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RAJA RAVI VARMA

Raja Ravi Varma is widely regarded as one of the early pioneers of modern Indian art. He was the first Indian artist of aristocratic lineage to depict conventional themes with stunning photorealism. Ravi Varma's commissions came from princely states and prosperous professionals across British India. His legendary talent would have perhaps been limited to an affluent crowd, had he not set up a printing press.... RAJA RAVI VARMA

Raja Ravi Varma is widely regarded as one of the early pioneers of modern Indian art. He was the first Indian artist of aristocratic lineage to depict conventional themes with stunning photorealism. Ravi Varma's commissions came from princely states and prosperous professionals across British India. His legendary talent would have perhaps been limited to an affluent crowd, had he not set up a printing press. Ravi Varma's combination of artistic talent, networking abilities and farsightedness certainly saw no precedents.

Born on 29 April 1848 in Kilimanur, Ravi Varma was closely acquainted with the royal family of Travancore from a young age, and he frequently visited the Court. Under the patronage of Maharaja Ayilyom Thirunal of Travancore, he achieved fame as a portrait artist, and was highly sought after among the Indian royalty, nobility and British aristocrats living in India. It was the Maharaja who encouraged Ravi Varma to learn and try his hand at oil colours- he was one of the first Indian artists to do so, employing Western techniques of perspective and composition and adapting them to Indian subjects, styles, and themes. Along with his younger brother Raja Raja Varma, the intrepid artist travelled across India, acquiring commissions from influential and affluent patrons everywhere they went-as seen in the present lot, a portrait of HH Raja Shrimant Narayan Rao Puar of the princely state of Dewas (Junior).

A TALE OF TWO RAJAS

Narayan Rao Puar became the raja of the tiny little state of Dewas (Junior) a few years after his father died in 1864. Born in 1860, he grew up to be a natty young man if this photograph taken by Raja Deen Dayal, circa 1884, is any indication. Narayan Rao was in his twenties at the time and in the prime of his youth. During Ravi Varma's relentless criss-crossing of central India, it is likely that he would have met Narayan Rao in Indore, some 30 miles from Dewas, or perhaps, even in Dewas in the company of Deen Dayal.

Deen Dayal and Ravi Varma were friends and the possibility that this portrait was made during or just after the photography session is strong. Certainly the portrait was made between 1884 and 1890. A photograph that was taken later in 1890 shows a decadent, untidy looking Raja without the dash and swagger that he showed in the painting and in the earlier photograph taken by Raja Deen Dayal in 1884.

Ravi Varma had the ability of refining and softening facial expressions of a sitter in a remarkable way that always made the sitter appear better looking than in real life. Most realistic portrait painters of the 18th and 19th centuries did try to do so, especially when a portrait was commissioned and pleasing the patron was an important issue. The slight coarseness of features that is discernible in the Deen Dayal photograph is quite missing in Ravi Varma's portrait of Narayan Rao, for in the painting he has the semblance of a singularly handsome man.

In this portrait, the dashing Narayan Rao appears quite dapper in his butterfly turban,' his carefully combed hair and his neat upturned moustache. Despite his many jewels, his brocade tunic and his regal manner, the painter has nonetheless managed to suggest sensuality, which Narayan Rao would have had if appearances are anything to go by. But such a quality is apparent even in the photograph of 1884.

Dewas was a state patronised by the British who enjoyed pomp and ceremony. In the portrait, Narayan Rao wears two large metals that the British routinely handed over to the rajas and princes they cultivated and which the royalty wore with pride. The Empress of India medal is on display in Narayan Rao's portrait, slightly covering the medal that commemorated the visit of the Prince of Wales. Narayan Rao obviously wore these innocuous medals with pride as they are visible in the 1890 photograph as well.

But once the British left and India declared its independence, the less significant princes were left without moorings, especially when they lost their privy purses. Their comfortable lifestyle was now severely jeopardised. Treasures, art, jewellery and palaces were sold and irrevocably lost to the owners. Narayan Rao's portrait went along with the goods and chattels and was lost to history for a long time.

Many decades later it was cleaned and restored as it was in a filthy condition. The varnish had naturally darkened with time and the original colours were covered by an even brown tone of grime and varnish. There was some flaking on one side. Discovering the pink silk of Narayan Rao's sash foppishly wrapped around his blue velvet brocade tunic was a pleasure, as much as thick paint turned into zardosi and his pearls trailing over his chest. The single golden anklet seen in the portrait was obviously a favoured piece of jewellery since it is discernible in the later photograph of 1890 as well. The trademark tilak on the forehead is apparent in the painting and in the photographs.

The 15 gun salute, the pomp and ceremony are now gone. But objects and articles of that era move around, existing out of context and without contact with their original owners. This portrait of HH Meherban Raja Shrimant Narayan Rao (Dada Sahib) Puar of Dewas (Junior) is one such remnant of the past that is no more.

- RUPIKA CHAWLA

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