The article first appeared in Scroll.in on March 04, 2024.
In May 1890, the Photographic Society of India’s journal featured a groundbreaking letter titled “The Camera Club of the Palace of Agartala.” Written by Radharaman Ghosh, secretary to Maharaja Bir Chandra Manikya of Tripura, the letter claimed that both the Maharaja and his wife, Maharani Manmohini, were avid photographers. It highlighted that while the Maharaja developed many of their photographs, the Maharani had printed most of them. Each image was uniquely marked to identify its creator, making Maharani Manmohini one of the first Indian women known to create photographic works.
This assertion, later highlighted by Siddhartha Ghosh in his seminal 1988 book Chobi Tola: Bangalir Photography Chorcha, places the Maharani among early Indian pioneers in photography. By the late 19th century, photography had been practiced by women globally for decades, including European women in India who worked professionally as zenana photographers. These women specialized in photographing subjects behind purdahs, an important cultural consideration of the time. Among such professionals were Mrs. E. Mayer, Mrs. Kenny-Levick, and Bibi Wince. However, documenting the photographic contributions of women from colonized regions has proven more challenging. In this context, Maharani Manmohini stands out as a trailblazer, although Sarojini Ghosh later earned recognition as the first Indian woman professional photographer. Ghosh’s Mahila Art Studio in Calcutta became notable for offering services like bromide enlargements, platinotypes, and photographs on silk at competitive prices.
Photography’s accessibility to elite Indian women by the 1890s reflects significant shifts in societal norms. Women like Manmohini, freed from veiling customs, embraced the art form alongside their aristocratic peers such as Sawai Ram Singh II of Jaipur and, decades later, Rajmata Rajendra Kunverba of Kutch. Among these, Sawai Ram Singh II left an extensive collection of glass plate negatives, now well-preserved. Unfortunately, Rajmata Kunverba’s work has been lost, while the Manikya couple’s photographs remain scarce in the public domain.
One iconic photograph taken by the Maharaja and Maharani, showcasing the couple in an intimate pose, has gained significant contemporary attention. Dubbed India’s “first selfie,” this image resonates with modern audiences, underscoring the timeless appeal of the couple’s photographic legacy. Maharani Manmohini’s contributions not only mark an important chapter in Indian photographic history but also underscore the evolving role of women in creative and cultural spheres during colonial India…
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