Latest news with #RaviVarma
New Indian Express
3 days ago
- Health
- New Indian Express
CAN-STOP, Rotary District 3234, join hands to create awareness
The smell of petrichor lingered in the air, and vibrant placards bearing bold messages against tobacco use welcomed visitors. This scene was experienced at Anna Nagar Tower Park on Friday as health professionals, students, and activists came together with a single message: Say 'No' to tobacco. The World Health Organisation (WHO) observes May 31 as World No-Tobacco Day, to commemorate this day CAN-STOP, a community-based organisation of Sundaram Medical Foundation Hospital, partnered with Rotary District 3234 to publicise the message. 'Tobacco usage has far-reaching consequences on our personal health and society,' mentioned Ravi Varma, a Rotary member. Earlier, in May, CAN-STOP organised a series of activities aimed at raising awareness about the harmful effects of tobacco. Free medical camps were held offering oral and general screenings, specifically targeting slum areas, gypsy communities, and metro workers. A sticker campaign was organised in central areas to raise awareness among auto drivers about the dangers of tobacco.
News18
14-05-2025
- Entertainment
- News18
Bhumi Pednekar, Ishan Khatter's The Royals Gets A Reality Check For Presenting 'Misleading' Facts
Last Updated: In a letter addressed to Netflix India, Royal Fables expressed concerns about the portrayal of royal families in the new rom-com. Netflix's The Royals, starring Ishaan Khatter and Bhumi Pednekar, may have captivated binge-watchers with its striking visuals, but not everyone is impressed. Released on May 9, the series tells the story of a sharp, modern-day CEO whose world collides with a once-glorious royal family from the fictional city of Morpur. While critics and viewers had mixed reviews, with many questioning the depth of the plot, another unexpected voice has now entered the discourse regarding the show. Royal Fables, founded by Anshu Khanna, is a platform dedicated to showcasing the real royals of India. They recently shared a post on Instagram, criticising The Royals. In a letter addressed to Netflix India, Royal Fables expressed concerns about the portrayal of royal families in the new rom-com. View this post on Instagram A post shared by Royal Fables (@royal_fables) They began the letter by saying, 'We just finished watching THE ROYALS and immediately felt the strong urge to reach out to you on behalf of the 565 Princely states of India who were portrayed fairly sweepingly in your show." Royal Fables shared that having worked with the royal families of India for 15 years, they have achieved 'not just an insider's perspective to their world but also a deep respect for Princely India's contribution to India's culture of refinement". Royal Fables mentioned how the present-day royals continue to take forward their legacy established by the erstwhile rulers, from classical music to forts, palaces and antiques. In their letter, Royal Fables pointed out the many 'false narratives" that the show put forward, which they think was a 'disservice to this world". Firstly, they mentioned that royal families aren't 'poor," and they do not sell their palaces or make money from 'bat poop". 'They are land owners and inheritors of a rich legacy that they are monetising," they added. Furthermore, Royal Fables agreed that conserving hundreds of years-old palaces is a tough task, that too, without any external help. However, the current generation of royals has taken this task upon themselves and have turned into entrepreneurs 'who nurture what they have inherited and raise money through their legit businesses". Royal Fables also pointed out that they no longer sell their paintings or cars since the abolition of the Privy Purse in 1971. Moreover, they highlighted, 'No Ravi Varma that costs hundreds of crores is ever sold," and talked about the discrepancies in the storyline when the CEO gifts a Ravi Varma painting to the Rajmata. Contrary to what was shown on The Royals, the company argued that present-day royals are 'educated and employed citizens who fight elections, become ministers, are temple patrons, hoteliers, empower women," and whatnot. Royal Fables called out the makers for glorifying the royals as not 'needing to do anything". Speaking about the lavish costumes of the women, they said, 'The royal women are also not sitting in their palaces, overdressed in bridal jewels and heavily embellished sarees. In real life, our ladies wear delicate diamonds designed by their ancestors in the Art Deco era." They criticised the show for showing the women sitting idle and also mentioned that royal art, homes, decor and dressing are 'SUBTLE". Towards the end of the letter, Royal Fables requested everyone to be sensitive to this subject and do their research and homework before using their legacy as stories. First Published:
Mint
10-05-2025
- Entertainment
- Mint
The stories of the men and women who inspired Ravi Varma
In February 1906, the 10-year-old rani of Travancore was taken to the upstairs window of an old palace. Standing below in the courtyard were two boys, one a college-goer, the other his teenaged younger brother. As she studied them, the rani was asked to select the one she liked. Her mother was keen on the older candidate—a good-looking, 'very strong" fellow—as were others at court. Indeed, the boy was so handsome and well-proportioned that the artist Raja Ravi Varma had had him model as Lord Rama for his painting, Sri Rama Vanquishing the Sea. But the rani selected the younger boy, elevating him from life as a country aristocrat into the seat of royal consort, and in the 1920s he would wield much power when his wife succeeded as Travancore's ruler. As for the older sibling, Rajaraja Varma, life had other plans: he finished college, joined the Travancore police, and spent his career in khaki shorts. Few today who admire the paintings of Raja Ravi Varma—whose birth anniversary occurred last week—think of the men and women who feature in some of his most famous paintings. His models were often just family members. In the 1890s, for example, Ravi Varma had his 20-year-old daughter pose in different ways with her baby son for the camera, using these images to produce his celebrated There Comes Papa. Also read: Aurangzeb's tomb: 'Correcting' historical wrongs is a slippery slope In 1893, this portrait of a Malayali mother, who lived in the most orthodox settings in Kerala, was viewed by audiences in faraway Chicago, as one of 10 works her father sent for an exhibition. Mahaprabha, the daughter, was deemed a great beauty in her day, and according to the artist's descendants, Ravi Varma modelled the faces of several of his goddesses on her. She looked a bit too regal, though, so he did soften her demeanour for canvas; Ravi Varma's devis are more delicate than formidable. Another well-known composition by Ravi Varma depicts the Ramayan scene where Ravana is in the process of abducting Sita, when Jatayu the vulture attacks him. As the villain of the tale cuts off Jatayu's wing, a distraught Sita is shown looking away, her palms covering her face. Finding a model for Ravana was not complicated—a rather forbidding-looking cousin of Ravi Varma's fit the bill, and he came to be known in family circles as 'Ravanan ammavan" (Uncle Ravana). Sita too, according to lore, was played by a niece. Ravi Varma asked Kunjukutty to pose with his Ravana; the latter put an arm around her waist and raised the other dramatically, triggering giggles from children nearby. An embarrassed Kunjukutty is said to have covered her face shyly at this moment. This pose struck Ravi Varma, and he chose to depict Sita the same way. Except in the painting, it is horror not bashfulness that the gesture communicates. Also read: Sati was real. But it was also great propaganda Students and disciples also posed for the artist when needed. K.N. Parameswaran Pillai, whose own oil paintings reportedly hang in the government museum in Chennai, was one such model. Pillai had a tremendous moustache and rather strong features, which made him an appropriate candidate to pose as Lord Siva for Ravi Varma's Descent of Ganga. Prints of this work were among the most popular produced by the artist's press in the 1890s and early 1900s, and exist in various collections across India. Again, most people who bow their heads before this rendition of the god are unaware that the human being in the picture was a colonial-era artist in his own right, described in 1909 as a favourite portraitist of south Indian businessmen. As one grandee wrote after Ravi Varma's death, Pillai was 'the best artist now available in South India for figure subjects". Models were also acquired for a fee, though this was often challenging. In a picture titled At the Bath, we see a woman who has accidentally strayed to the wrong bathing ghat, and quickly covers herself up when confronted by the male gaze. The composition is believed to be based on an actual incident at Ravi Varma's ancestral home. Yet the model who helped bring the image to life was not a temple attendant, as in the original story. Instead, it was a sex-worker from Hyderabad who modelled for this painting in 1902. As the artist's brother wrote, 'Myself and some friends picked up… prostitutes to select a model from." They liked a Muslim woman 'with a very charming face", though it was with 'great difficulty" that she was persuaded 'to come to our studio". 'These prostitutes," the man finished, 'readily come if called for immoral purposes, but when required for posing they raise great objections." Also read: The inconvenient 'public women' of history There was also some degree of stereotyping. For The Miser, Ravi Varma obtained the services of a Jewish man. 'We secured a Jew to sit" for the picture, diarised the artist's sibling, adding that he had a nose that was a bit too 'crooked at the tip". But that aside, 'he is a fine specimen". He was paid a rupee and a half for each day of work, and unlike the Hyderabadi 'prostitute", was apparently a pleasure to deal with; 'a good and steady model". In Udaipur, Ravi Varma had to improvise. Asked to do a portrait of the long-dead Maharana Pratap, he obtained a 'tall Rajput" as model, had him decked out in armour 'like a true knight of old", and then used existing miniatures to give the figure the historical figure's face. In the end it worked out well, and his patron was pleased. But perhaps what is most interesting is that Ravi Varma—aided by the camera—himself posed on certain occasions. An early 20th century photograph shows the artist bare-chested and with a mundu around his waist. He grasps a sword in front of him, and an attendant stands behind, holding a parasol. At a glance the image seems to depict Ravi Varma as the feudal lord he was—master of thousands of acres of land, and head of a prominent clan. Yet a comparison with his 1905 painting Victory of Meghanada reveals Ravana depicted in a strikingly similar pose. There are minor differences: the parasol-bearer is female in the painting, while the photograph shows a man. In its own way, it is amusing to think that when viewers over the last century have gazed at this picture and seen the wicked king of Lanka, they have really been looking at a version of Raja Ravi Varma. Manu S. Pillai is a historian and author, most recently, of Gods, Guns and Missionaries. Also read: When the makers of history die
NDTV
07-05-2025
- NDTV
Mysuru Travel Guide: Exploring South India's Cultural Capital Like A Local
Mysuru (still fondly called Mysore by many) isn't trying to be the next big thing — it already is, in its own quiet, royal way. Draped in history and soaked in sandalwood, this charming city gives you a regal welcome with grand palaces, age-old temples, leafy boulevards, and food that'll have you texting your friends mid-bite. Whether you're hopping in for the Dussehra festivities or just passing through on a South India itinerary, Mysuru makes it very clear: You're not leaving unimpressed. From majestic sights to homely cafes and markets bursting with colour, here's everything you need to know squeezed in a handy Mysuru travel guide to plan a trip that hits all the right notes. Here's The Ultimate Travel Guide To Mysuru: Where To Go In Mysuru: 1. Mysore Palace No surprises here — this one is the city's showstopper. The Mysore Palace is everything you'd want from a royal residence: sweeping arches, intricately carved ceilings, stained glass windows, and a light show every evening that adds drama in all the right places. Don't just walk through — look up, look around, and let your jaw drop a little. Pro tip: Try to catch it illuminated at night. It's dazzling. 2. Brindavan Gardens If symmetry had a fan club, Brindavan Gardens would be president. Located about 12 km from the city centre, these gardens next to the Krishnaraja Sagar Dam are lush, well-manicured, and surprisingly soothing. The fountain shows with music in the evening are pure old-school entertainment, but still manage to charm everyone — kids, couples, and even bored teenagers. 3. Somanathapura Temple This one's a bit of a detour (about 35 km from Mysuru), but absolutely worth it if you're into architecture, history, or just good Instagram backgrounds. The Keshava Temple here is a textbook example of Hoysala architecture — every inch is carved to perfection. Even if temples aren't usually your thing, this one will make you stare. 4. Jaganmohan Palace Another palace? Yes. But this one pulls you in with art, not drama. Jaganmohan Palace is home to one of the finest collections of traditional and modern Indian art. From Ravi Varma's paintings to intricate ivory carvings, it's a little quieter than the Mysore Palace-but just as impressive in its own right. 5. Mysore Zoo One of the oldest and most well-maintained zoos in India, the Mysore Zoo (Sri Chamarajendra Zoological Gardens) makes for a surprisingly pleasant morning. You'll see giraffes, lions, and some chirpy feathered friends, all in roomy enclosures. It's not just for kids — there's something calming about wandering through tree-lined paths surrounded by animals who don't seem entirely miserable. 6. St. Philomena's Cathedral Europe who? This Neo-Gothic cathedral stands tall with twin spires and stained-glass windows that could easily be mistaken for a church somewhere in France. It's calm, beautiful, and a lovely contrast to Mysuru's many Hindu temples. Where To Stay In Mysuru: 1. Luxury Hotels If your idea of travel includes big, plush beds and breakfasts that last until noon, Mysuru's got you covered. Grand Mercure Mysore offers spacious rooms and a rooftop pool perfect for unwinding. Radisson Blu Plaza Hotel Mysore sits right across from the Mysore Race Club and is known for its top-notch service and comfort. Another good bet is Fortune JP Palace, part of the ITC Hotels Group — elegant, well-located, and with dining that's not an afterthought. 2. Boutique Resorts Want something with a bit more character? Try Mysore County Retreat, a colonial-style villa tucked away from the chaos, with lush gardens and personalised service. SOHO The Boutique Hotel is a stylish option with modern interiors, cosy rooms, and easy access to city attractions. It's ideal for travellers who want a stay that's intimate but not basic. 3. Budget Stays Backpackers and budget-savvy travellers can crash at Zostel Mysuru — a clean, social hostel with murals, good Wi-Fi, and chill vibes. The Royal Tusker is another smart pick for those who want the hotel experience without the price tag. Rooms are basic but comfy, and the location makes it easy to zip around the city. Where To Eat In Mysuru: 1. Regional Cuisine No trip to Mysuru is complete without a proper sit-down meal of Mysore masala dosa, bisibelebath, and sweet, gooey Mysore Pak. Head to Mylari for its famously fluffy dosas (there's always a queue, and it's always worth it). RRR is legendary for its mutton pulao and thalis that fill you up without emptying your wallet. 2. Cosy Cafes Craving a latte and free Wi-Fi? Depth N Green is a great pick-vegan-friendly, full of plants, and ideal for slow breakfasts or laptop marathons. Cuppa Redifined and White Teak Coffee Roasters serve decent coffee with a side of peaceful vibes. The city's cafe scene is still catching up, but these spots have their own charm. 3. Fine-Dining Restaurants If you're dressing up and looking for a proper evening out, La Uppu at the Grand Mercure ticks all the boxes-great ambience, regional and international dishes, and top-notch cocktails. Spring at Radisson Blu is another solid bet, with multi-cuisine options and attentive service that doesn't hover. 4. Lounges & Bars Mysuru isn't exactly party central, but it does have some classy watering holes. Purple Haze is a rock-themed bar where the music's loud and the drinks are reliable. For something more polished, The Road offers craft cocktails and a relaxed vibe perfect for winding down after a long day. Where To Shop In Mysuru: 1. Local Markets Devaraja Market is as old-school as it gets. Rows of colourful stalls sell everything from jasmine garlands to turmeric-dusted vegetables. Don't forget to check out the flower section — chaotic, fragrant, and full of photo ops. Bargain a little, smile a lot. 2. Personalised Picks Want something offbeat? Look for hand-painted wooden toys from Channapatna (nearby town) and locally made soaps and oils infused with sandalwood or jasmine. These little finds are perfect for thoughtful gifts or just spoiling yourself a bit. 3. Souvenirs & Handicrafts Mysuru is famous for its silk sarees and sandalwood products. KSIC (Karnataka Silk Industries Corporation) sells authentic Mysore silk sarees with that signature golden zari border. For incense, carved sandalwood items, and rosewood inlay work, visit the Cauvery Emporium — it's government-run, so quality is guaranteed. Weather In Mysuru (Best Time To Visit Mysuru): Mysuru has a pretty pleasant climate all year round, but the sweet spot is October to March. That's when the days are balmy, evenings are cool, and the Dussehra festivities add extra sparkle. Summers (March to June) can get warm but not unbearable. Monsoon (July to September) brings lush greenery but also the occasional soggy plan. So pack accordingly! How To Reach Mysuru: By Air Mysuru does have a small airport (MYS), but flights are limited. The best bet is to fly into Kempegowda International Airport, Bengaluru, which is around 170 km away. From there, you can take a cab, bus, or train to Mysuru. By Rail The Mysuru Junction Railway Station is well-connected to most major cities in South India. Trains from Bengaluru, Chennai, and even Kochi are frequent and reliable. Plus, you get great views along the way. By Road Driving down from Bengaluru? The 3.5-hour road trip on the newly upgraded expressway is smooth and scenic. Buses are frequent too-KSRTC runs everything from deluxe coaches to budget-friendly options. Getting Around In Mysuru: Auto-rickshaws are the easiest and most flexible way to move around, but always ask for the meter or negotiate beforehand. Ola and Uber are available and fairly reliable. For a more local experience, hop onto a cycle rickshaw for short distances. And if you're feeling a little adventurous, renting a scooter gives you full freedom to zip around at your own pace.
India Today
29-04-2025
- Entertainment
- India Today
Before TV and posters, Raja Ravi Varma's prints gave Hindu gods their modern face
Whether Lord Ram or Vishnu, the heroic warriors of the Ramayana and Mahabharata, Goddess of prosperity and wealth, Lakshmi, Shakuntala of Kalidasa, the King of Baroda, or Swami Vivekananda, there is one name that brings them all under the visual memory of modern India: Raja Ravi Varma. Mythology, literature, and history took on a new life in his paintings -- one that reached from the court to the common was he who not only popularised the faces of Hindu deities in Indian households but visualised them as human beings, bringing them closer to the Ravi Varma's art not only revived traditional Indian themes but also introduced them to the Western world, blending European techniques with Indian Ravi Varma was born on April 29, 1848, in Thiruvananthapuram, Kerala. Varma's paintings require no introduction. His way of presenting Hindu gods made it possible for the common people to connect with them, so they reached Indian households on a mass in the words of Geeta Kapoor, an Indian art historian and critic, is the indisputable father figure of modern Indian art. Hindu deity Karttikeya or Murugan with his consorts on his Vahana peacock. (Image: Wikimedia Commons) It is interesting to note that the works of Raja Ravi Varma went on to touch the shores of the Western world. Verma deity paintings were exhibited in America in 1893 at the World's Columbian Exposition, Chicago, the same event where the West witnessed Swami Vivekananda's famous "brothers and sisters" paintings exhibited were dedicated to the ethnography section, a field of study dedicated to the scientific description of peoples and cultures with their customs, habits, and mutual differences. Such a placement of his art remains debated the works of other painters were exhibited in the arts section, Arbin Newmyer writes in Popular Indian Art, that it "shows the discrimination towards Varma's work. To some extent, it could be said that the work of an Indian artist wasn't wanted by the West to be given the credit." Rama and Sita, with Hanuman, and Rama's three brothers Lakshmana, Bharata, and Shatrughna (Image: Wikimedia Commons) This incident did not deter Raja Ravi Varma's work. The exhibition became the first one where the world could witness the depiction of Hindu OF WESTERN TECHNIQUES IN INDIAN ARTRaja Ravi Varma adopted European realism in a manner that made it appear as his own. The greatness of Raja Varma's work showed how he blended Western oil painting techniques with traditional Indian iconography in a profound fusion resulted in artwork that was culturally rich and strikingly lifelike, leaving an impact on generations of artists. Goddess Lakshmi by Raja Ravi Varma (Image: Wikimedia Commons) As one of the most prolific Indian artists, he is said to have created over 2,000 paintings before taking the nymph, seduces the sage Vishwamitra; Lakshmi, the goddess of prosperity, sits on a lotus flower; Vishnu sits on his steed Garuda, holding a serpent wrapped in its claws; a lady holds a fruit, looking innocent in silence -- these paintings by Raja Ravi Varma adorn the walls of many Indian homes. Particularly in the south, his prints are found in the puja room -- the room reserved for daily of Raja Ravi Varma's well-known works is Shakuntala. In this painting, she bends as if to pick something from the ground, but she is truly looking back to catch a glimpse of Dushyanta, her lover. Shakuntala lost in thoughts by Raja Ravi Varma (Image: Wikimedia Commons) The moment is drawn from the Mahabharata and shows quiet longing through a simple for his work, was given the title Kaiser-e-Hind (a medal for services to the British Raj).One of the most intriguing aspects of Raja Ravi Varma's own legacy is how his work escaped the art world and was welcomed into the realm of ordinary paintings were converted into lithographs, meaning that numerous reproductions could be produced. They circulated through towns and villages, introducing his artwork into homes, stores, and places of Ravi Varma's hand did not rest solely on the forms of gods and kings. He turned his gaze also upon the lives of common folk, painting scenes and faces known to his work, one finds women of various lands and dress, each drawn with care, showing the ways of daily life, of grace in simplicity. Galaxy of Musicians by Raja Ravi Varma (Image: Wikimedia Commons) Raja Ravi Varma's Galaxy of Musicians is a lesser-known work that shows women from different parts of India, each playing a musical instrument tied to their region. From the veena to the tabla, the scene reflects India's musical attire hints at their origin, and their faces, calm and focused, show a shared moment through THE MOST ADVANCED PRESS OF THE TIMEOn the advice of the Dewan of Travancore, T Madhava Rao, Raja Ravi Varma established this lithographic press in Ghatkopar, Bombay, in this press, he largely created paintings of Lord Rama, Krishna, characters from the Mahabharata, and other figures from Indian mythology and pictures, called oleographs, became very popular and were printed in large numbers, even after Ravi Varma's death in of his famous works, Tilotama, was also printed at the same press. This relatively unknown work later became one of the most expensive paintings ever auctioned from his collection. Painting of Tilotama by Raja Ravi Varma (Photo: Wikimedia Commons) advertisementThough it was the largest press in India at the time, it did not make money under the care of his brother, Raja Varma. By 1899, it was in debt and was sold in 1901 to Fritz Schleicher, a German technician. Schleicher kept printing Ravi Varma's works and later brought in new press ran for many years, but in 1972 a great fire burned it down, and many of the old prints were lost his legacy might raise controversy, Indian art was never the same once Raja Ravi Varma appeared on the art stretches deep into time, from the rock markings of Bhimbetka to the painted walls of Ajanta and Ellora. Under the Satavahanas, and later the Kushans, art took many forms -- stone, colour, and Gupta age brought forth grace in sculpture, remembered still. In the south, the Cholas and Pandyas carried it forward; in the north, Rajput hands did the same. Ravana, killing Jatayu who was encountering Ravana to save Seetha, wife of Sri Rama. (Image: Wikimedia Commons) Yet it was Raja Ravi Varma who brought sacred figures to the common eye, printing gods and tales upon canvas, and placing them in the homes of Manu Pillai states in his book False Allies, "He was a man of many parts. He had land and wealth, yet he held strong to his purpose. He worked with passion, was bold in thought, spoke well, made useful ties, and saw art as more than beauty -- it was a means to reach the people and shape the world around him."
