, which greatly enhanced his reach and influence as a painter and public figure. Indeed, his lithographs increased the involvement of common people with fine arts and defined artistic tastes among common people for several decades.
In particular, his depictions of Hindu deities and episodes from the epics and have received profound acceptance from the public and are found, often as objects of worship, across the length and breadth of India. Raja Ravi Varma was closely related to the royal family of of present-day state in India. Later in his life, two of his granddaughters were adopted into that royal family, and their descendants comprise the totality of the present royal family of Travancore, including the latest three Maharajas (, and ). Varma's sister-in-law, Senior Rani of (or ), who adopted Varma's granddaughters in 1900 CERavi Varma was the son of Ezhumavil Neelakanthan Bhattatiripad and Umayamba Thampurratti. His mother Uma Ambabayi Thampuratty (or Umayamba Bayi Thampuratty) belonged to the baronial family which ruled the Kilimanoor within the kingdom of.
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She was a poet and writer of some talent, and her work Parvati Swayamvaram was published by Varma after her death. Ravi Varma's father was a scholar of and and hailed from the district in Kerala. Ravi Varma had three siblings, a sister named Mangala Bayi and two brothers named Goda Varma (born 1854) and (born 1860).
The last-named was also a painter and worked closely with Ravi Varma all his life. In 1866, at the age of 18, Varma was married to 12-year-old Bhageerthi Bayi (known formally as Pooruruttati Nal Bhageerathi Bayi Thampuratty) of the royal house of, another major of Travancore kingdom. Notably, the house of Mavellikara was a branch of the Royal House of Travancore. Bhageerthi was the youngest of three sisters, and both of her elder sisters had been adopted into the royal family of Travancore in 1857 in order to carry on the lineage. They were known as the Senior and Junior Rani of Attingal, and in their progeny was vested the succession to the throne of Travancore. Therefore, Ravi Varma's connection to the royal family became very close due to his marriage with Bhageerthi.
Indeed, his children (because they belonged to their mother's family) would be royal by birth. The marriage, which was arranged by the parents in the proper Indian manner, was harmonious and successful.
The couple were blessed with five children, two sons, and three daughters. Their elder son, Kerala Varma (b.1876) was of an excessively spiritual temperament. He never married and eventually renounced the world, leaving home for good in 1912. The younger son, Rama Varma (born 1879), inherited his father's artistic talent and studied at the,.
He was married to Gowri Kunjamma, sister of, and became the father of seven children. It was however Ravi Varma's daughters who were singled out by destiny for greatness, although not in the field of art, nor personally, but through their daughters. The three daughters of Ravi Varma and Bhageerthi Bayi were Mahaprabha Amma (who features in two of Varma's most famous paintings), Uma Amma (named after Varma's mother) and Cheria Kochamma.
In 1900 CE, the Royal House of Travancore once again faced a succession crisis. Bhageerthi's two elder sisters, who had been adopted in order to carry forward the lineage, had failed to produce the desired heirs.
They had had six children between them, but only two of those had survived, and both were boys (who also, incidentally, later died childless). According to the system, the succession to the throne could only progress through females, and therefore it was necessary to make an adoption. Tradition dictated that two girls belonging to branches of the Royal Family be adopted together. They would be designated the Senior and Junior Rani of Attingal, and the succession to the throne of Travancore would be vested in their progeny, in accordance with the unusual and unique system of succession. Two of Varma's grand-daughters were marked by destiny to receive this honour, the main reason being that they were the nearest matrilineal kin to the incumbent Rani of Attingal. In August 1900, Mahaprabha's eldest daughter Lakshmi Bayi (aged 5 years) and Uma's eldest daughter Parvati Bayi (aged 4 years) were adopted into the Royal family of Travancore. It was, their surviving grand-aunt, who formally adopted them.
She died within one year of doing this, and the two girls were then installed as the Senior and Junior Ranis of respectively. They were married while yet in their early teens to two gentleman from suitable aristocratic families. It was the Junior Rani, who gave birth to the much-awaited heir in 1912, exactly a day after her sixteenth birthday.
Incidentally, her husband was a grand-nephew of Raja Ravi Varma and belonged to. The newborn child was the future Maharaja, the last ruling. He was followed by a brother (the future Maharaja ) and a sister, the mother of Maharaja who is presently on the throne (since 2013). Meanwhile, the Senior Rani (, daughter of Mahaprabha Amma, and Regent in the period 1924-31) also gave birth to two daughters later in life (in 1923 and 1926). In this way, the entire present (existing) royal family of is descended from Raja Ravi Varma. Well-known among his royal descendants are the writers and, the artist and the classical musician.
Art career Varma was patronised by, the next and began formal training thereafter. He learned the basics of painting in. Later, he was trained in water painting by Rama Swami Naidu and in by Dutch portraitist Theodor Jenson. The studio used by Varma during his stay at theThe British administrator was significant in promoting the careers of Varma and his brother. Varma received widespread acclaim after he won an award for an exhibition of his paintings at in 1873. Varma's paintings were also sent to the held in Chicago in 1893 and he was awarded three gold medals.
He travelled throughout in search of subjects. He often modelled or women, whom he considered beautiful. Ravi Varma is particularly noted for his paintings depicting episodes from the story of and, and and, from the. Ravi Varma's representation of 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 but his work remains very popular in India. Many of his fabulous paintings are housed at. Raja Ravi Varma Press.
Ramanadha Rao and sonApparently on the advice of the then Dewan (Prime Minister) of, Ravi Varma started a lithographic printing press in, Mumbai in 1894 and later shifted it to Malavli near, Maharashtra in 1899. The produced by the press were mostly of Hindu gods and goddesses in scenes adapted mainly from the, the and the. These oleographs were very popular and continued to be printed in thousands for many years, even after the 1906 death of Ravi Varma. The Ravi Varma press was the largest and most innovative press in India at that time. The press was managed by Varma's brother, Raja Varma, but under their management, it was a commercial failure.
By 1899 the press was deeply in debt and in 1901, the press was sold to his printing technician from Germany, Fritz Schleicher. Schleicher continued to print Ravi Varma's prints but later employed less talented artists to create new designs. Schleicher also broadened the product of press to include commercial and advertisement labels. Under the management of Schleicher and his successors, the press continued successfully until a devastating fire destroyed the whole factory in 1972. Many of Ravi Varma's original lithographic prints were also lost in the fire.
Raja Ravi Varma on a 1971 stamp of IndiaIn 1904, on behalf of the British King Emperor, bestowed upon Varma the. A college dedicated to was also constituted in his honour at,. Raja Ravi Varma High at was named after him and there are many cultural organizations throughout India bearing his name. In 2013, the crater Varma on was named in his honor. Considering his vast contribution to, the Government of Kerala has instituted an award called, which is awarded every year to people who show excellence in the field of art and culture. On his 65th death anniversary, India post issued a commemorative postal stamp depicting Ravi Varma and his famous painting 'Damayanti and Swan'Legacy Raja Ravi Varma is sometimes regarded as the first modern Indian artist due to his ability to reconcile Western aesthetics with Indian iconography.
The Indian art historian and critic wrote,Ravi Varma is the indisputable father figure of modern Indian art. Naive and ambitious at the same time, he opens up the debate for his later compatriots in the specific matter of defining individual genius through professional acumen, of testing modes of cultural adaptation with idiosyncratic effect, of attempting pictorial narration with its historic scope.Similarly, Baroda School artist also wrote about Ravi Varma as a modern artist. In his essay 'Ravi Varma in Baroda,' Sheikh asserted that Varma was a key figure in the establishment of Indian modern art, claiming that 'the story of contemporary Indian art was never the same after Ravi Varma had entered it. He left his imprint on almost every aspect of it.'
Like Kapur, Sheikh praised Ravi Varma's integration of Indian and Western aesthetics and techniques, comparing him favorably to Indian modernist.However, Ravi Varma's legacy is controversial. Fellow Baroda School artist and art historian saw Ravi Varma in a less favorable light, derogatorily referring to him as kitsch and claiming Varma's work was less spiritually authentic than folk art and tribal art. He argued that Ravi Varma was responsible for the 'vulgarity' of popular art, comparing Varma's work to the lurid colors and sexuality of popular images in calendar art and films.Despite his controversial legacy, Ravi Varma continues to be an important figure for modern and contemporary Indian artists. For example, celebrated modern artist recreated Ravi Varma's in her video installation Unity in Diversity to interrogate Ravi Varma's idealistic nationalism and critique the 2002 riots in Gujarat. Similarly, contemporary artist recreated several Ravi Varma paintings with herself as the subject to deconstruct Ravi Varma's idealized depictions of goddesses and Indian women.List of major works The following is a list of the prominent works of Ravi Varma.
Mohini playing with a ball. Yashoda and Krishna. Village Belle. Lady Lost in Thought. Talking to a. The Orchestra. and.
The heartbroken. Player. Lord as Ambassador., a bird devotee of is mauled by. Victory of. The gypsies.
A Lady Playing. Lady Giving Alms at the Temple. Lord Rama Conquers. Woman. Romancing Couple. Dreading to Meet.
and. Shakuntala Composing a Love Letter to King. Girl in Sage Kanwa's Hermitage (Rishi-Kanya). of.
Sri Shanmukha Subramania Swami. Woman holding a fan. 3D painting of The Mysore king in a horseavailable at the Mysore palace. Noblemen of Travancore Pillai of KandamathIn popular culture.
director Sivalingam has designed a saree with 11 paintings of Varma which entered into the as the most expensive saree in January 2008; it is called a vivaha pattu, and costs around 40 lakhs. It features Varma's 'Lady Music' painting. The saree weighs around 8 kg and took almost a year to manufacture for. filmmaker directed a movie on the life of Varma which was released in 2014 in which played the role of the artist. Indian director made a Malayalam movie named ( The Mist of Capricorn) in 2010, which narrates Varma's life at a certain stage in his life. Indian director/cinematographer played the lead role of Varma. The Marathi textbook of the Maharashtra State Board contains a chapter titled 'अपूर्व भेट' meaning 'A Meeting Like Never Before' portraying Varma meeting.
It has been edited from the novel 'राजा रविवर्मा (Raja Ravi Varma)' written. Joshi, Om Prakash (1985). Sociology of Indian art. Rawat Publications. P. 40. K.R.N.
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Cambridge University Press. Pp. 69, 193, 208. Kilimanoor Chandran, Ravi Varmayum Chitrakalayum(in Malayalam), Department of Culture, Kerala, 1998. Vadodara, Lakshmi Vilas Palace.
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Art Gallery of New South Wales. Retrieved 22 August 2019.External links Wikiquote has quotations related to:has media related to.