Tanjore painting Vs Mysore paintings

Following are the key differences between Mysore and Tanjore paintings. 

Though, it should be noted that the current day Tanjore painting methodology is slightly different from the ancient methodology as already discussed in the previous posts

Tanjore Traditional Art Mysore Traditional Art Base is cloth mounted on wood. Base is paper, mounted on canvas or wood. For gesso effects, raw lime powder with a tamarind seed paste used. White lead (safeda), and Makhi Gaboge(yellow) taken from Revana Chinni Halujuice is used; this has a golden tint. Gesso is applied in high relief Gesso is applied in low relief Gold coated silver wafers are used Pure gold wafers are used The coating is less durable The gesso work is much more long lasting Numerous other ingredients like pearls, glass, and amber is used for embellishing Traditional works are devoid of such colorful decor. Most depict  scenes from Hindu mythologies. Dresses and ornaments reflect period fashions, with close affinity to the Mysore kings. Architecture, designs closely resemble art found in  the palaces of Wodeyars and in old-Mysore homes.

This day, That Age: Modern Times

Thanjavur paintings continue to be made even to the present day, though not with the rigour and virtuosity that marked the paintings of yore. 'Revival' programmes, Exhibitions, Workshops and Training camps on Thanjavur paintings are being held regularly by many institutions including State Governments. The materials used have also changed according to the cost, ease of availability and the choice of individual artists. Plywood, for example has by and large replaced Jack and teak wood. Synthetic colours and adhesives are preferred over the natural and mineral colours and other traditional components. In addition to the traditional subjects, a wide range of popular and modern subjects and themes are being depicted in Thanjavur paintings. While it is a happy development that this traditional art continues to hold its sway, the brazen commercialisation and lack of aesthetics are disturbing trends. Be that as it may, Thanjavur paintings - the style and aesthetics continue to inspire many contemporary artists. The Calendar prints of C. Kondiah Raju and his student followers, marked by an iconic solidness as against the western naturalism of Raja Ravi Varma, are examples of the continued influence of Tanjore paintings in modern, popular and academic art.

The Artists

A Tanjore Artisan at Work

Tanjore paintings were painted by 'Moochys or Artists of India' according to the British chronicler Charles Gold in his book Oriental Drawings published in 1806. Traditionally, it is well known that the Raju community of Thanjavur and Tiruchi, also called as Jinigara or Chitragara and the Nayudu community of Madurai were the artists who executed paintings in the Thanjavur style. The artists (Rajus & Naidus) were originally Telugu speaking people from the artistically vibrant "Rayalseema" region of Andhra, who moved to Tamil Nadu in the wake of the fall of the Vijayanagar empire and the establishment of Nayak rule in Madurai and Thanjavur.

The artists turned out a wide repertoire of paintings on different subjects and of varied quality depending upon the patron's interest, urgency and most importantly influence and financial capacity. However, the art was by and large a sacred task to be performed with a reasonable degree of ritual purity and humility by the master craftsmen, many of whom chose to remain anonymous and never signed their paintings, true to the Indian artistic tradition. However a few works signed by the Thanjavur artists are also known. C. Kondiah Raju, the famous calendar artist from Kovilpatti, was one of the illustrious descendants to make a name as an artist during modern times from the Raju community.

Tanjore Paintings - How do we do it?

Tanjore paintings are known for rich color, surface richness and compact Composition. And high durable glow can be obtained in these paintings. Paintings are adorned with rich semiprecious stones, glass pieces and gold that add colour to the surrounding. To add 3D effect painters use limestone on binging. Themes of most of the paintings are Hindu god and goddesses and saints.

The paintings are made on wood and cloth made canvass. Paintings come in three finishes classic, embossed, and unique. Frame enhance beauty of painting .It protects paintings from insects and Termites. High quality 22-carat gold foil is used to ensure that it lasts for generations. Tanjore paintings hold unique history in culture of medieval India. In modern times these paintings has become souvenirs. It has become most sought out item in galleries of India and abroad.

The early paintings were embedded with real Diamonds, Rubies and other precious stones. Later, use of semi-precious & artificial stones gained popularity. There are some examples of this art in the "Saraswathi Mahal Library", in Tanjore set up & developed by KING SARFOJI. This monarch, who reigned from 1798 to 1832, to whom we owe the "Ganesha shrine" in the "Tanjore Big Temple", played an important part in the history of the art of his times. 

Additional Info:
Thanjavur paintings were made in various sizes depending upon the function, the subject and the choice of the patron. Large paintings of deities and the Maratha rulers, their courtiers and nobility, were painted and installed to serve as architectural accents in the Maratha palaces and buildings. To quote Dallapiccola - ' The works, executed on canvas pasted on a wooden support, were framed - a major departure from the pan-Indian tradition, in which paintings are of small size - and designed to be hung on the walls of domestic puja rooms or in bhajan halls. The themes, as in painted albums, (made for European patrons) were usually gods and godesses, holy places, religious personalities and occasionally portraits. 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. The large format of the majority of such works and the relatively simple composition are the hallmark of the style. This school was greatly inspired by European techniques and was the most popular in Tamil Nadu until the early twentieth century

Paintings in addition to being done on canvas, were also done on walls, wooden panel, glass, paper, mica and exotic media such as ivory. Small Ivory portraits were typically worn as cameo pendants called rajaharam and were quite popular.
Thanjavur glass paintings following the techniques of Chinese reverse glass paintings were popularised during Serfoji II's reign as a cheaper and faster craft. The paintings were done on the reverse surface of a glass sheet with strips of metal beaten into transparent gaps to simulate the effect of jewellery and precious stones. Most of the paintings were of Hindu deities & saints. Other courtly and secular portraits were also created.

A Thanjavur Painting was generally made on a canvas pasted over a plank of wood (Jackfruit or teak) with Arabic gum. The canvas was then evenly coated with a paste of French chalk (gopi) or powdered limestone and a binding medium and dried. The artist then drew or traced using a stencil, a detailed outline of the main and subsidiary subjects on the canvas. A paste, made of limestone powder and a binding medium called sukkan or makku, was used for creating the Gesso work. Gold leaves and gems of varied hues were inlaid in selected areas like pillars, arches, thrones, dresses, etc. Finally, colours were applied on the sketch.

In the past, artists used natural colours like vegetable and mineral dyes, whereas the present day artists use chemical paints. For outlines dark brown or red was usually used. Red was favoured for the background, though blue and green were also used. Lord Vishnu, was coloured blue, and Lord Nataraja chalk white, and his consort Goddess Sivakami was green. The sky, of course, was blue, but black was also employed on occasions. The portrayal of figures in the paintings was also typical with almost all the figures having rounded faces with almond-shaped eyes and smooth, streamlined bodies. The composition is static and two-dimensional with the figures placed within arches, curtains and decorative borders. The main subject is much larger than the other subjects and occupies the centre of the painting. Seraphs or angels resembling those in European paintings and Islamic miniatures were also shown flanking the main figure. The figures were painted with bright flat colours except for the face where shading was shown. The shading in Thanjavur art was more to create a feeling of depth than to conform to the European conventions of lighting and perspective.

There are some examples of this art in the Saraswathi Mahal Library in Tanjore built by Serfoji II. The Sanskrit work Prabotha Chandrodayam in the library has a few pages of Tanjore art as also Marathi translations of Mahabharata & Bhagavatham in which are found the works of the painter Madhava swami dated 1824 AD. Faint traces of Maratha style paintings inset with glass are found on the walls of the Thiruvaiyaru Chatram built by Serfoji after his pilgrimage to Kashi. Many other buildings in and around Thanjavur have fine examples of the paintings on the roofs and walls, though many are gradually disappearing and dying due to serious neglect and stupid acts of vandalism.
The Government Museum, Chennai and the Thanjavur Art Gallery, Thanjavur also house fine collections of Thanjavur paintings depicting the Maratha kings of Thanjavur and other allied subjects. Many private museums and collectors also possess enviable collections of Thanjavur paintings.


The British and Victoria & Albert museums in England also house a large collection of Thanjavur paintings in the company and traditional styles. The National Museum of Copenhagen also houses a fine collection of 17th century Thanjavur paintings. King Christian IV of Denmark had received permission to build a fort at Tranquebar ( Tharangambadi in Tamil) which led to the building of the Danesborg fort as also a Danish relationship with Thanjavur which resulted in the museum collection.

Tanjore Paintings - Origins

The history of Tanjore Paintings dates back to Marathas invasion of South India during 16th century. Thanjavur Paintings flourished under the patronage of the Nayak & Maratha princes in the 16th to the 18th centuries. 

The art was practiced by two main communities namely - the RAJUS in THANJAVUR and TRICHY and NAIDUS in MADURAI [a city ruled by PANDIYAS]. The artists [Rajus & Naidus] who are originally Telugu speaking people from "Rayalseema" region, moved to Tamil Nadu in the wake of the Nayaks rule of Madurai & Tanjore. The paintings were rooted in tradition and innovation was limited. The art was sacred to those master craftsmen who chose to be anonymous and humble.