Rang Rasiya: Colours of Passion

Rang Rasiya is a film by Ketan Mehta with Randeep Hooda, Nandana Sen, Jim Boeven, Paresh Rawal, Tom Alter, Gaurav Dwivedi, Suhasini Mulay, Vipin Sharma, Chirag Vohra, Rachna Shah, Sameer Dharmadhikari, Sachin Khedekar, Darshan Jariwala.

The great director Ketan Mehta recounts the life of the famous Indian painter Raja Ravi Varma, A love affair with his muse Sugandha to the fundamentalist reactions to his paintings, regarded as immoral deities of Indian mythology. The film chronicles the life of the Indian painter Raja Ravi Varma painted gods and persecuted because he was not happy also splendid lithographs and sold them secretly.

Rang Rasiya, Colours of Passion of the internationally known director Ketan Mehta and tells the troubled biography of the famous painter Raja Ravi Varma, who lived in 'colonial India to the 800 between the love for his muse Suganda and accusations of blasphemy accompanied by death threats because of the way in which he portrayed in his works the gods of the Hindu pantheon. 

More than the beauty amazing is to disrupt the sensual mix of grace, strength, pride, dedication with which the Indian actress Nandana Sen deals with the work. But even life. She has the moves of a young girl, but the piercing eyes and full of light who has set objectives and, in spite of 'age, they are reaching. First of all: do the film an 'opportunity for enrichment. 

For themselves and for others. Daughter of the Nobel Prize for the economics Amartya Sen and writer Nabaneeta Dev, who lived between India, England and the United States, with Rang Rasiya, where the film interprets Suganda, the muse of artist Raja Ravi Varma, hit by the censors for her prints accused of blasphemy. 

A symbol of the fight for artistic freedom says Nandana against the religious intolerance. A role uncomfortable. Suganda is full of contradictions, is a combination of sensuality and innocence, the quintessence of the child-woman but it is also seductive in every inch of his body. She believed in the transformative power of art. 

Among India, USA, South Africa, she has starred in such films on terrorism, on 'apartheid, the differently abled. He believes in the social role of cinema? "I'm convinced. Now people do not read anymore, the educational mission has gone from books to film and TV. In India, the 'film industry is going through a decisive first c' was an impassable boundary between film quality and commercial. We actors, directors, writers must seize this opportunity to bring out the Indian cinema Bollywood conventions. 

Because we are primarily responsible for this monochromatic, flat, one-way siè spread throughout the world. For too long we have produced films that were addressed only to the Indian public, because Bollywood is entirely self-sufficient. There was, for example, a Cinema Paradiso, able to speak to the whole world of our country, with depth. In the debate, broke out in India, around Millionaire, the Danny Boyle film Oscar, which way was it a favor. 

Effectively reflects the 'India of today, the subjection of the people on television when the show that gave the film its title was led by Amitabh Bachchan, one of the most popular actors, the success has been such as to empty the cinema. An unprecedented phenomenon. One of the issues he faced often, both on stage and on the big screen, is that of child abuse. In India it is an emergency. The first report on pedophilia has been drawn up only a year ago, and says that over 50 percent of children have been abused by people closely to their parents, neighbors, teachers. In reality, the percentage is much higher because for many it's hard to come out. 

Art, however, has the extraordinary power to defeat the' code of silence. After 30 days in September, a show at Prithvi, the main theater of Mumbai, where I played a girl victim of domestic abuse, many teenagers I have confessed their own drama. The same happens with Rahi, the NGO of which are spokeswoman. As you can see, art and commitment can lead to the same result. The daughter of a Nobel winner and a popular writer in India, has led her to favor certain choices rather than others.

If it is true that 40% of the vocabulary is still used today by English speakers comes from the work of the Bard, a similar percentage of the current Indian visual lexicon derives instead from the work of Raja Ravi Varma. Even today in India in the twenty-first century, it is hard not to come across on a daily basis with the fee two-dimensional Ravi Varma has indelibly imprinted in the subconscious of an entire people, then looking even an image of its own, as part of the claims of uniqueness and cultural identity riots the colonial rulers. It was, this image, by a renewed zest for pleasure as pointed out by the historian Ratan Parimoo.

And that kind of approach, otherwise the west, became in time so local,  through millions of calendars, posters, cards, book covers, ads, films, labels and colorful prints of deities and mythological characters, so devoutly hanging in the home for the puja as in restaurants and offices, paintings on trucks and buses, to now become the stereotypical figure of the Indian Look for excellence.

Although the direct printing to a wide audience are circulated in India since 1870, as in the case of goddesses Kali and Chinnamasta produced by the Chore Bagan Art Studio in Calcutta, it was only from 1894 that deities such as Lakshmi, Saraswati, Krishna and Rama acquired their stylistic identity defined, that is when his brother Raja Ravi Varma and Varma opened in the Bombay Ravi Varma Fine Arts Lithographic Press, spreading their second appearance illustrated pictures and decorations pan-Indian who had to freeze up pretty quickly become a cultural canon one official. It was that iconography become calcified to have produced the so-known as incomprehensible problems to artists such as MF Husain, guilty to hindu fundamentalists had handled lightly conventions intangible but, in reality, only a century old.

Only since last decade has begun to look at the work of Ravi Varma as a sort of  cross-cultural pastiche , also characterized by a precise coexistence on his canvases of all the various physical features of India. Western landscapes, clothing typical of northern India, Jewelry southern and intuitive naturalism that recalls a certain academicism European province. But there is no evidence of nationalist aspirations, in the work of this artist, but that was active in the early decades of the independence movement in India.

If Ravi Varma had therefore restricted his prolific work to about 2,000 canvases during 3 decades of career and had not instead applied to their printing and distribution on a large scale, the history of the visual landscape of India would perhaps have been different? There have been great attempts to answer this question, until now. But what is certain is that in the early twentieth century, his work was harshly criticized by thinkers such as Ananda Coomaraswamy, Sister Nivedita and Sri Aurobindo and more recently by artists like MF Husain, Akbar Padamsee, Tyeb Mehta and J. Swaminathan.

Yet now, for India and for the world, what it is and remains the Indian Look. Raja Ravi Varma, Indian painter of Kerala, is famous for his paintings which are considered among the best works of art in which the fusion of Indian traditions and European techniques fail to give a picture language extremely understandable and comparable to Eastern and Western viewers, a deep impression of the soul of India. His best known works depict scenes from the epics of the Mahabharata and Ramayana and portraits of women dressed in different models of Sari or Mundu. And generally regarded as one of the greatest painters in the history of Indian art but in addition to the wonderful works of art he left, through his descendants, a legacy more precious as that of a passion for art and culture as the most efficient way to pass on the knowledge to future generations. Her daughters, in fact, played a key role in the history of the kingdom of Travancore as will be explained below.    

Ravi Varma was born April 29, 1848 in the Royal Palace of the Kingdom of Travancore Kilimanoor in today's Kottayam district, from Umayamba Thampuratti (mother) and Neelakanthan Bhattathiripad (father), both coming from families belonging to the aristocracy of Kerala .Complete father was a descendant of the great scholar of the Malabar Rajahs of Beypore (now in the district of Kozhikode or Calicut) which maternal relatives, and his mother a writer and poet whose work Parvati Swayamvaram was published by him after his death in 1886, Varma had two younger brothers and a sister, Mangala Bayi Thampuratti, also a painter.

Ravi Varma began drawing as a child demonstrating exceptional artistic talents and for this reason only 14 years old was welcomed by Ayilayam Thirunal Maharaja of Travancore in court under the tutelage of Master Rama Swamy Naidu to study the art of painting traditional current Thanjavoor.   

Raja Ravi Varma In 1866 he married Rani Bhageerathi Bayi (Cocci Pangi) of the Royal House of Mavelikara (now in the district of Alappuzha or Alleppey) of the Royal Family of Travancore and had two sons and two daughters. The first son, Prince Kerala Varma, born in 1876, disappeared in 1912 and was never seen again. The second son, Prince Rama Varma, an artist was born in 1879 and married the daughter of Dewan (Prime Minister) of Travancore.

The eldest daughter, Ayilyam Nal Mahaprabha Thampuratti, appears in two famous paintings and was mother of Maharani Sethu Lakshmi Bayi of Travancore (last Queen Regent of Travancore from 1924 to 1931); the other daughter, Thiruvathira Nal Kochukunju Thampuratti, was the mother of Sethu Parvati Bayi which in turn was the mother of Chithira Thirunal Balarama Varma Maharaja last King of Travancore from 1931 to 1949 years when the monarchy was abolished in India and established the Republic.

We interrupt the narrative of the story of Ravi Varma 1866 to dwell on the story of the life of his two daughters considering the topic useful to understand the greatness of the character in question and his descendants:

his two nieces, daughters of his daughters, were in fact adopted as children by the family of the rulers of Travancore with title acquired: grandchildren of Moolam Thirunal Maharaja of Travancore which, to follow the rules of inheritance of Marumakkathayam a system of matrilineal inheritance followed by some communities of the nobility of Kerala, in the absence of daughters they adopted children from families of the same rank even remotely real consanguineous.

The adoption took place in 1900 when the elder of the two, Sethu Lakshmi, had only 5 years old. In 1901 S.Lakshmi was proclaimed His Highness the Princess of Attingal actual city in the district of Trivandrum, while S. Parvati gained the title of Princess of Attingal. The two cousins ​​are united in marriage with two descendants of royal families at an early age. 

In 1924, Moolan Thirunal Maharajah of Travancore died without direct heirs, and matrilineal inheritance the only son born to a woman of the family was the son of S .Parvati, Kithira then twelve years old, who would succeed his uncle became Maharajah. According to the rules of English succession that prevailed in those years on the Indian ones, however, were not allowed inheritance before their nineteenth birthday. The aunt of Kithira, S.Lakshmi already Princess, was then appointed as Queen regent for many years as necessary to the achievement of the nineteenth year of Kithira. 

Maharani Sethu Lakshmi Bayi of Travancore and Kithira Thirunal Balarama Varma Maharaja, the last rulers of Travancore of monarchy, were great supporters of knowledge in general and great social reformers.

We continue to tell the life of Ravi Varma and that since 1866, the year he married while continuing his studies under the tutelage of a master artist of the royal family of Travancore. After three years, the protection was extended to Theodor Jenson, a Danish painter born British who went to Travancore (now Kerala) in 1869 and with whom he had the opportunity to learn the techniques of Europe. In 1873, just 25 years old, won a major award for an exhibition of his paintings at Vienna and immediately became famous. He traveled throughout India in search of subjects to paint, but his finest works were created by retracting Models of Kerala. His works depicting scenes from Hindu mythology, landscapes and panoramas and fascinating portraits of Indian women in saris, became famous and exhibited in major shows in Pune in 1880, Vienna and Chicago in 1892. 

His artistic output was enormous and in 1904 the Viceroy Lord Curzon with the consent of Mharaja the frieze of the Gold Medal Kaiser-i-Hind putting for the first time the title Raja to the name Ravi Varma. Raja Ravi Varma dominated the Indian art scene from 1870 until 1906, the year in he died, becoming absolute master of an art capable of fusing the flashy eastern mysticism with western academic realism. Among his descendants are also the writer Shreekumar Varma Prince Pooradam Thirunal, artists Rumini Varma Princess Bharani Thirunal and Jay Varma, and the composer Aswathi Thirunal Rama Varma nephew of St. Parvati. His works are exhibited in museums and historical buildings in India and are easily viewable on the Internet. 

In 1993 the art critic Rupika Chawla and artist A.Ramachandran organized and curated a major exhibition of the works of RR Varma at the National Museum in New Delhi. Considering his enormous contribution to Indian art, the Government of Kerala has instituted an award called Raja Ravi Varma Puraskaram which is awarded annually to the person who stands out in the fields of art and culture. Among the winners: KG Subramanian (2001), MV Devan (2002), A. Ramachandran (2003), Vasudevan Namboodiri (2004), Kanai Kunhiraman (2005), VS Vallyathan (2006). A Mavelikara, Kerala, was established in his honor a College dedicated to art.

Bollywood as a cultural medium in 2008 in Cannes was presented on film by Indian director Ketan Mehta on the life of Raja Ravi Varma titled Rang Rasiya version in Hindi and Colours of passion in the English version. Through his paintings told stories of India getting global recognition. This should be an inspiration to us all.

Rangrasiya is an Indian television serial, airing on Colors TV, ‎Ashish Sharma, Sanaya Irani, Ankita Sharma produced by Tequila Shots Production. 

Rangrezz remake of Tamil film Naadodigal narrates the story of three friends who attempt to unite another friend with his lady love with a melange of friendship, love, sex, marriage starring Jackky Bhagnani, Akshara Gowda, Rajpal Yadav, Priya Anand and Amitosh Nagpal directed by Priyadarshan is a Hindi young romance and epic love film.

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