Tanjore

Etymology: Originating from the city of Thanjavur, these relief work paintings were named Thanjavur paintings. Thanjavur paintings are also known as 'Palagai Padam', which translates to 'picture on a wooden plank'.

Origin: Tanjore or Thanjavur paintings originate from Thanjavur in Tamil Nadu. It developed under the rule of Nayakas around the 16th century.

Location: The art form of Tanjore paintings was spread widely throughout the South of India. From its place of origin in the city of Thanjavur in Tamil Nadu to Karnataka and Andhra Pradesh as well.

Community: Tanjore paintings thrived under the rule of many dynasties, namely the Nayaka dynasty of Madurai, the Marathas, the Raju community of Tanjore and Trichi, the Naidus of Madurai, and the Chettiar community. The Raju community of Thanjavur and Trichi, also called Jinigara and Chitragara, and the Naidu community of Madurai led the patronage further. They were the Telugu-speaking communities that settled in Tamil Nadu after the fall of the Vijayanagara Empire in the 17th century.

Relevance: Tanjore paintings decorated the inner walls and ceilings of houses, temples, and other palaces in Thanjavur. They were also seen as portable temples and were produced widely later on, but initially, they were seen as a symbol of affluence and social status.

Historical Background: Initially, the Tanjore art form was inspired by classical dances and literature, but under the rule of the Nayakas, there was a shift in terms of themes. The artisans would resort to depicting scenes from Hindu epics, temples, and other religious themes. These themes continued and thrived greatly under the rule of the Marathas between the 17th and 19th centuries, which enabled the artisans to create these paintings in palaces, temples, and other royal residencies.

Culture and Societies: Under the Maratha rule, the art form observed exponential growth, the Thanjavur style we see today was developed under the Maratha rule of 'King Serfoji II', and the Marathas also introduced reverse glass painting to the Tanjore artisans. After the decline of the Maratha rule, the Chettiar community further evolved the art form under their patronage. Under the Chettiar community, there was an abundance of paintings of Lord Shiva, as the Chettiar community were Shaivites.

Religious Significance: Thanjavur paintings, although initially would depict themes inspired by classical dances and literature during the Vijayanagara empire, religious themes and deities were portrayed soon after its fall and when the Nayaka empire took over. Religious themes/ scenarios include that of Bal Krishna, Lord Rama, and other subjects from Hindu mythologies. Apart from these common themes, the depiction of other Hindu gods, goddesses, and saints was also important.

Central Motifs and their Significance: Bal Krishna, Lord Rama and Goddess Lakshmi were usually the common subjects, as these were the most painted deities on the walls and engraved in the stone pillars of the temples.

Medium Used: Traditionally, materials such as raw lime powder, tamarind seed powder, jackfruit wood board, teak wood, vegetables, and mineral dyes were used in the process to create these artworks.

Style: The figures in Thanjavur paintings are usually singularly depicted and are at the centre of the painting. They adorn a full face, round protruding eyes and a well-structured body. The colour scheme is bright and vibrant with an application of dense and heavy pigments. Usually, the solo figures are supported by curtains and/or pillars or any other architectural arches. The adornment uses semi-precious stones, pearls, cut-coloured glass pieces, glass beads, and gold leaf.

Process: The process that goes into creating Tanjore paintings is tedious. These paintings are layered and go through a multitude of steps before they can be called a finished painting. Starting with the choice of surface, these paintings were traditionally made on teak wood or wooden boards made from the jackfruit tree. Once the board is chosen, it is cut according to custom size, after which a layer of glue is applied, which originally would be a paste made of tamarind seeds. After applying this, a piece of fabric to the measurement of the board is placed over it, and they are left to dry.

Once they were dry, white gesso, which was prepared by mixing the raw lime powder with a paste made of powdered tamarind seeds, was applied to the board. The board is polished with sandpaper to smoothen the surface, and after the gesso is dry, the sketch for the painting is drawn over the prepared board. After the sketch is drawn, another layer of gesso is modeled around the contours of the sketch, much like a maquette. Once it is dry, gold leaf work is applied to the heightened parts. The next step involves painting the prepared model of the painting. Earlier vegetables and natural dyes were used to create these colours. Following the application of the paints, the painting is embellished with semi-precious stones, cut-coloured glass pieces, and glass beads. The final step is to frame the painting, which helps in preserving the painting and keep it undisturbed from external elements.

There have been multiple sheets in the way the subject in these paintings has been depicted, especially in regard to skills, and the religious influence of various dynasties has been evident throughout the evolution of this art form. The final look of Tanjore paintings we see now was established in the 17th century, and since then, the art form has been aesthetically consistent.

Very rare Tanjore paintings of cultural personalities and political faces have been observed as a new wave of subjects.

1. Iyer, V. K. (2013) 7 Steps to the Art of Tanjore Painting. United States: Partridge Publishing.

2. Sastry, C. (2013) The Tanjore Painting. United States: Partridge Publishing.

3. Yadav, S.S. (2010) The Royal Art of Tanjore Painting. India: English Edition.