A Comparative Study of Mysore and Tanjore Paintings: Style & Heritage

Historical Background
Materials and Techniques
Stylistic Features
Iconography and Themes
Patronage and Cultural Context
Conclusion
References

Mysore and Tanjore paintings stand as two of South India’s most celebrated traditional art forms, both emerging under royal patronage yet diverging in style, technique, and cultural symbolism. While Tanjore painting developed under the powerful Nayak and Maratha rulers of Thanjavur, Mysore painting flourished under the Wodeyars of Mysore and the lingering influence of the Vijayanagara legacy. Both traditions are deeply religious, primarily devoted to Hindu deities, yet their visual language reveals different interpretations of sacred aesthetics. A comparative study of these two schools highlights not only regional variations in South Indian painting but also the broader dialogue between opulence and restraint, grandeur and subtlety, in Indian visual culture.

Lakshmi: Goddess of Opulence Mysore art by Hemalatha B

Lord Ganesha in Mysore art by Raghavendra B B

Historical Background

Tanjore painting took root in the 16th century under the Nayaks, reaching its peak during Maratha rule in the 17th and 18th centuries. The Marathas encouraged a richly ornamental style that celebrated divine kingship and spectacle, where gilded backdrops and jewel-like embellishments became central to representation. Mysore painting, by contrast, developed in the same cultural continuum of Vijayanagara art but moved toward refinement during the late 18th and 19th centuries under Wodeyar patronage. Unlike the Marathas, the Wodeyars and their court painters valued subdued elegance and meticulous workmanship, reflecting the court’s intellectual and spiritual leanings. Thus, while Tanjore painting embodied devotional opulence, Mysore painting cultivated an aesthetic of devotional subtlety.

Temple procession in Mysore art by Raghavendra B B

Materials and Techniques

The material choices of the two traditions underscore their distinct philosophies. Tanjore paintings are known for their robust use of relief work, where gesso paste creates a raised surface for gold leaf, semi-precious stones, and vibrant pigments. This layering creates a three-dimensional, almost sculptural effect, making the deity appear luminous and divine. Mysore paintings, while equally valuing gold, employ it in a more restrained manner. Artists used gold leaf in flat applications or in delicate, low-relief embossing to highlight ornaments, thrones, and architectural details. Rather than dominating the surface, Mysore goldwork enhances the fine line drawing and translucent washes of vegetable and mineral pigments, which give figures a soft, ethereal glow. Thus, while both traditions share an affinity for gold, Tanjore projects divine opulence through heavy relief and brilliance, whereas Mysore cultivates devotional subtlety through refinement and restraint.

Stylistic Features

Stylistically, Tanjore paintings are instantly recognizable for their bold central icons, often framed by arches, pillars, or ornate mandapas that transform the image into a shrine in itself. The deity is frontal, symmetrical, and richly adorned, conveying divine majesty. Mysore paintings, however, emphasize grace and narrative nuance. While they too incorporate gold, it is worked in flatter or delicately embossed patterns that accentuate jewellery, textiles or architectural detailing without overwhelming the composition. Figures in Mysore paintings are slender, with elongated eyes and expressive gestures that convey bhakti through subtle body language. Their backgrounds often include natural landscapes, temple courtyards, or architectural settings that anchor the divine within a lived cultural world, unlike Tanjore’s focus on ornamental radiance. Thus, Tanjore visualises the deity as an awe-inspiring presence, while Mysore frames the deity within a refined dialogue of devotion and gentle luminosity.

Iconography and Themes

Both schools are deeply devotional, yet their iconography reflects distinct emphases. Tanjore painters frequently depicted Vishnu in his various avatars, Shiva, Krishna leelas, and goddess forms, rendered in monumental poses with jewelry and gold emphasizing divinity’s transcendence. The repetitive emphasis on central icons reflects the function of Tanjore painting as portable shrines. Mysore paintings, though equally devoted to Hindu pantheon, introduced narrative elements; episodes from the Ramayana, Mahabharata, or the life of Krishna were painted with an eye for detail and emotion. Themes like Krishna with gopis or Rama’s coronation were rendered not as static icons but as unfolding moments of devotion and storytelling. Here, gold was applied in a flatter or finely embossed pattern, subtly enhancing the features to support the unfolding story rather than dominate it. Thus, Tanjore’s emphasis was symbolic and iconic, while Mysore’s was interpretive, weaving divine presence into richly detailed moments of devotion.

Lord Shiva and Parvati Kalyana In Mysore by Raghavendra B B

Patronage and Cultural Context

Patronage shaped both traditions in critical ways. The Maratha rulers of Thanjavur, keen on showcasing wealth and grandeur, promoted a style that mirrored royal opulence in divine imagery. Wealthy merchants and temples further commissioned these works, reinforcing Tanjore’s role as a symbol of prosperity and devotion. Mysore’s Wodeyar court, conversely, nurtured an environment of refined cultural pursuits—music, literature, and painting. Mysore paintings were often commissioned for personal devotion and palace decoration rather than public spectacle, giving them a quieter intimacy. This difference in patronage created two distinct cultural functions: Tanjore paintings as emblems of divine grandeur for collective devotion, Mysore paintings as meditative objects fostering personal piety.

Rama, Sita and Laxman in Tanjore by Sanjay Tandekar

Conclusion

The comparative study of Tanjore and Mysore paintings reveals two complementary visions of South Indian religious art. Tanjore’s lavish gilding, raised relief, and monumental forms project divine majesty, transforming the painting into a shrine-like object. Mysore, while also employing gold, integrates it with subtlety, flat applications and delicate embossing that highlight fine line work and translucent color washes. This creates a gentle radiance that supports narrative detail and contemplative devotion. Both traditions are anchored in shared religious culture yet diverge in aesthetic philosophy: one celebrates the resplendence of the divine, the other seeks intimacy with it. Together, they demonstrate the richness of South Indian art, where gold itself becomes a medium of meaning, either dazzling in opulence or refined in restraint.

Embodiment of Wealth: A Gilded Portrait of Goddess Lakshmi in Mysore Art by Dr. J Dundaraja