Few Indian art traditions embody devotion, grandeur, and unmistakable opulence the way Tanjore painting does. Emerging from the temple-rich cultural landscape of Thanjavur in Tamil Nadu, this art form has endured for over four centuries, celebrated for its radiant gold leaf, raised relief work, and iconic depictions of Hindu deities. Today, a Tanjore painting remains one of the most recognisable expressions of South Indian sacred art part painting, part sculpture, and wholly an object of devotion.
The Brihadeeshwara Temple, a UNESCO World Heritage Site, anchors Thanjavur’s cultural identity. Its temple architecture and Chola aesthetic have shaped the motifs and visual structure of Tanjore paintings for centuries.
A Journey from the Cholas to the Marathas
The origins of Tanjore painting can be traced to the artistic brilliance of the Chola era (9th–13th century CE), when South India witnessed a flowering of temple architecture, murals, and bronze sculpture. The monumental frescoes on the walls of Brihadeeswara Temple introduced vibrant colours, proportioned figures, and narrative compositions that later became the backbone of the Tanjore aesthetic.
The form we now identify as Tanjore painting, however, blossomed under the Nayaka rulers and reached full maturity during the Maratha reign in the 17th–18th centuries. These courts attracted artists from across the region, especially Telugu-speaking communities who brought with them a refined understanding of line, ornamentation, and iconography. Their influence gave Tanjore painting its signature features: jewel-like colours, lavish embellishment, and devotional imagery created not for temple walls but for private shrine rooms and royal households.
Artisans & Lineage: The Communities Behind the Tradition
While Tanjore painting flourished under the Nayakas and later the Maratha rulers, its soul was shaped by the master artisans who carried the craft across generations. The tradition was primarily practised by the Raju community of Thanjavur and Tiruchirappalli, and the Naidu community of Madurai—artists who originally spoke Telugu and migrated from Andhra Pradesh after the fall of the Vijayanagara Empire in the 16th century. These families brought with them a refined visual language, blending Deccan mural aesthetics with Tamil temple iconography, ultimately giving birth to the classical Tanjore style we recognise today. Their descendants continue to uphold the lineage, preserving techniques and proportions codified in the Shilpa Shastras.
The Signature Aesthetic
A Tanjore painting is instantly recognisable for several reasons, the most dramatic being its use of genuine gold leaf. Thin sheets of gold are carefully applied over raised relief areas, creating a surface that shimmers and catches the light. This interplay of texture and luminosity is central to the style’s identity.
Beneath the gold lies the characteristic gesso relief, made from a paste of limestone powder, natural adhesives and sometimes tamarind seed extract. This gives the painting its sculptural quality. Crowns, necklaces, earrings, prabhavalis and ornaments rise gently from the surface, turning the deity into a three-dimensional presence.
The composition follows strict iconographic guidelines. The deity is always placed at the centre—front-facing, monumental, serene—framed by a richly ornamented arch or mandapa. The colour palette is equally distinctive: deep reds, emerald greens, lapis-toned blues and a luminous white, all chosen to heighten the brilliance of the gold.
Unlike narrative temple murals, Tanjore paintings rarely depict daily life. Their sole purpose is darshana—to create a direct, intimate encounter with the divine. Subjects include Krishna, Lakshmi, Balaji, Shiva, Saraswati, Rama, and the Navagrahas. Even when artists attempt contemporary reinterpretations, the devotional core remains intact.
How a Tanjore Painting Comes to Life
Crafting a Tanjore painting is a deeply layered process, carried out through techniques passed down for generations. It begins with preparing the base—traditionally a wooden plank, now often a high-quality board—coated with cloth soaked in natural glue. This creates a firm, smooth foundation.
Once the surface is ready, the artist sketches the deity following the iconometric rules found in the Shilpa Shastras. Every gesture, proportion and attribute carries symbolic meaning, and the artist’s training ensures that these elements are represented with precision.
The next stage is the creation of the relief work, where the gesso paste is built up slowly to form the raised surfaces. Artists sculpt every curve of the crown, every bead of the jewellery, and every decorative arch with immense care.
After the relief dries, thin sheets of gold are applied over it. This step requires near-perfect control, because the gold leaf is so delicate that even the slightest pressure can damage it. Once the gold has been laid, the rest of the composition is filled with rich pigments—traditionally derived from stones and minerals, though today often replaced with high-quality synthetic colours.
The painting is then embellished with stones, usually glass cabochons or semi-precious pieces that mimic temple jewellery. These are set into the relief work, creating a play of sparkle and shadow that deepens the painting’s sense of sacred presence.
Legacy and Modern Adaptation
While the essence of the craft has remained unchanged since the 17th century, contemporary artists have expanded the scale and subjects of Tanjore painting. Larger panels suitable for architectural spaces, reinterpretations of bronze deities, and commissioned heirloom pieces are now common.
What has never changed is the devotional impulse behind the work. A Tanjore painting is not merely décor. It is a living object of reverence—an artistic embodiment of divinity crafted with precision, symbolism and ritual discipline.
Why the Tradition Endures
The enduring appeal of Tanjore painting lies in its unique blend of spirituality and craftsmanship. It occupies a space where art is not just seen but felt—where gold glows like inner light, where the sculpted relief creates depth and dimension, and where each work is crafted with an intention that goes beyond aesthetics.
Rooted in temple culture yet cherished in contemporary homes, Tanjore painting remains a luminous reminder of South India’s artistic heritage—timeless, devotional and forever radiant.
Tanjore Painting: South India’s Glowing Legacy of Gold, Devotion, and Craft
Few Indian art traditions evoke awe at first glance the way a Tanjore painting does. With its brilliant sheets of gold, raised relief work, gem-like accents, and the serene presence of a central deity, the Tanjore painting feels less like an artwork and more like a living altar. Its radiance is unmistakable—even in dim light, it glows—and its visual language has remained remarkably consistent for centuries.
Origins Rooted in Royal Courts
The Tanjore painting tradition took shape in the 16th century, during the reign of the Nayaka rulers of Thanjavur. The South Indian courts were flourishing centres of music, dance and temple art, and painting found generous patronage among both royalty and wealthy temple communities. Under the Maratha rulers who succeeded the Nayakas, the style matured into a fully developed classical form distinguished by its rich colours, gold embellishment, and powerful devotional presence.
But the roots of the craft run even deeper. After the decline of the Vijayanagara Empire, many talented painter families—primarily Telugu-speaking communities—migrated southward into Tamil Nadu. Among them were the Raju community of Thanjavur and Tiruchirappalli, and the Naidu painters of Madurai, who became the principal custodians of the Tanjore style. These artisans brought with them the legacy of the Vijayanagara painting school, contributing its discipline, iconographic knowledge, and flair for grandeur to their new home.
A Dialogue With Other South Indian Traditions
The Tanjore school did not emerge in isolation. It absorbed multiple artistic influences from the broader cultural landscape of South India.
One significant source was the Vijayanagara mural tradition, with its bold outlines, expressive eyes, and richly decorative approach to divine imagery. Tanjore artists also drew from the Kalamkari tradition, known for its narrative clarity and use of natural dyes. The Tirupati painting tradition—famous in the temple town of Tirupati—had a strong impact as well. These devotional images, often gilded and gem-set, depicted temple deities using techniques and materials that closely resonated with the emerging Tanjore aesthetic. The cross-pollination of these styles enriched the visual vocabulary that would become the signature of the Tanjore painting.
The Making of a Tanjore Painting: A Sacred Craft
To create a Tanjore painting is to follow a process that blends artistry with ritual precision. The base begins with a wooden panel, traditionally made from jackfruit or teak. Over this, artisans apply multiple layers of gesso—a mixture of chalk, limestone, and a binding medium—until the surface becomes smooth and luminous.
The deity is then sketched freehand following the sacred geometric proportions laid down in the Shilpa Shastras, the ancient treatises that define the ideal measurements, gestures, and ornaments of divine forms. Every curve of the body, every bend of the finger, every ornament and halo emerging from the sketch is guided by these canonical rules.
Once the outline is complete, the relief work begins. The artist applies a thickened gesso paste to build raised surfaces that will hold gold and semi-precious embellishments. This gives Tanjore paintings their distinctive sculptural texture—crowns that rise out of the panel, jewellery that appears three-dimensional, and aureoles that project like carved halos.
Now comes the most magical stage: the application of pure gold foil. Thin sheets of gold—traditionally 22-karat—are pressed onto the raised patterns with meticulous, careful strokes. When polished, the gold comes alive, catching even the faintest light and creating a divine glow that defines the Tanjore aesthetic.
Finally, pigments are applied. Historically, these colours were made from minerals, plant extracts, and natural dyes. Deep reds, lush greens, cobalt blues, lapis tones, and soft ochres create a rich yet balanced palette. In the final step, the deity’s eyes are painted. This moment, called netrāñjana, is considered sacred—signifying the moment life enters the painting.
A Visual Pathway to the Divine
Unlike narrative temple murals, Tanjore paintings rarely depict daily life. Their sole purpose is darshana—to create a direct, intimate encounter with the divine. Subjects include Krishna, Lakshmi, Balaji, Shiva, Saraswati, Rama, and the Navagrahas. Even when artists attempt contemporary reinterpretations, the devotional core remains intact.
The most popular subjects were—and still are—Krishna, Balaji, Lakshmi, Saraswati, Shiva in various forms, and baby Krishna (Bālakrishna). Some families commissioned genealogy panels, astrological paintings, or depictions of local guardian deities.
A Living Legacy in a Modern World
Today, Tanjore painting continues to flourish, upheld by artisan families who preserve the methods, materials, and iconography with remarkable fidelity. The artform has also found a place in contemporary settings—modern homes, luxury interiors, curated galleries—where its timeless glow provides a striking counterpoint to minimalism.
Collectors value Tanjore paintings for their purity of craft, their irreplaceable hand-made relief work, and the radiance of real gold. But perhaps more than anything, they endure because they represent an unbroken thread between devotion and design. A Tanjore painting is not just made—it is consecrated. And that is why, across centuries, its glow has never dimmed.
Tanjore Painting: A Legacy of Devotion, Craftsmanship and Royal Patronage
Tanjore painting, or Thanjavur painting, stands among the most iconic artistic traditions of South India — a radiant blend of devotion, meticulous craftsmanship and royal patronage. Distinguished by luminous gold reliefs, rich pigments and deeply symbolic compositions, this art form emerged from the cultural crossroads of the late Vijayanagara world and blossomed under the Nayakas and Marathas of Thanjavur. Today, centuries later, its unmistakable aesthetic continues to captivate collectors, historians and spiritual seekers alike.
Origins in the Vijayanagara World
The roots of Tanjore painting can be traced to the artistic ecosystem of the Vijayanagara Empire, where temple art, mural traditions and courtly patronage coexisted in a thriving creative environment. When the empire fell in the 16th century, waves of artists from Andhra Pradesh — particularly the Telugu-speaking Raju and Naidu communities — migrated southwards in search of new patrons.
These artisans, belonging to the Raju community of Tiruchi and Thanjavur (also known as Chitragars or Jinigars) and the Naidu community of Madurai, carried a refined visual vocabulary rooted in centuries of temple painting and manuscript illumination. Their migration to Thanjavur, Madurai and Mysore shaped the next chapter of South Indian painting. In Thanjavur and Madurai, the Nayakas and later the Maratha rulers recognised their immense skill and supported them with generous patronage. Charles Gold, the British chronicler, famously wrote in his Oriental Drawings that the “Moochys” or Indian artists were responsible for these luminous works — an early Western acknowledgment of their mastery.
A Journey from the Cholas to the Marathas
The origins of Tanjore painting can be traced to the artistic brilliance of the Chola era (9th–13th century CE), when South India witnessed a flowering of temple architecture, murals, and bronze sculpture. The monumental frescoes on the walls of Brihadeeswara Temple introduced vibrant colours, proportioned figures, and narrative compositions that later became the backbone of the Tanjore aesthetic.
The form we now identify as Tanjore painting, however, blossomed under the Nayaka rulers and reached full maturity during the Maratha reign in the 17th–18th centuries. These courts attracted artists from across the region, especially Telugu-speaking communities who brought with them a refined understanding of line, ornamentation, and iconography. Their influence gave Tanjore painting its signature features: jewel-like colours, lavish embellishment, and devotional imagery created not for temple walls but for private shrine rooms and royal households.
The Sacred Process of Creation
For these artisans, painting was not merely a profession but a ritual practice undertaken with humility and purity. They portrayed deities, myths and temple lore according to strict iconographic guidelines, often leaving their works unsigned — a reflection of devotion over individual identity.
Traditional Tanjore paintings were always created on wooden planks (usually jackfruit), which were covered with a layer of cloth and coated with chalk paste to create a smooth surface. The drawings were then etched in, followed by the application of gesso work — a mixture of chalk, binding agents and adhesive — to create raised contours for jewels, crowns, floral borders and architectural elements.
What sets Tanjore painting apart is its shimmering gold foil, which is meticulously applied over the sculpted gesso work. Under the patronage of the Marathas, artists began embellishing their compositions with glass beads, semi-precious stones and mirror inlays that elevated the paintings from devotional objects to treasured heirlooms. The rich reds, lush greens, lapis blues and deep blacks seen in these works came from natural pigments, giving Tanjore paintings their signature jewel-like depth.
Subjects, Aesthetic and Legacy
At the heart of every Tanjore painting lies divinity. Whether it is Venkateswara, Krishna, Ganesha, Shiva, Durga or the Dashavatara, the central deity is always depicted in frontal posture, majestic and serene, radiating divine presence. Surrounding panels often depict celestial beings, attendants, temple architecture and mythological episodes, creating a sense of sacred narrative within a single frame.
A Visual Pathway to the Divine
Unlike narrative temple murals, Tanjore paintings rarely depict daily life. Their sole purpose is darshana—to create a direct, intimate encounter with the divine. Subjects include Krishna, Lakshmi, Balaji, Shiva, Saraswati, Rama, and the Navagrahas. Even when artists attempt contemporary reinterpretations, the devotional core remains intact.
The most popular subjects were—and still are—Krishna, Balaji, Lakshmi, Saraswati, Shiva in various forms, and baby Krishna (Bālakrishna). Some families commissioned genealogy panels, astrological paintings, or depictions of local guardian deities.
Tanjore and Mysore: Shared Roots, Divergent Paths
The artisans who migrated to Mysore developed a related tradition known as Mysore Painting. Although both styles originated from the same Vijayanagara lineage and share thematic similarities, they diverged dramatically over time.
Tanjore painting became known for:
· raised gesso work
· heavy gold foil
· embellished stones and relief jewellery
· uniform facial features guided by strict iconographic rules
· wooden panel as the primary base
Mysore painting, by contrast, emphasized:
· subtle detailing instead of raised gesso
· the use of gold paint rather than pure foil
· greater variation in facial expression
· cloth or paper as preferred surfaces
· freer experimentation owing to Mysore’s artistic climate
Both traditions stand today as culturally intertwined yet distinct visual languages.
Influences from Kalamkari and Tirupati Traditions
Tanjore painting did not evolve in isolation. It absorbed influences from other prominent Vijayanagara-era styles, especially Kalamkari and Tirupati paintings. Tirupati paintings, created in the temple town using diverse materials and techniques, often portrayed deities with gilding and gem-setting similar to Tanjore works. This mutual exchange of motifs, materials and sacred narratives enriched Tanjore art and helped solidify its iconic status.
A Legacy That Lives On
Despite changes in patronage and the waves of modernity, Tanjore painting remains one of the most recognisable and cherished art forms of India. Its luminous surfaces, devotional intensity and meticulous craftsmanship continue to draw collectors across the world. Each painting stands as a testament not only to the skill of its anonymous creators but also to the living cultural memory of South India — a tradition where art, faith and history come together in a single resplendent form.
