In Indian art, Raja Ravi Varma is a visionary who transformed the perception of Hindu mythology. He gave gods and goddesses human faces for the first time, painting them with such depth and emotion that they seemed to step out of ancient texts into everyday life. Through his brush, scenes from the Ramayana, Mahabharata, and Puranas came alive, bringing many unfamiliar faces from these texts into existence. Varma had the unique ability to blend traditional Indian themes with European techniques, creating a visual narrative that transcends language and literacy, allowing even those who cannot read the Puranas and epics.

Let us take a look at some of his famous paintings:

Hamsa Damyanti

The painting “Hamsa Damayanti” by Raja Ravi Varma depicts Damayanti, the princess of Vidarbha, with a celestial swan named Hamsa. Damayanti’s beauty was so extraordinary that even the gods were captivated by her, and Hamsa, a remarkable swan, possessed the ability to speak in the human language. This artwork captures the moment when the swan sings Nala’s praises. The story begins with Damayanti’s mother sending Hamsa to Lord Indra for Damyanti’s Swayamwara. Nala, the king of Nishadha, was a heroic and mighty warrior. As he traveled to Lord Indra’s abode, the swan was caught in a storm and found its way to Nala’s court, where the king’s kindness won the swan’s admiration. Hamsa regaled him with Damyanti’s beauty, and Nala fell in love with her even before meeting her. Upon returning to Vidarbha, the swan sang Nala’s praises to Damayanti, who also fell in love, marking the beginning of their love story. The swan, Hamsa, symbolizes the divine connection between their hearts.

Arjuna and Subhadra

In Raja Ravi Varma’s painting “Arjuna and Subhadra,” Arjuna is depicted in the guise of an ascetic as he romantically approaches Subhadra, the younger sister of Lord Krishna. This scene is set during the Adi Parva, when Arjuna, having broken the agreement with his brothers to share time with Draupadi, chose self-imposed exile. During this period, he traveled to various sacred places. Upon arriving in Dwarka, Krishna introduced him to his sister, Subhadra. At first sight, Arjuna falls deeply in love with her, and they eventually marry. In the painting, Varma beautifully illustrates this moment in Dwarka, capturing the romantic and intimate connection between Arjuna and Subhadra.

Krishna as the Ambassador to Duryodhana

In Raja Ravi Varma’s painting “Krishna’s Embassy to Duryodhana,” a crucial moment before the great war in the Mahabharata is depicted. As tensions between the Kauravas and Pandavas escalated, Yudhishthira, the eldest of the Pandavas, requested Krishna to seek a peaceful resolution to the looming conflict. In the painting, Krishna is shown visiting Duryodhana, hoping to negotiate peace and prevent the devastation of war. Krishna, with his calm and diplomatic presence, stands in stark contrast to Duryodhana, who is portrayed in a regal yet defiant posture. The scene captures the intense and pivotal negotiation between the two sides of Kauravas and Pandavas.

Jatayu Vadh

In Raja Ravi Varma’s painting “Jatayu Vadh,” a poignant scene from the Ramayana is captured, depicting the moment when Ravana abducts Sita. As Ravana flies through the sky in his chariot with the terrified Sita, she cries out desperately for help. Her pleas are heard by Jatayu, a mighty vulture and a loyal friend of Lord Rama’s father, King Dasharatha. Jatayu, embodying courage and loyalty, intervenes in Ravana’s path, determined to rescue Sita. Despite his valor, Jatayu is ultimately no match for the powerful Ravana. The painting vividly shows the heartbreaking moment when Ravana severs one of Jatayu’s wings. Sita, horrified by the sight, covers her eyes, unable to bear the sight of Jatayu’s sacrifice. Ravi Varma masterfully portrays the stark contrast between Ravana’s ruthless evil and Jatayu’s noble sacrifice, immortalizing a moment of deep sorrow and sacrifice in the epic tale.

Shree Rama Conquers Varuna

In Raja Ravi Varma’s painting of “Shree Rama Conquers Varuna,” the scene captures a pivotal moment from the Ramayana when Lord Rama is going to Lanka to rescue his wife, Sita. To reach Lanka, Rama must cross the ocean, ruled by Varuna, the Lord of the Seas. According to the story, Rama waits for three days, seeking Varuna’s permission to cross the ocean. However, when Varuna remains silent, Rama’s patience wears thin. Enraged by the lack of response, Rama raises his bow and threatens to dry up the ocean with his divine arrows. It is only then that Varuna emerges from the ocean, humbly submitting himself to Rama. In the painting, Rama is depicted standing on the edge of a rock, bow and arrow (Dhanush-Baan) in hand, ready to unleash his divine power. Varuna, rising from the turbulent waves, gestures in submission, acknowledging Rama’s authority. The powerful waves crashing around them emphasize the intensity of this divine negotiation.

Shakuntala composing a love letter to King Dushyanta

Raja Ravi Varma’s painting of “Shakuntala Composing a Love Letter to King Dushyanta” beautifully depicts Shakuntala in a poignant moment of longing. Surrounded by her friends Anasuya and Priyamvada, she writes a letter on a lotus leaf, hoping to reconnect with her husband, King Dushyanta. This scene is inspired by Kalidasa’s play Abhijnanasakuntalam, which tells the story of Shakuntala and King Dushyanta’s love and reunion. The story behind this painting is: Shakuntala and King Dushyanta fall deeply in love during his visit to the hermitage where she lives. They marry in the absence of Shakuntala’s father, and Dushyanta returns to his palace, promising to bring her to his palace soon. However, when Shakuntala is lost in her thoughts of Dushyanta, she fails to hear the hermit Durvasa calling her for hospitality. This enrages Durvasa, who curses her: “The one whose thoughts have engrossed you will no longer remember you.” Distraught, Shakuntala pleads with Durvasa to lift the curse. Moved by her plea, Durvasa adds a condition: “He can only remember you if he is given some significant souvenirs.” As a result of this curse, Dushyanta forgets Shakuntala. Determined to remind him of their bond, Shakuntala writes a heartfelt letter, hoping to rekindle his memory and their relationship.

Narasimha Avatar

Raja Ravi Varma’s painting “Narasimha Avatar” depicts the fourth incarnation of Vishnu on Earth. This depiction is set in the Satya Yuga, a time when Hiranyakashyapa, a formidable demon, received a boon making him impervious to death by man or beast, indoors or outdoors, and at any time of day or night. Believing himself to be immortal and God, Hiranyakashyapa grew arrogant, oppressing his subjects and defying the gods. His tyranny extended to his son, Prahlada, a great devotee of Lord Vishnu. To safeguard his devoted followers and restore cosmic order, Vishnu manifested as Narasimha—a being with the body of a lion and the face of a man. Emerging from a pillar at twilight, a moment neither day nor night, Narasimha confronted Hiranyakashyapa and vanquished him in a manner that defied the demon’s boon. This divine intervention not only protected Prahlada but also reestablished dharma.

In Conclusion,

Raja Ravi Varma’s artistry transcends traditional boundaries, vividly bringing to life the rich tapestry of Hindu mythology through his paintings. Each painting not only visualizes epic stories and divine interventions but also bridges the gap between ancient texts and contemporary audiences, making the profound narratives of the epics accessible and evocative. Through his art, Varma has immortalized these mythological figures, imbuing them with a timeless quality that continues to resonate with viewers today.

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By Shrushti Patel