HOW TO UNDERSTAND THE RAJASTHANI MINIATURES

Let the very syllable shimmer on the tongue, a whisper carried on the desert's breath, instantly unfurling in the mind's eye a breathtaking panorama. Imagine a tapestry woven with threads of sun-baked ochre and the deepest indigo of twilight skies, resonating with the joyous cacophony of a thousand whirling skirts and the rhythmic beat of ancient drums at vibrant festivals. 
Vasant Ragini, Ragmala Paintings

Rajput, Kota, Rajasthan. Opaque
watercolour with gold on paper.

For this storied land, steeped in the legendary valour of Rajputana's heroes, has long been a fertile sanctuary, a vibrant heart pumping the very lifeblood of Indian painting across the ages. 

Here, art is not a cloistered relic confined to hushed gallery walls, but a living, breathing entity, adorning the very soul of the landscape and its people. 

Picture the sun-drenched courtyards, where the vibrant hues of rangoli dance underfoot, the very walls of homes whispering ancient tales in the eloquent language of pigment and line, each delicate brushstroke a testament to the boundless wellspring of creativity that has forever blossomed within these desert abodes.

The Art of the Miniatures

Behold these exquisite jewels, held delicately within the palm, each a meticulously crafted universe, a window into realms both earthly and divine. These are perhaps the most intimate and captivating whispers of Rajasthan's profound artistic spirit, a unique and luminous bloom in the sprawling, fragrant garden of Indian art. From the nascent dawn of the sixteenth century, a chorus of distinct artistic voices arose, each a school of painting unfurling its petals in its own inimitable hue and form. Lean in closely, and you can almost hear their venerable names echoing across the corridors of time: the regal and majestic Mewar, the spirited and dynamic Bundi-Kota Kalam, the grand and opulent Jaipur, the serenely luminous Bikaner, the dreamlike and ethereal Kishangarh, and the boldly expressive Marwar. These names, like resonant echoes of ancient kingdoms and their noble patrons, indelibly mark the very soil where these rich artistic traditions took root, flourished, and continue to inspire.

Ragmala Paintings

Consider the Ragmala, not merely a series of paintings, but a garland woven not of transient blossoms, but of timeless melodies themselves. These are visual symphonies rendered in vibrant pigments, each delicate brushstroke a note vibrating with the very essence of a classical Indian raga. 

The artist transcends the role of mere painter, becoming a conduit, a sensitive translator who captures the very soul of the music onto the enduring surface of paper, immortalising the emotions it evokes, the subtle nuances of its atmosphere, the profound depths of its feeling. As the fervent tide of Vaishnavism, a deeply devotional sub-sect of Hinduism, swept across the land in the early eighteenth century, a radiant new dawn broke on the horizon of artistic inspiration. The epic and enchanting tales of Hindu mythology, particularly the lyrical and passionate narratives of the Gita Govinda, became a sacred wellspring, a boundless source for the artist's fertile imagination. Across the sun-kissed plains of Rajasthan and the neighbouring lands of Gujarat, these sacred verses blossomed anew, transforming into vibrant pictorial narratives that graced not only the delicate surfaces of miniature paintings but also found expression in other art forms, their beauty even whispering its way into the distant, mist-shrouded hills of Pahari.

Indian Schools of Painting:

Now, let your gaze linger upon the distinct artistic dialects spoken by each of these remarkable schools of painting. In the verdant realms of Kota-Bundi, the very canvas seems to breathe with the palpable lushness of flowing rivers teeming with life, the dense and protective embrace of emerald forests echoing with birdsong, and the gentle, undulating sway of grassy fields stretching towards the horizon – a vibrant and heartfelt ode to their bountiful natural world. 

Some artists, with a keen and observant eye for the unfolding drama of the hunt, immortalised the thrilling chase, the taut energy of the pursuit frozen in time, while others captured the raw and untamed power of animal combat, the clash of titans rendered in dynamic lines and bold colours. And the women who grace these captivating paintings? They are visions of ethereal grace, their forms imbued with a timeless elegance, their costumes flowing in harmonious proportions, adorned with intricate patterns and vibrant hues. Indeed, bright colours sing across these remarkable artworks, with the passionate and grounding presence of red often anchoring the composition, a fiery heartbeat pulsing within the visual narrative, drawing the eye and igniting the senses.

Radha celebrating Holi, c1788. Kangra, India AnonymousUnknown author
Victoria Albert Museum, London
Medieval Period Paintings:     The Kangra Miniatures of the Pahari School, which flourished during the 18th century, were influenced by the Mughal miniatures. Though the artists had retained a level of distinctiveness. To make the paintings more naturalistic, the artists used colours derived from minerals, vegetables and possessed enamel-like lustre. Themes were taken from the titles like Gita Govinda and Baramasa of Keshavdas. Lord Krishna and Radha were portrayed celebrating the moments of worship. The Kangra style of miniature paintings is known for representing the feminine charm with its natural grace. These paintings reveal the story of that period; they instruct us about the way of life and attitudes of the kings, their lifestyles and the proceedings of their courts.

Krishna Holding Mount Govardhan 
ca. 1790 Colour on paper 25.3 x 17.1 cm
Attributed to Mola Ram (1760-1833)

Paintings of Radha and Krishna      As the devotional fervor of Vaishnavism unfurled across the land, the divine romance of Radha and Krishna blossomed into a muse for countless artists. Their forms, imbued with celestial grace, became the heart and soul of many a canvas, particularly within the intricate world of Rajasthani miniature paintings.

From the very soil of Rajasthan emerged Rajput painting, a tradition steeped in heritage. This exquisite style, adorned with beauty and imbued with poetic sensibility, flourished as the seventeenth century waned and the eighteenth dawned. Drawing inspiration from the delicate artistry of Mughal miniatures, the Rajputana, or Rajasthan, paintings ascended to become a principal creative pursuit within the regal courts of western India, each brushstroke echoing tales of valour, devotion, and ethereal beauty.

Let us then, with hushed reverence, unroll the very fabric of time, and behold not just a chronicle, but a living, breathing tapestry woven with the ochre dust of valour and the shimmering threads of devotion: the art of Rajputana. Across the sun-kissed expanse that once cradled kingdoms like blossoming lotuses in a desert spring – Mewar, Marwar, Amber, Bundi, Kishangarh, each a distinct jewel gleaming under the azure sky – a symphony of artistic expression arose. Though each realm cultivated its own unique cadence, its own instrumental voice in this grand, painted orchestra, a fundamental harmony resonated through them all, a deep-seated melody echoing the soul of the land.

The very canvases awakening, stirred by the epic breath of the Ramayana, its heroes striding forth in hues as fiery as the desert sunsets that paint the Aravalli hills ablaze. Feel the profound wisdom of the Mahabharata unfurl in strokes as deep and contemplative as the sapphire expanse of the night sky, dotted with the diamond dust of stars. And above all, let your gaze be drawn to the eternal, enchanting spring of Lord Krishna's life, a perennial source that nourished the very roots of their artistic imagination. 

Witness the Lord Krishna's childhood pranks rendered with the playful lightness of a desert breeze, his divine, yearning love for Radha blooming in colors as tender as a monsoon cloud, his cosmic dances, which is known as the Rasa Lila, swirling across the painted surfaces like celestial dust motes caught in a sunbeam – each scene a devotional poem whispered in the language of light and shadow, a hymn rendered in vibrant pigments.

These were not ephemeral sketches, dashed off in haste, but cherished chronicles, imbued with the weight of tradition and the love of generations. They were tenderly cradled within the gilded leaves, the albums of immense value, treasures commissioned and held close to the hearts of royal patrons, their very touch imbuing the artwork with a deeper significance. The very walls themselves became boundless palimpsests, breathing with the vibrant tales that unfolded within their embrace. 

Picture the opulent chambers of majestic palaces, where sunlight filtered through latticed windows, illuminating scenes of courtly splendor; the secluded alcoves within formidable forts, their cool stone surfaces adorned with narratives of bravery and sacrifice; and the sprawling courtyards of the havelis, the noble residences, their walls alive with the painted echoes of daily life and grand occasions. Amongst these architectural marvels, the edifices erected by the proud Shekhawat Rajputs stand as particularly luminous testaments, their very stones whispering ancient stories through the exquisite artistry that graces their facades, each fresco a silent storyteller.

These artistic legacies transcend mere decoration; they are portals, shimmering windows that offer profound glimpses into a bygone era, eloquently narrating the rhythms of life, the intricate tapestry of customs, and the fervent aspirations that pulsed within the hearts of the people. Observe with a discerning eye, and you will witness the stately processions of the royal courts, their elephants caparisoned in jewel-toned fabrics, their riders adorned in regal attire; the intricate rituals and ceremonies, each gesture imbued with sacred meaning; and the very fabric of their daily existence – the vibrant hues of their clothing, the tools of their trades, the flora and fauna that surrounded them – all captured in meticulous and vibrant detail. As the gentle, transformative tide of Vaishnavism, with its currents of devotion and love, swept through the land in the early eighteenth century, a new and fervent wave of artistic inspiration was ignited by the lyrical verses of the Gita Govinda. 

Gita Govinda: These sacred poems, celebrating the divine and intensely human romance between Radha and Krishna, became a veritable wellspring of creative energy, their verses blossoming into a thousand painted forms, each a visual echo of the sacred text. Indeed, in certain artistic heartlands of Rajasthan and the neighbouring lands of Gujarat, art permeated the very air, becoming an inseparable thread woven into the fabric of domestic life, adorning not just palaces and temples, but the very walls of their homes, transforming the mundane into the sacred. 

The enchanting melodies of the Gita Govinda, carried on the winds of devotion, even resonated far beyond the arid plains, finding delicate and evocative expression in distant schools of painting, such as the ethereal Pahari style nestled in the Himalayan foothills, a testament to the enduring power and universal appeal of these timeless and sacred narratives.

[All the above paintings are in Public Domain, taken from Wikimedia Commons]

THE COLOURS AND HOW THE ARTISTS USE THEM

BYR color wheel

It is impossible to think about our life without colours. The most striking example of the display of colours is the rainbow; when we look at it, it seems that the colours of the whole of the earth are sprayed on it. 

Here are some basic principles of the colours, their fundamentals, how to use them,  and how some of the European artists used the potential of the colours.  

Here are some articles in which I have introduced some of the players of this colour field, the artists and their styles. The artists referred here have talked in the language of the shapes, lines, tones of the colours and the textures. Through the dictionary of colours, an artist creates space and light on a canvas or paper; he or she creates sensational volumes and mind-pleasing movement showing through the alphabet of the colours. The colourful plate offered here is full of illustrative drawings, wonderfully done watercolour paintings, and the unforgettable oil colours, like acrylic, are also narrated. 

Color star-en (tertiary names)
 KwamikagamiCC BY-SA 4.0, via Wikimedia Commons

What Is Colour?    In simple words, colour is the visual response of objects when we look at them. The gold is yellow, the sky is blue, and the blood is red, like that. We look at these things, and they visually respond to us. And to these visual responses, we have given names. The names are red, yellow, and blue. When the objects respond? They respond when the light falls on them. In a way, this is not the technical definition or a scientific definition. But for a layman, it would suffice.  

If we look at the colour wheel, shown here, we find twelve colours. The colours are classified according to their characteristics and compositions. First of all, let us look at what types of colours the artists use. Nowadays, the artists have wide choices to use Pencil, Charcoal, Pastel Colours, Water Colours, Oil Colours, and Acrylic Colours. But primarily, the colours are classified into three major categories. They are named primary colours, secondary colours and tertiary or intermediate colours. Let us see how the colours on this wheel are made.     

Primary Colours: Three colours. These are Red, Yellow and Blue. These are natural hues. Natural colours. They are pure colours, without any addition of any colour.        

Secondary Colours: Three colours. They are named Orange, Green and Violet. These secondary colours are a mixture of two of the above three primary colours. They are mixed and created like this:  Red   + Yellow =  Orange, Blue + Yellow = Green, and Red + Blue = Violet.      

Artemisia Gentileschi,
Self-portrait as a Female Martyr
Oil on Panel  Private Collection,
New York City, USA

Tertiary or Intermediatory Colours: They are six in number. These colours are made by mixing the full saturation of one primary colour and half-saturation of another primary colour. It does not contain any tint of the third primary colour. Look how these intermediary colours are formed.  RedOrange;  Yellow + Orange;    Yellow + Green;      Blue + Green, Blue + Violet, and Red + Violet.

While using colours and doing their painting, the artists use the colours as per their scheme of the art piece. They use primary, secondary, and intermediate colours. In addition to this, they mix the colours and create a wonderful combination of colours. There are other words which are referred to in about the colours. 

Let us imagine the existence devoid of the chromatic symphony! It's like envisioning a world hushed of its vibrant song. And then, a celestial brushstroke appears – the rainbow, a breathtaking arc where it seems the very hues of our earth have been flung across the sky in a glorious, ephemeral spray.

Within these pages, I've attempted to introduce you to some of the virtuosos who dance within this vibrant arena, the artists who speak not in words, but in the eloquent language of form, line, the subtle whispers of tone, and the tangible poetry of texture. They are the cartographers of colour, charting realms of space and luminescence upon a canvas or paper. With the dictionary of pigments as their guide, they sculpt sensational volumes and orchestrate movements that resonate deep within the soul, all through the alphabet of colour.

The palette presented here is a feast for the eyes, brimming with illustrative sketches that capture the essence of form, watercolour paintings that shimmer with delicate washes of light, and the unforgettable embrace of oil and acrylic, each with its own distinct voice in this colourful narration.

First, come to Hue. The hue refers to the origin of the colours we see in our everyday life. The hue is the originality: the red, the yellow, the blue, the green, etc. These colours have their shine and value. When colours like white or black are added to these original colours, the hue is affected. When we mix white into the original colour, a tint is created. When we add black to the original colours, the shade is created.  Tones are the aspect of the colours when white and black are added to any colours, having their own hue. 

St. Joseph Carpenter Georges de La Tour 
Oil on Canvas : given to the Louvre
Museum
Paris, by Percy Moore Turner, London

Chiaroscuro: The meaning of the word Chiaroscuro is light-dark. Thus, when a combination of light colour and the dark colour is used on a canvas, it creates an eye-catching view. The contrasting colours are put nearby and the chiaroscuro is created. This technique is used when an artist wants to show the solidarity of the object painted, he uses this technique. This creates a three-dimensional effect in the painting.

What Is Painting?  Painting, in simple words, is an act of applying paint on any surface. It would include airbrushing, coating, enamelling, the splashing of colours, or even varnishing. In fact, the painting includes all of these, but it is much more than the total sum of these acts. There are ways and means to describe the technical aspects and scientific effects of numerous colours in our minds. But the main reason we love colours and paintings is that these colours live in our sensibilities. We love them spread in any form.

The history of art is not only an academic journey narrating the paintings we have on the walls of our museums and the homes of art lovers. Instead, it is a study in knowing about how the artists of the past had tried to connect their feelings with the hearts of viewers. 

Here are some articles in which the different slots of time are taken as a basis, and the paintings done in that period are discussed. With the change of techniques of painting and the tastes of the people, the art of painting is always affected. This has resulted in specific movements of art, a specific type of painting done by the artists. But these are not water-tight compartments, as the time slots and styles of painting are overlapping. Let the following articles tell the whole story.

The Subjects: The subjects covered here broadly comprised still life, landscape, figurative paintings, Mughal Miniatures, Rajasthan Paintingsportrait painting, and basic art like a pencil drawing. The most recurring theme would be to explore how the artists see the objects lying before their eyes and how they conceive these objects in their minds. This part consists of the main lessons in the art of painting. The emotional and artistic process, the mental traffic through which an artist passes, and how the artists reflect on this phenomenon: these would be some surprise brush strokes you would see in the following articles. 

No claim is made that these analytical articles can make you an artist. It is because it was never an easy journey on the land of art. But systematically arranged information plays its own role. Here you will find narration of the paintings done by some of the master painters of the bygone era. Modern artists, men and women, will also get their seats. 

  The Death of Socrates  Jacques-Louis David Oil
on Canvas metropolitan museum of Art, New York

Renaissance Art: It is believed that history is the collection of chaotic moments of the past life of the human race; whereas the history of art collects the most beautiful moments the human race has witnessed till the day. We can have proof of that concept when we look at the paintings which were done under the style of classicism.

Romanticism: Painting Nature, Love and Passion: In the field of art, the word ‘Romanticism’ has a specific meaning. It conveys the concept showing of sentimentality on one hand, and on another, it refers to the lack of idealism or reality that confines the artistic passion. For artists falling under the category of romanticism, expression was the paramount element. They wanted freedom of expression, and they did it ignoring the social norms and the rules set by convention.

The Victoria Tower of the Houses of
Parliament seen from Parliament Square

John Crowther (1837–1902)
Watercolour 1893, London

Genre Artist: Paintings of Daily Life: Genre painters choose the ordinary life of common men as the subject. This style of paintings is also called genre scenes or genre views. These paintings are pictorial representations in any of various media that represent scenes or events from everyday life, such as markets, domestic settings, interiors, parties, inn scenes, and street scenes.

Impressionism: The impressionist artists are known for their adherence to two main principles. Under the impressionism style of painting, an artist searches for the general impression of a scene. It may be a celebration of a season or play of sunlight falling on the land water or the trees. Secondly, the impressionist paintings would be finished in one session.

Hudson River Valley Painters: Once a battleground for the colonial war and the cradle of European civilization on American soil, Hudson River Valley had become like a pilgrimage for the artists in the nineteenth century. These artists received inspiration from nature and painted some of their best landscape paintings from 1825 to 1880.

The Modern Painters and Old Masters are a valuable guide to those who want to enter the land of painting. Here the life, work, training and style of some of the masters are narrated. Here in this place, an attempt is made to adore those who have made the art of paintings so deeply embedded in the hearts and minds of the people. Here there will be a description of the paintings painted during the time from the memorable past to the present day. 

I, the writer of these articles, Naval Langa, am happy to share some of the essentials of art. Though using this limited space for such a purpose is like crossing the Atlantic in a small boat. But While going through these articles, you would feel as gazing out of the window of an aeroplane, surveying general topography. So shall we start? 

PAINTINGS OF HIMALAYAN MOUNTAINS : Nicholas Roerich



Nicholas RoerichCC BY-SA 4.0, via Wikimedia Commons
The Rite of Spring

Here are some of the paintings of the northern part of India. The artist was not an India born person.

Father was German. He was a lawyer. Mother was Russian. They lived in the city of Saint Petersburg. This city was formerly known as Petrograd (1914-1924). Yes, it was known as Leningrad (1924-1991), too. But we would call the city of Saint Petersburg. 

You step into the world of Nicholas Roerich, and suddenly, borders dissolve. You no longer belong to just one nation, and neither did he. Born into a union that gave the world a soul of uncommon vision, Roerich became more than a painter, more than a traveler—he became a seeker. As you follow the thread of his life, you feel that his journey was never merely about crossing physical landscapes; it was about traversing the inner realms of the human spirit.

You imagine him walking—yes, walking—across mountains, valleys, and deserts. Sometimes he did just that, covering miles on his own two feet. This wasn’t wanderlust alone. You sense it was something deeper, almost as if Providence whispered in his ear, telling him his life was to be a canvas painted with countless experiences. Among those experiences, one pursuit burned brightest: the noble art of painting.

Now, picture yourself standing before one of his most evocative works, The Brahmaputra. You feel the pull of the river without moving an inch. The painting doesn’t demand your attention—it invites it, drawing you into a meditative state. You begin to suspect that Roerich himself must have been in a similar mood of deep reflection while creating it. 


Nicholas RoerichCC BY-SA 4.0, via Wikimedia Commons
Order of Rigden Djapo
There’s a therapeutic rhythm in the way your eyes travel over its surface. You could sit here for minutes, maybe hours, letting the calm seep into your thoughts. Try it—you might find yourself breathing more slowly, feeling more grounded.

At first glance, the forms in The Brahmaputra are simple. But the simplicity is deceptive. Within those spare outlines lies an unfolding drama, brought to life through the richness of blue. The hue is cool yet commanding, restrained yet full of quiet power. You notice how it transforms the scene into something more than a representation—it becomes a mirror for contemplation. The more you look, the more you realize this is not a painting you simply see; it’s one you experience.

Roerich’s journeys often brought him to India, and here his brush found new mountains to climb. The Himalayan peaks became his muses. You can almost see him standing before them, tracing their lines with his gaze, sensing the harmony of their forms. Few artists have painted the Himalayas with such reverence, and you feel that his connection went beyond the visual—it was spiritual. He didn’t just capture the peaks; he conversed with them.


Nicholas RoerichCC BY-SA 4.0, via Wikimedia Commons
Nag Lake. Kashmir
You understand that a painting like this doesn’t come from chaos. It’s the result of ordered effort, of deliberate choices. When you first look at any painting, you naturally register the form. Then your eyes move to the shapes, the relationships between them. 

If you’ve been fortunate enough to see great works before, you start to recognize patterns—moments where the artist’s vision crystallized into a perfect expression.

You find yourself hunting for that very moment in Roerich’s work—the instant when brush met canvas and something eternal was born. In every well-crafted piece, you expect to find the same essential ingredients: form, mood, harmony, and the elusive spirit of the moment. With Roerich, you find them all.

Artists often speak of being overtaken by a force when working with color, a kind of inner compulsion that guides their hand. As you stand before The Brahmaputra, you can feel that force at work. It’s as though the blues chose themselves, as though the forms arranged themselves, driven by some instinct Roerich could only follow, not command.

You walk away from the painting but carry it with you. You realize that art like this is more than visual pleasure—it’s a conversation with the soul. Through his travels, Roerich gathered not just images but essences. He distilled them into his canvases, leaving you with pieces that are at once deeply personal and universally resonant.

When you think of Nicholas Roerich now, you don’t just think of an artist. You think of a man whose life was a pilgrimage, whose footsteps carried him across continents and whose vision carried him into realms beyond sight. You feel that, by looking at his work, you too have traveled—through time, across landscapes, into the quiet heart of beauty itself.

The Artist:   For an artist, a painting, the fruit of his or her labour, is much more than a painted surface. Through the medium of colours, he or she tries to infuse the order of nature in a painting. It is the order that nature has in it, intrinsically embedded within.  


Nicholas Roerich, Public domain, via Wikimedia Commons
Thus, when we look at a painting, we would find the objects the artist has painted, the form, and the physical outlines of the things and situations. These are obviously the medium: the shapes of the things painted; the situations the artists had created. In fact, these are the alphabet and the artist uses to convey his or her feelings.  

The writers and poets have a poetic license from the Almighty God. They can take extra liberty while executing their art, their inner talent. The artists have this type of license for using their artistic skills to their best. While acting upon this special authority, poetic licence, the painters impose the forms in their paintings. They do so by making the altered state of the forms.

However, the trend of imposing such transformed forms has never remained static. It has undergone constant change since the days of ancient artists’ work to the modern stock of artistic outputs. And that is the reason why the forms on the canvases have always kept changing. The shapes of the objects painted have transformed themselves as per the choices of the artists like Picasso and Van Gogh. 

How to Communicate Through Forms: The painters' ideas about the forms, as they perceived them, are quite complex. It varies with the experience of each and every artist. Their method of communication is unique in nature, so far as the great painters are concerned. Some artists believe that the defined lines of the objects in the painting are the foremost necessity. The Renaissance painters did believe so. Some artists regard the definite lines are so important: the modern artists, including those of the impressionist clan. 


Nicholas RoerichCC BY-SA 4.0, via Wikimedia Commons
"The Great Flag of the Orient" series
Every artist of known calibre has tried to reveal the intrinsic value of his or her aesthetic experiences. The artist does it through his or her paintings, done in the form of his or her choices.

Kang-chen-dzod-nga – Five Treasures of Great Snows. Paintings of the Himalayan Mountain "Mount of Five Treasures (Two Worlds)".  

And why is this sublime mountain called Five Treasures of Great Snows? Because it contains a store of the five most precious things in the world. They contain gold, diamonds, and rubies under their peaked surfaces. The old East values other treasures. It is said that a time would come when the famine element would overcome the whole world. At that time, a man would appear and he would unlock the giant gate of these vast treasuries and nurture the entire mankind.  

Certainly, you understand that this man will nourish humanity not physically, but with spiritual food. - Nicholas Roerich. 

The job of an artist is a complex one, in a sense. The painter’s work, and the purpose for which he or she paints, is somehow to remake the mental images he or she has made on seeing a scene or the objects. 

The Artist Acting As A Bridge: The artist’s desire is to share his or her experience through the art that would churn out a note of recognition in the viewers’ eyes. Thus, the work of art constructs a bridge between the viewers and the artist, communicating the inner traffic of an artist’s mind to the art lovers’ eyes. 

Thus, the piece of art that was merely an image in the artist’s mind, the painting that was only a child of intuition, becomes available to those who value the same. 

Raja Ravi Varma : The Artist of Mythological Scenes

Raja Ravi Varma : The Artist of Mythological Scenes

Hamsa Damayanti
Raja Ravi Varma, Public domain,
via Wikimedia Commons

When you step into a gallery displaying Raja Ravi Varma’s paintings, you aren’t just looking at art—you’re walking into a living, breathing chapter of India’s cultural history. 

You see canvases that tell epic stories, not through mere symbolism, but through faces that feel real, emotions you can almost touch, and scenes that feel as if you could step into them.

Raja Ravi Varma (1848–1906) wasn’t simply a painter; he was a visionary who understood how to bridge the timeless grandeur of Indian mythology with the technical mastery of European art traditions

And as you explore his work, you begin to realize that his genius lay in how he made gods and goddesses, princes and princesses, look not like distant celestial beings but like people you could meet, speak to, and admire in everyday life.

The Man Behind the Brush

When you imagine Ravi Varma at work, you might picture him in his quiet Kilimanoor studio, a man of modesty, humility, and deep religious devotion. These weren’t just personality traits—they shaped every decision he made on the canvas. You see his values reflected in the way he painted women, the way he treated sacred stories, and the respect he held for his subjects.

Even though he was working in an era when European realism was becoming fashionable, he never abandoned India’s narrative traditions. Instead, he asked himself: How can I make these ancient stories feel alive for my people today? His answer became his life’s work—mythological paintings that could speak to a grandmother reciting the Ramayana, a child hearing the Mahabharata for the first time, and even an art patron in London seeing Indian epics through fresh eyes.

Blending Two Artistic Worlds

Raja Ravi Varma,
Public domain, via Wikimedia Commons
Sri Rama Vanquishing the Sea

As you study Ravi Varma’s work, you see a remarkable fusion. On one side, you find the narrative depth, symbolism, and devotional aura of Indian classical art. 
On the other, you see realistic anatomy, perspective, chiaroscuro, and naturalistic lighting borrowed from European academic painting.

You realize he wasn’t imitating Europe—he was transforming it to fit India’s spirit. In his paintings, the folds of a sari fall with the same natural grace as a European gown, but the patterns, colors, and textures are unmistakably Indian. 

His landscapes might use Western perspective, but they’re filled with banana groves, temple courtyards, and palatial verandas familiar to you.

The Women of Ravi Varma’s Mythology

As you move from painting to painting, you can’t help but notice that women dominate his mythological works. But you don’t see them as ornaments or symbols of desire. Instead, you see queens who carry themselves with regal poise, goddesses whose calm gazes radiate compassion, and heroines whose inner strength shines through every brushstroke.

When you stand before his Lakshmi, you feel her blessing flow through the gold and crimson hues. When you see Saraswati, holding her veena, her eyes tell you she is more than a muse—she’s the embodiment of wisdom. Even in more intimate scenes, like Damayanti talking to the royal swan, you sense purity, dignity, and emotional depth.

By portraying women as complete individuals—spiritual, moral, and graceful—Ravi Varma quietly reshaped how Indian femininity would be seen in art for generations.

From Kilimanoor to the Royal Courts

Your journey through his life starts in Kilimanoor Palace, his ancestral home in Kerala. Here, a young Ravi Varma learns the basics of art under a local watercolorist. You can imagine him, brush in hand, watching the pigments spread across the paper, already dreaming of grander compositions.

Then his talent catches the attention of patrons, and fate leads him to a British artist who teaches him oil painting—a revolutionary medium for Indian artists at the time. This changes everything. Suddenly, Ravi Varma can achieve depth, richness, and realism that traditional tempera or watercolors couldn’t provide. He begins experimenting with shading, perspective, and naturalistic textures, elements that would define his style.

Shakuntala and Sakhis
Raja Ravi Varma, Public domain,
 via Wikimedia Commons

Painting the Epics: Mahabharata and Ramayana

As you follow Ravi Varma’s artistic journey, you see how deeply he immersed himself in India’s epic stories.

Damayanti and the Royal Swan

When you first encounter Princess Damayanti Talking with the Royal Swan, you feel as though you are intruding on an intimate moment from the Mahabharata. Damayanti sits poised, her posture delicate yet dignified, draped in a sari that shimmers with intricate gold embroidery. 

Every fold of the fabric seems to breathe with the gentle breeze imagined in the painting. Her eyes, large and luminous, are fixed on the swan before her—no ordinary bird, but a celestial messenger.

The swan, captured mid-sentence with its beak slightly open, looks almost alive. Its feathers are painted with such precision that you can imagine their softness. Its wings curve in a subtle arc, hinting at both grace and divine purpose. You sense that it carries not just words but the weight of fate itself.

The background is serene: a soft landscape of water lilies, tranquil waters, and distant palace towers. You can almost hear the quiet lapping of water, the faint rustle of leaves. This stillness mirrors the emotional calm Damayanti must feel as she listens to the swan relay King Nala’s declarations of love. In that instant, you realize this is more than just a meeting—it’s the moment destiny sets its course, captured forever in paint.

Draupadi’s Plight


Raja Ravi Varma (1848 - 1906),
Public domain, via Wikimedia Commons
''Draupadi Vastraharan'' c. 1888 -1890

Then you stand before Ravi Varma’s depiction of Draupadi’s humiliation in the Kaurava court, and the atmosphere changes instantly. The air feels heavier. The scene before you is charged with moral outrage and emotional tension.

Draupadi stands in the center, her sari being pulled in a cruel act meant to strip her of dignity. Her eyes—large, imploring, desperate—are fixed upward, seeking Krishna’s divine intervention. You feel her silent cry in your bones, as if she is asking you personally to bear witness to this injustice.

Around her, the court is a theater of cruelty. The Kauravas’ faces are twisted with arrogance and malice, their postures exuding dominance. Some in the crowd avert their eyes in shame, others watch with morbid satisfaction. You sense the collective failure of the court’s morality, the collapse of dharma in the very place meant to uphold it.

Ravi Varma uses light to powerful effect here. Draupadi is bathed in a glow, her figure standing out starkly against the darker tones of the assembly hall. This illumination feels symbolic—a beacon of virtue surrounded by shadows of corruption. The folds of her sari multiply in the scene, subtly showing the miracle of Krishna’s protection, where every attempt to disrobe her is thwarted. You can’t walk past this painting casually; it demands you pause, reflect, and feel the injustice that changed the course of the Mahabharata.

Shakuntala’s Love

Sakunthala Pathralekhan
Raja Ravi Varma, Public domain, via Wikimedia Commons

Finally, your gaze rests on Shakuntala writing a letter to Dushyanta, and a softer, more wistful mood takes over. You are transported into the dappled green of a forest clearing, the kind of space where light filters through the trees in golden shafts. Shakuntala sits on a low stone bench, surrounded by gentle wildflowers and the murmurs of nature.

She leans slightly forward, her slender wrist arched gracefully as she holds a palm leaf and stylus. Her head tilts just enough to suggest both concentration and longing. You see it in her eyes—the quiet ache of a heart waiting for a reply, the hope that her words will bridge the distance between her and the king who once pledged his love.

Her garments are simple yet elegant, the earthy tones harmonizing with the natural setting. Her hair is adorned with fresh flowers, their petals echoing her innocence and purity. Ravi Varma surrounds her with life—birds in the branches above, a gentle deer grazing in the background—subtly reinforcing the idea that love itself is part of the natural order.

Even without knowing Kalidasa’s play, you understand the essence: this is love in its most tender and vulnerable form. It’s the act of committing one’s emotions to words, not knowing if they will be received or returned. And as you stand before the canvas, you feel yourself silently urging Dushyanta to remember her, to answer her longing with the devotion she so clearly deserves.

The Influence of European Salon Art

As you move through his work chronologically, you see how European salon art influenced his compositions. His canvases grow larger, his subjects more dramatic, his backdrops more elaborate. Yet, the stories remain rooted in Indian soil. He uses oil paints with gold-like richness, creating a timeless glow that still feels alive today.

Democratizing Mythology Through Prints

You might think his influence was confined to royal patrons and art connoisseurs. But Ravi Varma wanted every household to have access to these mythological images. That’s why he started a lithographic press—a bold move for the late 19th century.

Imagine yourself in a small Indian town in the 1890s. You walk into a bazaar and see colorful prints of Krishna lifting Govardhan Hill, Arjuna receiving the Bhagavad Gita from Krishna, or Sita in Ashok Vatika. These aren’t just decorations; they’re cultural touchstones, bringing epic narratives into everyday homes.

Standing Before a Ravi Varma Painting Today

When you stand before one of his mythological works in a gallery—perhaps at the Sri Chitra Art Gallery in Thiruvananthapuram—you feel time dissolve. The oil paint glistens under the light, the colors still vibrant despite the century that has passed.

You notice the meticulous jewelry detailing, the natural skin tones, the folds in garments, and the play of shadow and light on every figure. His gods and goddesses don’t feel unreachable—they seem to be looking right at you, ready to step off the canvas and speak.

Why His Mythological Paintings Still Matter

Today, as you scroll through social media or watch Indian cinema, you might see echoes of Ravi Varma everywhere. Filmmakers borrow his framing for divine characters, calendar art still follows his visual templates, and even temple murals sometimes adopt his compositional style.

Why? Because he gave India a visual identity for its gods and heroes—one that merged realism with devotion, making mythology something you could not only read or hear but truly see.

Your Takeaway from Experiencing His Art

When you leave a Ravi Varma exhibition, you carry more than the memory of beautiful paintings. You carry the feeling of having stood in the presence of Sita’s quiet strength, Lakshmi’s gentle benevolence, Krishna’s playful charm, and Arjuna’s noble resolve.

You realize that through his art, Ravi Varma gave you a way to connect with your cultural roots while appreciating the global language of fine art. And in doing so, he ensured that India’s epic tales would continue to live—not just in texts, but in the colors, forms, and faces that speak directly to your heart.Keywords: Raja Ravi Varma paintings, Raja Ravi Varma mythological paintings, Indian art history, Mahabharata paintings, Ramayana art, Indian oil painting, Damayanti and the royal swan, Indian epic art, Lakshmi painting, Saraswati painting.