TANJORE PAINTING

Thanjavur painting is a classical south Indian painting style. HISTORY

It is inaugurated from Tanjore.
Period - 1600 A.D ( Nayakas period)
Originated from maratha court of thanjavur ( 1676 1855 )
It has been recognized as a geographical indication by the government of Tamilnadu in 2007 2008.
Materials canvas, paint , wood.
ARTISTS:
Traditionally, it is well known that the Raju community of Thanjavur and Tiruchi, also called as Jinigara or Chitragara and the Nataraja flanked by
Nayudu community of Madurai were the artists who executed paintings in the Thanjavur style. Sivagami, circa 19th
The artists (Rajus & Naidus) were originally Telugu speaking people from the artistically vibrant "Rayalseema" region of century
Andhra, who moved to Tamil Nadu in the wake of the fall of the Vijayanagar empire and the establishment of Nayak rule
Madurai and Thanjavur .
CHARACTERISTICS INFLUENCE
They are characterised by rich , flat, vived
colours and simple iconic composition. In Tanjore painting one can see the
Glittering gold foils overlaid on delicate influence of
but extensive gesso work and inlay of glass Deccani style
beads and pieces or very rarely precious Vijayanagar style
and semi precious gems. Maratha style and
Essentially serving as devotional icons, the European or company style
subjects of most paintings are Hindu gods ,
goddess and saints.
Episodes from Hindu puranas sthala
puranas.
Tanjore paintings are panel paintings and
it is done on wooden planks and so it is Tirupati painting of
called as palagai padam ( palagai Lord Venkateshwarar
wooden plan , padam - picture ). in the collection of
Now a days it has been use as a colourful the Victoria and
pieces of art to decorate walls and many Albert Museum,
purposes. London

TANJORE PAINTING
 TECHNIQUE OF MAKING TANJORE
STYLE AND TECHNIQUE
PAINTING
Thanjavur paintings were done in various sizes A Thanjavur Painting was generally made on a canvas pasted over a
depending upon the function , the subject and plank of wood (Jackfruit or teak) with Arabic gum.
the choice of the patron. The canvas was then evenly coated with a paste of French chalk
Large paintings of the deities and maratha (gopi) or powdered limestone and a binding medium and dried.
rulers were painted and installed to serve as The artist then drew or traced using a stencil, a detailed outline of
achitectural accents in the maratha palaces the main and subsidiary subjects on the canvas.
and buildings. A paste, made of limestone powder and a binding medium called
First paintings were done on a canvas pasted sukkan or makku, was used for creating the Gesso work.
on a wooden support and these desiged to be Gold leaves and gems of varied hues were inlaid in selected areas like
hung on the walls of the pooja rooms or in pillars, arches, thrones, dresses, etc.
bhajan halls. Finally, colours were applied on the sketch.
Their dazzling palette consisted generally of
vivid reds, deep greens, chalk white, turquoise
blues and the lavish use of gold (foil) and inset
glass beads.
Sometimes precious stones were also used in
the paintings.
COLOUR SCHEME:
Tanjore painting was inspired by European
In the past, artists used natural colours like vegetable and mineral dyes,
techniques and was most popular in Tamilnadu
whereas the present day artists use chemical paints.
until early 20th century.
For outlines dark brown or red was usually used.
Paintings in addition to being done on canvas, were
Red was favoured for the background, though blue and green were also
also done on walls, wooden panel, glass, paper, mica Tanjore Glass
used.
and exotic media such as ivory. painting of Raja Lord Vishnu, was coloured blue, and Lord Nataraja chalk white, and his
Small Ivory portraits were typically worn as cameo Sarabhoji
consort Goddess Sivakami was green.
pendants called rajaharam and were quite popular.
The sky, of course, was blue, but black was also employed on occasions.
Thanjavur glass paintings following the techniques of
COMPOSITION:
Chinese reverse glass paintings were popularised
The portrayal of figures in the paintings was also typical with almost all
during Serfoji IIs reign as a cheaper and faster craft.
the figures having rounded faces with almond-shaped eyes and smooth,
The paintings were done on the reverse surface of a
streamlined bodies.
glass sheet with strips of metal beaten into
The composition is static and two-dimensional with the figures placed
transparent gaps to simulate the effect of jewellery
within arches, curtains and decorative borders.
and precious stones.
The main subject is much larger than the other subjects and occupies
Most of the paintings were of Hindu deities & saints.
the centre of the painting.

TANJORE PAINTING
 MATERIALS USED
DESIGN IMPLEMENTATION
NATURAL MATERIALS:
In the past, artists used natural colours like
vegetable and mineral dyes.
Originally the wood of the jackfruit tree is used GREEN
Teak wood COLOUR
BLUE
Early paintings were embedded with real
COLOUR
diamonds, rubies and other precious stones.
The frames(teak wood) used for Thanjavur RED
paintings are of two types. COLOUR
1. The wooden type wherein plain type of In Tanjore painting they use red , blue
wood is used. , green colours to highlight the
2. The Chettinad type which are more background.
ornamental with designs. Similarly I have used those colours in
ARTIFICIAL MATERIALS: the interior of the room wall.
plywood WOOD
Usually in olden days they used to do
Gold foil tanjore painting on wood ( palgai
Glass beads padam).
In later period semi precious and artificial Inorder to implement that in my
stones were used. design , I have used that on the floor
Arabic gum of the room.
Paste of limestone
Instead of breakable glass, "transparent acrylic
INTERIORS
sheets" are used .
Tanjore painting can be
used as a decorative
material in the interior of
the building.
It can be used in pooja
rooms , hall, bedrooms,
dining room, ect.
It is mainly used for
decorative purpose.
It can be hanged in walls.
It makes the space look
beautiful.

TANJORE PAINTING