{"id":"thanjavur-painting","no":756,"name":"Thanjavur Painting","ja":"タンジャーヴール絵画","era":"17th century–present","family":"ペルシアとインドの絵画","kind":"スタイル","source":{"title":"National Museum, New Delhi — Thanjavur Paintings","url":"https://www.nationalmuseumindia.gov.in/en/thanjavur-paintings"},"essence":"タミル・ナードゥのタンジャーヴール、旧称Tanjoreで発展した絵画。礼拝の図像では主像を中央へ置き、鮮やかな色、盛り上げた下地、金箔や石の装飾で存在感を作る。宮廷の肖像や行列を描く紙の作品もあり、すべてを同じ支持体と静止した神像へまとめない。","cues":["礼拝画では大きな主像を中央へ据える","赤、緑、青などの背景と金の装飾が対比する","盛り上げた装飾や石が光を受ける","神像の正面性と、宮廷画の人物・行列の構成を分けて読む"],"intents":["高級","静けさ"],"pair":["mughal-miniature","odisha-pattachitra"],"study":["National Museum — Thanjavur devotional paintings","LACMA — Royal Procession with Raja Amar Singh, ca. 1790","Impart Encyclopedia — Tanjore Painting"],"works":["南インド絵画の展示で、礼拝画と宮廷画の用途・材料の違いを示すとき","出版の構成で、主像、縁、装飾の階層を実作例から分析するとき"],"recipe":{"type":"作品の外のラベルで図像と用途を説明し、神像の名前や文字を装飾として創作しない。","layout":"主題を最も大きく置く構成と、行列を横へ広げる構成を別々に検討する。","material":"色面、金の反射、装飾の高さを個別に記録する。紙の宮廷画と装飾した板絵を混同しない。"},"avoid":"金箔を加えた絵をすべてタンジャーヴール絵画と呼ばない。礼拝の図像、宮廷の肖像、現代の市場向け作品と、Mysoreなどの近い伝統を区別する。","colors":["#C5A04B","#903E31","#375C55"],"motif":"organic","collection":"Dictionary expansion 49","addedAt":"2026-10-05","reference":{"status":"verified","pageUrl":"https://www.nationalmuseumindia.gov.in/en/thanjavur-paintings","credit":"National Museum, New Delhi — Thanjavur Paintings","gallery":[{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Royal%20Procession%20with%20Raja%20Amar%20Singh%20(Reigned%201787-1798)%20of%20Thanjavur%20LACMA%20M.90.141.5%20(1%20of%206).jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Royal%20Procession%20with%20Raja%20Amar%20Singh%20(Reigned%201787-1798)%20of%20Thanjavur%20LACMA%20M.90.141.5%20(1%20of%206).jpg","credit":"Royal Procession with Raja Amar Singh, ca. 1790 — LACMA, M.90.141.5 (court painting) — Wikimedia Commons / Public domain"}]},"en":{"essence":"Painting developed around Thanjavur, also known as Tanjore, in Tamil Nadu. Devotional works often centre a dominant icon with vivid colour, raised ornament, gilding and stones. Court portraits and processions on paper are another branch; their materials and compositions should not be reduced to the devotional-panel model.","cues":["A dominant central figure in devotional images","Strong red, green or blue grounds contrasting with gold","Raised decoration or stones catching light","Frontal icons distinguished from court portraits and processions"],"works":["Explaining differences in use and material between South Indian devotional and court paintings","Analysing the hierarchy of main figure, border and ornament in a publication"],"recipe":{"type":"Explain iconography outside the work rather than inventing sacred names or lettering as ornament.","layout":"Study a dominant central subject and a horizontal procession as different compositions.","material":"Record colour, gold reflection and relief separately; distinguish court works on paper from decorated panels."},"avoid":"Gilding alone does not establish Thanjavur painting. Distinguish devotional icons, court portraits, contemporary market works and neighbouring traditions such as Mysore."},"links":{"page":"https://indexstyle.org/styles/thanjavur-painting","json":"https://indexstyle.org/api/styles/thanjavur-painting","designSpec":"https://indexstyle.org/styles/thanjavur-painting/design.md","imagePrompt":"https://indexstyle.org/styles/thanjavur-painting/prompt.txt"},"usage":{"license":"CC-BY-4.0","licenseName":"Creative Commons Attribution 4.0 International","licenseUrl":"https://creativecommons.org/licenses/by/4.0/","attribution":"IndexStyle — https://indexstyle.org","attributionUrl":"https://indexstyle.org","scope":"Original IndexStyle text and structured data. Reference images, quoted works, and third-party material are excluded and retain their own rights."}}