Raja Ravi Varma's "There Comes Papa" (1893) is often seen as a simple domestic scene but there is so much more symbolism in it than it may seem at first glance. The central image in the picture is that of Mahaprabha Thampuratty, Ravi Varma's daughter, holding her baby, Marthanda Varma, while both of them are looking towards this other person who himself is not present in the scene. It is through the title of this painting that it gets revealed that this third person that they're both looking for in anticipation is her "papa." This element, as a matter of fact, is the key to understanding this artwork, since all the mood is created in order to convey the atmosphere of the father's presence that no one can see. Even such a detail as a puppy at the bottom of the picture directs its attention to some unseen spot. There is no denying that the painting is heavily embedded in the social dynamics that were unfolding in the state of Kerala at that particular time. According to art historian G. Arunima, there is an indication of the evolution of the matrilineal community under the colonial modernity that was sweeping through the Indian subcontinent. Traditionally, the Nair community in Kerala practised the concept of matriliny, which means that heritage and descent ran through the female line. The father played a rather secondary role within the framework of the family structure compared to the patriarchal Victorian model. Nevertheless, the influence of the British colonial period and social reform led Indian society to embrace the concept of the nuclear family. This nuclear family consists of the father, mother, and their son or daughter. As a result, one can say that there is a record of social change within Ravi Varma's painting "There Comes Papa." It is this capacity to juxtapose individual intimacy with social symbolism that made Ravi Varma so influential in the annals of Indian art. He was famous for combining European academic realism with Indian motifs. Nineteenth-century European academic art focused on realism, anatomy, perspective, shadowing, and realistic depiction. The oil painting method was used to make three-dimensional images and human figures that looked authentic. Ravi Varma incorporated the technique but used it in the context of Indian motifs, Indian mythology, Indian women, and Indian lifestyle. While Western academic artists were painting European royalty and biblical tales, Ravi Varma chose to paint Indian mythology and royal families. One can say that "There Comes Papa" is one of the best examples of such a synthesis. The painting is done using a lot of European realism. The sari's folds seem to flow naturally over the body, the light casts its modeling shadows on the body, and the characters are placed in believable three-dimensional space. The dark background serves not only for creating depth but also helps to direct the viewer's attention to the foregrounded bright figures. Ravi Varma uses lighting and shading to convey emotions and not theatrical drama. Even as this is so, however, the painting retains its undeniably Indian identity both in terms of subject and atmosphere. The figure of Mahaprabha is wearing an ancient Kerala style sari, white and bordered with gold, which was very typical of the attire worn by the high caste Nair women of this era. It is clear that Ravi Varma captures the essence of this dress style with great skill and mastery. The sari is not portrayed in an abstract way; rather, it hangs in a realistic manner on the body, showing the effect of the naturalistic approach of Western painting. But he did not use the Western model to impose any sort of Western Identity upon India. The jewelry worn by the woman depicted in the painting serves as yet another means of establishing her identity. Her necklace, arm bracelets, leg bracelets, and nose ring denote her high status and regional affiliation, while at the same time adding to the visual appeal of the image. In the depiction of these elements, the artist Ravi Varma shows himself to be quite interested in the texture of the materials he uses. The gold pieces of jewelry catch the light and thus provide the viewer with additional warmth, contrasted by the darkness of the background and the soft whiteness of the sari. At the same time, the color scheme of the painting is simple, yet very effective. One of the most remarkable qualities of "There Comes Papa" is also its sense of interiority. While traditional royal portraits tend to focus on power and pomp, this one seems quite intimate and personal. Ravi Varma captures the feeling of a private domestic scene and not a grand royal ceremony. The mother looks thoughtful and pensive, whereas the child wears an expression of curiosity and anticipation. It seems that both their emotions come off quite naturally, and not artificially staged for the occasion. This psychological realism reveals the artist's interest in European portraiture, yet his emotions are clearly Indian. The painting, unlike many of his others, has also attracted feminist readings, particularly around the idea of the male gaze. Feminist critics have often discussed Ravi Varma's representation of women, arguing that many of his female figures are idealized and aesthetically constructed for visual admiration within patriarchal culture. The concept of the male gaze, developed in feminist visual theory, refers to the representation of women from a masculine perspective in which women become objects of visual pleasure. Certain aspects of Ravi Varma's work support this interpretation. His women are frequently graceful, beautiful, and carefully stylized, and femininity itself becomes central to the visual experience. Nevertheless, "There Comes Papa" undermines a simplistic interpretation of the male gaze in the painting. First of all, the woman portrayed in the work is not offered to the observer as some erotic object of attraction. In her entire body language, she directs herself exclusively to someone invisible, namely her father. The female character occupies a defined place within the context of emotionality and the family. The key theme of this painting is emotional involvement, anticipation, and domestic intimacy. Moreover, the model of this picture is Ravi Varma's own daughter, which opens up new possibilities for discussions on the topic of idealized depiction of a woman. Nevertheless, the presence of a patriarchal visual code cannot be completely excluded since feminist theory usually focuses on the wider system of representation rather than on the author's intentions. However, the overall atmosphere of "There Comes Papa" contrasts markedly with the works of nineteenth-century Europe. It is the complexity of the work that ensures its importance still. For, it can be read both as a family portrait, as a portrait of motherhood, as an expression of evolving socio-cultural structures, and as an attempt at blending Western realism with Indianness. Ravi Varma has immortalized the intimate, fleeting moments within the house while also providing documentation of a society being transformed through modern colonialism. The absent father takes on more than a romantic notion, but is symbolic of changing concepts of masculinity and domestic life. And even after a century, "There Comes Papa" remains relevant because Ravi Varma was able to portray the social transformations of his time without losing the painting's overall emotionality. Although the technical skills of Ravi Varma were remarkable, it was not just the skillfulness of the brush that made the painting an iconic piece of art. The anticipation of the mother and her child appears to be eternal, although the reality depicted by the artist was very much specific for nineteenth-century India.

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