The sprawling palace complex in Kilimanoor, abode of Kilimanoor royal family, has a prominent place in the annals of the history of erstwhile Travancore. Today, the fame of the Kilimanoor royal family largely rests on artistic contributions rendered by the great artist Raja Ravi Varma, a scion of the family. Raja Ravi Varma and his younger brother C. Raja Raja Varma were among the earliest Indian artists to effectively master the Western academic art traditions and successfully integrated the same into the Indian milieu, bringing about a revolutionary transformation in the native artistic experience.
The story of Kilimanoor royal family’s tryst with artistic tradition is still preserved in oral traditions maintained by family members. Rohininal Thampuratty and her younger sister Moolamnal Kunjikāvu, two female members of the Kilimanoor clan, were the first to learn the intricacies of the art. The sisters learned the basics of drawing from two fugitive princes from the Pazhassi Kovilakam. These princes, after the fall of Pazhassi Raja, escaped in disguise and spent some time in Kilimanoor, hiding from the clutches of the British.
The artistic tradition began by the matriarchs was carried on by future generations. Kunjikavu’s son Rajaraja Varma was the first prominent artist of the royal family, whose works can still be spotted in Sri Chitra Art Gallery in Thiruvananthapuram. Rajaraja Varma’s association with the Travancore royal durbar connected him to Alagiri Naidu, a master artist who was equally comfortable with traditional Tanjore and Western streams of art. Under the guidance of Naidu, Rajaraja Varma enhanced the artistic lessons he learned from his mother. Today, Rajaraja Varma is widely remembered as the one who initiated Raja Ravi Varma, his nephew, into the world of colours. Later, when the reputation of the Varma brothers soared high and far in the artistic realm, their younger sister Mangala Bayi Thampuratti (1865-1954), a talented artist in her own right, was destined to lead a life fettered to strict social norms.
Drawing inspiration
Mangala received valuable lessons by observing her famous brothers in their studio. Like her brothers, Mangala too was drawn to the Western academic artistic tradition. Her proficiency in portraying domestic and devotional themes and skill in capturing likeness made her a sought-after artist. A striking portrait of Raja Ravi Varma, executed by Mangala Bayi and exhibited at the Sri Chitra Art Gallery, bears testimony to her adeptness in capturing the soul of the subject on the canvas. Thus, in spite of all the limitations imposed on her gender, Mangala emerged as a true matriarch amongst female artists of Travancore.
A portrait of Mangala Bayi Thampuratty from the private collection of Vilasini Kochamma
"For us, she was the Kochu Kottarathil Ammumma,” recalls Aiyappan Thampi of Thiruvattar Ammaveedu, great grandson of Mangala. “It was during our visit to Kilimanoor palace that we used to meet her at Kochu Kottaram, where she maintained an art studio.” Thampi recalls that his maternal grandfather Artist K.R. Ravi Varma (Mangala’s son) assisted the elderly matriarch with her art commissions in her autumn years.
Kilimanoor royal family’s artistic tradition through its female line was carefully nurtured by Mangala Bayi. Amongst her disciples, Bhavani Thampuratty and Malathi Thampuratty from the family emerged as talented artists. However, many of Mangala Bayi’s works still remain in private collections, unappreciated by art lovers.
(The writer is a conservation architect and history buff)
