Gopichand

GOPICHANDRA: Gopichand, the son of Raja Triloka Chandra of Bengal, became the disciple of Jalandhara Natha and left his kingdom at the instance of his saintly mother Mayanamati. The Mahasanta Vakya contains a short account of his renunciation. The language in which the queen mother exhorted her reluctant son on the vanity of the world and its possessions and on the supreme necessity of taking recourse to a Spiritual Teacher for enliGopightenment is unrivaled. Seldom in human history has a mother been found to take the initiative in sending her own son away in quest of saving Wisdom - a quest fraught with immense perils and possibility of untold sufferings. The story of Gopichand's renunciation has become classical, and almost every vernacular of northern India has a version of it.

This oleograph from the Ravi Varma Press and derived from a painting by Raja Ravi Varma depicts the scene of Gopichand renouncing the world to the discontent and dismay of the ladies of the household. He is seen in a ascetic attire with a rosary around his neck and in his hand.

This Oleograph dated back Circa 1910, Printed in Germany 

MENAKA-SHAKUNTALA

MENAKA-SHAKUNTALA: There are a series of prints from the Ravi Varma Press in Circa 1910 -12 depicting the story of Shakuntala. The pictorial narrative is almost complete commencing with the Birth of Shakuntala in Shakuntala-Janm and ending with the reunion of Shakuntala and Dushyanta.

This oleograph from the Ravi Varma Press derived from a painting by Raja Ravi Varma depicts Menaka, Shakuntala’s mother carrying Shakuntala with her into the heavens after her trials and disappointment in love.

Saraswati

SARASWATI: Saraswati is the goddess of learning and the 43rd chapter of the Brahma Purana describes her birth from the sublime or sattvic face of Bramha. Saraswati thereafter asked Bramha who she was and what were to be her duties. Brahma declared that she would be called Saraswati and was given three duties. Firstly, she was to reside at the tip of the tongue and was directed to dance on the tongue of learned people. She was also directed to reside on earth as a river and in the third form reside with Brahma.

This oleograph  from the Ravi Varma Prem Karla Lonavalla derived from a painting by Raja Ravi Varma follows the iconographic description of Saraswati as found in the 50th chapter of the Agni Purana. She is described in the Agni Purana as being attired in white and playing the Veena with two arms and holding an aksha-mala (a string of pearls) and a pustaka (book) in the other hands.

Early religious texts do not mention a vehicle or vahan for Saraswati. However, later texts provide for a swan or peacock. There are three prints of Saraswati by the Ravi Varma Press derived from paintings by Raja Ravi Varma. This is the most common and popular image of Saraswati.

This work is approx  Circa 1903-05 from Ravi Varma Pres Karla Lonavalla , Bombay