Latest news with #RaviVarma
Hans India
09-07-2025
- Entertainment
- Hans India
Reimagining art without borders
Gitanjali Maini has long been a force in India's art world — not just as the founder of Gallery G, but also as the Managing Trustee of the Raja Ravi Varma Heritage Foundation. Now, with her travelling exhibition initiative 'On the Go', she's rewriting how art is accessed, experienced, and embraced across the country. The inspiration, she shares, came from an observation. 'We started noticing that many people who genuinely love art often miss major art fairs — either due to geography or timing,' she says. 'That sparked the idea: what if we brought serious exhibitions to them?' With 'On the Go,' she is making art mobile — and meaningful. 'The hope is that this motivates them to engage more deeply with the larger art world.' Curating each edition isn't about pitting tradition against the contemporary, she insists, but about drawing threads between them. 'We curate through connection — not contrast,' she says. 'A Ravi Varma might sit beside a contemporary abstraction, and both speak to storytelling in their own way. We don't draw hard lines between eras — we seek emotional and visual resonance.' That approach finds a natural home in Hyderabad, the latest stop for the initiative. 'It's a city where a Ganapati Hegde can sit next to a Gaitonde, who can be alongside an MF Husain — without dissonance,' Maini explains. 'The city embraces both legacy and bold expression with equal warmth. We felt its collectors and viewers would truly appreciate the dialogue between the old and the new.' Balancing such a legacy is something Maini knows intimately. As the steward of Raja Ravi Varma's artistic heritage, she is conscious of honouring his cultural significance without letting it fossilize. 'There's rightly a deep reverence for Ravi Varma — not just because he painted gods and goddesses, but because of his discipline, dedication, and sharp contemporaneity,' she notes. 'At the Foundation, we're not only preserving the visual archive but also celebrating the values behind it — rigour, vision, and cultural intuition — qualities we also nurture in younger artists.' This commitment to layered storytelling continues in the Hyderabad showcase, which ranges from Tanjore paintings to silver-filigree furniture. 'Even in heritage furniture, there's craftsmanship, symbolism, and layered history waiting to be rediscovered,' she explains. 'That's why we brought in a historian like Manu S. Pillai — to trace the stories behind these pieces and reframe them for a modern audience.' Their collaboration led to a special session titled 'Art as History,' where Pillai explores artworks not just as visual pleasures but as living, historical narratives. 'Manu's perspective beautifully merges culture, power, and history — which aligns with how we view art objects: as living testimonies,' Maini adds. Over the years, she has seen a distinct evolution in Indian audiences. 'Earlier, art was largely transactional or aesthetic,' she observes. 'Today, we see buyers wanting to understand provenance, technique, conservation, and value appreciation. The audience is sharper, younger, and often more emotionally invested — and that's deeply encouraging.' Through Gallery G and the Sandeep & Gitanjali Maini Foundation, she has also mentored scores of emerging artists — and what she seeks in them is not just skill, but intention. 'Clarity of vision, not just technique, is what draws me,' she says. 'I'm drawn to artists who know what they're trying to say and why — those who are rooted, yet not afraid to experiment. Grit, discipline, and a willingness to grow beyond ego matter just as much as brushwork.' Maini's work has also connected her to an international circuit of curators, collectors, and museums — a space she believes Indian artists must actively engage with. 'International visibility is no longer optional — it's essential,' she asserts. 'Indian artists are not just participants; they are redefining narratives globally. But that visibility must be strategic and sensitive — not performative. It's about context, not just geography.' What's next for 'On the Go'? Maini reveals that Coimbatore and Raipur are the next Indian cities in the lineup — and London is on the horizon. 'Each city brings its own rhythm and context,' she says, 'and we're excited to adapt accordingly.' As a woman navigating the intersections of heritage, commerce, and leadership, Maini admits the journey has had its unique challenges. 'Of course. You're often navigating rooms that weren't built for you,' she reflects. 'But instead of pushing back, I've focused on building my own — where integrity, collaboration, and clarity of purpose define leadership. That's what sustains me — not just as a woman, but as a professional.' With 'On the Go,' Gitanjali Maini is not just moving art across cities — she's shifting the conversation itself. One that's as inclusive as it is incisive, and as rooted in legacy as it is eager to write the future.
Indian Express
25-06-2025
- Indian Express
ATS arrest in May: Engineer held for ‘passing on sensitive documents to Pak operatives' seeks bail
A 27-year-old engineer, arrested in May by the Maharashtra Anti-Terrorism Squad (ATS) for allegedly passing on sensitive documents related to the Indian Naval dockyard to a Pakistani Intelligence Operatives (PIOs) through social media, has sought bail stating that his prolonged detention will prejudice his personal and professional life. The engineer, Ravi Varma, who was working with a private defence technology company, was arrested by the ATS on May 28, which alleged that he had shared sensitive and confidential information through WhatsApp between November 2024 and March 2025. 'It is respectfully submitted that the investigation in the present case appears to be substantially complete. The primary evidence including the applicant (Varma)'s mobile phone, containing the alleged WhatsApp chats, audio files, images and documents, has been seized, thoroughly examined and extracted by the investigating agency… The continued incarceration of the applicant is no longer necessitated for any further custodial interrogation or recovery of evidence,' the bail plea filed by Varma states. It adds that he has extended full cooperation with the investigators through the interrogation and there is no likelihood of him absconding or fleeing or tampering with the evidence, given that key electronic evidence is already secured. 'That the allegations, while serious, are subject to proof beyond reasonable doubt during the trial. The applicant maintains his innocence and reserves the right to present his defence at the appropriate stage… that the applicant is a young professional employed as a junior service engineer, and his prolonged detention would severely prejudice his personal and professional life without serving any larger investigative purpose,' the plea filed through lawyer Rajhans Girase said. The lawyer said that the case will be heard next on July 1. The ATS after arresting Varma had claimed that the PIOs had posed as women to lure him and they communicated for months, following which he sent documents of restricted areas in the Indian Navy dockyard that he had access to through the company where he was working.
New Indian Express
02-06-2025
- 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
