Born and raised in Jaipur, I was fortunate to call one of the most beautiful havelis in the walled city my home. While the house had many corners that have stayed with me over the years, two Raja Ravi Varma prints continue to hold a special place in my heart and mind. Puja rooms in havelis are usually the largest, and ours was well known for its beautiful frescoes and walls lined with paintings depicting everything from Shiva Parvati Vivaha to Sita’s Swayamwar. Among those, two large framed prints of Ravi Varma’s “Lakshmi” and “Saraswati” sat on either side of the Garbhagriha. Spending years around those images, I formed my perception of what the two goddesses looked like. Soon, I realised that this was true for an entire generation of Indians who frequently saw these images on calendars, notebooks, and packets.
Spend Navratri With Me (And Raja Ravi Varma) In Vadodara
Where Raja Ravi Varma’s goddesses meet the exuberance of Garba, Vadodara reveals its artistic soul and living cultural heritage
Moving from that to seeing Ravi Varma’s original, life-sized Lakshmi and Saraswati felt like a scene straight out of my dreams. And dreams do come true: mine did when I found myself inside the Gaddi/Coronation room of the Lakshmi Vilas Palace in Vadodara, where these two stunning ladies can be found. Lakshmi, with her soft features, wore a beautiful, modern crimson-hued saree, while Saraswati looked ethereal in white with her sitar; I stood there, looking at them, childhood memories racing back.
I was in Vadodara for Aikyam 2026, a cultural event organised by Sopaan in collaboration with the Lakshmi Vilas Palace. The theme for this year’s festival was “Rasa and Realism,” with a special focus on the legacy of Raja Ravi Varma and his contributions to the evolution of modern Indian art. The previous edition of the festival was organised at the Ajanta Ellora Caves, and when I asked Siddhaant Mohta about their choice of location for this year, he said, “We believe that Vadodara is one of the underrated, culturally rich cities in India that deserves much more attention than it receives.”
From standing in front of scenes painted by one of India’s most timeless artists to experiencing the euphoria of participating in the Lakshmi Vilas Palace Heritage Garba Festival, Vadodara has easily become one of my favourite destinations this year. Looking back at the two days I spent in the city, I take you through the highlights of this summit and its celebration of Ravi Varma’s legacy.
Raja Ravi Varma Up Close
Ravi Varma arrived in Vadodara when he was commissioned to paint the investiture portrait of Maharaja Sayajirao Gaekwad III, the youngest yet the most reformative and revolutionary ruler of the erstwhile princely state. The same portrait is now on display at the Fatehsingh Museum, a keepsake from the erstwhile Royal family’s aspirational and enviable collection of Ravi Varma’s works. During my recent trip to Gujarat’s cultural capital, I had a chance to visit the museum, and for anyone who calls themselves a Ravi Varma fan, the section dedicated to him will make you feel like a child in a candy shop.
Among the other paintings in this section is one of Radha waiting for her lover. No one tells you what she is doing, but the longing on her face makes it amply clear that she awaits the arrival of Krishna. Another favourite from the collection represents an intimate moment shared by Madhava (another name for Lord Krishna) and Radha under the moonlight. Ravi Varma did exceptionally well at humanising, democratising, and popularising these divine figures. He captured them in moments that occur in each of our lives, and while that did attract a lot of criticism of the artist, it is what stood out among his paintings for most people. For instance, his painting of Shankuntala writing a letter to her lover Dushyanata, along with two of her friends, Anasuya and Priyamvada, is like today’s scenario of a girl expressing her feelings to her crush after the advice of her best friends. His paintings can be lived in everyday moments by each one of us.
However, not all were relatable; some were representative of events in epics like the Ramayana. Sita Bhumi Pravesh, which is not in the Fatehsingh Museum but in the same coronation room at the Lakshmi Vilas Palace, is another you should watch up close. It depicts the scene of when Queen Sita, weary of society's repeated doubts about her chastity and fidelity, calls upon Mother Earth (Bhumi) to reclaim her. Vadodara, where Ravi Varma spent years painting some of his most notable works, remains a treasure trove of his artworks. If you happen to visit the Durbar Hall at the Palace, don’t forget to look up towards the colourful glass windows, where the one on the extreme left is actually the Ravi Varma Yashoda and Krishna painting that sold for a whopping 167 crores, made using colourful glass imported from Belgium by Sayajirao Rao Gaekwad III. Pull out your phone and zoom in to find yourself amazed.
To add to an afternoon spent immersing myself in Ravi Varma's original works, I witnessed a theatrical performance inspired by three of his paintings in the evening. Curated and executed by Gauri Sharma Tripathi, the recital featured Kathak, Bharatanatyam, and Contemporary, along with vocals by Chandan Bala and Soprano by Silvija Radjen. In 90 minutes, it brought Varma’s paintings to life on stage, transforming still paintings into live performances that captured their emotions and tensions exceptionally well.
While the recital stood out, sitting through a talk by historian Manu Pillai, whose book False Allies is a must-read for anyone who wants to understand the life of Ravi Varma in the context of pre-Independence India, was a fangirl moment. The most interesting bit from that conversation was the story of Ravi Varma and the Jackfruit Murderer. I will leave it for you to read more about it (Laugh and thank me later)!
Garba At The Lakshmi Vilas Palace
The second day took a festive turn with an invitation from the Maharani of Vadodara, Radhikaraje Gaekwad, to attend the Lakshmi Vilas Palace Heritage Garba Festival. The Maharani opens the lawns of her palace to her beloved Barodians, who spend the next nine days dancing to the beats of garba and dandiya. To have found a spot in the VIP area was a fortune for more reasons than one. It provided a vantage point to view a sea of people dancing in pure sync and coordination, dressed in the most beautiful and colourful chaniyacholis and kediyu.
I couldn’t stop myself from entering the grounds where the locals danced, and found myself lost in the chakkars and steps of garba; a local was kind enough to guide me through it. Did I learn or not? Well, that should be a discussion for another day.
I had the chance to participate in the Aarti, led by the Maharani under a 1,000-year-old Banyan tree (Vadodara gets its name from the Banyan). As the aarti came to an end and the beats of dandiya continued to fill the air, I found myself reflecting on how beautifully Vadodara holds on to its traditions. At the Lakshmi Vilas Palace, garba was more than a dance; it was a celebration of community, culture and a shared sense of belonging. For those few hours, the palace lawns belonged to the people, and I felt fortunate to have witnessed a tradition that brings Barodians together year after year.
