Thanjavur Painting

タンジャーヴール絵画 / 17th century–present / Style / Persian and Indian Painting

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.

Thanjavur Painting — Royal Procession with Raja Amar Singh, ca. 1790 — LACMA, M.90.141.5 (court painting) — Wikimedia Commons / Public domain
Royal Procession with Raja Amar Singh, ca. 1790 — LACMA, M.90.141.5 (court painting) — Wikimedia Commons / Public domain

At a glance

Visual 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

Best used for

  • 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

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Dictionary entry

Type
Explain iconography outside the work rather than inventing sacred names or lettering as ornament.
Composition
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.
Caution
Gilding alone does not establish Thanjavur painting. Distinguish devotional icons, court portraits, contemporary market works and neighbouring traditions such as Mysore.
Further study
National Museum — Thanjavur devotional paintings / LACMA — Royal Procession with Raja Amar Singh, ca. 1790 / Impart Encyclopedia — Tanjore Painting

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