Raja Ravi Varma Collections Ground Floor

Mohini and Rugmangada Preparatory Sketch

Mohini Rugmangada Raja Ravi Varma- Oil on Board 23.5cm x 34cm

Mohini and Rugmangada Preparatory Sketch

Mohini Rugmangada (Oil on Canvass,1899 57” x 74”)

Rugmangada is a devout and religious king and is perceived as a threat by the Gods who seem to be constantly insecure. They sent the beautiful apsara - Mohini to him with the instructions that she must trap him in to some form of behaviour not befitting kind of man he is. He becomes besotted with Mohini and is prepared to do anything she asks of him. She demands that he have to make a choice between the breaking of an important religious belief and the killing of his young son. Rugmangada declares that he could not displease his God by violating religious values and prepares to sacrifice his son who is as noble as his father is willing to die. The painting has been laid out like the scene from the Attakatha itself. Rugmangada is in torment with sword in one hand and the other hand on his chest looking heavenwards for help. Mohini imperiously asks him to make the choice, the willing son gesturing towards his throat the mother who has fainted.

Mohini Rugmangada Oil on Canvas

Hamsa Damayanthi (Oil On Canvas 1899, 71” X 45”)

The scene is taken from Nalacharitham Attakatha by Unnayi Varier one of the great 18th century Attakatha writers in Kerala. Damayanti is considered as the noblest heroine in Indian literature and “jewel among beauties”. Nala the glorious king of Nishada falls in love slight unseen, with Damayantis beauty and the essence of what she was, as conveyed to him by the sage Narada. He yearns to meet this extraordinary woman. While contemplating on her virtues he sees a beautiful golden swan in the garden and catches it. He releases it at the swan’s request. The swan too, talks about Damayanti, the daughter of King Bhima of Vidharbha and agrees to intercede on Nalas behalf. Damayanti was already in love with Nala having heard much about him. She in her turn begs the swan to inform Nala about her love. In the painting the woman and the bird exchange confidences.

Hamsa Damayanthi (Oil On Canvas)

Droupadi at the Court of Virat (Oil on canvas 1897, 54”x78”)

The scene is taken from Keechaka vadham Atta katha. When Draupadi reaches the smitten Keechaka, he pleads for her love. Escaping from Keechaka, Draupadi runs strait to the court where Virata is seated with his wife Sudeshna and the courtiers. She filings herself before him and asks protection. In this painting, the placement of all characters suggests high drama fought with dire consequences. Draupadi begs for help from Virata, Dharmaputhra, her husband, disguised as kanka the court Brahmin is torn between the need to protect her and his ability to reveal their identity for he would be lost and their exile would start again if they were recognised. His gestures of comfort are to no avail. Sudeshna looks annoyed at Sairandhri’s audacity – while Virata has the appearance of being both helpless and embarrassed since he cannot take any action against his powerful brother in law Keechaka who gloats to one side of the painting.

Droupadi at the Court of Virat

Birth of Shakunthala- Raja Ravivarma Press-1894 - Chromo-lithograph

Birth of Shakunthala

Sakunthala with Sakhi

Sakunthala with Sakhi Ravi Varma Press Chromolithograph

Sakunthala with Sakhi

Sakunthala (Oil on canvas 1898, 82” x 53.5”)

The scene is taken from ‘Abhijnana sakunthalam’ by Kalidasa. Sakuntala, the love child of Viswamithra and Menaka has been born. Both parents reject her. Menaka return to her duties at Indras court in the heavens and Viswamithra to his penance, which had been disturbed by Menaka. Sakuntala is protected by the birds of forest and found by the sage Kanwa who adopts her and takes the baby to his hermitage. Since she had been protected by Sakuntas – the birds he called her Sakuntala. Sakuntala grows up to become a beautifully young woman. One day, the King Dushanta while hunting in the forest arrivrs at the hermitage. Both he and Sakuntala experience a powerful attraction to each other.

Sakunthala ( Oil on canvas )

Rama Breaks The Bow

Rama Breaks The Bow - Ravi Varma Press Chromolithograph

Rama Breaks The Bow

Rama Breaking The sacred bow of Siva Before his marriage with Sita (Water Colour 1905, 22” x 17”)

The water colour sketch was sent to Mysore for the purpose of showing the Maharaja how Ravi Varma intended to display the large paintings commissioned for the Durbar Hall.

Rama Breaking The sacred bow of Siva Before his marriage with Sita ( Water Colour )

Milk Maid (Water colour )

Milk Maid (Water colour, 1904, 21” x 15”)

Milk Maid ( Water colour )

Head Peon (Water colour, Undated, 23” x 17.5”)

Head Peon ( Water colour)

Mysore Khedda (Oil on canvas 1906, 25” x 45”)

In 1905 Ravi Varma was called back by the Maharaja of Mysore to accompany the Prince of Wales, the later king George V who was expected in the Khedda operations in Mysore forests and Ravi Varma was to be a member of the retinue. He was given a car by the ruler, one of the very first imported in to the century and entertained to every luxury. During the excursion in January the artist captured several scenes of the Khedda in a series of paintings.