TALES FROM THE CAPITAL CITY – 159

 The Travancore Photograph That Wasn’t the First

Travancore history enthusiasts and scholars of the history of photography would be familiar with this image of Maharajah Ayilyam Tirunal Rama Varma (r.1860-1880) of Travancore with his consort, Panapillai Kalyanikutty Ammachi of Nagercoil Ammaveedu (d.1909), a poet and renowned beauty of her time. The photograph is frequently circulated on social media with an absurd caption that typically reads along the following lines: “The first photo captured in Kerala in 1865 features Maharaja Ayilyam Tirunal of Travancore and his wife, Kalyanikutty Ammachi. In exchange for this historic picture, he rewarded the photographer with 2,001 gold coins, 500 quintals of black pepper, 100 quintals of cardamom, and 100 quintals of dried ginger!”

The comments section is often flooded not only with unkind remarks focusing on the erstwhile ruler’s physique and his supposedly ‘common man’ appearance, but also with responses from individuals who, unfortunately, accept without fact-checking the claim that such an extravagant payment was made to the photographer in cash and in kind.

As someone who has researched the history of photography in the Travancore court, I can state with confidence that this is certainly not the first photograph from Kerala. Nor does it stand any chance of being the first photograph taken of a member of the Travancore royal family. The distinction of being the first Travancore ruler to be photographed belongs to Ayilyam Tirunal’s uncle, Rajah Uthram Tirunal Martanda Varma (r.1847-1860), the younger brother of Rajah Swathi Tirunal Rama Varma.

Although it is not known with certainty who photographed the king, a record dated 1037 M.E. (1862) notes the sum of Rs. 440 issued by Maharajah Ayilyam Tirunal for the purchase of twelve photographs, among which was included a photograph of his late uncle, Uthram Tirunal. On another occasion in the same year (1037 M.E.), the Maharajah paid Rs. 310 to Arbuthnot & Co. for a photograph taken of him during a visit to ‘Chennapattanam’. Therefore, before accepting the misinformation circulating on social media, I hope readers will take note of these documented facts.

For further insights into the early history of photography at the Travancore court, including rare photographs of Rajah Uthram Tirunal Marthanda Varma and early Government Photographers such as Zacharias D’Cruz and J. B. D’Cruz, look out for my forthcoming book, The Forgotten Atelier.

25.02.2026

TALES FROM THE CAPITAL CITY – 157

 When an Artist Turns Photographer

A relaxed moment at C.N. Pillai's wife’s home, where relatives gather at the poomukham to pose for Pillai.

This 1930s photograph from Kottayam, Travancore, shows a Nair matrilineal family. At first glance, it resembles an ethnographic image of the period—but what makes it exceptional is that we know both the photographer and the people portrayed. The photograph was taken by C. Nilakanta Pillai, a noted court painter of Travancore and a disciple of K.R. Ravi Varma, nephew of Raja Ravi Varma. Though celebrated as a portraitist, Pillai’s most important contribution lies in the series of historical paintings he executed in the 1930s for the Padmanabhapuram Palace Museum.

Commissioned by the Travancore royal family, the ten-painting series narrates key episodes from the state’s history, with a special focus on the life and reign of Anizham Tirunal Martanda Varma. To prepare for this project, Pillai travelled extensively across Travancore with his camera, photographing sites and monuments linked to the Maharaja. These images—carefully preserved in albums—later served as visual references for his paintings.

Artist C.N. Pillai beside De Lannoy’s tomb at Udayagiri. Private collection.

C. Nilkanta Pillai, Captain De Lannoy of the Dutch Army Surrenders to Maharaja Martanda Varma, oil on canvas. Padmanabhapuram Palace Museum.

If you visit the Padmanabhapuram Palace Museum, don’t miss Pillai’s remarkable historical paintings—and look out for more information on the artist in my forthcoming book, The Forgotten Atelier.

05.02.2026

TALES FROM THE CAPITAL CITY – 147

 A Hidden Gem: Uncovering Forgotten Photographs

In 2013, I received a precious gift—an album of old photographs—from a descendant of a Travancore court painter. Moved by my passion for researching the legacy of the old-school painters, she entrusted me with her dear father's papers and documents, believing that they would be safe in my care. The album was a true treasure, filled with images of Travancore landmarks, portraits of the late artist’s family, and several Buddhist archaeological sites from Sri Lanka. Yet, while the photographs themselves were captivating, only a handful of pages bore any annotations—brief, notes that merely mentioned the name of a building or location.

With considerable effort, I identified some of the buildings and sites, only to discover that many of these images were far more significant than I had first realized. For example, the previous owner’s connection to the royal atelier meant that several photographs had come from the royal collection itself. One such gem was a photograph taken by Elayarajah Chatayam Tirunal—an amateur photographer and the nephew of the Maharajah of Travancore. This discovery was nothing short of a revelation.

I have many stories to share on how I identified some of the photos and the stories behind those images, but today, as I was glancing through the pages, I was reminded of a stunning 'discovery' I made in 2020. Fortunately, I made a note of it in my journal.

28.07.2020: "Today, as I was going through the individual pages of the album, I noticed that the last page was much thicker and stiffer than the others...saw that the two pages had been stuck together... Gently pulled away the outer leaf and to my surprise found that there was a beautiful photograph (titled 'Beach Palace' (Shangumugham), and dated '29.11.1929') hidden inside!"

It wasn't until much later that I came to realize the photograph had remained unseen for the past fifty years, hidden away in time's shadow.

Note: On the far left of the image, a group of anglers can be seen hauling in their catch from the sea.

13.01.2025.

TALES FROM THE CAPITAL CITY – 131

  CHATAYAM TIRUNAL RAMA VARMA  

A FORGOTTEN AMATEUR ROYAL PHOTOGRAPHER

H.H. Chatayam Tirunal Rama Varma, the Elayarajah (c.1900). Detail from a photograph by Ramen Pillai, Trivandrum.

Chatayam Tirunal Rama Varma - the Elaya Rajah of Travancore - whose life was drawn to an abrupt end on 6 June 1901, at the age of 33, was an acclaimed amateur artist and photographer. As a member of the Amateur Photographic Society of Madras, the prince never missed a chance to present his works at exhibitions conducted by the Society. In Travancore, the prince brushed shoulder with professionals like Zachariah D’Cruz (the Government Photographer) and Ramen Pillai. In 1887, the young prince set out on a journey to see important cities like Madras, Bombay and Calcutta. These explorations gave him an inclusive picture of the vast and diverse history and culture of India, and most likely these journeys transformed the prince into a travel-photographer.

In Travancore, the prince made regular expeditions to explore places of scenic beauty and tried his hand at portraiture and allegorical themes. Among the photographs exhibited in Madras were those of architectural landmarks like Vandur Teppakulam (Madurai), Tevalli Palace (Kollam) and studies such as ‘An Indian Prince’ and ‘a portrait of Mr. Charles Michie Smith’ (the eminent Scottish astronomer), presented to the Madras Society in 1895. The prince, it seems, was in love with the southern districts, for he produced several photographs documenting the scenery, landmarks and life of people, e.g. ‘Kuzhithuray Bridge’ (Kanyakumari District, Tamil Nadu) and ‘A view of South Travancore’ (both dated c.1897).

The ancient Jain temple at Chitaral, Kanyakumari District, Tamil Nadu, c.1890s. Photograph by Chatayam Tirunal Rama Varma. From the private collection of the author.

The following excerpt from a letter (dated 9th May 1898) written by the Prince sheds light on an interesting photographic expedition he made to the southern districts. 

“Many years ago on one of my photographic outings in the southern districts of our picturesque country I was attracted by this interesting rock-temple (the famous Jain temple at Chitaral, Kanyakumari District, Tamil Nadu). Going thither one fine morning camera in hand I exposed a plate almost against the sun as the temple faces the west. The result was nothing extraordinary. Still I have the satisfaction of added to my collection of photographs one of a building of such classical interest.” 

Sadly, for someone credited to have followed photography with such passion, this bromide print of the temple at Chitaral is the only work that can be attributed to the prince without a doubt.

Sharat Sunder Rajeev, 23 August, 2020.

TALES FROM THE CAPITAL CITY – 130

REMEMBERING ASWATHI TIRUNAL MARTHANDA VARMA B.A., THE 'PHOTOGRAPHER PRINCE' ON WORLD PHOTOGRAPHY DAY

H.H. Aswathi Tirunal Marthanda Varma B.A., c.1899, (detail). From a private collection. 

        Aswathi Tirunal Marthanda Varma B.A., a.k.a., ‘B.A. Prince’ (b.1871-d.1900) — nephew of Maharajah Moolam Tirunal of Travancore — is celebrated as an early amateur photographer, whose photograph of Swami Vivekananda adorns the entrance to Swami’s room at Belur Math. Prof. K. Sundararaman (Tutor to Aswathi Tirunal) records in ‘The Life of Swami Vivekananda,’… “The Prince was struck like all others who came into contact with him, with the Swami’s striking figure and attractive features; and being an amateur photographer, asked the Swami for a sitting and took a fine photograph which he skilfully developed into an impressive picture.” This photograph was later shown in an exhibition conducted at Madras Museum.

 Aswathi Tirunal's photograph of Swami Vivekananda, 1892.

 

The print currently housed at Belur was sourced by Swami Brahmananda, a monastic disciple of Sri Ramakrishna when he visited Travancore in 1916. While stationed in Trivandrum, Brahmananda came to know that a photograph of Swami Vivekananda was taken by the Prince of Travancore at the palace and expressed an interest to procure a print of the same. It is known that the negative of the picture was secured by P. Seshadri Aiyer from D’Cruz, the Government Photographer (Letter from Swamy Trilokyananda, R.K. Mission, Calicut, 1962). 

Sharat Sunder Rajeev, 19 August, 2020.