The grand Durbar Hall of the Laxmi Vilas Palace in Baroda was the site of an unusual event involving painting, weaving and music. A city known for its patronage of the arts, Maharaja Sayajirao Gaekwad established Baroda’s first music school in February, 1896, and a college of music in the mid-1920s. By the 1930s, the Baroda court boasted of the finest musicians. Ustad Fayaz Khan of Agra Gharana took pride in his association with Baroda. The first All India Music Conference, which was attended by over 400 musicians and experts, took place here in 1916. This cultural legacy further added to Shubha Mudgal’s recent concert at the Durbar Hall, where she performed songs on five chosen themes. Raja Ravi Varma Paintings
Saree and painting on display in Durbar Hall of Lakshmi Vilas Palace in Baroda. , photo Credit: Photo: The Hindu Archives
The famous Ravi Varma spent 14 years in Baroda and some of his best works were conceived in the palace’s studio, which still stands on the grounds. Hyderabad-based designer Gaurang Shah has recreated 34 of these paintings on Jamdani sarees.
Gaurang selected 50 paintings, enlarged the size of the normal loom to accommodate the fine details of each, and managed to create 34 sarees. Five of these were chosen to convey the beauty of paintings and weaving through music. Shubha Mudgal, in her usual unique style, chose suitable songs and ragas that suited the time of day and event.
The first song, according to tradition, was on Ganesha; The Ravi Varma painting of the elephant-headed god was executed in gray color with a blue base. Shubha chose the composition of a lesser heard poet from Farrukhabad in Raga Shree and Taal Rupak to be sung at sunset. Her powerful voice rose effortlessly, setting the mood for the events to come.
The second piece in Raga Kalyan (Yemen), by his guru Pt. Ram Ashray Jha. The song is about how Sita first sees Rama’s face in the reflection from the bracelet of her burnt metal hand. The painting depicts Rama breaking the bow. The Durbar Hall, whose stained glass windows depicted scenes from the Ramayana, was an ideal venue for the song. Shubha’s third work was in Raga Chayanat and spoke of Sita. swayamvara, Shubha’s presentation was as elaborate as the sari in which the episode was woven. Then a thought came upon Devi, in the mid-evening raga Jayjayvanti, set for Jhaptal. In addition to taking care of choosing the appropriate song, the choice of rhythm also made the concert fun.
The next piece, a thumri, proved Shubha’s versatility. He learned thumri from Naina Devi, who belonged to the tradition of famous thumri exponent Ustad Maujuddin Khan. The painting was of Krishna.
On demand from the audience, Shubha gracefully sang the sixth composition, Ek Teal. Each song brought to life the mood and colors of the paintings made on six yards of cloth.
Delhi-based writers write on art and culture.
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