SARASWATI TANJORE PAINTINGS

There’s more to golden art than jewellery. Venture south to the Tanjore district in Tamil Nadu and witness the splendid ‘Tanjore Paintings’. Thanjavur is known for being home to some of the most famous historic structures in Tamil Nadu, including a UNESCO World Heritage Site in the Brihadeeswarar Temple. But this dormant town in the state’s centre has much more to offer than just architectural marvels. In fact, for anyone with an interest in South Indian art, music and dance forms, Thanjavur is nothing short of a pilgrimage and thoroughly deserves the title of being ‘South India’s Cradle of Arts’. Tanjore painting is a popular form of artwork that originated in Southern India. These paintings have been popular from the 16th century and have evolved under the reign of the Chola emperors and are famous for its use of gold. When the Marathas invaded Tanjore in Tamil Nadu many painters and artists migrated here and under their rule, this art form flourished. This form of painting is distinguished by its use of gold and semi-precious or precious stones which is used to accentuate the design. Each painting tells a story, usually revolving around Hindu gods, Goddesses or Saints. In olden days, Tanjore paintings were placed in dark temple shrines by emperors. In a dim place, the gold used to enhance the painting.

Thanjavur can be considered the heart of the Tamil country, with a civilization that reached great prominence during the Chola dynasty. It played a vital role in attracting talent and in keeping alive, creative traditions through many centuries. Tanjore or Thanjavur is one of the two major artistic regions and political powers in the southern Indian subcontinent that later spread in western culture during the British Raj. In the 16th century, it had become a great centre of dance, music, architecture, and the arts—sculpture, woodcraft, metal casting, mural painting. Thanjavur is famous for its highly advanced handicraft industries. Describing the city, British officer Hemmingway, writing in 1906, states- “Tanjore was known as the home of the fine arts under the native rulers who by their patronage attracted to their capital, the producers of most articles of luxury". This reputation still survives, though to a much modified degree.

As regards her status in the Vedas, Saraswati has priority over Mahadevi and Mahalakshmi – other two deities of the Puranic Trio manifesting Divine Female. Saraswati apart, the two deities of the Rig-Vedic Trio were Ila and Bharti, not Mahadevi and Mahalakshmi. Both, Ila and Bharti merged into the all-pervading personality of Saraswati during the later Vedic period – substantially in Brahmans. Though Vishwadevah is the primary object of the prayers that the Rig-Vedic richas – usually four-line verses offer, at least eighty of these richas laud and pray Saraswati. Saraswati, along with Illa and Bharti, is one of the twelve components of Vishwadevah. These collective richas apart, three of the suktas – conceptual hymns, are also devoted to Saraswati, which elevates her to the status of a sukta-bhak deity – a deity of higher order with a distinct and independent identity, one that is the subject of conceptual verses.

The role of the goddess as one who fulfills wishes has remained one of enduring strength and consequence. In the ancient collection of sacred hymns known as the Veda, this aspect of the goddess already becomes manifest. The two most shining examples in this context are The Great Goddesses Lakshmi and Saraswati. Overall, the goddesses Lakshmi and Saraswati are highly revered in Hindu mythology and are seen as the embodiments of wealth, prosperity, knowledge, and the arts. Their representation in art and iconography serves as a reminder of the importance of achieving a balance between material and spiritual wealth.