Table of Content
- Thanjavur: The Cradle of South Indian Arts
- The Evolution of a Distinct Artistic Tradition
- Religious Themes in Thajavur Paintings
- Epic Narratives and the Bhakti Tradition
- Understanding the Thematic Categories: Puranic and Iconic Paintings
- The Sacred Function of Iconic Paintings
- Recurring Motifs in Thanjavur Paintings
- Architectural and Decorative Motifs
- Changing Motifs under Maratha and European Influence
- Conclusion
Thanjavur: The Cradle of South Indian Arts
Nestled amidst the lush Kaveri delta in the southern Indian peninsula rests the majestic ancient city of Thanjavur. Affectionately called “South India’s Cradle of Arts”, Thanjavur is a microcosm of the complexities and grandeur of Southern Indian arts and cultural traditions.
At the heart of this cradle lies Thanjavur paintings, or palagai padam in Tamil (paintings done on wooden planks). Distinguished by their religious themes, embedded precious stonework, and glittering gold embellishments, this art form, in its present form emerged between the 16th and 17th centuries under the Nayaka rulers, drawing upon the earlier Chola, Vijayanagara, Deccani, Maratha and later European artistic traditions. As the socio-political centre of the region, temples played a fundamental role in patronising music, dance, literature and art under many of these empires. In this scenario, Thanjavur paintings served as intermediaries between people and their gods. This is why the hallmark of this art is the representation of a single deity.
The Evolution of a Distinct Artistic Tradition
The traditional Thanjavur paintings we know and admire today developed under the former Vijayanagara governors, the Nayakas, when painters of the dissolved Vijayanagara Empire migrated to Thanjavur. Under the patronage of Thanjavur Nayaka rulers, the artworks depicted Hindu deities in static two-dimensional poses with oval faces, sharp round eyes, and sleek figures. The mandapams, pillars, drapes, arches, and other architectural elements enclosed the central deities. Sometimes the background also showcased secondary subjects like elephants, horses, cows, and lotuses.
Religious Themes in Thanjavur Paintings
Religion forms the foundation of Thanjavur paintings. Drawing inspiration from Vaishnavism (Vishnu worship), Shaivism (Shiva worship), Shaktism (worship of Shakti, the feminine energy), teachings and poems of saints and sages, and Hindu philosophies were all sources of inspiration in Thanjavur art. Among these, Lord Krishna, Vishnu, Rama, and Durga were revered primary themes. From the playful Balgopal (little Krishna) to the divine love of Radha-Krishna to the grand Ramapattabhisheka (Lord Rama’s coronation), the mythological tales of these deities come alive with the captivating depiction of jewellery, drapery, and clothes using gesso work. Gesso work is an extraordinary feature of this painting style. Gesso, a white paste made of chalk powder and gum, adds depth to artwork by creating a raised surface for sparkling gold leaf overlays, further enhancing the subjects’ divine aura.
(Image Courtesy: Three Dimensions of Divinity: Thanjavur Art Revealed, 2022 exhibition of Chhatrapati Shivaji Maharaj Vastu Sangrahalaya [CSMVS])
Epic Narratives and the Bhakti Tradition
The popularity of religious subjects from the epics in South India was mainly due to the Kathakalashepa tradition of storytelling. However, the Ramayana outshone the Mahabharata and Bhagavad Gita in Thanjavur art themes. One reason for this prominence was the association of South Indian rulers with Lord Rama through the ideology of divine kingship. During the Nayaka era, popularising the symbolism of the divine kingship of Rama allowed the Nayaka rulers, the former Vijayanagara governors who lacked ‘pure royal blood’, to establish their authority and win over public support. The above image of Ramapattabhisheka is a regal tableau of Rama and Sita on the throne surrounded by sages, nobles, and kings, with the loyal Hanuman humbly supporting Rama’s right foot in both his hands.
Further, the Bhakti movement peaked during the Early Modern era, and themes of poet-saints like Alwars (Vaishnavite saints) and Nayanamars (Shaivite saints) found their way into the glittering gold and vivid hues of Thanjavur paintings. In the later period, portrait paintings expanded beyond Hindu deities to include saints and religious figures, including Sikh Gurus. With strokes inspired by musical notes, Thanjavur illustrations bring sacred themes to life, as artists drew from the pool of inspiration found in the kritis and bhajans of renowned musicians and saints.
Understanding the Thematic Categories: Puranic and Iconic Paintings
While devotional subjects dominate the Thanjavur tradition, not all paintings served the same purpose. Kuldeep Singh, Delhi-based architect and the owner of a collection of Thanjavur and Mysore Paintings, categorizes the genre of Thanjavur paintings into two thematic sections, ‘puranic’ and ‘iconic’. According to him, “the puranic paintings are a counterpart to the superbly sculpted mythological stories depicted on the inner walls of temples, and the iconic paintings relate to the deity presiding in the garbhagriha (sanctum sanctorum) of the temple.” He also remarks how in the later part of the 18th century, as Thanjavur paintings began to be customised under the Maratha rule, there was a popular demand for specific themes like Krishna and the Rama Pattabhisheka. He claims that “the artists would make several copies of each of these popular subjects, take them to the melas around the temples, where they would be sold to the visiting worshippers.” These iconic paintings raise a question about the nature of icons, used initially as worship symbols but later came to embody the deities themselves. In such iconology, intangible spiritual ideas take on a sensuous form, creating art dedicated to meaning and contemplation rather than personal expression. These paintings followed a ritualistic religious tradition and held powerful significance for people.
The Sacred Function of Iconic Paintings
The increased production led to enhanced public patronage, and as paintings became deities themselves, they became an integral part of pooja rooms. Since pooja rooms usually are dark and lit only by diyas, lamps, or traditional Kuthuvilakku (oil wick lamp), the glow of glittering gold-embellished paintings projected an aura of sanctity and divine light on the temple walls. The technical innovation of embossing gold and gems to depict pearls and necklaces was a hallmark of northern Mughal and Deccani states, eventually reaching the South through the Deccani Sultanate and Maratha rule of the Bhosle dynasty. It was incorporated into grand iconic styles by expert heriditary artisans, particularly members of Raju (Naidu) painter community and Vishwakarma craftsmen specialising in gilding and gem-setting.
Recurring Motifs in Thanjavur Paintings
While themes determine the stories and subjects depicted in a painting, motifs from its recurring visual vocabulary. Regardless of whether the painting portrays Krishna, Rama, Durga, or another deity, certain decorative and symbolic elements appear consistently across Thanjavur paintings. These recurring motifs not only enrich the composition but also reinforce the painting's devotional character, cultural identity and artistic continuity.
During the 16th and 17th centuries, older Thanjavur paintings were characterised by excellent relief work but minimal gold embossing. These artworks boasted a colour palette of earth tones such as sikappu kavi (red oxide), manjal kavi (yellow oxide), villakkumai and kamai (lamp black and charcoal), pachai (terra verte) and mayilrahu neelam (lapis lazuli) with stylised modelling effects through contour shading. The Maratha period introduced precious stones, bejewelled glasses, and mirrors as part of the ornamentation, leading to a transformation into more ornate works against darker colours. Under the patronage of the Maratha Bhosle dynasty, Thanjavur paintings shifted towards portraiture inspired by European and Deccani styles, depicting kings, their daily lives, and court scenes.
Architectural and Decorative Motifs
Among the most recognisable visual motifs in Thanjavur paintings are gilded temple arches, floral borders, the yali, and the customary golden kaasu malai (chain of tiny gold coins). The traditional motifs have also been influenced by various cultural and technical innovations.
The conventional motifs include gilded temple arches with flowers, the ‘yali’, and the customary golden ‘kaasu malai’ (a chain of tiny gold coins). Yalis have been integral to this school of paintings since the 16th century. Yali is a mythical composite creature traditionally regarded as the guardian of temples. The creature has a graceful catlike figure with a lion head, an elephant’s tusks, and a serpent’s tail. A circular motif with stones is seen chiefly in paintings of Ganesha. Durga paintings have more floral motifs. The Nayaka patronage introduced larger, centrally positioned figures adorned in heavy jewellery and standing under pavilions (influence of Deccani paintings). Stylised hands and round faces remained vital characteristics of this art form.
Changing Motifs under Maratha and European Influence
With the introduction of portraiture forms by Marathas, the Thanjavur art style took an interesting turn, incorporating new mediums like ivory and Chinese reverse glass paintings. The European influences introduced greater naturalism through lighting, perspective, spatial depth and secondary characters in the background. This resulted in the depiction of rulers, noblemen, and courtiers in formal settings, with curtain backdrops, tables, and chairs becoming the subject matter of Thanjavur art in the late 17th and 18th centuries. But these mediums and styles did not completely break away from traditional themes and iconography.
Conclusion
This journey through the themes and motifs of Thanjavur paintings redlect the ability of the tradition to evolve while preserving its devotional essence. From iconic depictions of Hindu deities and epic narratives to recurring motifs such as the yali, temple arches, floral ornamentation, and elaborate jewellery, every element contributes to a visual language shaped by centuries of artistic exchange and spiritual devotion. Together, these themes and motifs continue to preserve the living legacy of South India's most celebrated painting traditions.
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