Paintings of tamil nadu

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Paintings of tamil nadu

In the evolution of human cognitive expressions, painting is a significant milestone. Paintings fundamentally are made up of lines and colours. Humans used lines that enfold the space to fashion both abstract and real forms. What began as drawing lines to represent abstract forms several millenniums ago slowly evolved into depiction of real forms. What constitute the cornerstone of Indian painting per se are the strong lines and bold colours used to capture the volume and mass of the figures that are mostly imaginary and conventionalised.

It is no surprise that Vishnudahrmottara, the foremost work on Indian arts and aesthetics, has an exclusive section on paintings. It declares that chitra (painting) is the “best of all arts. It gives the fruit of dharma, artha, kama and moksha. Wherever it is established in a house, it is the harbinger of the best of auspiciousness.”

In ancient India, Tamil Nadu being no exception, artists painted on cloth, leather, ceramics, and several other mediums. However, it is the murals and the ceramic art that survived the vicissitudes of time. This volume traces the history and development of painting in Tamil Nadu — from its beginnings in the form of rock art to modern schools of art — under several sequentially arranged chapters based on dynastic/periodic affiliations.

Tanjore Paintings

Tanjore Painting is one of the most popular forms of classical South Indian painting. It is the native art form of Thanjavur (also known as Tanjore) city of Tamil Nadu. The dense composition, surface richness and vibrant colors of Indian Thanjavur Paintings distinguish them from the other types of paintings. Then, there are embellishments of semi-precious stones, pearls and glass pieces that further add to their appeal. The relief work gives them a three dimensional effect. Tanjore Painting of India originated during the 16th century, under the reign of the Cholas.

Maratha princes, Nayakas, Rajus communities of Tanjore and Trichi and Naidus of Madurai also patronized Indian Thanjavur Paintings from 16th to 18th century. Most of these paintings revolve around the theme of Hindu Gods and Goddesses, along with saints.

Of the numerous steps involved in the making of a Tanjore Painting, the first involves drawing of the preliminary sketch of the image on the base. The base is made up of a cloth, which is pasted over a wooden base. The second step consists of mixing chalk powder or zinc oxide with water-soluble adhesive and applying it on the base. Thereafter, the drawing is made and ornamented with cut glass, pearls and even semi-precious stones. Laces or threads may also be used to decorate the painting. To further augment the effect, wafer thin sheets of gold are pasted in relief on some parts of the painting, while the other parts are painted in bright colors.

The Tanjore style of paintings spring from a late phase of South Indian classical art, when the society in which it originated was itself going through turbulent times. Needless to say, Tanjore paintings are informed by a syncretic style, notable for its assimilation of the contemporary diverse cultural influences – Tamil, Telugu, Maratha, European, Deccani, Folk, etc. The style drew heavily from the other major South Indian styles of painting which were all deeply influenced by the Vijayanagar school. The closest influences among these could be the Kalamkari and Tirupati paintings.

Tirupati paintings, in particular were produced in the famous temple town using different media and techniques, like painted terracotta reliefs, brass repousse works, paintings on paper and canvas, etc. The commonest examples were painted and gilded terracotta relief slabs of the deity, framed and packaged in neat wooden boxes which could be carried back as holy memorabilia and worshipped in the Puja room by the pilgrim-devotee. Paintings of the main deity, gilded and gem-set, in a manner similar to Tanjore paintings are also known.

Many of the traditional Indian artists were also patronised by Europeans, beginning with the Portuguese who landed on the west coast in 1498. Gradually the other Europeans followed suit and commissioned local artists to paint in the so-called company style. While no specific character or technique marked out the Company school of paintings, it can be understood to mean the large body of paintings painted by Indian artists in a mixed Indo-European style which would appeal to the Europeans who were employed by the various East India Companies.

Though the British patronised paintings tend to be grouped under the Company style of paintings, they were Tanjore paintings in spirit. In addition to being executed by the same traditional group of artists in Thanjavur and the neighbouring Tamil country, the style and characterisation in these paintings are very typically Thanjavur as against the style of say, Company paintings executed in Calcutta or Lucknow.

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