Tanjore Paintings: A Gilded Legacy of South Indian Art

Step into a world where divinity radiates in shimmering gold, where vibrant colours tell ancient stories, and where art transcends mere decoration to become an object of profound devotion. This is the realm of Tanjore painting, a classical art form hailing from the historic city of Thanjavur (formerly Tanjore) in the southern Indian state of Tamil Nadu.¹ Instantly recognisable by their opulent depictions of Hindu deities, these artworks captivate the eye with their glittering gold foil, embedded gemstones, and a unique, tactile relief effect achieved through a technique called gesso work.⁵ Traditionally crafted on wooden planks, earning them the local name ‘Palagai Padam’ (meaning ‘picture on a wooden plank’), Tanjore paintings are more than just aesthetically stunning pieces; they are deeply embedded in the cultural and religious fabric of South India, serving as cherished icons of faith and heritage.⁴ This article delves into the rich history, distinctive characteristics, intricate creation process, profound significance, and enduring legacy of these gilded masterpieces.

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

The story of Tanjore painting is not one of sudden invention but rather a gradual evolution, a confluence of artistic streams nurtured over centuries in the culturally fertile landscape of South India.

Ancient Roots and Influences

The city of Thanjavur itself boasts a long and illustrious artistic history, serving as the imperial capital of the mighty Chola dynasty from the 9th to the 13th centuries CE.⁵ This era witnessed a zenith in South Indian art and architecture, epitomized by the magnificent Brihadeeswarar Temple, whose walls still bear witness to the skill of Chola mural painters.¹ While distinct from the later panel paintings, these ancient murals form part of the rich artistic substratum from which Tanjore art would eventually emerge.

The more direct lineage of Tanjore painting, however, traces back to the Vijayanagara Empire, particularly around 1600 AD.¹ During this period, the Nayaka governors, administering regions like Thanjavur under the suzerainty of the Vijayanagara Rayas, became significant patrons of the arts, fostering classical dance, music, literature, and painting, predominantly focused on Hindu religious themes.¹ The influence of Vijayanagara-era murals, found in temples across South India such as the Virupaksha Temple in Hampi, the Varadaraja Temple in Kanchipuram, and the Lepakshi Temple in Andhra Pradesh, provided inspiration.⁷ A pivotal moment occurred with the decline and fall of the Vijayanagara Empire following the Battle of Talikota in 1565 CE. This political upheaval led to a migration of artists, musicians, and scholars who had depended on imperial patronage, with many finding refuge and new opportunities in successor kingdoms like Thanjavur.¹ This influx of talent brought diverse skills and stylistic elements, contributing to the melting pot from which the unique Tanjore style would crystallise. The very foundation of Tanjore painting rests upon this layering of traditions, building on earlier mural forms and absorbing the skills of migrating artists, rather than springing forth fully formed.

The Nayaka Period (16th-17th Centuries): Foundation and Artistic Migration

The Thanjavur Nayakas played a crucial role in laying the groundwork for the art form. As patrons, they actively encouraged the flourishing of arts and culture, establishing Thanjavur as a vibrant creative centre.¹ Raghunatha Nayaka, considered one of the most successful rulers of this line, was particularly instrumental in establishing a distinct school of Thanjavur artists, whose work would later evolve under Maratha rule.¹

A key development during this period was the settlement of specific communities of artists who became the primary practitioners of the emerging style. Telugu-speaking artists, primarily from the Raju community originating in the Rayalaseema region of present-day Andhra Pradesh, migrated to Tamil Nadu in the wake of Nayaka rule, settling mainly in Thanjavur and Trichy.⁵ Another group, the Naidus, settled in Madurai.⁵ Known locally as ‘Chitragara’ or ‘Jinigara’, these artists brought their skills and traditions, which blended with local influences under Nayaka patronage.⁵ Examples of Nayaka-period painting, sometimes layered over earlier Chola works, can still be observed within the Brihadeeswarar temple complex, offering glimpses into this formative stage.¹

The Maratha Golden Age (1676 onwards): Flourishing Under Patronage

In 1676, Thanjavur came under Maratha rule when Ekoji (also known as Venkoji), the half-brother of the famous Maratha king Chhatrapati Shivaji, captured the city.¹ The Maratha rulers proved to be enthusiastic patrons, continuing and significantly enhancing the support for the arts initiated by the Nayakas.¹ Despite periods of conflict, rulers like Ekoji and his successors fostered a climate where Tanjore painting could truly blossom.¹

The reign of Maharaja Serfoji II (also spelled Sarabhoji II), spanning the late 18th and early 19th centuries, is widely regarded as the golden age for Tanjore painting.⁴ A renowned patron of learning and the arts, Serfoji II actively promoted the style, commissioning numerous large-scale paintings to adorn the walls of his palaces and other significant buildings.¹ These works often depicted not only deities but also grand portraits of the Maratha rulers, their courtiers, and nobility.¹ His legacy also includes the expansion of the Saraswathi Mahal Library in Thanjavur, a treasure trove that houses some of the finest surviving examples of early Tanjore paintings.⁵

Crucially, the Maratha period was marked by significant artistic innovation, moving beyond passive patronage to actively shape the style we recognise today. Maratha artisans, or artists working under their influence, introduced techniques aimed at enhancing the ornamentation and creating a more regal, resplendent aesthetic.⁵ This included the refinement and extensive use of gesso work (raised relief), the incorporation of glass beads, and the lavish application of gold foil and precious or semi-precious gems to make the paintings literally glow.⁵ The introduction of the reverse glass painting technique, where the painting is done on the back of a glass sheet, is also attributed to this period.¹¹ This era represents a critical transformation, where Maratha courtly tastes for grandeur and opulence were fused with the existing artistic traditions, resulting in the definitive Tanjore style.

Adapting to Change: The Company Style and British Influence

As Maratha power waned in the late 18th century, British influence grew, particularly following the Anglo-Mysore Wars (1767-99).² The establishment of a permanent British garrison in Tanjore in 1773 created a new source of patronage.² Local Tanjore artists, primarily from the traditional Raju and Naidu communities, began adapting their skills to cater to the tastes and demands of European patrons, mainly personnel of the British East India Company.² This led to the emergence of a hybrid style known as “Company Style” painting in the Tanjore region.¹

Company Style paintings produced by Tanjore artists differed from traditional works in several ways. They were often executed on paper or sometimes ivory, rather than the traditional wooden plank base.¹ Watercolours tended to replace traditional pigments.²⁵ The hallmark gold foil and gem/glass inlays were typically minimised or omitted entirely.² Artists incorporated Western artistic conventions like linear perspective and shading to create a sense of volume and depth.²⁴ The subject matter also expanded significantly. While depictions of deities continued, artists produced sets or albums featuring subjects that fascinated the British, such as local fairs, ceremonies, festivals, various castes and occupations, and detailed illustrations of Indian flora and fauna and architecture.² These paintings often included brief descriptive captions in English, and sometimes Tamil or Telugu.³

This adaptation was driven by the demands of a new market. Yet, despite these changes in medium, technique, and subject, these Company Style works retained the meticulous detailing and vibrant (though differently achieved) colouring characteristic of the Tanjore school.² They represent not a complete break from tradition, but a fascinating adaptation, showcasing the resilience and versatility of the Tanjore artists who skillfully applied their core techniques to new formats and themes to meet the demands of their new patrons.

Defining Tanjore: Key Characteristics and Style

Tanjore paintings possess a unique and instantly recognisable aesthetic defined by a specific combination of materials, techniques, and stylistic conventions.

The Base: ‘Palagai Padam’ (Picture on a Plank)

The traditional name ‘Palagai Padam’ itself points to a fundamental characteristic: the use of a wooden plank as the base.⁵ Artists traditionally preferred wood from the jackfruit tree (pazha pazham maram) or teak, valued for their natural resistance to termites and rot, ensuring the longevity of the artwork.² In contemporary practice, waterproof plywood has become a common and more readily available substitute, though the principle of a sturdy wooden base remains central.⁶

Hallmarks: Vibrant Colours, Real Gold Foil, Gems, and Glass

A riot of rich, vivid, and bold colours is a defining feature of Tanjore art.¹ Deep reds, blues, and greens are frequently employed, often creating striking contrasts.² Red, in particular, was a favoured background colour in many traditional works.¹ While early artists painstakingly prepared natural pigments derived from vegetables and minerals (mooligai colours), modern practitioners typically use commercially available chemical paints like poster colours or acrylics, which offer consistency and ease of use.¹

Undoubtedly, the most iconic element is the generous use of real gold foil.² Thin sheets of high-carat gold, typically 22-carat or sometimes even higher, are meticulously applied, primarily over raised areas of the painting.⁹ This isn’t merely decorative; the gold imparts a divine luminescence, signifies wealth and auspiciousness, and symbolises purity and prosperity, linking the artwork to spiritual ideals.⁸ Real gold also offers longevity, as it does not tarnish over time.⁹ However, the high cost of genuine gold has led to the unfortunate prevalence of fake or synthetic gold foil in the contemporary market, making authenticity a key concern for buyers.⁹ Methods like Raman spectroscopy can verify genuine gold, and reputable artists often provide authenticity certificates.⁹

Complementing the gold are inlaid semi-precious stones, traditionally Jaipur or Kundan stones, and sometimes even precious gems like diamonds and rubies in older, high-patronage pieces.¹ Cut glass pieces and beads are also frequently used.¹ These embellishments add texture, sparkle, and contribute significantly to the painting’s opulent, three-dimensional feel.² Modern works often utilise synthetic stones or crystals like Swarovski as more affordable alternatives.¹⁰

The Gesso Touch: Creating the Signature 3D Relief

A technique fundamental to the Tanjore aesthetic is the extensive use of gesso work, locally known as ‘muck’ or ‘makku’.⁴ This involves applying a paste, traditionally made from limestone powder (Sunnambu kallu) or chalk powder mixed with a binding agent like gum arabic or indigenous vegetable pastes, onto the sketched outlines of the painting.⁸

This paste is skillfully applied, often in layers, to create raised, embossed surfaces, particularly for depicting jewellery, crowns, elements of clothing, and architectural details like arches and pillars.⁵ Once dried, these raised areas are overlaid with gold foil.⁵ This combination of relief work and gilding is what gives Tanjore paintings their characteristic three-dimensional quality and tactile richness.⁵ The gesso physically elevates key elements, especially the divine adornments, giving them visual and tangible prominence, distinguishing the style markedly from flatter painting traditions.

Composition and Figures: Iconic, Dense, and Distinctive Features

Tanjore paintings typically feature compositions that are described as simple, iconic, and dense.¹ The central subject, usually a deity, dominates the frame, depicted on a larger scale and placed prominently in the centre.⁵ This main figure is often enclosed within an architectural setting, such as an arch, a pavilion (mandapam), or framed by curtains and ornate borders.³ Subsidiary figures, such as attendants, devotees, or related mythological characters, are often included around the main deity, contributing to the narrative and the characteristic density of the composition.⁵

The figures themselves are rendered in a distinctive style. Faces are typically rounded, often described as chubby or cherubic, with large, expressive, almond-shaped eyes.² Bodies tend to be full and streamlined.³ Traditionally, figures were painted using flat areas of colour, though shading, particularly on faces, was sometimes employed to create a sense of depth, a technique possibly enhanced through interaction with European art.³ While early depictions often featured static, formal poses, the style evolved over time to incorporate more naturalistic postures, again showing adaptation and influence from other artistic traditions.³

Themes That Shine: Subjects of Tanjore Paintings

While renowned for their technique, the soul of Tanjore paintings lies in their subject matter, which primarily revolves around the divine but has expanded over time to reflect changing patronage and cultural contexts.

Portraying the Divine: Popular Hindu Deities and Saints

At their core, Tanjore paintings are devotional icons, created to visually represent and honour the figures of Hindu mythology.¹ A vast pantheon of gods, goddesses, and revered saints graces these canvases. Among the most popular subjects is Lord Krishna, depicted in various forms – as the playful butter-thief Bal Krishna (Navaneeta Krishna), in divine romance with Radha (Radha-Krishna), or delivering teachings.² Lord Vishnu and his avatars, particularly Lord Rama (often depicted in his coronation scene, Ramapattabhisheka) and Lord Balaji (Venkateshwara), are also frequently portrayed.³ Lord Shiva, often shown with his consort Parvati and son Ganesha, is another common theme.¹⁴ Key goddesses like Lakshmi (symbolising wealth and prosperity), Saraswati (goddess of knowledge and arts), Ganesha (remover of obstacles), Durga (representing divine feminine power), and Lord Murugan (Kartikeya) are also central figures in many paintings.⁶ Beyond the major deities, paintings may also feature revered saints, such as the Vaishnavite Alwars and Shaivite Nayanmars from the Bhakti movement, and even Sikh saints found their way into the repertoire.¹

Narratives in Gold: Mythological Scenes and Epics

Tanjore paintings often serve as visual narratives, bringing to life stories and episodes from the rich tapestry of Hindu mythology, epics like the Ramayana and Mahabharata, and sacred texts known as the Puranas.² Scenes depicting the coronation of Lord Rama (Ramapattabhisheka) are particularly popular, showcasing the grandeur and auspiciousness associated with his righteous rule.²² The various playful and divine acts (lilas) of Lord Krishna are another favourite source of inspiration for artists.⁴² These narrative paintings allow devotees to meditate on specific events and teachings from their religious heritage.

Beyond Religion: Royal Portraits and Secular Themes

While deeply rooted in religious iconography, the thematic scope of Tanjore painting expanded over time, reflecting shifts in patronage and cultural interaction. During the Maratha period, portraiture became significant, with artists creating grand depictions of the Maratha rulers, their courtiers, and members of the nobility, often installed in palaces as symbols of power and prestige.¹ Later, under British influence during the Company Style period, the repertoire broadened further to include secular and ethnographic subjects. Artists were commissioned to paint scenes of local life – fairs, festivals, ceremonies, different castes and their occupations – as well as detailed studies of Indian flora and fauna, which held particular interest for European patrons.² Although less common, occasional depictions of Jain, Sikh, and Muslim subjects, as well as rare portrayals of figures like court dancers (devadasis) or scenes from folk tales, also exist, showcasing the art form’s capacity for thematic diversity.¹ This evolution highlights the adaptability of the Tanjore school, responding to the interests and demands of different patrons across different eras.

Decoding the Details: Symbolism and Common Motifs

Every element within a Tanjore painting often carries symbolic weight. The lavish use of gold is perhaps the most potent symbol, representing divinity, purity, auspiciousness, wealth, and prosperity – qualities associated with the divine figures depicted and desired by the patrons.⁸ The vibrant colours may also hold specific connotations, contributing to the overall meaning and mood of the piece.³⁷ Beyond aesthetics, the paintings function as powerful visual aids for devotion, helping viewers connect with the divine, recall mythological narratives, and absorb the moral and cultural lessons embedded within them.⁵

Certain decorative motifs appear frequently. Architectural elements like ornate arches, pillars, pavilions (mandapams), and draped curtains frame the central deity, creating a sacred space within the painting.³ Floral patterns add to the richness of the ornamentation.²² The ‘yali’, a mythical creature often depicted in South Indian temple architecture, sometimes appears as a protective element.²² The ‘kaasu malai’, a necklace resembling a chain of gold coins, is another traditional motif seen in jewellery depictions.²² Animals like elephants, horses, and cows, as well as lotus flowers, may feature as subsidiary elements.²² European influence introduced motifs like winged angels (cherubs), often shown holding garlands or musical instruments, and depictions of glass chandeliers or lanterns, blending seamlessly into the traditional framework.³²

The Making of a Masterpiece: The Tanjore Painting Process

Creating a Tanjore painting is a meticulous and multi-stage process, demanding patience, skill, and precision from the artist. Each step, from preparing the base to the final touches, contributes to the unique beauty and longevity of the artwork. The act itself was traditionally viewed as a sacred task, undertaken with ritual purity and humility.⁵

Preparing the Canvas: From Wood to Smooth Surface

The foundation begins with the base, traditionally a plank of seasoned jackfruit or teak wood, or more commonly today, waterproof plywood cut to the desired size.² Sometimes a layer of cardboard is applied first.⁵³ A piece of cotton cloth (Gada cloth) is then stretched tightly over the board and securely pasted down using traditional adhesives like indigenous root gum (Kezhungu passai) or tamarind seed paste, or modern glues like Fevicol.⁴ Great care is taken to eliminate any wrinkles or air bubbles, ensuring a perfectly flat surface.³⁰

Once the cloth is dry and firmly adhered, it undergoes a coating process. Multiple layers of a primer paste are applied evenly across the surface.⁴ This paste typically consists of a fine powder like chalk powder, French chalk, or ground limestone (Sunnambu kallu) mixed with a binding agent such as gum arabic, fermented tamarind seed paste, or gum from the babul tree (Karuvela maram gondhu).⁴ Sometimes additives like yellow oxide (gobi) for colour and copper sulphate as an insect repellent were included.³⁴ Each coat is allowed to dry thoroughly before the next is applied.⁴¹ After the final coat, the board is meticulously smoothened by rubbing it with polishing stones, fine emery paper, or even smooth glass bottles, resulting in a hard, even surface with a slight sheen, ready for painting.⁸ This careful preparation protects the painting from moisture and heat and provides the ideal ground for the subsequent layers.⁵³

Sketching and Tracing the Sacred Outline

The artist then transfers the intended design onto the prepared board. This can be done freehand, requiring considerable skill and a steady hand, or by using tracing methods.⁵ Common tracing techniques involve using pre-drawn templates on paper with pinpricks along the outlines; the template is placed on the board, and charcoal dust (kari) is dusted over it, leaving dotted lines on the surface.²⁹ Modern artists might use carbon paper to transfer the design.⁴¹ Sometimes, preliminary outlines are drawn using soot (mai) applied with a fine brush.²⁹ Accuracy in proportion and symmetry is crucial at this stage, as the sketch forms the blueprint for the entire painting.⁴¹

Building the Form: The Art of Gesso (Muck Work)

Next comes the application of the gesso paste (‘muck’ or ‘makku’), the technique that creates the signature relief effect.⁸ The paste is prepared by mixing fine chalk powder with a binder like gum arabic or glue.⁸ Traditionally, powdered red stone was sometimes used instead of chalk, believed to be more durable.²⁹ The consistency of the muck is critical and varies depending on the application.⁵⁴ A thinner mix is used for applying over embedded stones, a medium consistency for creating relief on plain areas, and a thicker paste for executing fine, intricate raised lines and details.⁵⁴ This paste is carefully applied along the sketched lines, designating areas like jewellery, crowns, clothing details, and architectural elements, using fine brushes or, in modern practice, cones similar to those used for henna application.⁵ Layers are built up gradually to achieve the desired height and three-dimensional form, often smoothed while still wet.⁸ The gesso work is then left to dry completely.⁴⁵

Applying the Gold Leaf and Setting the Stones

Once the gesso is hard and dry, the process of gilding begins.⁵ Thin sheets of 22-carat or higher gold foil are cut roughly to the shape of the embossed areas. An adhesive, traditionally gum arabic or a specific gum called Nunga Passe, is applied to the back of the foil or the gesso surface.¹² The foil is then carefully placed over the raised design and gently pressed down using a soft cloth, ensuring it adheres smoothly without tearing and accurately reveals the underlying embossed details.²¹ It is crucial to avoid touching the foil with bare hands, as this can dull its lustre.³⁴ Gold foil may also be applied to flat areas of the painting as desired.³⁴

Semi-precious stones (like Kundan or Jaipur stones) or glass pieces are embedded into the artwork.⁸ This can happen at different stages: sometimes they are set into the gesso while it’s still wet, sometimes glued onto the board before the gesso is applied around them, or sometimes glued on after the initial gesso layer.¹² After the gold foil is applied over these areas, any foil covering the stones is carefully scraped away using a sharp needle or pointed tool to reveal the gems beneath.³⁴

Bringing Colour and Life to the Artwork

With the gold work and stone setting complete, the artist proceeds to paint the remaining areas of the composition.¹ Vibrant colours – traditionally natural pigments, now usually poster or acrylic paints – are applied, often in layers, starting with broad washes for background areas and building up depth and intensity.⁴¹ Specific colour choices are made for backgrounds (often deep reds, blues, or greens) and the main figures.¹

The final, crucial stage involves adding fine details and outlines using fine-tipped brushes.¹ Traditionally, brushes were made from delicate squirrel hair (anil vaal), but synthetic brushes are common today.¹² Outlines, often in dark brown or red, define the forms.¹ Intricate patterns on clothing, details on ornaments, facial features, and background elements are meticulously rendered.⁴⁵ A particularly significant moment, sometimes performed with ceremony, is the painting of the eyes of the central deity, believed to bring the image to life.⁵⁰

Finally, the completed painting is often framed, traditionally with teak wood frames or sometimes more ornate Chettinad style frames, and placed under glass to protect it from dust, moisture, and damage.¹

Table 1: Traditional vs. Modern Materials in Tanjore Painting

The shift from traditional, often locally sourced, natural materials to modern, commercially produced ones reflects broader changes in availability, cost, and the commercialisation of the art form. While modern materials offer convenience, the use of traditional materials is often associated with greater authenticity, durability, and adherence to the historical craft, although it significantly increases the cost and effort involved.³⁰

More Than Art: Cultural and Religious Significance

Tanjore paintings transcend their aesthetic appeal, holding deep cultural resonance and profound religious meaning within Hindu tradition and the broader context of Indian heritage.

Sacred Objects: Role in Worship and Devotion

Primarily, Tanjore paintings function as sacred icons, intended for worship and devotion.¹ They are commonly placed in the puja (worship) rooms of homes or installed within temples, serving as focal points for prayer and meditation.¹⁰ The very act of creating these paintings was traditionally considered a sacred endeavour, demanding ritual purity, humility, and dedication from the master craftsmen, who often chose to remain anonymous.⁵

These artworks are widely believed to imbue the spaces they occupy with positive energy, bringing blessings of prosperity, protection, good fortune, and overall auspiciousness.⁸ The inherent qualities of the materials, especially the pure, non-tarnishing gold, reinforce this association. Gold is deeply symbolic in Hindu culture, representing purity (like fire), wealth (associated with Goddess Lakshmi), and divinity.¹⁴ By depicting divine forms in such precious materials, the paintings serve as powerful conduits connecting the viewer to the sacred.¹⁴ Their role extends to auspicious occasions, often being presented as cherished gifts, particularly at weddings, symbolising blessings for the new couple.²¹

Emblem of Heritage: Tanjore Art as Cultural Identity

Beyond their religious function, Tanjore paintings stand as potent symbols of South Indian, particularly Tamil, cultural identity and heritage.² The art form itself is a testament to centuries of cultural synthesis, embodying a unique blend of artistic influences – Tamil, Telugu, Maratha, Deccani, folk traditions, and even European elements absorbed over time.¹ This amalgamation reflects the dynamic history of the Thanjavur region as a crossroads of cultures and powers.

The style has also exerted influence on other aspects of regional culture, notably in temple art and architecture, where the vibrant colours and gilded embellishments characteristic of Tanjore paintings contribute to the overall aesthetic and spiritual ambience of sacred spaces.¹⁶ As such, Tanjore art serves as a visual repository of history, mythology, and artistic evolution, preserving and transmitting cultural values and narratives across generations.¹⁶

A Mark of Authenticity: The Geographical Indication (GI) Tag

In recognition of its unique origin and cultural significance, Tanjore Painting (or Thanjavur Painting) was granted the Geographical Indication (GI) tag by the Government of India in 2007–08.¹ A GI tag legally identifies a product as originating from a specific geographical location and possessing qualities, reputation, or characteristics essentially attributable to that origin.³²

The GI tag is of considerable importance to Tanjore paintings. It serves as a guarantee to consumers of the artwork’s authenticity and its link to the traditional craft practices of the Thanjavur region.⁴ This is particularly crucial in a market where imitations and the use of non-traditional or lower-quality materials (like fake gold foil) pose a challenge.⁹ By distinguishing genuine articles, the GI tag helps protect the legacy of the art form and supports the traditional artisans who uphold its standards.⁴ It acts as a vital tool for cultural preservation, ensuring that the unique skills and knowledge associated with Tanjore painting are recognised and valued, while also potentially boosting the market and economic well-being of the artisan community by assuring quality and origin.⁴⁹

Tanjore vs. Mysore: Spotting the Differences

Art enthusiasts often encounter another prominent South Indian classical painting style – Mysore painting – which shares historical roots and thematic elements with Tanjore art, sometimes leading to confusion. Both styles evolved from the Vijayanagara school of painting after the empire’s fall, with artists migrating to new centres of patronage like Thanjavur and Mysore.²³ Both traditions often depict Hindu deities and were historically practised by artists from the Raju and Naidu communities.²³ However, despite these commonalities, several key distinctions in materials, techniques, and overall aesthetic set them apart.

Key differences include:

• Base Material: Tanjore paintings are traditionally created on cloth stretched over a wooden plank (palagai padam).²³ Mysore paintings, conversely, typically use paper as the primary surface, which might then be mounted on cloth, wood, or board.²³
• Gesso Work: Both styles employ gesso (relief work), but Tanjore paintings feature significantly thicker, higher relief embossing, often made with a lime powder base.¹¹ Mysore paintings utilise a much thinner, lower relief gesso, characterised by intricate and delicate detailing, traditionally made with white lead powder and gamboge for a golden tint.³⁸
• Embellishments: This is a major point of divergence. Tanjore paintings are renowned for their lavish use of 22k+ gold foil, semi-precious stones (like Kundan), cut glass pieces, and sometimes pearls.¹¹ Mysore paintings, while using thin sheets of pure gold leaf for highlighting details like jewellery and clothing, typically do not incorporate inlaid stones or glass beads.¹¹
• Colour Palette: Tanjore art employs a palette of rich, vibrant, bold colours, often with strong contrasts.³⁸ Mysore paintings favour a more subdued and delicate colour scheme, using softer, pastel shades and subtle gradations.³⁸
• Line Work and Detail: While Tanjore lines can be bold and serve the iconic composition, Mysore painting places a strong emphasis on extremely fine, intricate, and delicate line work, particularly visible in the rendering of clothing patterns, jewellery details, and architectural elements.³⁸
• Overall Aesthetic: These technical differences result in distinct visual impressions. Tanjore paintings appear ornate, opulent, gaudy, dense, and iconic.²³ Mysore paintings project an aura of delicacy, grace, elegance, subtlety, and intricate refinement.³⁸
• Stylistic Nuances: Mysore paintings might sometimes feature more elaborate landscapes and backgrounds compared to the typically dense, figure-focused compositions of Tanjore art.²³ They may also reflect the specific fashions and architectural styles prevalent in the Mysore court more directly.²³

Understanding these distinctions allows for a deeper appreciation of the unique artistic choices and cultural contexts that shaped each of these celebrated South Indian painting traditions.

Table 2: Tanjore Painting vs. Mysore Painting: Key Differences

Tanjore Paintings Today: Tradition Meets Modernity

In the contemporary world, Tanjore painting continues to thrive, navigating the currents of modernity while striving to maintain its connection to a rich artistic past. It exists today across a spectrum, upheld by traditionalists and reimagined by innovators.

Contemporary Artists and Innovations

The flame of Tanjore art is kept alive by dedicated artists and craftspeople, many of whom belong to families that have practised this intricate art for generations, passing down skills and knowledge.¹³ Renowned artists like T. Venkatesa Raja, a recipient of the Shilp Guru Award, exemplify this commitment to preserving the traditional format and aesthetics, even while adapting to modern materials.⁶⁰ Various initiatives, including government-sponsored training programs and exhibitions organised by cultural bodies, also play a role in nurturing talent and ensuring the continuity of the craft.⁴⁸

Alongside preservation, there is significant adaptation and innovation. Modern artists often work with contemporary materials out of necessity or choice: waterproof plywood replaces jackfruit wood, commercially available adhesives like Fevicol substitute traditional gums, and readily available poster colours or acrylic paints take the place of laboriously prepared natural dyes.² Synthetic brushes are now standard.³⁰ While authentic 22k gold foil remains the ideal, cost pressures have led to the use of imitation or lower-quality foils, and synthetic or glass stones often replace semi-precious gems.⁹ Responding perhaps to environmental concerns, some artists are exploring eco-friendly options, using natural paints and organic materials.⁴⁷

Innovation extends to techniques and styles as well. Some contemporary works feature exaggerated embossing, using materials like plaster of Paris or even carved wooden pieces to create a more pronounced 3D effect.¹⁰ Artists experiment with painting on unconventional surfaces like mirrors or glass ⁴⁷ and incorporate mixed media elements such as beads, textiles, or even digital components into their compositions.⁴⁷

Thematically, while traditional depictions of deities remain central, contemporary Tanjore art explores new avenues. Artists are venturing into abstract elements, minimalist compositions focusing on single figures with limited palettes, monochromatic schemes, nature-inspired designs, and even references to pop culture.¹³ This fusion of traditional techniques with modern aesthetics aims to keep the art form relevant and appealing to contemporary tastes.¹⁷ Customisation, allowing buyers to commission paintings tailored to their preferences in size or subject, is also increasingly popular.³⁶ This dynamic interplay between strict adherence to tradition and bold experimentation demonstrates that Tanjore painting is not a static relic but a living art form, continuously evolving in response to changing times, materials, and market demands.

The Modern Market: Authenticity, Value, and Challenges

Tanjore paintings continue to enjoy significant popularity, both within India and internationally.² They are sought after by art lovers, serious collectors, and individuals seeking culturally rich home décor.³⁷ The rise of online galleries and platforms has made these artworks more accessible to a global audience, further boosting their visibility and demand.²

The price of a Tanjore painting can vary considerably, influenced by several factors.³⁶ The use of high-quality, authentic materials – particularly genuine 22k or 24k gold foil and semi-precious stones – significantly increases the cost.³⁶ The intricacy of the craftsmanship, the level of detail, the time and painstaking effort invested by the artist, the size of the painting, and the reputation of the artist all play a role.³⁶ Customisation requests can also affect the price.³⁶ Beyond these tangible factors, the inherent historical and cultural value, as well as the durability associated with traditionally made pieces, contribute to their perceived worth.³⁶

However, the market is not without its challenges, chief among them being the issue of authenticity.⁸ Distinguishing paintings made with real gold and quality stones from those using cheaper imitations or synthetic materials can be difficult for the untrained eye.⁹ This underscores the importance of purchasing from reputable galleries, certified artists, or trusted sources.⁸ Authenticity certificates are often provided for genuine pieces ⁹, and the GI tag serves as an official mark of origin and adherence to traditional standards.⁴

For collectors, high-quality, authentic Tanjore paintings can represent not just an aesthetic acquisition but also a potential investment, as well-crafted pieces tend to hold or even appreciate in value over time.³⁷ The modern market thus reflects a dynamic tension between the enduring value placed on traditional craftsmanship and authentic materials, and the contemporary pressures of cost, accessibility, and evolving aesthetic preferences. Discerning buyers must navigate this landscape carefully, prioritising authenticity when seeking pieces that truly represent this venerable art form.

Preserving the Legacy: Conservation Efforts

Ensuring the survival of Tanjore painting involves both preserving historical artifacts and supporting the continuation of the living tradition. Older paintings, with their multi-layered construction on organic bases like wood and fabric, are susceptible to environmental damage, including cracking and flaking paint, and insect infestations that can degrade the support structure.⁵⁵ Conservation efforts are necessary to stabilise and protect these aging masterpieces for future generations.

The preservation of the art form itself relies on the dedication of artists who continue to practice and teach the traditional techniques.⁴⁸ Cultural institutions, like the Saraswathi Mahal Library in Thanjavur, which houses historical examples, play a role in safeguarding the heritage.⁵ Art galleries that promote authentic work, government initiatives like the GI tag registration and artisan training programs, and the growing global appreciation for the art form all contribute to its continued vitality and conservation.⁴

Conclusion: The Enduring Radiance of Tanjore Art

From its roots in the temple murals of the Chola era, through the foundational patronage of the Nayakas and the innovative golden age under the Marathas, to its adaptation during the British period and its vibrant presence today, Tanjore painting embodies a remarkable artistic journey. It is a tradition defined by its unique synthesis of materials – the sturdy wooden base, the radiant palette, the signature gesso relief work, and above all, the lavish use of real gold foil and sparkling gems.⁵ Centred primarily on the depiction of Hindu deities and mythological narratives, these paintings serve not just as decoration but as powerful objects of devotion, imbued with cultural and spiritual significance.⁴

The enduring appeal of Tanjore art lies in its ability to bridge past and present.² It continues to captivate viewers worldwide with its undeniable opulence, intricate craftsmanship, and the profound sense of divinity it evokes.⁸ Whether meticulously adhering to age-old techniques or embracing contemporary interpretations, Tanjore painting remains a shining testament to the richness of India’s artistic heritage, a gilded legacy that continues to radiate beauty and cultural meaning across time.⁵

Disclaimer

This article is intended for general informational purposes only, based on available research and common knowledge regarding Tanjore paintings. Details such as specific historical dates, precise material compositions, techniques employed by individual artists, and current market values may vary. Interpretations of symbolism and historical events can also differ among scholars and practitioners. This article does not constitute financial or investment advice. Readers seeking to purchase Tanjore paintings are strongly advised to consult with reputable art dealers, galleries, or qualified experts for authentication, valuation, and advice specific to their interests.

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