This exquisite painting displays Krishna’s childhood pastime in the traditional Tanjore style. The precision with which it has been made and the use of vibrant colors makes it appealing and breathtaking. Lord Krishna being the Supreme Lord, appeared just like an ordinary child in Vrindavan but to engage His beloved devotees in His transcendental pastimes and His mystical and uncommon activities were always an astonishment for all the inhabitants of Vraja including Nanda Maharaja and Maa Yashoda. His bodily features are even sweeter than honey and although He appeared in the material world, He remained above the modes of material nature.
Devi Annapoorna is the presiding deity over anna (Sanskrt for foodgrain) and, as such, nourishment. No one who is truly devoted to Her may go hungry in this life. She is a gorgeous feminine form with a bright complexion. Set off by a scarlet saree brocaded with pure gold embellishment on gessowork.
Such metallic-layered gessowork is characteristic of the authentic Tanjore painting. More of it is to be found in the wide-set crown that rests upon a jet black head of hair, and the pot and ladle She holds in Her fair hands. The same are brimming over with soft, fresh, white ricegrains. In Devi Annapoorna is the chhavi (image) of the Indian ideal of the loving and giving feminine. A ruby-studded temple entrance made of gold, arching over Annapoorna’s crown.
The red-and-gold colour palette of this Thanjavur painting would make this a vivid addition to your home or office decor. A garland of fresh flowers, a throne of luxuriant pure gold leaves.
Look at the intricate detailing of this epic painting that features Dhanvantari, who is considered to be a form of Lord Vishnu. At the time of Samudramanthan, He emerged from the ocean of milk to deliver the elixir for immortality called ‘Amrita’ to all the demigods. Because He appeared with a pot of Amrita, He is considered to be the God of Ayurveda. The alluring Tanjore paintings give a strong essence of the authentic artwork of South India and represent its rich culture and tradition.
Shirdi Sai Baba was considered a great saint respected by both Hindu and Muslim devotees who taught everyone to aspire for spiritual enlightenment. His teachings “Sabka Malik Ek” (God is one) is still followed by his devotees. He emphasized mainly on the importance of self-realization and to decrease our material attachments which are temporary. Loved and admired by all the inhabitants of Shirdi, he lived a renounced life.
A Tanjore painting depicting a fair and portly Lord Krishna. From the twin embraces of His wives, Rukmini and Satybhama, He gazes ahead with an expression of perfect happiness and wisdom. He is in a dhoti of peeta (amber) silk and all the jewellery on His person is made with inlaid bits of pure gold, which in turn is embedded with red and green glass beads.
Clad in green and crimson silks, the wives of Krishna convey a sense of bliss and plenitude. Their cholis are of 24K gold, and so are the ample ornaments on their respective persons. They stand on either side of their lord and master with an ankle crossed delicately around the other, much like the singular stance of the tribhanga murari (another iconography of Krishna). The Lord cradles the bosom of His two wives in each hand, a gesture of conjugal love and possession.
The jet black wood of the frame contrasts sharply with the gesso-and-metallic colour palette of this Tanjore painting. A traditional temple entrance frames the three deities at the centre. The same is studded with glass beads that resemble emeralds and rubies. The bright vermillion carpet and the richly coloured silks of the deities’ attires add to the aesthetics of the composition.
Of all the avataras (earthly incarnations) of Lord Vishnu, Lord Krishna’s iconography features the most womanly love. Be it in the form of the Radha He was in love with, the Vrindavan milkmaids who were mad about Him, or His wives who were hopelessly devoted to Him as their lord and master. The painting that you see on this page depicts the handsome deity in the loving embraces of His wives, Rukmini va Satyabhama. Rukmini throws her arms around His neck and whispers words of desire into His ears. Satybhama squirms with pleasure within the precinct of His embrace.
A Tanjore-style work, it features solid gesso work superimposed with copious proportions of gold. The quality of the metallic inlay is pure - 24K gold - which in turn is arranged and applied upon the subject with great skill and care. For example, note the precision with which the embellishments have been made along the folds of their limbs and the intricate shringar of crown and ornament. Strangely enough, the complexion of Lord Krishna is shown as fair. This is probably in keeping with the way His wives view Him, pristine and glamorous.
Lord Krishna’s divinity is such that it sweetens even the harshest of hearts. When he appears in the form of Bal Krishna, he is saccharine and innocent. With a lotus-like complexion and around, loving face, this Tanjore painting portrays Lord Krishna divinely. It is said that childless couples who pray to Navaneetha Krishna will be blessed with what they so deeply desire.
Recognised as a Geographical indication by the Government of India, there is much to the Tanjore painting that sets it apart from other classical art forms. On this page, you see a Gajalakshmi Tanjore painting (Gajalakshmi is the name given to the iconography of Devi Lakshmi that features the presence of the gaja or elephant). The serene features, the luscious colors notwithstanding, the most striking aspect of the Tanjore painting are the gold embellishments.
Draped in a silk saree the color of molten emeralds, the Devi Lakshmi sits on a throne of pale pink-petalled lotus. A garland of roses of the same color cascades down Her torso. She is clad in the finest gold jewelry from head to toe: these parts of the composition have been executed with 24K gold. The same goes for the crown and other adornments on the bodies of the elephants raising their trunks on either side of the seated Lakshmi.
The foreground of the painting resembles a temple entrance. The style draws from the region’s traditional temple architecture. A pair of pillars over which arches a gorgeous gateway studded with rubies and emeralds. Hints of brocaded curtains in scarlet-colored silk bring out the gracious hue of pure gold. Such a work of art makes a statement of prosperity and plenitude.
This Tanjore style painting beautifully portrays Kamadhenu, also known as Surabhi, that is described in the Vedic scriptures as a Goddess who manifested herself in the form of a wish fulfilling cow in Swargalok. The term Kamadhenu is a blend of two words – “Kama” meaning “desire” or “wish” and “Dhenu” meaning “milk cow”. Therefore, she miraculously grants the seeker whatever he desires and thus is honored and considered to be the mother of all cows. The mother cow has a great spiritual significance; she is an endless giver of resources and nourishment; her mil sustains the life of many species and her urine is used for many medicinal purposes.
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