It is not every day that one comes across an unassuming personality like Abdul Gafur Khatri, a Padma Shri (4th highest civilian honor) and National Awardee, and realizes that the man is solely responsible for revitalizing 400 years old artform. A renaissance man in every sense of the word, Khatri has been instrumental in keeping the elusive art of Rogan paintings alive. Derived from the Persian word ‘Rogan’, meaning oil, this ancient art form of Rogan paintings originated in Persia four centuries ago and made its way to India via several migrations and displacements. Rogan, a form of surface embellishment and has been practiced for over a hundred years, but now only a single family in the village of Nirona in the Kachchh district of Gujarat has been keeping this exquisite textile art alive. Rogan paintings make use of a special paste made of castor derived from a time-taking process of extracting oil from hand-pounded castor seeds. The oil is heated and cooled in a special vessel and continuously stirred to keep it from burning. The sticky residue obtained after two laborious days of stirring and cooling is called Rogan. Later, colored powder diluted in water is added to this paste, and the different colors derived from this method are then stored in earthen pots with water to prevent them from drying up. The patterns, motifs, and designs are transferred onto the cloth with the use of a kalam - an iron rod, flat at both ends. Interestingly, only one-half of the composition is painted. It is then impressed on the other half of the cloth by pressing the two halves together, creating a flawless mirror image. In the absence of a stencil, tracing, or any pre-decided visual reference, Rogan artmaking is near magical. As several registers of complex and ornate patterns take shape without the kalam ever touching the surface of the cloth, it is the skill of the artist who maneuvers different colors of Rogan and creates a pattern by swirling the colored paste above the cloth. Depending upon the design's details and intricacy, it takes several days for Abdul Gafur Khatri to create a single piece of work. Tree of Life, being the most popular motif in Rogan paintings originated during the Sassanid era in ancient Persia. The tree of life is an emblematic image when it comes to Islamic art and architecture. A biomorphic pattern found in many artistic traditions, the tree of life is a vegetal pattern fanning upwards and outwards and culminates in a lantern-like flower towards the top. In Rogan paintings, we find a stylised tree encased within a floriated arch placed above pillars, with floral roundels bringing the border - this rare artform brings together a unique mix of Persian, Indo-Islamic and Kutchi elements bridging ancient Persia to contemporary India. Abdul Gafur Khatri, Tree of Life, 2022 Uniquely exquisite, the Khatri community mastered Rogan paintings in India, until rapid industrialisation leading to availability of machine-made textiles. When it was brought to India, the Khatri community that had migrated from Sindh took it up and began doing Rogan on the clothes of local animal herders and farming communities. Intricately arranged and delicate in appearance this artform was once a popular choice to embellish bridal trousseau to objects related to ritual paraphernalia. Now, only the Khatri clan led by Abdul Gafur Khatri, remains the last surviving custodians of Rogan painting in the world. Though made famous by unrelenting efforts of Abdul Gafur Khatri, Rogan art remains extraordinarily rare and is on the verge of extinction as there are no other trained Rogan artists apart from Khatri and his siblings in the world. Abdul Gafur Khatri, Tree of Life, 2022 The auction is an attempt to bring back Rogan art in the popular collective memory and an opportunity to collect it as a part of your collection. Don’t miss out on these fantastic Rogan Art Forms to collect as RtistiQ brings to you the Phygital NFT Folk Art auction that will be held between the 15-18th September 2022.

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29 Aug 2022

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Often bracketed under one broad umbrella term “folk art”, folk and tribal art cannot be more different from one another. As there are overlaps and similarities, there are also differences when it comes to their history, legacies, expressions and practices, and the associated cultural and aesthetic meanings. This blog is an attempt to highlight these differences and similarities and in the process unpack the socio-cultural connotations these artforms carry. What is folk art? Considered to be predominantly functional or utilitarian, folk art is the creative expression of an entire community having evolved over several centuries. Therefore, these artforms are intrinsically tied to the practitioners and their families who operate as the custodians of these artistic expressions. In the broadest sense, folk art is the “art of the people” and differs from the professionally produced mainstream art that is considered more elite or “high art”. Compared to “high art” folk art is regarded as more accessible and thus remains a more popular form of artistic expression and connoisseurship. What is tribal art? Coming to tribal art, the term is highly contested because of its Euro-centric origins and the loaded connotations and the contested legacies it carries. Tribal art is generally categorised as the traditional art of indigenous natives from tribal societies of Africa, the South Pacific and Indonesia, Australia, the Americas and India. Sometimes listed as “Primitive” or “Native” art, often in the past ethnographic objects and artworks belonging to different ethnic groups have been included to define tribal art. That, however, is incorrect. Sher Singh Bhabor, Batt, 2022 In terms of similarities, both folk and tribal art are community oriented, carry shared cultural ethos and the outcome often is based on a few important motifs that are often repeated. For example, in Phad paintings we see the folk hero Pabuji reappearing many times, similarly we see the motif of a tree becoming one of the key protagonists in tribal paintings of the Gond and Bhil communities. However, this is where the similarities end and differences begin. In terms of complexities, it is often observed that a folk art specimen is far more layered and complex than a tribal art object. When it comes to the Indian context, we find that folk art forms are either religious in nature or function, whereas tribal art can also include religious and secular elements and can be both utilitarian and non-utilitarian. In paintings, tribal art is minimalistic in appearance using a lot of lines and dots often following a symmetrical pattern or shape. Folk paintings are quite layered and more intricately detailed when it comes to compositions; we also see a lot more decoration and embellishments in folk paintings whereas tribal art is simplistic and bereft of adornments. This is perhaps because when it comes to societal formation the tribal or indigenous societies are still preliterate with prehistoric leanings, while folk art is an outcome of a more evolved society with well defined norms and rituals in place. Folk and Tribal Art in India In India, there has never been a sharp dividing line between folk and tribal art in terms of categorisation and this is why there was obscurity for a very long time in terms of visibility when it comes to these artforms. As it happens with folk art, in India most of the folk art that is produced is religious and ceremonial in nature and function, while tribal art remains more of a creative expression. Interestingly, as Indian folk artists continue to hold onto centuries-old traditions and family legacies, it is the tribal artists who are breaking moulds and bringing fresh perspectives into what used to be a predominantly a decorative artform. Venkat Raman Singh Shyam, Baghdev, 2022 Keshab Pradhan, Shree Jagannath’s 25 Shringars, 2022 It is the cultural perseverance of India that comes alive through these age old artforms, which have been passed down for centuries and remain as vibrant as ever. Don’t miss out on these fantastic Art Forms to collect as RtistiQ brings to you the Phygital NFT Folk Art Auction that will be held between the 15-18th September 2022.

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25 Aug 2022

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A Traditional Art Form from India: Warli Paintings There are many different types of traditional art forms in India, but one that has remained in existence from time immemorial is the Warli painting art form. Warli paintings are characterized by their use of bold colors and simple shapes to create images of men, animals, trees, and plants on the walls of villages or used as decorations during festivals such as the Ganesh Festival or Navratri. Today, Warli paintings continue to be popular as wall décor pieces in homes across India, especially in Mumbai and Gujarat. Here’s more about this traditional art form from India. Who is the Warli tribe? The Warlis are a tribe that resides in the North Sahyadri Range in Maharashtra, India. They are known for their warli painting designs, which are done using a mixture of earth and watercolors. The paintings depict scenes from daily life, such as hunting, fishing, and farming. Warli paintings are also used to tell stories and legends. What are the Warli paintings? The practice of Warli art is predicated on the idea of natural beauty, and many aspects of the natural world are often brought into sharp relief. Because agriculture is the primary means of subsistence for the community, members have a lot of admiration for the natural world and the fauna that inhabits it for the commodities that it provides. In a manner somewhat dissimilar to how ancient artworks were executed, it is common practice for warli painters to paint on the backgrounds of their clay houses while working on warli artwork. In Warli art, religious imagery, such as representations of gods and other symbols associated with religion, is never used. It speaks about how humans are reliant on the environment and how they are associated with it. It portrays the earth as a deity. The artworks of the Warli tribe convey a feeling of homogeneity in individuals and underline the tight social interactions that exist among the full members of society. Real-life settings and occurrences served as inspiration for many aspects of the artworks, including the forests, wildlife, festivals, social engagements, and social forms. It is also possible for a Warli artwork to serve as a graphic narrative of one of these classic tales. Many contemporary artists incorporate aspects of the modern environment into their work, such as automobiles, architecture, cycles, electronics, airplanes, and trains. Where can I purchase Warli paintings? You can buy Warli paintings in a number of places, both in India and online. One of the best ways to find a reputable seller is to ask around for recommendations. Once you've found a few potential sellers, take some time to compare prices and shipping costs before making your purchase. You can also find Warli paintings on display in a number of art galleries and museums, which can be a great way to view this traditional art form up close. You can also buy warli paintings online and get them delivered anywhere you want. Conclusion Warli paintings, which are often seen on the walls of villages or as decorations for celebrations like the Ganesh Festival or Navratri, are still widely collected and displayed in houses throughout India, particularly in the metropolitan areas of Mumbai and Gujarat. Don’t miss out on these fantastic Warli Art Forms to collect as RtistiQ brings to you the Phygital NFT Folk Art auction that will be held between the 15-18th September 2022.

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17 Aug 2022

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The Art of Gond: A Journey into the Color and Creativity of India. With its natural bounty of flora and fauna, India’s reputation as a nature lover’s paradise precedes it. However, far less known than the diversity of birds and animals found in the country is India’s rich cultural history, which adds an element of diverse beauty to its landscape through artistic mediums such as paintings, pottery, and sculptures, among others. One such medium is Gond art, or the art of the Gond tribe that lives in Central India around Jabalpur and Mandla. This is the history and relevance of this art form. What is Gond art? The art of Gond has its origin in the eastern Indian state of Chhattisgarh. Gond art, which literally means graphic art or signboard art, involves the creation of paintings on raw pieces of wood from local trees. The name Gond comes from the tribe who are known to inhabit this region since long ago and who have perfected this unique form of painting over centuries and made it their own trademark style. Gond Art History The Gond tribe has been creating this form of art for at least 1500 years because there are underground drawings throughout the area that stretch back to the Neolithic period era, so it would be possible that they're simply continuing a tradition that began much earlier. Indigenous Indians, notably those of the Gond tribe, do have a long history of enjoying paintings and other kinds of artistic expression. But among the Gonds, the Pardhan Gonds have been the best known for their creative prowess. The Gondoliers believed that seeing a lucky picture would bring them good fortune. This idea prompted the Gond to adorn their homes with markings and patterns from their culture all over the walls and the floor to form beautiful Gond painting designs and a tradition was formed. The Gondoliers also utilized art as a means of documenting their past. Gond Art Characteristics Shapes Style choices ensure that the edges used to construct the subjects—whether at the edges or deep within—immediately draw the eye. The lines and dots provide an incomparable shine which is distinctive to Gond art. The descriptive quality of such art is enhanced by the use of numerous geometrical forms and repetitions, such as those imitating fish scales, droplets of water, and flower shapes. Colors Vivid colors, notably red, turquoise, yellow, as well as white, abound throughout the large Gond painting and also provide wonderful contrast for the viewer. Colorful paints like these are often made by extracting the pigment from natural materials such dirt, carbon, leaves of plants and fluid, or even cow manure. Chui Mitti, a kind of gravel found locally, is used to make yellow, whereas Gheru Mitti is used to make brown. As for the other colors, black comes from charcoal, red from Hibiscus flowers, and green from leaf tissue. Conclusion Though Gond art has been around for centuries, it has seen resurgence in popularity in recent years. This is likely due to the vibrant colors and intricate patterns that are characteristic of the style. Additionally, traditional Gond art often tells a story or conveys a message, making it all the more meaningful. Don’t miss out on these fantastic Gond Art Forms to collect as RtistiQ brings to you the Phygital NFT Folk Art auction that will be held between the 15-18th September 2022.

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17 Aug 2022

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Pattachitra Paintings: A Journey Through Indian Art Every culture has its own art form, and India is no exception. Paintings are an integral part of Indian history and culture, especially since they date back to the Indus Valley Civilization, where they were used as trade and social currency. Pattachitra paintings, also known as Kamal Pustakam, are part of the traditional folk art of Odisha, India. They tell stories from Hindu mythology using paints made from natural materials like tree bark, leaves, flowers, clay, vegetable dyes, and even cow dung. Learn more about this special art form with our complete guide to Pattachitra Paintings below. What are Pattachitra paintings? Pattachitra paintings are a type of Indian folk art that originated in the state of Odisha. The word patta means cloth in Sanskrit, and chitra means picture. Pattachitra paintings are usually done on cloth or canvas using natural dyes and pigments. The themes of these paintings typically depict Hindu gods and goddesses, religious scenes, and stories from Indian mythology. The Pattachitra painters, also recognized as chitrakars, have mostly been recognized for their depictions of Hindu mythology. Artists use a chalk-and-gum combination to cover the fabric prior to painting. Two separate stones are used to massage the substance into the fabric. Eventually, the fabric has hardened, and the painter begins the painting. Practicing pattachitra requires adherence to a set of norms and regulations. In Pattachitra's artworks, a flowery boundary is a requirement, as is the use of neutral colors in a single tone. As a result, Pattachitra's aesthetic is unique and could not be imitated, making each artist's work unique. Thus, if you like a particular style, you have to find an artist who has mastered that style to try and replicate it. And RtistiQ brings to you that specific artist called KeshabPradhan and you can find his intricate works here at the Folk Art Auction which will take place between 15 – 18 September 2022. Dont miss out on this 1 time opportunity. Styles The most common style of pattachitra painting is the Orissa style, which originated in the state of Orissa in eastern India. The Orissa style is characterized by its use of natural dyes and pigments, as well as by its intricate patterns and designs. Another popular style of pattachitra painting is the Bengal style, which originated in the state of Bengal in northeastern India. How to Recognize a Good Pattachitra Painting If you are looking to buy pattachitra paintings online, look for an artist who has been trained in the traditional style to make sure you get the best pattachitra paintings. The colors should be bright and vibrant, and the lines should be clean and sharp. The painting should tell a story, and the artist should be able to explain the symbolism behind the work. Make sure to buy from a reputable source so you can be sure you're getting a genuine Pattachitra painting online. Conclusion Pattachitra paintings have a long and rich history, dating back to the 7th century CE. These paintings were originally created as temple hangings, but they eventually became popular among the general population as well. Today, Pattachitra paintings are still made in Odisha and are considered to be a valuable part of Indian culture, and they have been incorporated into the modern aesthetics of India.

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17 Aug 2022

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Though the battle is still on between the supremacy of word and image, the power of a visual representation and its psycho-social immediacy when compared to the written text is undeniable. A prolific artist, Raja Ravi Varma’s paintings and oleographs of religious and mythological subjects and paintings from various classical and literary sources helped uncover many tales and stories that were hitherto unknown. Prior to Raja Ravi Varma, these characters were part of complicated hagiographies and mythological genealogies with their biographies (both historical and mythical) restricted to a few learned elites. The opening of the Ravi Varma Fine Art Lithographic Press in 1894 further democratised the patronage, consumption and reception of these images leaving a tremendous impact on religion, society and aesthetics. One such unforgettable work is Madalasa Rutudhwaja, a scene depicting a marriage proposal made by the king of Kashi Rutudhwaja to Madalasa. Markendeya Purana describes Madalasa as the most ideal and learned woman. Theirs was a unique love story full of drama, and the scene depicted in the Raja Ravi Varma paintings and subsequent print is much like a theatrical tableau. As the story goes, a demon by the name of Patalaketu was infatuated with Madalasa and at the same time, he was also tormenting rishi Galava, a sage of highest merit. One day, the demon abducted Madalasa in the hopes of ultimately winning her over. Galava, in frustration, looked towards the heavens when a divine horse appeared in the sky that had the ability to travel a thousand yojanas in a single day. The sage received the horse and gifted it to Rutadwaja who rode the horse and killed the demon Patalaketu. Thus, the heroic and noble king Rutudhwaja married the beautiful Madalasa by killing Patalaketu. This print from the Ravi Varma Press is derived from a painting by Raja Ravi Varma that depicts the courtship of Madalasa and Rutudhwaja. The print is also called “A Proposal of Marriage.” The lithograph shows a triumphant Rutudhwaja seeking Madalsa’s hand in marriage, as she coyly faces away from him. Being the fiercely independent and intelligent woman that she was, we witness a rare moment in this composition, where the Nayika (heroine) is keenly pondering over the Nayaka’s (hero) proposal instead of readily agreeing to it. Madalasa’s shy reluctance is visible in her gesture as she touches her cheek to deeply think over Rutudhwaja’s question. Her need for solitude is indicated by her body which is turned away from Rutudhwaja as she stands slightly further away. She is looking away neither seeing her suitor nor the viewer indicates that she is taking her time. Of no ordinary lineage, Madalasa was the daughter of a Gandharva (celestial being) by the name of Vishvavasu. She was believed to be a Brahmavadini, a female expounder of the highest philosophical knowledge. Madalasa, dressed in all precious finery - a red and gold silk saree, bejewelled headpiece, bangles and earrings, her lustrous hair left untied; she holds a bouquet of flowers, perhaps a gift from Rutudhwaja ahead of his proposal. Next to her, Rutudhwaja too appears resplendent as a Maharaja dressed in a brocade and velvet jacket, a silk shirt and sash tied around his waist, cross-stitched and gold-coloured jodhpurs, and leather jutis. His royal status is further accentuated by a bejewelled turban complete with a feathered sarpech (aigrette), gold and emerald necklaces, thick anklets made of gold and the sword hidden inside a velvet sheath. Raja Ravi Varma, true to his artistic genius introduces us to these two fascinating characters but also manages to beautifully narrate their stories in a simple composition bearing merely three characters and the gorgeous landscape behind them. It was as if Ravi Varma took it upon himsewlf to prove the adage “a picture is worth a thousand words” right… With his paintings and oleographs not only did the iconic painter give these characters a face and a personality, but he also immortalised these subjects in the minds of the people for eternity. RtistiQ brings to you the Raja Ravi Varma Phygital NFT art auction that will be held between the 28th- 31st July’22. Don’t miss out and collect them all by clicking here. https://art.rtistiq.com/en/auction/raja-ravi-varma-nft-drop2/lots Ravi Varma, Madalasa Rutudhwaja, Ravi Varma Press Picture Depot Image courtesy: Raja Ravi Varma Heritage Foundation

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27 Jul 2022

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Long before filmmaker B.R. Chopra’s 94-episodes TV series Mahabharat was broadcasted by Doordarshan in 1988 which changed the Indian entertainment industry forever, we had Raja Ravi Varma redefine and reimagine mythological characters in his inimitable style. An artist ahead of his time, Ravi Varma infused fresh ideas into Indian art and breathed new life into these long forgotten and lesser-known men and women and mythical avatars from the epics, Puranas and Kavyas. Surprisingly, we fail to acknowledge how familiar we are with these characters and Raja Ravi Varma’s role in introducing us to them. Mahabharata, a maha kavya (lit. “great composition”), epic poetry is perhaps the most read religious text of all time. Filled with innumerable stories and fascinating characters, Mahabharata is like an anthology of stories of epic proportions. Perhaps this is why Raja Ravi Varma kept coming back to this text and rendered many of these characters in his paintings and oleographs. Of these popular characters, the five Pandava brothers and their turbulent lives remain ever so popular even to this day. Intricately entwined with Lord Krishna’s life, the story of these five brothers and their struggle to reclaim their kingdom from their fraternal cousins, the Kauravas is one that has been retold time and again. Based on an original oil painting of a similar title in the Maharaja Fatesingh Museum, Vadodara, this lithograph depicts a scene from the Mahabharata. It’s a marriage proposal scene between Arjuna and Subadhra. Arjuna, the third Pandava brother, the greatest archer, and a valiant warrior remains the most famous of the five brothers. Given Arjuna’s achievements and illustrious biography, his consort had to be of equally great lineage. And thus came Subdhra, the younger sister of Lord Krishna and Balarama who was said to be of incomparable beauty. An incarnation of Durga, Subadhra is considered a form of Vishnu Durga. It so happened that when the Pandava brothers were exiled for 12 years, they spent their time travelling to different holy places. Arjuna, in the midst of a self-imposed exile, owing to breaking the terms of agreement over spending time with Draupadi with his four brothers, goes to be with Lord Krishna. During this visit to Prabhasa, the abode of Lord Krishna, Arjuna met Princess Subadhra and on seeing the lord's beautiful sister Subadhra, Arjuna was smitten and wanted to marry her. However, Balarama, Lord Krishna’s elder brother, intended to marry Subadhra to rival Kaurava prince Duryodhan. In a plan hatched by Lord Krishna, Arjuna entered the city in the disguise of a sanyasi (renunciant), and Balarama, who was fond of sages, invited him. Arjuna then abducted Subadhra and took her deep into the forest. Now deep in the forest, Arjuna tried to convince Subadhra to marry him. This lithograph shows us a desperate Arjuna in the guise of a sadhu as we can discern from the leopard skin and the staff strategically placed behind him, entreating Subadhra to marry him as she shyly resists his advances. Though the image in the lithograph is based on a well-known Ravi Varma oil painting Arjuna and Subadhra made in 1890, there are noticeable departures in the lithograph that are apparent at first glance. The facial and anatomical composition and contours are decidedly different in the oleograph where we see lither Arjuna and Subadhra. A more muscular Arjuna and fuller-bodied Subadhra is now replaced by two smaller-statured man and a woman. The jewellery and hairstyle too have undergone marked changes in the oleograph. Though what is more pronounced in the lithograph are the facial expressions of the two characters, while Arjuna is more restrained and less brutish, Subadhra on her part seems shy rather than scared like we see in the painting where she has closed her eyes. In the oleograph, the couple appears to be in mid-embrace with their arms entwined after having reached an agreement. The forest behind the couple too appears to have changed from a much darker and denser-looking jungle to a much more pleasant landscape with widely spaced out trees, and shrubs bearing flowers (very similar to those Subadhra wearing in her hair) complete with a pond at the centre. It appears as if Ravi Varma having told the unusual love story of Arjuna and Subadhra in his oil painting decided to bring out the emotions of the characters in the oleograph. Now that the viewers were aware of the circumstances leading to Arjuna and Subadhra’s union, the artist thought to show us the nicer part that led to their ‘happily ever after…’ RtistiQ brings to you the Raja Ravi Varma Phygital NFT art auction that will be held between the 28th- 31st July’22. Don’t miss out and collect them all by clicking here. https://art.rtistiq.com/en/auction/raja-ravi-varma-nft-drop2/lots Raja Ravi Varma, Arjuna and Subhadra, 1890 Collection: Fatesingh Museum, Vadodara, Gujarat Image courtesy: Wikimedia Commons Ravi Varma, Arjuna Subadhra, Ravi Varma Press Picture Depot Image courtesy: Raja Ravi Varma Heritage Foundation

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27 Jul 2022

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Raja Ravi Varma was one of the most celebrated artists of India in the 19th century. He was a popular and significant artist of the time, who combined European sensibilities with traditional Indian artistic landscape, thus carving a niche for himself. Raja Ravi Varma’s early life was spent in the tiny hamlet of Kilimanoor, around 40 km north of Trivandrum in Kerala. He was from a princely family, closely linked to the ruling family in Trivandrum. His family was creatively inclined and had a profound effect on the young Ravi Varma. His father was a Sanskrit scholar, and his mother was a poet. His uncle was an amateur artist, who painted in the Tanjore style. So, when Ravi Varma began to exhibit artistic inclinations, it was his uncle who encouraged him with his early lessons. He was a pioneer in the field of art, having successfully combined Indian iconography with western painting techniques. His prolific repertoire included paintings of Indian mythological figures, Gods, Goddesses, studio-style portraits of royalty, and scenes from everyday life. He was one of the earliest Indian artists to exhibit his paintings abroad. He was revolutionary in his contribution to the Indian art scene, having established a lithographic press so that his paintings become accessible to the common man. He was awarded the Kaiser-i-Hind, gold medal, for his service to the British Raj, in the year 1904. Even after a century, his work is still celebrated and sold for millions of dollars at the top art houses around the world. The lithograph Indian mythology is a veritable treasure trove of stories, filled with fantasy, adventure, heart wrenching tragedy, romance, and mystery. It is no wonder that the characters who populated these mythic legends have managed to capture the imagination of the people who read them. Being the extraordinary artist that he was, Raja Ravi Varma was successful in breathing a new life into these characters, by reimagining them and showing a rare human side to them, while transporting them to his wonderous paintings. The lithograph featured here is titled, Mohini, the temptress. It is based on the original oil painting by Ravi Varma, which was named, Mohini on a swing. This painting depicts, Mohini, the female form or avatar of Lord Vishnu, who features in the lore of yore. Mohini is mentioned in the puranas, as a seductress, enchanting and dazzling the demons with her beauty and beguiling them to concede and let the God’s taste the nectar of life first. The next time Lord Vishnu took Mohini’s avatar was to save Lord shiva from the clutches of the formidable and unvanquishable demon, Bhrahmasura. In this exquisite painting, Mohini is shown seated on a swing under a shade of a majestic tree. She is swathed in a white attire, presumably a saree, with a rich gold border and simple jewellery. The bangles and necklace seem to accentuate her delicate wrists and slender neck. Mohini is captured here in a rare, lighthearted moment, with her windswept hair trailing behind her and her feet in the air, as she attempts to swing higher. Image courtesy: Google Arts & Culture; Raja Ravi Varma Heritage Foundation, Bengaluru The scenic background, with Ravi Varma’s trademark artistic touches serves to accentuate the beauty of the painting. Ravi Varma as an artist often managed to cross the thin line between the real and the imaginary world, especially when it came to portraying women. He used many elements like richly decorated attire, jewellery, even flowers and fruits to accentuate the beauty of his muses and to bring out their mood in the painting. For instance, in his famous painting ‘Radha in the moonlight’, the nayika Radha, is seen sitting on the rocks, next to flowing water on which moonlight is reflected. The faint hint of smile and her gaze hints at the fact that she may have seen Krishna, approaching her. Her body language, the way her sari is pulled around her shoulders and her luminous beauty, reveal the fact that she is both a lover and devotee of Lord Krishna. The brass pooja thali next to her, with a medley of flowers, sweets, and fruits, symbolizes an element of piety and devotion present in Radha. Here, as the divine and mortal elements merge, the relationship is shown to be on a spiritual level as well. The whole mood of the painting seems to be one of serenity, while in the case of ‘Mohini’ there seems to be an element of sublime sensuality and playfulness. Mohini, despite her celestial status, indulges in a moment of mundane magic, as she swings higher. Her diaphanous sari and languid body language in carefree abandonment, as she enjoys the moment is an ode to her seductive nature and infuses the painting with an undertone of sensuality. The artist has skillfully combined the luminous beauty of a goddess and the seduction and playfulness of a nymph to create the original enchantress Mohini, in this lyrical and captivating composition. In 1979, the Indian government declared Ravi Varma paintings a national treasure and banned exports of the same. Most of his work is exhibited in museums or owned by private collectors. The rarity with which these paintings come for sales and auctions and their sheer exclusivity, make them a high-value investment. This auction is important as it gives the buyer the distinctive chance to own a rare piece of painting, that has captured the imagination of people, the world over. The fact that these prints are extremely rare to come by makes them a unique collector’s item. RtistiQ brings to you the Raja Ravi Varma Phygital NFT art auction that will be held between the 28th- 31st July’22. Don’t miss out and collect them all by clicking here. https://art.rtistiq.com/en/nftdrop

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24 Jul 2022

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Throughout the history of art, varied artistic reinterpretations of mythology have resulted in some of the most iconic works of art. Mythology resonated in the splendid Avalokiteshwara of Ajanta; Sandro Botticelli’s The Birth of Venus (1483-85); the cheap mass-produced Battala woodcuts; Picasso’s Minotaur Ravishing a Female Centaur (1933/39); MF Husain’s Mahabharata series (1971); and in some cases dominated entire repertoire of artists like Raja Ravi Varma. Known for his emblematic depictions of Hindu mythology, Raja Ravi Varma arrived at something that was never seen before - the archetypal Nayika or Heroine. With the use of oil paint and realism, Ravi Varma recreated the literary heroine as an empowered woman rather than a damsel in distress. It wasn't so that every other mythological character found a place in Ravi Varma’s canvas, but only those dramatic characters that had permeated into the Indian psyche over the centuries. Shakutala was one of many Nayikas that Ravi Varma resuscitated in a new avatar and it seems that she occupied a special place in the artist’s oeuvre. Kalidas’ eponymous heroine born to the great sage Vishwamitra and celestial nymph Menaka, Shakuntala’s life was full of trials and tribulations. Soon after her father and mother abandoned her, sage Kanva brought her up in his ashrama. As the story goes the sage found her in a forest amidst singing shakunta birds and named her Shakuntala. She later met Emperor Dushyanta of Hastinapur and married him only to be deserted by her husband in a forest while she was asleep. Their son Bharata, later became the emperor and the predecessor of the Kauravas and Pandavas. Her efforts to reunite with her husband is one of India’s most loved and much read literary saga retold in Mahabharata and Kalidas’ Abhijnanashakuntalam (The Recognition of Shakuntala). Ravi Varma’s fascination with Shakuntala resulted in many memorable creations including the first chromolithograph “Birth of Shakuntala” (Shakuntala Janma; also bears the spelling 'Sakoontala') that came out of Ravi Varma Fine Art Lithographic Press in 1894. Other such timeless Raja Ravi Varma lithographic compositions featuring Shakuntala include Shakuntala Patralekhana, Shakuntala Dushyanta, Menaka Shakuntala, Shakuntala Removing a Thorn from Her Foot, Shakuntala Sakhi, and many others. One of the lithographs, titled Shakuntala Sakhi portrays a young Shakuntala in sylvan surroundings with her sakhis (friends) Anusuya and Priyamvada. Ravi Varma who captured in her many moods and many more life incidents gives us a glimpse of a young and playful Skauntala adorned in flowers with Anususya, Priyamvada and a deer. Shakuntala’s white drape clashes against Anusuya and Priyamvada’s bright red and yellow sarees, a familiar trope used by artists to depict the nayika/heroine’s purity. The scene symbolically juxtaposes Shakuntala’s naive innocence where her friends tend to her with the deer’s fickleness. Unaware of the life changing events, Shakuntala here is bliss personified. Through his lithographic press, Ravi Varma also gave new meaning to the art of collecting and owning art. This pioneering step made it possible for the common man to own a piece of art produced by the incredible Raja Ravi Varma! Credited for many-a-firsts, Raja Ravi Varma was possibly the first Indian artist to master perspective and the use of oil paint; he also pioneered the use of human models to depict Hindu gods and goddesses and scenes and stories from Ramayana, Mahabharata, and the Puranas; the first Indian artist to gain widespread international fame at a time when painters and craftsmen largely remained either anonymous or unidentified; and the first to make his work available not just to a specific class of patrons but also to common people by way of his oleographs. RtistiQ brings to you the Raja Ravi Varma Phygital NFT art auction that will be held between the 28th- 31st July’22. Don’t miss out and collect them all by clicking here. https://art.rtistiq.com/en/auction/raja-ravi-varma-nft-drop2/lots Ravi Varma, Birth of Shakuntala, circa 1894, Ravi Varma Press Image courtesy: Google Arts & Culture; Raja Ravi Varma Heritage Foundation, Bengaluru Ravi Varma, Shakuntala Patralekhan, 1895, Ravi Varma Press Image courtesy: Google Arts & Culture; Raja Ravi Varma Heritage Foundation, Bengaluru Raja Ravi Varma, Shakuntala Removing Thorn from Foot, 1898 Image courtesy: Google Arts & Culture; Raja Ravi Varma Heritage Foundation, Bengaluru Ravi Varma, Menaka Shakuntala Sakhi, circa 1890, Ravi Varma Press Image courtesy: Google Arts & Culture; Raja Ravi Varma Heritage Foundation, Bengaluru Ravi Varma, Shakuntala Sakhi, circa 1890, Ravi Varma Press Image courtesy: Google Arts & Culture; Raja Ravi Varma Heritage Foundation, Bengaluru

RtistiQ

24 Jul 2022

5 min to read

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Raja Ravi Varma was a gifted and prolific artist, hailing from Kerala, who is still revered for his magnificent paintings. He has donned several roles during his illustrious career as an acclaimed artist; favored portrait painter of royal families, a storyteller of famous epics, a print maker who made art accessible to the masses, one of the first Indian artists to have exhibited his paintings abroad, being some of them. His childhood was spent in the village of Killimanoor, near Trivandrum in Kerala. He was of an aristocratic lineage, closely connected to the ruling family in Travancore. Even as a young boy, he displayed his rare artistic prowess by filling the walls of his childhood home, with pictures of animals and vignettes from everyday life. It was his uncle Raja Varma, (an amateur artist himself) who discovered a streak of genius in these childish scrawls and doodles. After getting initiated into the fascinating world of art, at the age of thirteen, Ravi Varma managed to secure the patronage of the then Maharaja, Ayilyam Thirunal. He sought the tutelage of the palace artist Rama Swami Naicker, who had mastered the European style of painting and later Theodore Jensen, a Dutch portrait painter. After having experimented with art for a long time, Ravi Varma managed to fuse the technical knowledge of European art with the emotional sensibilities and the stories in Indian mythology, to create paintings that would withstand the test of time and prove to be popular, even a century after it was made. His first paid commission was to do a portrait of a family in Calicut, Kerala. This was the beginning of his rewarding career as an artist. The lithograph The Lithograph highlighted here, is titled ‘Sharada’, and is based in an original oil painting by Raja Ravi Varma, known as ‘Malabar lady’. This oil on canvas was part of a collection commissioned by the Maharaja of Mysore and is currently housed in Jagmohan palace, Mysore. Image courtesy: Raja Ravi Varma Heritage Foundation The painting draws attention to a female subject, presumably a Malayalee lady, clad in a pale ivory and cream-colored garment, known as ‘mundu’. She is depicted here as playing a mandolin like instrument (also known as swarbat). Her stance is relaxed, as she leans against what appears to be an intricately carved table and she rests the instrument on her knee. The richness of her attire, accentuated by the pure gold border and the heavy jewellery with exquisite detailing that she wears, complements the opulence of the room. Her confident and relaxed body language and her regal bearing, gives the impression of an aristocratic lineage. Raja Ravi Varma, through his modern realistic techniques and unparalleled skills as an artist, managed to add an aura of enigmatic allure to the female subjects he painted. He readdressed the concept of feminine beauty with his beautifully attired, deeply emotive, and subtly sensuous female subjects. His skillful manipulation of western techniques into a deeply Indian narrative, evokes an emotional response from the viewer of the paintings. The emotions of the subjects and their responses to these emotions are beautifully translated in the emotive faces, gestures, and body language of the subjects as well as the general mood of the painting. For instance, if we compare ‘Sharada’ to another famous painting of Ravi Varma’s, titled ‘Coquette’, it is a clear example of how the artist orchestrates light, shadow, expressions, and gestures to create a visual symphony, that appeals to the viewers’ emotions in a completely visceral way. ‘Coquette’ features an attractive lady holding a gooseberry and gazing directly at the audience. Her coy demeanor, as she clasps the edges of her sari while seeming to offer the fruit to the viewer, with a hint of mischief in her eyes, imbues the painting with a subtle sensuality and mystery without being overly dramatic. While ‘Sharada’ who looks on languidly at the viewer, with her apparent upper-class privileges, seems to depict a ‘real woman’ of the nineteenth century, the lady in ‘Coquette’ has an ethereal quality about her, with her provocative looks and body language. This might hint at the artist’s multifaceted translation of femininity and womanhood. Ravi Varma often portrayed his women characters as bold and alluring, gazing directly at the viewer, with a confident body language, as seen in ‘Sharada’. Many a times it went against the societal and cultural norms of the time, which dictated that well-bred ladies, appear coy and demure. It is of no surprise then that the ladies in his paintings are a heady mix of classic beauty and contemporary sensibilities. He has successfully blurred the thin line between reality and imagination in his paintings by portraying characters who are rooted in reality, while appearing to have an ethereal beauty, steeped in another wordily enigma. This lyrical and powerful composition is a testament to this fact. RtistiQ brings to you the Raja Ravi Varma Phygital NFT art auction that will be held between the 28th- 31st July’22. Don’t miss out and collect them all by clicking here. https://art.rtistiq.com/en/auction/raja-ravi-varma-nft-drop2/lots

RtistiQ

24 Jul 2022

5 min to read

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