Published on April 4, 2026
A classical artform from southern India, Thanjavur painting – also known as Tanjore painting – is a celebration of the region’s rich artistic tradition, named after the town of Thanjavur in Tamil Nadu, India. Tanjore paintings are known for their extravagant depictions of deities using vibrant colors and gaudy embellishments, especially gold foil. Though the artform has undergone various changes over the years, it continues to be popular with art lovers and inspires many artists with its truly Indian style.
Tanjore painting drew inspiration from Indian art of the 16th century, when the Vijayanagara Rayas administered their vast kingdom in southern India through the Nayaka Governors. The Nayakas were great patrons of art and literature. In 1676, Maratha rule was established in the region, and Maratha rulers encouraged a flourish of art and artists. It was during this time that Tanjore painting truly developed into the form and style we recognize today.
Maratha palaces and buildings were adorned with large paintings of deities, as well as Maratha rulers, courtiers, and nobility. Almost all the deities were depicted with rounded faces, almond-shaped eyes, and streamlined bodies. Flat colors were used to paint the figures, which were often compactly placed within arches, drapes, and ornate borders. The dense composition was a distinct feature of Tanjore paintings, and faces were usually shaded to add a feeling of depth.
With the decline of the Maratha rule, the British, who had come into Tanjore in the wake of the Mysore Wars of 1767-99, began to patronize Tanjore artists. In 1773, a British garrison was installed in Tanjore, and it became a base for British troops. Indian artists in and around Tanjore prepared sets of paintings for Company personnel throughout the next century.
These sets were called albums or album paintings. They comprised collections of “native” or “Indian” subjects, painted in a manner that appealed to English sensibilities. The usual subjects, depicting deities and episodes from Hindu mythology, were joined piqued the interest of the English, like fairs, ceremonies, festivals, caste occupations, and Indian flora and fauna. These paintings typically featured little or no gold foil and avoided any glass or gem inlay. Short descriptions about the subject matter were included, frequently in English, and occasionally in Tamil or Telugu. Though these paintings were grouped under the Company style, they embodied Tanjore characteristics and were executed group of traditional artists.
Tanjore paintings are known as palagai padam—meaning “picture on a wooden plank”—as they are typically completed on boards made from jackfruit or teak wood. The use of vibrant colors and gold leaf embellishments are characteristic of Tanjore paintings, which also incorporate cut glass, pearls, and precious and semi-precious stones for decoration.
In earlier times, artists used vegetable and mineral dyes as natural colors; however, over time, chemical paints have taken over. The dazzling color palette of Tanjore paintings includes vibrant shades of reds, blues, and greens, and the richness and dense compositions of these artworks ensure they stand out from other Indian artforms. Common themes include depictions of Bal Krishna, Lord Rama, various gods, goddesses, saints, and subjects from Hindu mythology.
In the past, Tanjore paintings were executed community of Tanjore and Tiruchy, and the Naidu community of Madurai. These artists, originally Telugu-speaking from Andhra Pradesh, migrated to Tamil Nadu after the fall of the Vijayanagara Empire. Patronage was crucial for these artists, and the size of the paintings varied based on the subject and the patron’s request. The Tanjore painting technique required significant perseverance and perfection. Artists considered the creation of the artwork a sacred task, to be performed with a degree of ritual purity and humility. True to the Indian artistic tradition, most artists chose to remain anonymous and never signed their paintings.
Tanjore painting not only drew heavily from the diverse cultural groups that patronized it but was also influenced painting styles under the Vijayanagara school, such as Kalamkari and Tirupati styles. Tirupati paintings, produced in the famed temple town of Tirupati using various media and techniques, portrayed deities and often featured gilding and gem-setting similar to Tanjore paintings.
The popular artform of Mysore painting shares many characteristics with Tanjore painting, often leading to confusion between the two. Both artforms were executed the Raju and Naidu communities and share roots in the Vijayanagara period. Despite their similarities, notable differences exist, such as the use of paper as a base for Mysore paintings and their limited use of gold foil, glass beads, and precious stones. The themes in Mysore paintings reflect the contemporary style prevalent in the Mysore Palace and often include elaborate landscapes, in contrast to the dense composition of Tanjore paintings.
The tradition of Tanjore painting thrives today, mostly among a handful of dedicated artists based in Tamil Nadu. Alongside the shift to synthetic colors, the original use of jackfruit and teak wood has mostly been replaced .
Today, Tanjore paintings appeal to a broad audience and have been extensively commercialized, even appearing in street markets. Although the artform has withstood the test of time and remains popular, many art lovers express concern over the general decline in quality. However, it is encouraging that workshops and training camps are being held to ensure the artform continues to flourish while retaining the rich, traditional, and artistic elements that define Tanjore painting.
Related News
- The Revival of the Fashion-Tech Love Affair
- Día 8 – Viaje a Japón 2026
- Translating and Publishing World Literature: Editors’ Roundtable to Feature U.S. Poet Laureate Arthur Sze, by The Editors of WLT
- ‘FACE HELL’: Trump issues deadline, warns Iran ‘time is running out’
- Rishi Sunak praises Indian-origin Bodhana Sivanandan: 'England’s top female chess player'
- Día 14 – Viaje a Japón 2026