Image and Narrative points contributed by Karin Tearle, Shahila Mitchell – UK,
with expert inputs from Prof. Projit Mukharji – USA.
This is a photograph of our great grandfather Charles Richard Hardless, his son Charles Edward and the Nizam of Hyderabad’s court staff, taken in Hyderabad State (now Andhra Pradesh) in 1912. Our great grandfather was at the time a detective superintendent and the government’s first handwriting expert. He had been engaged by the Nizam Mir Osam Ali to help foil a conspiracy to overthrow his reign, and is seen here examining some documents. My great grandfather was what Prof. Projit Mukharji and other experts deem ‘The founder of a dynasty of graphologists’.
Our great-grandfather, Charles Richard Hardless was born in 1866 in Calcutta (now Kolkata, West Bengal). We believe that his father worked with the East India Company and as was customary in most British families in India, Charles along with his other siblings were brought up between Calcutta and UK. Charles had a keen eye for detection detail and inspired by an uncle, John H. Hardless, an administrator in the British Indian Railways and a trained graphologist (Hand-writing expert) – Charles taught himself the same skill but with a lot more ingenuity. By the 1870s, the Calcutta police had established an exceptionally skilled and large Detective Unit (especially after the infamous Amherst Street murder and Ezra Street murder cases). The department was constantly on the look out for expertise that could help them solve criminal cases in the subcontinent – a empirical region that was still culturally unfamiliar and whose diverse acumen, even on crime, they were constantly trying to catch up with.
In London, Charles Richard left school early, and after a brief stint at the accountant-general’s office in Bengal he joined the Posts & Telegraph Department in Calcutta in 1904 as a handwriting expert on railway and postal frauds, quickly rising to a permanent post. Interestingly, his appointment happened to coincide with a notorious case of mistaken identity/wrongful conviction in England, that relied on handwriting expertise. Based on that, in 1908 the British Indian government persuaded London officials to appoint my great grandfather as the first ‘Government Handwriting Expert’ with the Calcutta Police. In 1909, he served high profile cases as a graphology expert such as the Alipore Bombing case and later for the defense, on the infamous identity theft / Impostor case in Dhaka – The Bhawal Sanyasi case.
Trained in about 16 languages including Mandarin (China), Bengali and Hindi, the great grandfather travelled widely, helping with cases and representing court expertise, from Rangoon to Peshawar and from Colombo to Bombay. With rising repute, within a few years he resigned from the government to establish his own investigation practice with his sons, and began receiving high profile commissions from several Princely estates including the Nizam of Hyderabad.
My grandfather had an equally interesting personal life albeit it would have caused him a lot of turmoil. He married four times. His first wife Lilian Isabella died at the age of 29 of Cholera in 1899. The second wife, Mary Keogh, probably died of Septicemia in 1901 at the age of 27 after child birth. The third wife, Louise Maud Philbrick (my great grandmother) died in 1924 and the last wife, Phyllis, died in 1942. Clearly, he raised a very large family including Anglo-Indian descendants, many of whom are still scattered in India. Though they lived in Calcutta, at 17 Park Lane, Charles Richard gained many favours by the monarchs he served, for instance in 1917 he came into possession of an estate, The Sanctuary, in Chunar (now UP) most likely gifted by the Nizam. The bunglow on the estate was based on Italian Mansion blueprints sent to him by the Nizam. In Chunar, my great grandmother Louise established an extensive library.
Some of the family was actively involved in the investigation and detective practice even while its patriarch Charles Richard was alive. And after his death in 1944, my great grandfather’s three sons continued his legacy. The oldest, Charles Edward (in photo), fine tuned and upgraded their graphology techniques. Philip William Ravenshaw ventured into forensic chemistry and the youngest, my grandfather, Harold Richard Gordon developed techniques on Ballistics. They expanded their services to other parts of subcontinent and even established their own publishing and press Hardless & Hardless that published several books on criminology, and a quarterly journal. We still possess the first edition book entitled ‘Forgery in India, A Practical Treatise on the Detection of Forgery dealing with the languages of India’ (1920), a book that is still taught in Indian Law schools. In 1938 they even set up the School of Document Investigation, at 19 – Hastings Road, Allahabad.
Many of my great grandfather’s descendants left India in the late 40s/early 50s including my own father Harold Richard (I am aware that there other descendants in India still around, albeit still unknown to us). My grandfather – Harold (senior) stayed on in India and continued to practice criminology until his death in the 1970s. His sister / my aunt Marie Louise Hardless assisted him when he worked from Chunar. Unfortunately, she was murdered at the age of about 53 in the 1990s, apparently by burglars.
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May 15, 2018 | Categories: 1800s, 1910s, 1940s, 1970s, Abduction, Achievements, Administration, Anglo Indian, Architecture, Bangladesh, Beliefs & Causes, Bombay, Bombay to London, British Indian Army, Bungalow, Cholera, Clubs, Crime and Illegal, Decor, Detective / Forensic Expert, Dhaka, Documents, East Bengal, Economic Status, Elite, English, First of a kind, Founders, Fraud, Furniture, Future icons from the Past, Governance, Hair Styles, Hand-written, House of their dreams, Hyderabad, Impostor / Identity Theft, India, Indian Clothes, Indian Politics, Intelligence and Spies, Inter Race, Interiors, Late Marriage, Law, Linguistics, London, Men in Uniform, Men's Clothes, Migration, Mixed, Mixed Marriages, Murder, Murder, Mustache, Mysterious Circumstances, Nizam of Hyderabad, Now Pakistan, Pakistan, Palace, Photo Collection, Photo Studio, Photographer, Photography, Photography, Pre-Independence, Previous, Professional Gear, Professional Training, Props, Rags to Riches, Relationships, Research, Royality, Second Marriage, Specialised Clothing, United Kingdom, Western Clothes, Widower | Tags: 1910s, 1912, Alipore Bombing, Allahabad, Andhra Pradesh, Bengal, Bhawal Case, Bombay, Book, British Indian Railways, Burma, Calcutta, Charles Edward Hardless, Charles Richard Hardless, Chunar, Colombo, Conspiracy, Court, Crime, Dhaka, East India Company, expert, Forensic, Forgery, Fraud, Graphologist, Graphology, Hand-writing, Identity Theft, Imposter, impostor, John H. Hardless, Karin Tearle, King Kothi Palace, murder, Nizam of Hyderabad, Peshawar, Posts & Telegraph Department, Printing Press, Projit Mukharji, Rangoon, School of Document Investigation, Shahila Mitchell, Sri Lanka, Uttar Pradesh | Leave A Comment »
Image and Text contributed by Vivek Dev Burman, Agartala & Kolkata
While clearing a godown in our house in 2015, I chanced upon a wooden box with a sliding cover. On close inspection, it contained ten 10”x12” B&W glass negatives photographed between c. 1897 to 1910, covered in cobwebs and fungus. It turned out to be part of my grandfather’s photographic portfolio. My grandfather, Maharajkumar Brajendra Kishore Dev Burman of Tripura was an avid photographer and a gadget freak.
Up until now only few prints of my grandfather’s early work existed and had never before been seen or mentioned outside of immediate family. But discovering these negatives revealed a whole different level of quality and scope than what we had seen before. Later I discovered 36 more glass negatives, dated c.1890-1925, in cupboards wrapped up in newsprint, albeit not in very good condition.
This is a photograph of my grand-uncle Maharaja Birendra Kishore taken by my grandfather, his brother, Brajendra Kishore, a year after my grand-uncle became the King of Tripura. They were both 24 years old. My grand-uncle was born in 1883, just 3 months before my grandfather (their mothers were sisters). He was a gifted painter, singer and songwriter. The painting you see on the left,‘The Hermit’, was his adaptation of Job (1880) by Léon Bonnat, an Italian painter. In those days it was quite usual to copy other artists works, and family stories tell us that the painting was sent to Paris, France and won a prize for the best copy. Several of his paintings now hang the palace and other residences of the royal family.
The rulers of Tripura were among the pioneers of Photography in the Indian Subcontinent. My great great grand father Maharaja Bir Chandra Manikya was the architect of modern Agartala (capital of Tripura), and an enthusiastic photographer. He acquired one of the first two cameras that came into Subcontinent (the other was purchased by Raja Deen Dayal, perhaps funded by the Indore state) and was photographing Dagguerotypes in the 1860s. He kept up with all the newer techniques of photography. Culture and arts flourished in the kingdom under his rule. He was the first person to recognize Rabindranath Tagore to be accomplished genius and awarded him when all of Bengal was critical of his early work. He even provided regular financial assistance to Santiniketan, a practice that continued with his son Radha Kishore & grandson Birendra Kishore (above).
In those days most subcontinental photographers followed the European style of making portraits – with backdrops, and props & clothes to mimick the pictures they saw as examples. I hear there was a studio setup constructed in the palace in which backdrops & props were changed whenever they got bored of it. Photography was also achieved in collaborative ways. Exposures of 10-20 seconds, plates and paper had to be sourced from Calcutta, and that was a rather tedious journey as well as a long wait. Soon the king constructed his own dark room, learnt the developing and coating process and began importing his own chemicals and accessories. His passion for photography, its dissemination and developing also got the family involved. His third wife Monmohini is said to have been an amatuer photographer, whom he tutored to develop and make prints. Perhaps the first selves-portrait in India (1880) was of them together in a fairly intimate photograph using a long wire shutter control. He established a club called the “The Camera Club of the Palace of Agartala” and what we must assume was a first, an annual photo exhibition in the subcontinent at the palace.
Bir Chandra‘s sons were also keen photographers. Samarendra (Bara Thakur) my great grand-uncle, was a prolific photographer and regularly sent his pictures to England for competitions. His work & writings on Photography are well documented and one of his most well known pictures of a tribal girl is held at the British Library. He even experimented with methods to preserve negatives in Indian hot and humid weather conditions. His own father was known to comment- “Samarendra’s paintings and photos were near flawless”. The other son Maharaja Radha Kishore Manikya, my great grand father was also a keen photographer and succeeded the throne in 1897. Unfortunately, no negatives of their works have been found so far.
My grand-uncle Birendra Kishore and my grandfather, Brajendra Kishore also took to the new medium. Of the two, my grandfather was more involved with photography, its technical aspects and was an expert at coating the plates and paper. I find this image so telling of their bond and as an ode to their exchange of ideas, because the photograph is of one brother – a keen painter, taken by the another – a keen photographer.
My grandfather, the photographer of this image, Brajendra Kishore had a passion for all the new things invented in the world and experimented with everything. He serviced and repaired all the royal cars and pocket watches. He loved to carve wood & ivory, and make furniture. Of course photography was a passion as it combined the aesthetic, mechanical and chemistry that he dabbled in anyway. He would coat the glass negatives and paper, and process and print for most of the family and taught others how to do it. He had a darkroom with a hole in the ceiling where the sun was the source of light for the enlarger. Not all of his images have survived the test of time, but this image is one from his collection of negatives that have.
Through my childhood I met my grandfather often, though only during school holidays. He taught me to shoot (with a gun) at the age of about seven and after a few years, to hand-color B&W photographs. Unfortunately I found photography to be my own keen pursuit only just before he passed in 1976, so I could not discuss any of my discoveries about photography or his pictures with him; else I am sure he would have told me about these plates, and asked that they be looked after. Nonetheless, I am proud that we are probably the only family in the subcontinent who have engaged with photography as pioneers and later as practitioners for five generations.
Aug 28, 2017 | Categories: 1800s, 1910s, Accolades & Awards, Achievements, Agartala, Architecture, Cars, Clubs, Cousin Marriage, Cultural Attire, Drawing, Dressed for an Occasion, Education, English Medium, First of a kind, Founders, Future icons from the Past, Hair Styles, Hand Painted, Hindu, Interiors, London, Men's Clothes, Music, Art, Dance & Culture, Nobel Laureate, Palace, Personal Collections, Photo Collection, Photo Studio, Photographic Techniques, Photography, Polygamy, Pre-1947 Indian Regions & States, Pre-Independence, Previous, Props, Royality, Scholarships & Grants, Silk, Studio Backdrops, Studio Portraits, Tripura, United Kingdom | Tags: 1910s, Agartala, Bara Thakur, British Library, Dagguerotypes, glass negatives, Léon Bonnat, Maharaja Bir Chandra Manikya, Maharaja Birendra Kishore Manikya, Maharaja Radha Kishore Manikya, Maharajkumar Brajendra Kishore Dev Burman, Photography, Pioneer, Rabindranath Tagore, Raja Deen Dayal, Samarendra, Santiniketan, Ujjayanta Palace, Vivek Dev Burman | 1 Comment »
Image contributed by Jay Varma, Text by Manu S. Pillai, New Delhi
(This narrative is an edited version to suit the format of this archive.)
It was in the fall of 1900, that the Maharajah of Travancore adopted the two girls in this photograph (taken in c. 1905), as his Maharanis — and as his ‘nieces’. For in Kerala, queens were never wives of monarchs, but their sisters. Under the matrilineal system of succession, ranks and titles passed in the female line; the Maharajah was a ruler not because his father was king before him, but because his mother was queen.
The Maharajahs of Travancore (now central and Southern Kerala, India) inherited the crown from their mother’s brothers, and thus power passed in a topsy turvy fashion from uncle to nephew, down the generations. Naturally, then, the sons of kings from their own wives were not seen as princes, but were only exalted nobles of the realm, fated for oblivion after the deaths of their royal fathers. Instead, princely dignities were granted to sons of royal sisters, and it was these boys who were considered heirs to the throne.
In 1900, however, the Maharajah had no heirs through his sister, and so the two girls seen here were adopted. They were cousins, and granddaughters of the famous artist Raja Ravi Varma. Sometime before the princesses were born, their mothers had journeyed to Rameswaram (Tamil Nadu) on a pilgrimage to pray for the birth of daughters to them. Legend has it that the deity appeared to them in a dream and promised the fulfilment of their desire. And thus when the girls were born, they were named Sethu Parvathi Bayi (left) and Sethu Lakshmi Bayi (seated right) respectively, with the prefix ‘Sethu’ denoting their divine origins from the lord of Sethu Samudram in Rameswaram.
The girls grew up in Trivandrum Fort as ‘Junior Maharani’ (Sethu Parvathi Bayi) and ‘Senior Maharani’ (Sethu Lakshmi Bayi) respectively. Indian as well as Anglo-Indian tutors were appointed for them and before long they were able to speak the King’s English, cultivating manners that marked Edwardian high society. They played tennis, golf, and croquet, all in their traditional costumes. In music they mastered the piano and the veena, and they read voraciously, becoming expert conversationalists, impressing everyone who met them.
When they turned 10, a set of boys from the aristocracy was presented to them to select one each as their consorts (the men were never officially called ‘husbands’). Though these consorts were wedded to the Maharanis, they were considered subjects: they lived in separate palaces and only visited their royal wives when summoned; they had to bow to them and refer to them as Highnesses. In public, they were prohibited from being seated in the presence of their highborn brides. The little Maharanis spent several years playing hopscotch with their husbands, and reading fairytales together in the palace library until in their teens the marriages were consummated on nights when the stars were in perfect alignment.
It was the Junior Maharani Sethu Parvathi Bayi who gave birth to a boy, Chithira Thirunal, in 1912. But until he came of age, for over seven years, the destinies of Travancore were entrusted to the Senior Maharani Sethu Lakshmi Bayi, who had two daughters but no sons. Power corrupted relations between the two royal matriarchs and records speak of the Junior Maharani as ‘the villain’. She felt that as mother of the future Maharajah, she ought to have been allowed to rule Travancore on his behalf and not her sister. But law and tradition decreed that only the Senior Maharani could reign.
So it was Sethu Lakshmi Bayi who ruled Travancore in the 1920s. She initiated far-reaching reforms constructing highways, bringing electricity and telephone services to her people, spending nearly a fifth of her revenues on education, which augmented Kerala’s high rate of literacy, developing Cochin (now Kochi) into the modern trading port it is today, appointing the first female minister in India, employing hundreds of educated women in her government, and thousands as teachers and nurses, installing the first Dalit and Muslim judges in the state, selecting a Christian Prime Minister instead of a traditional Brahmin or Nair; and opening up public roads to all in Travancore, hitherto accessible only to high caste Hindus.
By the end of 1931, the Senior Maharani relinquished power and handed the mantle of state to her nephew Chithira Thirunal, the Junior Maharani’s son. By then relations between the sisters had deteriorated irreparably, with palace intrigue, black magic, and more vitiating the air at court. For the next many years, the Senior Maharani, despite her acclaimed services to the five million people of Travancore, lived under the vexing control of the Junior Maharani. British authorities noted that while the Senior Maharani was ‘popular and respected’ and ‘held in the greatest reverence and esteem throughout the state’, the Junior was ‘cordially hated’ by their subjects, and was a ‘jealous and masterful’ modern day Catherine de’ Medici. There was perhaps bias, for the Junior Maharani who showed great independence and held unorthodox views, but the man on the ground held her in fear, and not love.
In 1947, when India became independent, the Senior Maharani’s family sensed relief and freedom from control of the Junior Maharani. Her daughters moved to Bangalore and Madras (now Bengaluru and Chennai), leading new lives as ordinary citizens; they cooked their own food, drove their own cars, and brought up their children as regular citizens. In 1957, the Senior Maharani decided to leave her palace and renounce her royal past. From being ‘Her Highness Sri Padmanabha Sevini Vanchi Dharma Vardhini Raja Rajeshwari Maharani Pooradam Tirunal Sethu Lakshmi Bayi Maharajah, Companion of the Imperial Order of the Crown of India and Senior Maharani of Travancore,’ she retired to Bangalore simply as ‘Smt Sethu Lakshmi Bayi’. From a palace with 300 servants, she moved into an ordinary bungalow with a staff of seven and spent the remainder of her days as a quiet recluse. She gave up her palaces to the people of Kerala; her summer palace is now with the Agriculture College; her official residence is a medical research institute; her beach resort was given to the ITDC.
Some years before her death, bedridden, she remarked wistfully with a stoic smile, to a visitor: ‘Once I had a kingdom, but it is gone. Then I thought the palace was mine but that is gone too. Then I thought I had this house, but now I can only say I have this room.’
In 1983 the Junior Maharani died in her stately palace in Trivandrum where she and her family had continued to reside as royalty. She was granted a state funeral by the Government of Kerala, attended by celebrities and politicians alike. In 1985, the Senior Maharani died in a general hospital in Bangalore. She was cremated at the Wilson Gardens Electric Crematorium, like just anybody else, surrounded by family members. She wrote many years earlier, ‘I have emerged a wiser woman learning that often in this world one gets kicks for honest selfless work, while the canting self-seeker wins half pence.’
And thus ended the saga of the two Sethus, daughters of providence adopted and raised to princely ranks, with one dying as a nobody, faraway from the land she loved and served, and the other meeting her maker in the comforts of her palace, still a queen long after time dissolved her kingdom into the pages of history.
Winner of the 2017 Sahitya Akademi Yuva Puraskar, Manu S Pillai is the author of the award winning book ‘The Ivory Throne: Chronicles of the House of Travancore’. The book can be purchased here.
Jun 27, 2017 | Categories: 1900s, Achievements, Adoption, Arranged Marriage, Brahmin, Child Marriage, Commerce, Construction, Cotton, Courting & Proposals, Cultural Attire, Development, Division of States, Dressed for an Occasion, Education, English, English Medium, Entertainment, Extra Curricular, Fashion & Trends, First of a kind, Founders, Future icons from the Past, Hair Styles, Hobby Classes, India, Indian Politics, Industrialisation, Interiors, Jewellery, Kerala, Latin, Lifestyles, Literacy, Matriarchy, Music, Art, Dance & Culture, Palace, Personal Collections, Photo Studio, Pre-Independence, Previous, Props, Relationships, Royality, Sanskrit, Silk, Sports, Studio Portraits, Tamil Nadu, Textiles, Trade, Violence, Weddings, Women, Women Empowerment, Women's Clothes | Tags: 1900, 1905, Adoption, Anglo Indian, black magic, British Empire, Chithira Thirunal, croquet, Development, Education, Edwardian high society, Fort, golf, Government of Kerala, India, Kerala, Maharani, Matriarchy, matrilineal system, Princess, Raja Ravi Varma, Sethu Lakshmi Bayi, Sethu Parvathi Bayi, tennis, Travancore, Trivandrum, Tutors | Leave A Comment »
Image contributed by Rukmini Varma, Text by Manu Pillai
In a time when the Indian Subcontinent was still a land of splendid Maharajahs and fabulous courts, Rukmini Varma was born in 1940 into one of its most early royal houses, with an unbroken dynastic lineage of over 1200 years.
Titled Her Highness Bharani Tirunal Rukmini Bayi Tampuran, Fourth Princess of Travancore, her early life was an idyllic fairytale, with all the enchanting auras and ceremonies surrounding a royal princess. Her grandmother, the Maharani Setu Lakshmi Bayi (1895-1985) was the revered matriarch of the house, who had ruled the State of Travancore and its five million people with much distinction in the 1920s. The entire family lived in her hallowed shadows. Rukmini was her eldest and favourite grandchild, and in a dynasty that traced its bloodline through female gene, her birth was of significant importance for matters of succession to the Gaddi (Throne) of Travancore.
Growing up in Satelmond Palace in Trivandrum, art came naturally to Rukmini. Her great grandfather, Raja Ravi Varma, was a master and celebrated painter, known as the Father of Modern Art in India. Some of his most fabulous works adorned the palace walls of Rukmini’s home. Her grandmother, the Maharani, was a patron of many local artists whose works ranging from portraits & landscapes to murals & dramatic scenes from the great epics, were a constant inspiration. But what impressed Rukmini’s attention the most were the hardbound, tastefully produced annual catalogues of all the major art galleries across Europe that her grandmother had collected. The works of great baroque masters like Rembrandt, Rubens, and Caravaggio fascinated her, and as a child she began to experiment with colour.
Observing her growing interest in art, Rukmini’s uncle gifted her with her first full set of brushes and paints on her sixth birthday, ordered specially from Bombay. Her grandmother too, noticing her general inclination towards the arts, appointed dance and music instructors, and in the years to come Rukmini would master forms such as the Bharatanatyam, Mohiniattam, Kathak, and more. With an appreciation of India’s cultural heritage as well as an interest in history, mythology, religion, architecture, she would reveal herself in her works in the years to come.
By the eve of India’s independence from the British Empire in 1947, things began to change in the royal household. Rukmini’s parents began to spend much of their time away from the palace, in the hill resorts of Kotagiri, Coonoor, and Kodaikanal. They also chose to enroll their children in public schools instead of having a train of tutors following them around. The slow lifestyle of the palace was replaced by an instilled regular routine focused on academic achievements instead of art. In 1949, the State of Travancore vanished from the map forever when it was merged with Independent India, and the royal family retired from active public life. The liveried servants, royal guards, and all the ritualistic ceremonies of palace life slowly faded away. Rukmini’s parents and her grandmother, the Maharani, moved to Bangalore. Satelmond Palace and the old world it represented became a mere memory.
For the next two decades painting took a backseat for Rukmini as school and college became more of a priority, followed by a marriage and children- all by the time she was 21 years old. But Rukmini kept her artistic interests alive, and recalls how she would try to recreate scenes from Greek mythology, painting Venus, Aphrodite, Paris, and other characters. Her classmates and friends were quick to ask for these pictures, encouraging her to paint more. Rukmini also excelled in science and despite her father insisting she focus on academics, her grandmother, the Maharani, advised her regularly, to aim towards perfection in her paintings. The encouragement helped- Rukmini chose art and not science.
By the 1960s Rukmini successfully dabbled in a variety of artistic spheres, a time she considers her ‘most creative phase.’ Around the same time Rukmini had also become an excellent dancer. Training under the renowned U.S. Krishna Rao, Chandrabhaga Devi and Uma Rama Rao, she gave several exclusive performances, including for charities. Film directors like Raj Kapoor began to approach her for acting roles, as did people with modelling offers, on account of her exceptional good looks. A then-prominent magazine, Mysindia, for instance, referred to her in 1968 as ‘an Ajanta painting come to life’. Magazine covers, including Femina and The Illustated Weekly of India, began to feature her regularly and she became the toast of Bangalore society.
In 1965 she started her own dance school in Bangalore in the halls of Travancore House, her family home on Richmond Road, which became an instant success. Still the orthodox social pressures and judgement on a ‘princess from a royal family dancing’, resulted in a premature termination of this phase of her career and to the greatest regret of her gurus. The Maharani, for whom Rukmini often performed in private, helped her move on by suggesting an alternative – Painting.
Rukmini returned to painting, an arena where it was felt society judgments were less pressing. Fortunately, soon enough she began to enjoy it actively and took it up with a renewed vigour. By 1970 she had completed her first series of oil paintings, which were exhibited in Bangalore to positive reviews. Her second exhibition in 1973 was opened by Governor Mohanlal Sukhadia of Karnataka State. 34 of the 39 paintings displayed were sold in a matter of days. Her third series in 1974 was inaugurated by the then President of India, V.V. Giri, at the Lalit Kala Academy in Delhi. Rukmini’s art began to bring her serious recognition in India’s art circles (including from Svetoslav Roerich, with whom Rukmini later sat on the Advisory Board of the Chitrakala Parishad in Karnataka).
In 1976, upon the invitation of BK Nehru and Natwar Singh, Rukmini embarked on her first major international exhibition at India House in London, which was opened by Lord Mountbatten, the last Viceroy of India. Impressed by her skill and ability he asked her if she would paint a portrait of him in traditional Indian attire, wearing a turban and an achkan. They also became friends briefly, with Mountbatten inviting her to fox hunting and picnicking with him on his country estate. The commission of the portrait, however, could not be completed owing to Lord Mountbatten’s tragic assassination in 1979, just before he was due to visit India with Prince Charles and provide Rukmini with three promised sittings.
Subsequent exhibitions followed in Bonn, Cologne, and Neuenahr in Germany, along with invitations from Paris, Zurich, Madrid, and Rome. Queries for her work began to come in from collectors in Europe, America, Singapore, and the Middle East. In 1981 she had another highly successful exhibition in Bombay at the Jehangir Art Gallery and at The Taj Art Gallery winning her the appreciation of M.F. Hussain. The exhibition was a sensation and caused a ‘stampede’ because it included her ‘Flesh and Gems’ series, which had voluptuous female nudes in mythological settings, not meant to trigger ‘erotic fantasies’ but a celebration of the human, particularly female, form and experience.
Throughout her career Rukmini was always compared with her renowned ancestor, Raja Ravi Varma, but, while she followed his concepts of depicting scenes from the epics, there was a substantial difference: Ravi Varma’s women were always luxuriously draped. Rukmini, on the other hand, had no qualms about painting them nude. It was a courageous move for the times and drew in a lot of criticism too from people like Swami Chinmayananda, who commented that Rukmini ought not to have painted nudes based on the epics, which had some religious value and could give offence.
Despite objections, including from within family circles, through the 1980s, Rukmini experimented with nudes. Disillusioned by this prudish conservatism in art, years later she said: ‘I got fed up with all these restrictions. You couldn’t express yourself in the way you wanted. I am certain even Ravi Varma wanted to paint flesh as flesh is, without restrictions…’ Rukmini was going through a phase of rebellion. Interestingly, this corresponded with the time when her commercial success was at its peak, and artists and collectors alike would regularly show up to meet her at Travancore House. Her ‘Pratiksha’ series which included many nudes, was quietly sold into private collections in India and abroad, and was not exhibited anywhere so as not to provoke orthodoxy.
Tragedy struck in 1988 her youngest son, Ranjit, died in an accident at the age of 20. Rukmini, devastated by the event for the next several years did not pick up the brush. She moved out of her grand old house into a private flat to escape attention from the stream of visitors and the media. A separation from her husband too followed. In the mid-90s Rukmini picked up the brush to paint with a portrait of Ranjit (one of the few portraits she has done). Another one followed but she was unable to complete either of them. To the genuine satisfaction of her collectors and well-wishers, however, she slowly began to do other paintings as well. Her lifestyle remained reclusive, though, and she turned down all invitations to exhibit her latest works and did not receive visitors.
Over the last eighteen years until now, Rukmini has been painting in Bangalore, with a dedicated group of private collectors following the progress of her work. She continues to avoid visitors for most part along with requests from the press, even as her work, although much reduced in volume, remains singular in style and excellence. And even today, at the age of 73, she remains a singularly beautiful woman, with such a remarkable past, with so many stories and anecdotes from around the world, that perhaps one needs to dedicate an entire book to recording her life.
Aug 22, 2013 | Categories: 1800s, 1960s, 1970s, Accolades & Awards, Achievements, Artist, Bangalore, Beauty Icons, British Reign, Charity, Classical, Concerts, Dressed for an Occasion, Economic Status, Elite, English Medium, First of a kind, Future icons from the Past, India, Indian Dance, Indian Music, Kannur, Karnataka, Kerala, London, Matriarchy, Mourning, Music, Art, Dance & Culture, Palace, Personal Collections, Pre-1947 Indian Regions & States, Previous, Psychological & Emotional Trauma, Richmond Town, Royality, Sarees, Shikar (Game Hunt), Silk, The Illustated Weekly of India, United Kingdom, Women Empowerment, Women's Clothes | Tags: 1947, 1970s, assassination, Bharatanatyam, BK Nehru, Chandrabhaga Devi, Chitrakala Parishad, Coonoor, Father of Modern Art, female nudes, Flesh and Gems, fox hunting, Governor Mohanlal Sukhadia, Greek mythology, Independence, India House, Jehangir Art Gallery, Kathak, Kodaikanal, Kotagiri, Lalit Kala Academy, London, Lord Mountbatten, M.F. Hussain, Maharani Setu Lakshmi Bayi, Manu Pillai, Matriarchy, Mohiniattam, Mysindia, Natwar Singh, Painter, Pratiksha, President of India, Princess, private collectors, Raj Kapoor, Raja Ravi Varma, Rukmini Varma, Satelmond Palace, Swami Chinmayananda, The Illustated Weekly of India, The Taj Art Gallery, Travancore, Trivandrum, U.S. Krishna Rao, UK, Uma Rama Rao, V.V Giri | 1 Comment »
Image and text contributed by Nazni Naqvi, Mumbai
My name is Nazni Naqvi. This picture of me and my husband Syed Imam Hadi Naqvi was taken on 11thOctober, 1958, five days after our wedding day. It was taken on the terrace of my parents’ home, Sultan Palace in Patna (now the pink painted State Transport Bhawan) by my brother, Syed Quamarul Hasan. An avid photographer, he took this photo as part of a series with his Roliflex Camera.
I came from a family with part royal lineage of Nawabs – My paternal grandfather had established the Patna University and was knighted by the British for his contribution to education. He was thereafter known as Sir Sultan Ahmed, and my grandmother as Lady Sultan Ahmed, customarily called ‘Lady Saheb’.
In 1954, a Maulana recommended Hadi to my father as a prospective son-in-law. I was 16 years old then and the only daughter in seven sons. I had other considerations for a husband- some cousins (sanctioned under Islamic law) and some other men with royal lineage. Marrying cousins was out of the question, and marrying into a royal family was not a very appealing idea even though my mother belonged to one. Photographs were exchanged and once I saw Hadi’s picture, I was in love. My father however wasn’t sure because the only thing that concerned him was Hadi had to be taller than me.
My father then travelled to London for health reasons and also met Hadi. They began to meet often and became well acquainted. To his relief Hadi turned out to be an inch taller than me, I was 5ft 3, he was 5ft 4. Everyone was happy, the families met and we were declared Engaged. Through the process of the engagement until our marriage, a 4-year gap, we never met or communicated with each other. Although I did sneak a peek from behind the curtains when he was visiting.
At the time of my engagement, at age 16, I was studying in class 9th I think. This might seem strange now but as a generation many of us didn’t have school for almost 2 years, because most educational institutions were closed due to partition issues. But in those days, loss of time in the arena of education wasn’t a big deal, especially for women. Nonetheless, I did complete my matriculation from a private school.
Three years since the Engagement and the Nikah, Hadi returned from London in 1957. Our marriage was fixed for October 1, 1958. That the dates changed is because of an interesting incident. The train that was supposed to bring the groom and his family to Patna never arrived on the date. It was pouring rain so hard in Amroha that the connection bridge from Amroha to Moradabad broke and they had to stop at Moradabad. At the time there were no mobiles, the few telephones that were around too were dead. So we had no clue where anyone was and it seemed the entire groom’s family had vanished!
Zakir Hussain, who was then Governor of Bihar and a family friend came to Hadi’s aid and with the help of the Telephone Exchange enabled a phone call to Patna two days later, informing us of what had happened. Hadi and his family finally did arrive, though four days later.
Nov 05, 2011 | Categories: 1947 India Pakistan Partition, 1950s, Aligarh University, Amroha, Bihar, Courting & Proposals, Delhi, Economist, Education, Fashion Accessories, Head Gear, Indian Clothes, Indian Clothes, Islamic, Jewellery, Knighthood, London, London School of Economics, Love & Romance, Matriculation, Men, Men's Clothes, Muslim, Palace, Railways, Rains / Monsoon, Royality, Specialised Clothing, Weddings, Women, Women's Clothes | Tags: 1950s, Agriculture Economist, Amroha, Bihar, British, Camera, Couple, economist, Education, Engagement, Gharara, Governor of Bihar, Green Brocade, Hina Saiyada, Imam Hadi Naqvi, Islam, Islamic Law, Knighthood, London School of Economics, Ministry of Agriculture, Ministry of Finance, Moradabad, Muslim, Nawabs, Nazni Naqvi, Nikah, Palace, Partition, Patna, Patna Univeristy, Photography, Portrait, Rain, Roliflex, Royalty, Specialised Clothing, State Transport Bhawan, Syed Najmul Hasan, Telephone, The Sultan Palace, Train, Trousseau, Uttar Pradesh, Wedding, Zakir Hussain | 17 Comments »