page_title: Baahubali 2: The Conclusion
section_title: Themes
hierarchical_section_title: Baahubali 2: The Conclusion / Themes
caption_attribution_description: Traditional Indian Print by Artist Raja Ravi Varma Raja Ravi Varma (1848-1906) was born in Kilimanoor Palace as the son of Umamba Thampuratti and Neelakandan Bhattathiripad. At the age of seven years he started drawing on the palace walls using charcoal. His uncle Raja Raja Varma noticed the talent of the child and gave preliminary lessons on painting. At the age of 14, Ayilyam Thirunal Maharaja took him to Travancore Palace and he was taught water painting by the palace painter Rama Swami Naidu. After 3 years Theodore Jenson, a British painter taught him oil painting. Most of his paintings are based on Hindu epic stories and characters. In 1873 he won the First Prize at the Madras Painting Exhibition. He became a world famous Indian painter after winning in 1873 Vienna Exhibition. This is print of the original work of theartist Raja Ravi Varma. He was the first Indian artist who has got the international fame in those days. The subject of thepiece is goddess SHIVA FAMILY. The condition of the piece is ok. This is an old print , printed in Ravi Varma press itself.Ravi Varma had his own press which is in Lonawala which is nearby to Mumbai. This is around 50-60 year old print.
context_page_description: Baahubali 2: The Conclusion is a 2017 Indian epic action film directed by S. S. Rajamouli and written by his father K. V. Vijayendra Prasad. It was produced by Shobu Yarlagadda and Prasad Devineni under the banner Arka Media Works. Released on 28 April 2017, the film stars Prabhas, Rana Daggubati, Anushka Shetty and Tamannaah while Ramya Krishna, Sathyaraj, Nassar, and Subbaraju appear in prominent roles. The second cinematic part in the Baahubali franchise, it is the follow-up to Baahubali: The Beginning, serving as both a sequel and a prequel. The film is set in medieval India and follows the sibling rivalry between Amarendra Baahubali and Bhallaladeva; the latter conspires against the former and has him killed by Kattappa. Years later, Amarendra's son returns to avenge his death. The Conclusion was made simultaneously in Telugu and Tamil and later dubbed into Hindi, Malayalam, Odia, Japanese, Russian and Chinese.
  Made on an estimated budget of ₹2.5 billion, the production was launched on 17 December 2015 at Ramoji Film City, Hyderabad. The cinematography was done by K. K. Senthil Kumar, and was edited by Kotagiri Venkateswara Rao.
context_section_description: In March 2017, Rajamouli said in an interview that "Why Kattappa killed Baahubali" is the theme of the film. The tagline "The boy he raised, the man he killed" was billed in a poster featuring Kattappa. Rajamouli had stated that the Mahabharata was a source of inspiration for the film. According to K.K. Senthil Kumar, the colour palette used was based on the "mood and feel." He contrasts different tones used within the film: warm colours for Mahishmati, cool colours for Kuntala, desaturated colours for the frame in which Baahubali is expelled.
  Kanniks Kannikeswaran writes the characters resemble those "from Chandamama issues from the 1960s and 70s" and feels that the "plots and subplots that bear distinct similarities to themes from the Ramayana and the Mahabharata." He calls Amarendra the "perfect Rama," while calling Bhallaladeva "Duryodana incarnate, an atatayi." Bijjaladeva is compared to Shakuni, while the death of Bhadrudu is compared to Jayadratha's death in the Mahabharata. Kannikeswaran also feels that the film has visual parallels with The Lion King, while also noting the similarities with Mulan. Writing about the similarities with the latter, he states, "Mulan pins a villain to a roof where he is reduced to ashes right in the midst of a firework display. The evil Bhallala is pinned with a sword to the 'chita' pyre that consumes him in the final frames of the film." He calls the film "Shivocentric," noting the appearance of a Shivatandava stotra and that Shiva is the tutelage deity of Mahishmati. The main character is healed by Shiva in the end of the film, while noting Ganesha also makes an appearance in a fire ritual.
  According to Chandan Gowda, a professor at the Azim Premji University, "the social order [in the film] appears to be a varna order: Brahmins, Kshatriyas and Vaishyas are named with the Shudras staying an unnamed presence," also noting that "Muslims are also part of the Mahishmati kingdom." Mahesh Kathi felt that the modules and imagery were borrowed from Indian epics like Mahabharata and called Prabhas' character "a mix of the Pandavas put together," while Gowda writes that the influence is "at best rough," stating that the film cannot match the "moral depth or complexity" of Mahabharata. He further contrasts the themes of both, writing, "the heroes have failings and the villains redeeming virtues, making us morally ambivalent towards them both,
  Baahubali goes for black and white: its heroes are wholly good and the villains pure evil." According to Gowda, the palace scenes resemble those in Ben Hur (1959) and Troy (2004) while the fight sequences are similar to the Chinese films Crouching Tiger, Hidden Dragon (2000).
  Critics noticed similarities between The Conclusion and The Lion King, an adaptation of William Shakespeare's Hamlet (1599–1602). This similarity was also felt by fans, who created memes of the comparison.  The Indian Express makes a comparison, stating that both films are a tale of two brothers, where inhabitants suffer under a cruel ruler, who is the brother of a kind ruler. The son of the kind ruler grows in remote lands, unaware of his lineage, guided to his home by his love interest. The spouse of the kind ruler is treated badly by the cruel ruler. The son also has an advisor, who helps him realize his identity. They further note that the kind ruler and his son look similar in both films. Firstpost notes that both Bhallaladeva and Scar share a scar on one eye, and both Simba and Mahendra are introduced similarly into the world.
caption: Kannikeswaran noted the Shiva centric themes in the film
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