Table of Contents
Introduction
A Tanjore painting does something few paintings do: it changes as you walk past it. The gold catches the light and moves, the jewels glint, and the figure at the centre seems to glow from within. That effect is not paint. It is the result of a long, layered process in which a painting is also partly sculpted, gilded and set with stones, and each step has to wait for the one before it.
This guide walks through how a Tanjore painting is made, from the bare wooden board to the final touches on the face. Workshops and artists differ in small ways, but the logic of the process is shared: build the surface, raise the relief, add the gold, then bring in colour.
What Makes a Tanjore Painting Different
Thanjavur painting, also spelled Tanjore, is a classical South Indian style from the town of Thanjavur in Tamil Nadu. Its hallmarks are rich, saturated colour, a simple and iconic composition, glittering gold foil laid over raised gesso work, and inlays of precious and semi-precious stones. The central figure is usually a deity, framed by an arch, pillars or curtains, rather than placed in a landscape.
Since they are traditionally painted on wooden planks, these works were known locally as palagai padam, meaning "picture on a plank." The name is a useful reminder that a Tanjore is built on a solid, rigid base, and that the painting is as much an object as an image.
A Cosmic Ensemble in Tanjore by Tanjore Art Gallery
A Brief Origin
The style draws on the artistic culture of the Nayakas of Thanjavur around 1600, when rulers under the Vijayanagara Empire encouraged painting alongside music, dance, and literature. The Tanjore painting we know today is generally traced to the Maratha court of Thanjavur, which flourished between 1676 and 1855 CE. Scholars see influences from Deccani, Vijayanagara, and Maratha art, and even from European Company-style painting. The craft received a Geographical Indication recognition in 2007–08, which ties the name to its home region.
Madurai Meenakshi and Sundareshwar on the Nandi Vahana in Tanjore by Tanjore Art Gallery
The Process, Step by Step
The Board
The traditional base is a wooden plank, often jackfruit or teak. A piece of cloth is pasted over the wood with natural arabic gum, creating a smooth, stable surface that will hold the layers to come. This preparation matters more than it looks: every later step, from the relief to the gold, depends on a board that will not warp or crack.
Contemporary artists often work on modern boards. On MeMeraki, for instance, made-to-order Tanjore pieces are painted on supports such as muckboard and waterproof plywood, which keep the same panel format while offering stability in different climates.
Board
The Sketch
Once the board is ready, the artist draws the composition. A deity is placed at the centre, usually in a strict, frontal pose, with the arch, pillars and curtains drawn around them. Many artists use traditional stencils or tracings so that proportions and iconography stay faithful, and so that the same composition can be reproduced with care. The sketch also decides where every raised, gilded and jewelled area will go, so it has to be planned with the later steps in mind.
The Sketch
Gesso: Painting in Relief
This is the step that gives Tanjore its distinctive three-dimensional look. Gesso is a thick paste, traditionally made from powdered limestone or chalk and arabic gum as a binding medium, which the artist applies with a brush or fine tool to build up raised areas. These are usually the jewellery, crowns, ornaments, arches and pillars.
Each layer of relief has to be shaped carefully and allowed to set. The result is a surface where the gold-covered parts physically stand out from the painted ones, so that light moves across them in a different way as the viewer's position changes.
Painting
Stones and Glass
While the gesso is still workable, small precious and semi-precious stones are pressed into it, typically at the centre of ornaments, crowns and necklaces. Set in this way, they appear as part of the figure's jewellery, adding colour and sparkle to the gold.
Stones and Glass
Gold Leaf
After the relief has fully cured, the panel receives its defining layer. Wafer-thin sheets of gold foil, traditionally 24 to 22-karat, are laid over the raised gesso. The foil is gently pressed down with soft cotton cloth so that it follows every curve and edge of the relief, and any excess is trimmed away from the stones and surrounding areas with a fine blade. Since gold does not tarnish, the effect can stay bright for decades.
This step takes a steady hand. The foil is extremely delicate, and it must bond only to the areas meant to carry gold.
Gold Leaf
Colour
With the gold in place, the artist paints the rest of the picture: the skin of the deity, the garments, the background and the decorative borders. Traditional Tanjore palettes feature vivid reds, deep greens, chalk white and turquoise blues, set against the warmth of the gold. Historically, pigments were made from natural minerals and plants, while many contemporary artists use gouache, poster colours or acrylics for consistency and durability.
The contrast is deliberate. Flat, saturated colour next to raised, reflective gold makes the gilded areas appear even more luminous.
Colour
Final Details
The last stage is the finest. The artist refines outlines, completes the details of the face, particularly the eyes, adds patterns to the clothing, and finishes the borders. A face painted last can set the tone for the whole piece, because the expression decides how the finished figure meets the viewer. Once these details are done, the panel is complete.
Final Details
Tanjore and Mysore: Two Cousins in Gold
Karnataka has its own tradition of gold-embellished painting, known as Mysore painting. Both use gesso and gold foil, but they differ in character. Mysore gesso work is generally lower in relief and more intricate, concentrating on fine details of clothing, jewellery and architecture, while Tanjore is known for a thicker, bolder relief and for its inset glass and stones. If Tanjore is the more sculptural of the two, Mysore is often the more delicate. MeMeraki's collection includes both, as well as Tanjore-style pieces by artists working in the Mysore tradition.
Mysore and Tanjore Paintings setup
Tanjore Today
Today, Tanjore painting is carried on by contemporary artists who keep the technique and iconography intact. On MeMeraki, artists such as Sanjay Tandekar, a self-taught Tanjore painter whose work spans Ganesha, Saraswati, Balaji and Durga, and R. Jayanthan traditionally create made-to-order pieces. You can browse the full Tanjore paintings collection or see Sanjay Tandekar's work, including his Maa Saraswati, on his artist page.
Maa Saraswati Tanjore Painting by Sanjay Tandekar
Because each piece involves so many stages that must dry, set, and cure, a made-to-order Tanjore is a patient commission rather than a quick purchase. That time is part of what you are buying: it is why the gold has depth, the relief is crisp, and the finished panel looks different at every hour of the day.
Conclusion
A Tanjore painting is built in layers, from board to sketch, relief to stones, gold to colour, and finally to the face. Each layer prepares the way for the next, and none can be rushed. What looks like pure ornament is the product of a careful sequence, and understanding that sequence changes how you see the finished work. The next time you stand in front of a Tanjore and watch the gold shift in the light, you are seeing the whole process at once.
References
- Wikipedia, "Thanjavur painting", https://en.wikipedia.org/wiki/Thanjavur_painting
- Wikipedia, "Mysore painting", https://en.wikipedia.org/wiki/Mysore_painting
- Victoria and Albert Museum, "South Indian gold-leaf paintings", https://www.vam.ac.uk/blog/museum-life/south-indian-gold-leaf-paintings
- Truly Bharat, "Tanjore Painting", https://www.trulybharat.com/culture/art-forms/tanjore-painting/
- Gupta, C. B. and M. Mani, Thanjavur Paintings: Materials, Technique and Conservation (New Delhi: National Museum, 2005)
FAQs
Q1. What is a Tanjore painting made on?
Traditionally, a wooden plank, often jackfruit or teak, with cloth pasted over it using natural gum. Contemporary artists also use modern boards such as muckboard and waterproof plywood.
Q2. What is gesso, and why is it important in Tanjore painting?
Gesso is a thick paste, traditionally made from powdered limestone or chalk and a binder. It is applied in layers to create the raised relief that gives Tanjore paintings their three-dimensional look, and it is the base on which the gold foil is laid.
Q3. Is real gold used in Tanjore paintings?
Traditionally, yes. Thin sheets of gold foil, typically 22-karat, are laid over the raised gesso. Because gold does not tarnish, the shine lasts for many years.
Q4. How long does it take to make a Tanjore painting?
It depends on the size and detail, but the process involves several stages that must set before the next can begin, so Tanjore paintings are made over days or weeks rather than hours.
Q5. What is the difference between Tanjore and Mysore painting?
Both use gesso and gold foil. Tanjore is known for thicker, bolder relief and inset stones or glass, while Mysore gesso work is generally lower in relief and more finely detailed.
Q6. How can I tell a handmade Tanjore from a print?
Look for real relief you can see and feel, gold that shifts with the light, and variation in the hand-drawn lines. Ask for the artist's name and a certificate of authenticity.
