Strokes of Devotion: Unveiling the Enduring Elegance of Mysore Paintings

Mysore painting, a classical South Indian art form, stands as a testament to centuries of artistic evolution, royal patronage, and profound spiritual expression. Originating in and around the historic city of Mysore in Karnataka, these artworks are celebrated for their distinctive blend of delicate lines, intricate brush strokes, and a characteristic use of gesso work overlaid with pure gold leaf.¹ The elegance of Mysore paintings lies not only in their meticulous craftsmanship but also in their capacity to evoke feelings of devotion and humility, often depicting Hindu deities and mythological narratives with a serene grace.²

The historical roots of this art form can be traced back to the artistic traditions of the Vijayanagara Empire, which, upon its decline, saw artists migrating to various principalities, including Mysore. Here, under the patronage of the Wodeyar dynasty, Mysore painting blossomed, absorbing local customs and evolving into a unique school of art.¹ The artists, known as chitrakaras, developed a style characterised by its refined aesthetics, often employing muted or discreetly bright colours derived from natural sources.⁵ This art form is more than mere decoration; it is a visual chronicle of a region’s cultural and religious identity, demonstrating remarkable resilience by surviving political upheavals and adapting to changing artistic landscapes. Unlike some of its more overtly opulent counterparts in Indian art, Mysore painting often achieves its profound impact through subtlety and refinement, suggesting a distinct aesthetic sensibility that values “quiet grandeur.” This article delves into the rich history, intricate techniques, profound themes, and lasting legacy of Mysore paintings, exploring the journey of an art form that continues to inspire awe and reverence.

A Journey Through Time: The Origins and Evolution of Mysore Art

The story of Mysore painting is a captivating journey through centuries of South Indian history, marked by imperial grandeur, artistic migration, royal patronage, and periods of challenge and revival. Its evolution reflects the changing socio-political and cultural landscapes of the Deccan region.

From Vijayanagara Roots to Royal Patronage

Scholars trace the genesis of Mysore painting to the late sixteenth and early seventeenth centuries, a period that coincided with the decline and eventual fall of the formidable Vijayanagara Empire.⁴ Artists who had once flourished under the empire’s patronage began to migrate to smaller centres of power in southern India, seeking new patrons for their skills.¹ Mysore, previously a vassal state of Vijayanagara and ruled by the Hindu Wodeyar dynasty since the late 1300s, transitioned into an autonomous kingdom.⁷

It was during this era that the Wodeyar rulers, notably Raja Wodeyar I (reigned 1578–1617), played a crucial role in nurturing the nascent art form. He provided patronage to these migrating painters, many of whom belonged to the Kshatriya Raju community, settling them in an enclave in nearby Srirangapatna.⁶ Raja Wodeyar I is also believed to have commissioned the Sri Nimishambha Temple, dedicated to the deity of these artists, further cementing their place in the region.⁷ These artists brought with them the rich stylistic influences of the Vijayanagara school, which then gradually intermingled with and absorbed local artistic traditions and customs, leading to the evolution of a distinct Mysore style.¹ While few paintings from this very early period survive, remnants of the Vijayanagara style can be discerned in works such as an illustrated manuscript of the Mahabharata from 1670 and various temple murals.³

The Golden Age under Krishnaraja Wodeyar III (1794-1868 A.D.)

The reign of Maharaja Mummadi Krishnaraja Wodeyar III is widely regarded as the “golden period” or zenith of Mysore paintings.¹ A great patron of arts and learning, and a scholar and writer himself, Krishnaraja Wodeyar III ushered in a new era of cultural revival.¹⁰ He commissioned an extensive body of work, including paintings for books, intricate murals for palaces and temples, and illustrations for manuscripts.⁵

His personal involvement was profound; he authored around 50 works, the most famous being the Sritattvanidhi, a voluminous compendium on iconography, iconometry, religious philosophy, music, and art, derived from ancient texts.⁷ This monumental work, containing around two thousand brightly colored illustrations, became an authoritative guide for artists, standardising the depiction of deities and mythological scenes.⁶ The sheer range of paintings from this era is fascinating, from portraits of the Mysore rulers and their families to depictions of the Hindu pantheon and scenes from Puranic and mythological narratives, many of which can still be seen on the walls of the Jagan Mohan Palace in Mysore.³ This period underscores how patronage can elevate an art form, but also reveals its potential vulnerability; the flourishing of Mysore art was deeply intertwined with the support of its rulers. The withdrawal of such dedicated patronage, as seen after Krishnaraja Wodeyar III’s demise, could, and did, lead to periods of decline, emphasising the need for broader institutional or societal support for sustained artistic vitality.

The commissioned works of this era, especially illustrated manuscripts like the Sritattvanidhi, served a purpose beyond mere aesthetics. They functioned as comprehensive repositories of religious, philosophical, and cultural knowledge. This deliberate effort to consolidate and transmit complex cultural systems through art meant that the artists were not just craftsmen but key interpreters and preservers of this intellectual heritage.

Influence of Other Artistic Traditions

While Mysore painting developed its unique characteristics, it did not exist in isolation. There are discernible influences from other Indian artistic traditions. For instance, elements of Deccani and Rajput miniature painting styles, particularly in the depiction of foliage or certain aspects of courtly scenes, can be observed in some Mysore works, such as the illustrations of the Ramayana-Sundarkanda manuscript.⁷

During the 19th century, European artistic conventions began to permeate the broader Indian art scene, particularly with the introduction of art schools along Western lines.¹⁴ While Mysore painting largely retained its traditional, iconic style, independent from the Mughal-influenced schools ¹⁵, some European influences became evident in the early 20th century.⁵ Later, some traditional Mysore painters adapted their techniques, incorporating a more realistic, three-dimensional style based on European principles of perspective and anatomy, leading to a hybrid visual language.¹⁰

Periods of Challenge and Resurgence

The death of Krishnaraja Wodeyar III in 1868 marked the beginning of a challenging period for Mysore painting. With the loss of their primary patron, artists began to disperse, and the school faced the threat of extinction.¹ The art form languished for several years due to a shift in public taste influenced by the Graeco-Roman model of European art and the advent of the printing press, which made mass-produced colour pictures widely available.¹⁰

However, the tradition possessed an inherent resilience. A significant revival effort commenced in 1875 with the establishment of the Jagan Mohan Palace as an art gallery and the founding of the Chitrakala School in Mysore.¹ These institutions provided a crucial impetus for the resurgence of the art form. Key figures such as the Late Sri Siddalingeswara Swamiji and the renowned artist Sri Y. Subramanya Raju, whose ancestors were palace artists, made significant contributions to this revival.¹ In the 20th century, even artists like Raja Ravi Varma, known for his Europeanized style, incorporated elements of Mysore paintings into their work, which helped maintain its visibility and popularity.¹⁶ This cyclical pattern of flourishing, decline, and revival demonstrates that artistic traditions, with dedicated effort from individuals and institutions, can overcome periods of neglect and find renewed relevance.

The Soul of the Canvas: Themes, Subjects, and Iconography

Mysore paintings are renowned for their profound thematic content, drawing heavily from the rich tapestry of Hindu mythology, epics, and local traditions. The subjects chosen and their iconographic representation were often guided by scriptural injunctions and the specific devotional needs of the patrons and the wider community.

Divine Narratives and Mythological Epics

The most dominant themes in Mysore paintings revolve around the depiction of Hindu gods and goddesses, and scenes from sacred Hindu texts.¹ These artworks were designed to inspire feelings of devotion and humility in the viewer, serving as visual aids for religious contemplation.²

Among the frequently portrayed deities are Goddess Rajarajeshwari (a prominent local form of the Divine Mother), various avatars of Vishnu such as Rama (often in scenes like his coronation, Rama Pattabhisheka, or as Kodandarama – Rama with his bow) and Krishna (in his various leelas or divine plays, such as with the gopis, or as part of the Dasavatara – the ten incarnations), Goddess Chamundeshwari (the tutelary deity of the Mysore Maharajas), Lakshmi (goddess of wealth), Saraswati (goddess of learning), and scenes depicting the divine family of Shiva and Parvati (such as their wedding, Girijakalyana), and their son Ganesha.¹³

Narratives are often drawn from the great Hindu epics – the Ramayana and the Mahabharata – as well as from the Puranas, particularly the Bhagavata Purana (detailing the life of Krishna) and the Narasimha Purana.⁸ These paintings bring to life the sacred stories, moral lessons, and philosophical concepts embedded in these texts. The prevalence of such religious themes underscores the role of art in upholding dharma (righteousness and cosmic order) within the cultural milieu of Mysore.

Courtly Life, Portraits, and Nature’s Depiction

While religious themes predominated, Mysore artists also depicted scenes from the royal court, capturing the grandeur of processions, ceremonies, and celebrations attended by the Wodeyar kings and their courtiers.⁸ These paintings served not only as records of courtly life but also to legitimise and glorify royal power.

Portraiture was another significant genre. Artists created graceful and elegant portraits of royalty, nobility, and other prominent individuals.⁹ Maharaja Krishnaraja Wodeyar III even commissioned self-portraits from the artists in his court, a testament to his deep engagement with the art form and its practitioners.³ Some depictions of the king even associated him with divinity, drawing parallels with deities like Krishna, a tradition also seen in Mughal and Rajput court painting.⁷ This duality of themes—sacred and royal—suggests that Mysore paintings functioned as active agents in the socio-religious and political fabric of the kingdom, reinforcing both spiritual worldviews and temporal hierarchies.

Beyond human and divine figures, Mysore paintings occasionally feature landscapes, animals, the plant world, depictions of seasons, and other natural phenomena, often serving as contextual backdrops or co-themes within larger narrative compositions.³

Iconographic Principles and Scriptural Influences

The execution of Mysore paintings, particularly those depicting deities, adhered to strict iconographic details prescribed in religious scriptures and artistic treatises.⁵ This adherence ensured authenticity and ritual propriety. The Mysore School possessed a strong classical theoretical authority, with artists often working from established iconographic norms.¹³

A pivotal text in this regard was the Sritattvanidhi, compiled under the patronage of Mummadi Krishnaraja Wodeyar III.⁶ This encyclopedic work, with its numerous illustrations, provided detailed instructions on the iconography and iconometry (the system of proportions) for a vast array of divine figures, covering various forms of Shiva, Vishnu, Ganesha, goddesses, the nine planets (navagraha), and the eight protectors of the cardinal points (ashtadikpalas).¹¹ It served as an invaluable guide for artists, ensuring consistency and accuracy in their representations. Other important texts that informed the art included the Vishnudharmottara Purana, Abhilasitarthacintamani, and Sivatatvaratnakara.¹³ This strong reliance on scriptural and scholarly texts indicates a profound intellectual tradition underpinning the artistic one, where artists were not merely skilled craftspeople but also interpreters of complex theological and philosophical concepts.

Specific visual characteristics became hallmarks of the Mysore style. Figures often feature fish-shaped eyes, a roundly protruding chin, and traditional Mysore royal hairstyles and attire, including the distinctive way of draping a saree or the style of the Mysore turban (peta).¹⁸ Royal jewellery was meticulously depicted. In representations of Goddess Raja Rajeshwari, she is sometimes shown holding a sugarcane bow and arrow.¹⁸ The feet of goddesses are often respectfully placed upon flowers.¹⁸ Furthermore, the architectural backgrounds in many paintings are faithful renderings of the architectural features found in the Mysore palace and other local structures, grounding the divine narratives in a familiar setting.¹⁸ This localisation of universal themes—presenting pan-Indian deities and epics through a distinctively Mysorean visual lens—made the divine more immediate and relatable to the regional audience, effectively making the sacred familiar and the familiar sacred.

The Artist’s Craft: Materials and Meticulous Techniques

The creation of a Mysore painting is a testament to the artist’s profound skill, patience, and deep understanding of traditional materials and methods. The entire process, from the preparation of the ground to the final burnishing, reflects a tradition where meticulous labour and dedication were paramount. This painstaking effort, or shrama, is inherent in each artwork and distinguishes it from mass-produced imagery.

Preparing the Ground: Traditional Bases and Methods

Traditionally, Mysore artists prepared all their own materials, a practice underscoring their self-sufficiency and intimate knowledge of their craft.¹ Paintings were executed on a variety of grounds, including paper, wood, cloth, or even walls, depending on the intended use and scale of the artwork.²

For paper-based works, a special paper board was prepared. This often involved using paper pulp or layers of waste paper, which were dried in the sun and then meticulously rubbed smooth with a polished quartz pebble to create a suitable surface for painting.² If cloth was used as the ground, it was typically pasted onto a wooden board. The adhesive paste was traditionally composed of dry white lead (safeda), gum, and a small quantity of gruel (ganji). Once applied and dried, this surface was also burnished to achieve smoothness.³ Wood surfaces were prepared by applying a mixture of dry white lead, yellow ochre, and gum, while walls were treated with yellow ochre, chalk, and gum.⁶ In contemporary practice, for convenience, artists often use cartridge paper pasted onto a wooden base or a mount board.¹

The Palette of Mysore: From Natural Pigments to Modern Hues

A hallmark of traditional Mysore paintings is their use of colours derived from natural sources.³ Artists skillfully extracted pigments from vegetables (such as leaves and flowers) and minerals (various stones and earths).² These natural colours, carefully prepared and applied, are a primary reason why original Mysore paintings retain their freshness and lustre even after centuries.³

While specific pigment names for the Mysore school are not always extensively documented in readily available sources, inferences can be drawn from broader South Indian traditional painting practices, which shared common material knowledge:

• Red pigments were likely obtained from minerals like red ochre (geru) or cinnabar (hingula).²⁸
• Yellows could have been sourced from minerals like orpiment (haritala) or from vegetable sources like turmeric.²⁶
• Blue was predominantly derived from the indigo plant (Indigofera tinctoria).²⁸
• Black was commonly made from lampblack (soot collected from burning oil lamps) or charcoal, sometimes prepared by burning tamarind twigs in an iron tube.¹
• White could be prepared from lime, powdered conch shells, or white lead (safeda).³
• Green was often created by mixing blue and yellow pigments, or directly from green earth (terra verte) or specific leaves. One traditional Mysore method involved processing lemon juice in a copper container to yield a green colour.²⁵

Natural gums, such as gum arabic, served as binding agents for these pigments, ensuring they adhered to the painting surface.¹ Over time, especially in modern practice, these traditional, artist-prepared colours have often been supplemented or replaced by commercially available poster colours, watercolours, and synthetic dyes for ease of use and availability.¹ This shift reflects a practical adaptation, though it may have implications for the long-term material integrity compared to older works.

The Signature Gesso Work: Composition and Application

The application of gesso is a defining technique in Mysore painting, used to create a subtle, low-relief effect for embellishing elements like jewelry, clothing patterns, and architectural details.¹ This gesso work adds a tactile, almost sculptural quality to the painting, enhancing the visual richness and making the depicted ornaments appear more tangible.

There is some variation in the documented traditional composition of gesso:

• Several sources describe the gesso paste as a mixture of zinc oxide and Arabic gum.¹ This might represent a more modern or simplified formulation.
• Other sources, often providing more historical detail, specify a traditional composition of white lead powder (safeda), gamboge (a yellow pigment/resin, possibly from revanachinihalu or Garcinia tree species), and glue.³ This formulation, particularly the inclusion of white lead, aligns with older practices in Indian painting.

The gesso is applied delicately to create an intricate, low-relief surface, which is a key distinction from the thick, high-relief gesso work seen in the Tanjore school of painting.³ The gesso paste is allowed to dry thoroughly before the application of gold foil. Artists might apply two coatings to achieve the desired raised effect, and some contemporary artists apply a layer of varnish over the dried gesso to prevent the subsequently applied gold foil from cracking over time.²⁵

The Lustre of Gold: The Art of Gilding

Once the gesso work is complete and dry, thin leaves of pure gold (traditionally 22-carat or 24-carat) are meticulously applied over the raised areas.⁵ The gold foil is typically fixed using an adhesive like Arabic gum.²⁵ For optimal adhesion, the gold leaf is often applied when the gesso base is still slightly moist.²⁰ After the adhesive has set, any excess gold foil is carefully brushed away.²⁵

The Fine Art of Detail: Sketching, Brushwork, and Finishing

The creation of a Mysore painting follows a meticulous sequence:

1. Initial Sketch: The process begins with a preliminary sketch of the image on the prepared base. Traditionally, this sketch was made using charcoal prepared by burning tamarind twigs in an iron tube.¹ Modern artists may use commercial charcoal or ink.²⁴
2. Painting Process: Artists typically paint the background elements and farthest objects first, such as the sky, hills, or rivers. Gradually, they move to animal and human figures, rendering them in greater detail.³ Colours are applied systematically, often in layers, to build up tones and depth.¹⁶
3. Brushwork: The delicate lines and intricate details characteristic of Mysore paintings are achieved through the use of very fine brushes. Traditionally, these brushes were made by the artists themselves from various animal hairs, such as squirrel hair (for the most delicate work), camel hair, or goat hair.¹ For drawing extremely fine lines, a special brush made from pointed blades of a particular variety of grass was employed.³
4. Detailing on Gold: After the gold foil is applied, artists sometimes add further intricate designs directly onto the gold surface. This can be done using a mixture of black Indian ink and poster colour, which subtly reduces the gloss of the gold and allows for fine patterns to be delineated.²⁵
5. Finishing (Burnishing): Once the painting is completely dry, a final traditional step involves covering the artwork with a thin sheet of paper and gently rubbing it with a smooth, soft stone, often a polished quartz pebble known as kaslupada kallu.² This burnishing process helps to integrate the gold leaf with the surface, enhances its lustre, and gives the painting an overall smooth, finished appearance.

The following table summarises the evolution of materials used in Mysore painting, highlighting the shift from entirely traditional, artist-prepared components to the inclusion of modern alternatives:

Table 1: Evolution of Materials in Mysore Painting

This meticulous, multi-stage process, combining natural materials with highly refined techniques, is what imbues Mysore paintings with their unique charm and enduring quality.

Defining Mysore: Stylistic Hallmarks and Distinctions

Mysore paintings possess a distinct aesthetic identity, characterised by a unique combination of line, colour, figural treatment, and embellishment. These stylistic hallmarks not only define the school but also differentiate it from other related South Indian classical painting traditions, most notably the Tanjore school. The consistent emphasis on “delicacy,” “fineness,” “subtlety,” and “soft expressions” points to an underlying artistic philosophy that values refined grace over bold ostentation, reflecting a particular cultural taste cultivated under its patrons in Mysore.

The Aesthetics of Delicacy: Line, Colour, and Expression

The visual language of Mysore paintings is immediately recognisable through several key features:

• Delicate Lines and Intricate Brush Strokes: This is perhaps the most defining characteristic. Artists employ exceptionally fine, flowing lines to delineate figures and details, achieved through meticulous brushwork.³
• Graceful Figuration: Figures are rendered with a sense of elegance and poise.² They often feature specific facial characteristics such as fish-shaped eyes and roundly protruding chins, contributing to a distinct regional physiognomy.¹⁸
• Colour Palette: While traditional colours were derived from bright vegetable and mineral sources, their use is often described as “discreet” or “subdued”.² The palette can include pastel tones, and the overall emphasis is on aesthetic harmony and soft, nuanced expressions rather than overwhelming vibrancy.⁵
• Emotional Depth and Spiritual Intent: Beyond mere decoration, Mysore paintings aim to evoke feelings of devotion, humility, and serenity.¹ The artists skillfully convey various emotions through subtle expressions and graceful postures.⁸
• Subtle Gesso Work: The gesso (relief work) is applied in low relief and is characterised by its intricacy and delicacy. It is used to highlight jewellery, textiles, and architectural elements without dominating the painted surface.³

Mysore vs. Tanjore: A Comparative Glance

Mysore and Tanjore paintings, while both originating from the Vijayanagara tradition and sharing common themes of Hindu mythology, exhibit significant stylistic and technical differences. Understanding these distinctions helps to appreciate the unique identity of each school. The emphasis on painterly aspects—skill in line work, colour blending, and expression—is paramount in Mysore paintings, with gesso and gold serving as integrated enhancements. In contrast, Tanjore art, with its heavier gesso, stone inlays, and bolder gold, often leans more towards an ornamental, icon-like presence, aiming for an immediate, awe-inspiring devotional impact through rich ornamentation.

The following table provides a comparative overview:

Table 2: Mysore vs. Tanjore Paintings: A Comparative Overview

These distinctions highlight the unique artistic path taken by the Mysore school, emphasising a refined elegance and painterly subtlety that sets it apart as a cherished tradition within the vast spectrum of Indian classical art.

Masters of the Brush: Notable Artists and Their Legacies

The enduring legacy of Mysore painting has been shaped by generations of skilled artists, or chitrakaras, many of whom belonged to the Kshatriya Raju community that migrated from the Vijayanagara region.⁶ While the names of many early masters remain anonymous, their collective genius defined the golden age of this art form. In more recent history, several artists have played pivotal roles in preserving, reviving, and continuing this tradition. The continuity of this art form often relied on familial lineage and the traditional Guru-Shishya Parampara (teacher-disciple relationship), ensuring the direct transmission of intricate knowledge and skills.

Pioneers and Preservers of the Tradition (Historical)

The artists who flourished under the patronage of Mummadi Krishnaraja Wodeyar III in the 19th century were instrumental in producing the vast body of work that defines the classical Mysore school.³ The Maharaja’s deep appreciation for their skill is evident in his commissioning of their self-portraits, a rare honour.³

Following the decline after 1868, certain individuals became crucial for the art form’s survival and resurgence:

• Y. Subramanya Raju (1907-1995): A towering figure in 20th-century Mysore painting, Raju hailed from a family whose artistic lineage traced back to the painters of Tipu Sultan’s Dariya Daulat Bagh murals.¹⁷ He played a significant role in the art form’s revival and was involved in creating several of the 28 painted panels in the Kalyana Mantapa (marriage hall) of the Mysore Palace, also designing the key sketches for all of them.¹ His work and dedication helped bridge the gap between the historical tradition and modern practitioners.
• Late Sri Siddalingeswara Swamiji: Consistently mentioned alongside Y. Subramanya Raju, he is also credited with making significant contributions to the revival and continuation of Mysore painting.¹
• K. Venkataraman and Tirupalli Raju: These artists represent another important lineage. Tirupalli Raju, an ancestor of the later artist K.S. Shreehari, was a master artist who decorated the Nanjangud temple with murals in the 19th century.⁵

Contemporary Torchbearers

In more recent times, several artists have continued to uphold the traditions of Mysore painting, some also taking on roles as curators and educators, thereby ensuring the transmission of this heritage. This multi-faceted involvement of senior artists—practicing, curating, and teaching—is vital for the ecosystem of a traditional art form.

• Sri K.S. Shreehari: A descendant of the aforementioned K. Venkataraman, Shreehari is known for his efforts to revive his family’s artistic heritage. He gained recognition for intricate works such as ‘Virata Vishwaroopa’ (Vishnu’s cosmic form) and complex puzzle-like compositions like ‘Panchanaari-Turaga’ (a horse formed by five female figures).⁵
• M. Ramanarasaiah (also M. Ram Narsaiah): He served as the curator of the Jayachamarajendra Art Gallery for a long period and was also a palace artist for the Mysore Royal Family. His paintings often depicted Mysore’s rich culture and traditions.¹⁶
• Chandrika: The daughter of M. Ramanarasaiah, Chandrika has followed in her father’s artistic footsteps. She is known for working on themes mentioned in shlokas (Sanskrit verses) and has also explored other traditional forms like Tanjore and Ganjifa paintings, and even created replications of Raja Ravi Varma’s works.¹⁶ Her diverse engagement reflects an adaptation where contemporary artists might broaden their repertoire.
• B.P. Ramakrishna: A traditional artist with extensive experience (noted as 35 years in sources from the early 2010s), Ramakrishna has a repertoire of over 200 subjects. He is also dedicated to teaching the art form, with his sons Ashwin and Naveen supporting his work.⁵
• R.G. Singh: Recognised as a well-known curator in Mysore, contributing to the art scene through his expertise ¹⁶

Online platforms also list contemporary artists whose works are available, such as Dr. J. Dundaraja, Hemalatha B., and Raghavendra B.B. ³⁴, and directories mention practitioners like Asha Prasad ³⁵, indicating a continued, albeit smaller, community of artists dedicated to this intricate form. The work of these individuals ensures that Mysore painting remains a living tradition.

Mysore Paintings Today: Challenges, Preservation, and Enduring Appeal

In the 21st century, Mysore painting, like many traditional art forms, navigates a complex landscape of challenges, dedicated preservation efforts, and enduring cultural significance. Its journey reflects both the vulnerabilities and the resilience of ancient artistic practices in a rapidly modernizing world.

The Art Form in the 21st Century: Challenges and Concerns

Despite its rich heritage, Mysore painting faces several challenges that impact its popularity and the livelihood of its practitioners:

• Competition from Modern Art: The allure of modern and contemporary art forms, which often offer greater scope for individualistic expression, has drawn both artists and buyers away from traditional styles.³²
• Economic Factors: The creation of a Mysore painting is a time-consuming and expensive endeavour. The cost of raw materials, particularly pure gold foils, gesso ingredients, and natural pigments (if used), is considerable.³² For instance, even a moderately sized painting (e.g., 2ft x 2ft) can incur significant material costs, estimated at around Rs. 5,000 in a report from 2016.³²
• Declining Number of Practitioners: Mastering the intricate techniques of Mysore painting requires years of dedicated study and practice, often at least two years for basic proficiency.³² This intensive commitment, coupled with uncertain economic returns, has led to a decline in the number of students enrolling in traditional art courses. The Karnataka Chitrakala Parishath, for example, reported a 60% drop in enrolment for its Mysore Traditional Art course over a decade.³²
• Market Dynamics: There appears to be a paradox where old, historical Mysore paintings are appreciating in value as heritage items, while contemporary artists creating new works in the traditional style face a tougher market with fewer buyers.³² This disparity impacts the financial viability for living artists.
• Gender Shift in Practitioners: A notable socio-cultural development is the significant gender shift in the learning and practice of Mysore art. Historically, a male-dominated field, contemporary classes are now reportedly attended by a majority of women (around 90%).³² While this opens new avenues for women artists, it also raises questions about the art form’s economic sustainability and whether it might be perceived more as a cultural pursuit than a primary profession for some, given the economic challenges.

Efforts in Promotion and Conservation

Despite these challenges, there are concerted efforts to preserve, promote, and sustain the tradition of Mysore painting:

• Dedicated Artists and Niche Markets: A community of skilled artists continues to practice this folk art passionately. Their livelihood is often supported by a niche market of collectors, art enthusiasts, and individuals committed to keeping traditional Indian art forms alive.¹⁶
• Awareness and Promotional Activities: Significant efforts are being made to preserve this ancient art form through exhibitions, collaborations between artists and institutions, workshops, and by generally spreading awareness about its rich history and cultural importance.¹⁶
• Institutional Support:

• Historically, the Jagan Mohan Palace and the Chitrakala School, established in 1875, were pivotal in reviving the art form after its 19th-century decline.¹
• Institutions like the Karnataka Chitrakala Parishath in Bengaluru continue to play a role by conducting classes and housing a museum with valuable old Mysore paintings.¹⁰
• The Indian Government has also established institutes for training in traditional arts, including Mysore painting, to support its rejuvenation.¹⁰
• Leveraging Technology: In a reversal of how the printing press once contributed to the decline of hand-painted works ¹⁰, modern digital technology now offers new avenues for promotion and sales. Online platforms, galleries, and e-commerce sites (such as iTokri and MeMeraki mentioned in the research) showcase and sell Mysore paintings, connecting artists with a global audience and potentially mitigating some traditional market limitations.¹⁶

Cultural Significance and Enduring Appeal

Mysore painting remains a cherished and significant part of India’s artistic and cultural heritage. Its enduring appeal stems from several factors:

• Cultural Representation: It is an important South Indian art form that vividly represents the culture, traditions, and spiritual ethos of the people of Mysore and the broader Karnataka region.¹⁶
• Aesthetic Beauty: The paintings are admired for their spectacular designs, intricate artwork, delicate lines, graceful figures, and the lustrous embellishment of gold leaf.¹ Even when colours are subdued, their harmonious application contributes to the overall elegance.
• Narrative Richness: The themes, predominantly drawn from Hindu mythology and epics, tell timeless stories that continue to resonate with audiences.¹⁶
• Souvenirs and Festive Art: Mysore paintings are sought after as valuable souvenirs and are particularly popular during festive occasions in South India, indicating their continued integration into contemporary cultural life.²¹

Where to Experience Mysore Paintings

For those wishing to experience the beauty and intricacy of Mysore paintings firsthand, several institutions and historical sites offer valuable collections:

• Jayachamarajendra Art Gallery (Jaganmohan Palace), Mysore: This historic palace, converted into an art gallery, is a prime location to view a vast collection of artifacts, including paintings from the era of Krishnaraja Wodeyar III. It houses works by various artists, including Raja Ravi Varma, and historically significant pieces.³⁷ Given its direct connection to the golden age of Mysore painting, it is an essential site for appreciating this tradition.
• Karnataka Chitrakala Parishath, Bengaluru: This institution not only conducts classes but also has a museum that displays a collection of old Mysore paintings, offering insights into the art form’s evolution.¹⁰
• Salar Jung Museum, Hyderabad: This museum’s collection includes 19th-century paintings from the Mysore school.⁸
• Historical Sites: Murals and paintings in the Mysore style can also be found in various historical locations across Karnataka, including Srirangapatna (notably at Daria Daulat Bagh, Tipu Sultan’s summer palace), Shravanabelagola, Sira, Chitradurga, Nanjangud, and Tumkur, reflecting the widespread practice of the art.³
• Contemporary Galleries and Online Platforms: For those interested in contemporary Mysore paintings, various art galleries in Mysore and other cities, as well as online art platforms, showcase and sell works by current artists.¹⁶

The journey of Mysore painting, from royal courts to contemporary galleries, highlights its capacity to adapt while retaining its core essence. Its continued practice and appreciation ensure that these “strokes of devotion” will continue to enrich India’s cultural tapestry for generations to come.

Conclusion: The Timeless Beauty of Mysore’s Artistic Heritage

Mysore painting, with its delicate artistry, profound spiritual depth, and rich historical lineage stretching from the grandeur of the Vijayanagara Empire through the dedicated patronage of the Wodeyar dynasty, stands as a luminous beacon in the constellation of Indian classical art. Its essence is captured in the graceful flow of fine lines, the subtle yet impactful application of gesso work, the thoughtful and discreet use of lustrous gold leaf, and the depiction of themes that resonate with timeless narratives of divinity and devotion. These unique characteristics, meticulously honed over centuries, distinguish Mysore paintings and imbue them with an enduring charm.

The journey of this art form has not been without its trials. It has faced periods of decline due to shifting patronage and the advent of new artistic influences and technologies. However, the inherent resilience of the tradition, coupled with the unwavering dedication of its artists and the timely intervention of supportive institutions and patrons, has ensured its survival and periodic resurgence. Today, while challenges related to economic viability and competition from modern art forms persist, the concerted efforts of contemporary artists, cultural organisations, and art enthusiasts continue to preserve and promote this invaluable heritage.

The story of Mysore painting is a powerful illustration of how an artistic tradition can navigate the currents of change, evolving its materials and finding new avenues for expression, while steadfastly retaining its core aesthetic principles and spiritual integrity. This remarkable capacity for adaptable excellence is central to its enduring legacy. More than just beautiful artifacts, Mysore paintings are a vibrant expression of a region’s cultural soul, a visual chronicle of its history, and a continuing source of inspiration. Their timeless beauty and profound cultural value ensure their place as a cherished and vital part of India’s rich artistic tapestry, inviting continued appreciation, study, and support to ensure their glow never diminishes.

Disclaimer

This article is intended for informational and educational purposes only. The information presented is based on research materials available up to May 2025. While every effort has been made to ensure accuracy, the author does not claim absolute completeness or infallibility of the information. Interpretations and analyses are those of the author, an art historian, based on the provided data. For definitive scholarly research, verification of historical details, or investment decisions related to art, readers are strongly encouraged to consult primary sources, peer-reviewed academic publications, and qualified expert art appraisers. The mention of specific artists, galleries, or commercial platforms is for illustrative purposes based on the research material and does not constitute an exhaustive list or an official endorsement.

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