Tanjore paintings which depict mainly the scenes from the ancient scriptures of Hindu religion are one of the most famous style of paintings from south India. These paintings are unique due to the harmony of colours, the design and the traditional techniques used with meticulous attention to details.
Tanjore derives its name from the capital of the Chola empire, Thanjavur. This place has one of the most beautiful temples of Lord Shiva-Brihadeshwara temple. This art form was developed with the patronage of the Maratha rulers in the 18th century.
This type of art which is famous for its ornamental relief work flourished with the patronage of the kings. The beauty of Tanjore paintings can be said to have developed from the aesthetics of the Cholas, nurtured by Vijayanagara Nayakas and made regal by the Maratha rulers.
The themes and iconography of Tanjore art changed over time, as it moved from one patron to the other. In modern times, what we see is a blend of the various stages of growth of this art form, resulting in a unique aesthetic where folk, traditional Indian, medieval, and European elements come together in harmony, despite the differences between these cultures.
The process of making a Tanjore painting requires dedicated skilled labour. There are many stages during the making of this painting.
☀ The canvas is usually a plank of teak wood over which a layer of cloth is pasted.
☀ A paste is applied on top to soften the board.
☀ The surface is smoothened by rubbing it with a smooth emery paper.
☀ The artist draws detailed sketch on the board.
☀ Semi precious stones of different colours are used to decorate the painting.
☀ In earlier days, diamonds, rubies and other precious stones were used.
☀ To create three dimensional embossed effect, layers of paste prepared from the glue and limestone are applied.
☀ After carrying out detailed relief work, wafer like sheets of 22 carat gold are pasted on top. Bright colours are used to fill up the remaining areas.
☀ The main figures in the picture is large and the other figures may not be relative.
☀ New techniques have been developed by skilled artist to keep this form of art alive.
☀ Chalk powder and modern synthetic pasting material have replaced the traditional materials.
☀ Modern day artists use chemical paints instead of vegetable dyes for colours and shades. But still enormous care is exercised in adhering to tradition while depicting the pictures.
Although many modern Tanjore artists have begun experimenting with themes and subjects, resulting in innumerable possibilities within the wooden frames of Tanjore, traditionally the painters preferred certain subjects more than the rest. These themes were used to create masterpieces, which were copied by the upcoming artists, allowing for several copies of the popular Tanjore paintings to exist and come down to the modern learner.
Following are a few themes in Tanjore paintings that have been cherished over centuries and continue to enchant collectors and devotees-
The rulers and elites of the Chola kingdom, Vijayanagar period, and Marathas were worshippers of Krishna among other Hindu gods and goddesses. The mesmerizing Lilas of Krishna captured the attention of anyone who listened to them, and these patrons inspired the artists to paint the stories and themes of Krishna.
One of the most popular images of Krishna to emerge from the Tanjore treasure is “Navaneeta Krishna”, where the child-God is seated on a throne, accompanied by his parents or cowherd friends. Standing and sitting images of Navaneeta Krishna are charming artworks, a celebration of the loveliness of Baal-Krishna.
A theme that resonated among the valorous kings of the Tanjore region is the consecration of Rama as the king of Ayodhya after his return and victory over Ravana. A story that contains power, fearlessness, righteousness, divinity, and the moral of good triumphs over evil, the episode of Rama’s Rajyabhisheka or Pattabhisheka is presented with the god enthroned at the center, with Sita, Lakshman, Hanuman, Bharata, and Shatrughan, surrounded by human and heavenly subjects.
Inspired by the poetry of Alvars and devotion to the popular following, Tanjore artists painted divine images of Vishnu as Anantashayana, Vishnu-Lakshmi, Vishnu with Sridevi and Bhudevi, and Dashavatara. Each form of Sri Vishnu as the preserver was celebrated in traditional Thanjavur paintings, creating a rich collection of classic artworks that exemplify the popularity of Vaishnavism in Tanjore and the rest of Southern India.
The symbol of supreme male and female principles with Shaiva and Shakta traditions deeply rooted in the region of Tanjore and surrounding areas, Shiva and Parvati appeared several times in classic Tanjore masterpieces. Pradosha Moorthy (Shiva Parvati on Nandi), Uma-Maheshwara (Shiva and Parvati on throne), Kalyana-Sundaram or Meenakshi Kalyanam (the marriage of Shiva and Parvati), Shiva-Parivaar, Nataraja, Shiva Dakshinamurty are some of the most beautifully painted Tanjore paintings of Shiva and Parvati.
In every traditional and folk-art form of India, the mother goddesses or Devi have made their appearance. Tanjore paintings are no different, with images of Lakshmi (in her Ashtalakshmi or eight aspects, with Vishnu, as Varalakshmi- a festival celebrated in Tanjore region), Saraswati, Parvati, Durga-Mahishauramardini, Rajarajeshwari, Meenakshi, Annapurna. Local and folk goddesses such as Mariamman, Andal, and Akhilandeshwari with their unique attributes and ornamentation are also presented in Tanjore artworks, making them a reflection of the rich heritage of the region where they emerged and developed.
The most popular image of Ganesha in Tanjore paintings is his Chaturbhuja or four-armed form, where he appears in divine attire, with Modak and Mushak, seated on a throne. These paintings of Ganesha become an icon in the place of worship as well as a sacred object in the décor of larger spaces. Ganesha with Lakshmi and Saraswati is another well-known image, recreated by the artists of Tanjore, along with Ganesha with Parvati, Panchamukhi Ganesha, Ashtavinayaka, Ganesha with his Shakti.
The son of Shiva and Parvati has a wide following in Southern India, where he is revered as Murugan or Kumara, the young Lord of spiritual power and valor. Icons of Murugan, where he is standing or sitting on a throne with his Vel (weapon) are popular among the devotees. Kumara with his wives, Devasena and Valli is a classic imagery in Tanjore artworks, where Kartikeya appears on his Mayura (peacock) or on a royal pedestal, accompanied by his twin wives, who embody his Shakti (energy).
An identification of the value and uniqueness of Tanjore painting can be seen in the GI tag received by the art form in 2007. Glittering with its golden embellishment and colorful iconography, the paintings have a regal aura that has a maximalist appeal, which even in this modern period of minimalism, has a loyal following. Add to this the cultural and religious value of the artworks, which are preferred by the local affluent, well-to-do families, who place Tanjore paintings in their place of worship or central hall.
Here are a few characteristics of classic Tanjore paintings, which make them a unique and unforgettable art form –
Let us discuss the most obvious one first. The use of gold paint by the artists of Tanjore is a unique technique, that sets it apart from any other painting technique. The embossed surfaces of the artwork are covered with glittering gold that brings a sheen to the canvas, making it a symbol of royalty and luxury while attracting the eye of the onlooker, becoming a statement piece, an ornament in any interior.
At first glance when one looks at the Tanjore painting, it is difficult to understand how many different influences blend perfectly in its aesthetics. The stories, legends, and divinities of Hindu culture come from the Vedic and Puranic periods, the architectural elements come from medieval South Indian temples, and the flying angels and lamps hanging from the palaces are a European input. It is the mastery of the artist to bring objects of various periods and cultures together and make it look as if they belong in one place, making the Tanjore paintings a celebration of the rich, multi-faceted culture of the region.
Part of the appeal of Tanjore paintings is the “raised” effect of the images, which comes from the technique of embossing. The raised areas of the painting usually form the outline of the figures, which is then embellished with gold and colorful stones to give the surface another layer of definition, making the subject appear alive as if emerging from the frame, giving the paintings an interactive quality.
The traditional Tanjore artists used wood from the doorjambs and wooden frames of houses to frame their paintings, giving the artworks an added antique quality. In modern times, wooden frames can no longer come from old doors as many of them are considered valuable parts of cultural history.
However, following the trend of medieval master artists, the painters created ornate wooden frames, with beautiful carvings and put the paintings within them, making even the frames of Tanjore art an aesthetically pleasing and elevating part of the artwork.
Tanjore paintings present a distinct stage of development of art in India, where richness, opulence, and traditional iconography were combined on the canvas by master artists. The technique, themes, and trends of Tanjore art developed from the temple murals of Southern India and were nourished by different ruling dynasties and medieval kingdoms of Vijayanagar, Tanjore, and Maratha rule.
Not only kings but the ministers and elites too were the patrons, resulting in an aesthetic that served the grand self-image of the royalty. In modern times, the luxurious visual language of Tanjore art pleases the lovers of magnificence, who adore these artworks as the best expression of artistic splendor.
About the Author : A renowned Tanjore artist, Vidya Sridharan has conducted a few exhibitions in different places in India, the recent one was in Pune during Ganesh Chaturti festival. Her paintings adore a lot of homes, restaurants and hotels. She is making sincere attempts to spread this form of painting by conducting workshops and classes.
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