Gilded artistry: The glittering saga of Thanjavur paintings

As I trace the footsteps of the illustrious Chola dynasty through the corridors of the Brihadeeshwara temple, the walls burst into life with scenes of regal magnificence and unwavering divine devotion. I am standing in the grand corridor, overwhelmed by the sheer intricacies of Thanjavur paintings gracing the walls. Deities depicted in Chola, Nayaka, and Maratha artistic styles are juxtaposed against the backdrop of sacred shivlingas. These Chola Paintings, or as locals call them, the Thanjai Periya Kovil paintings grace the Brihadeeswarar temple in not one, but two remarkable sets. The first set is open to the public in the temple’s hallways, and another set is within the temple’s secret passages that connect to RajaRaja Chola’s palace. These paintings provide a window into the ever-shifting tapestry of artistic expression, spanning across diverse dynastic reigns. However, the story behind these paintings is one of turmoil and migration. The fall of the mighty Vijayanagar Empire and the subsequent sack of Hampi in the Battle of Talikota in 1565 CE had profound consequences. Among the many affected were the talented painters, who had relied on the empire’s patronage for their livelihood and with their world shattered, they sought refuge in Thanjavur. Under the benevolent patronage of the Thanjavur Nayakas, these displaced artists found solace and a purpose. The talented artists of this atelier eagerly embraced the local influences and the preferences of their Maratha patrons. Not content with merely painting in temples, they expanded their horizons and embarked on an endeavour to paint the buildings, palaces, chatrams, and opulent residences of the Maratha kings. The artisans then introduced gesso work, glass beads, precious and semi-precious gems, and gold foil to bring out the depth of the paintings. Thanjavur holds a remarkable position in the annals of Indian painting, and some specimens of its art can also be found in the Saraswathi Mahal Library. My driver Jehan regales me with stories from the sacred Sanskrit tome, Prabothachandrodaya, as we journey to the home of a renowned Thanjavur painter. He tells me that this literary masterwork has Marathi translations of the Mahabharata and Bhagavatham, both of which feature artwork by Madhava swami, who was born in 1824 AD. Jehan tells me, “Faint traces of Maratha-style paintings inset with glass are on the walls of the Thiruvaiyaru Chatram built by Serfoji after his pilgrimage to Kashi. Many other buildings in and around Thanjavur have fine examples of Thanjavur paintings on the roofs and walls, though many are gradually disappearing due to serious neglect.” We arrive at the ‘Art Village’ twenty minutes later, hidden within the quiet alleyways of Ramani Nagar. Kathirvel (55), the master artisan, welcomes me inside his humble home-turned-workshop, a labyrinth of interconnected rooms with blue doors and windows. As I look around, a 6ft Tirupathi Balaji gold painting on a black backdrop, conjures an illusion so vivid that even the painted garland appears as real as the deity’s mural in a sacred temple. Traditionally, the Telgu-speaking Raju community of Thanjavur and Tiruchi, also called ‘Jinigara’ or ‘Chitragara’ along with the Nayudu community of Madurai were the artists who made Thanjavur paintings. Rajus and Naidus moved to Tamil Nadu from Andhra Pradesh in the wake of the fall of the Vijayanagar empire. These artists turned out a wide repertoire of paintings on a variety of subjects, depending on the patron’s interest, influence, and financial capacity. However, the art was generally regarded as a sacred work to be carried out with a degree of ritual purity and humility by skilled artisans, many of whom chose to remain anonymous and never signed their paintings. Within this artful space, other framed masterpieces are of the goddess Lakshmi seated upon a blooming lotus, a Tamil priest from the Chola period, Tridev, the holy trinity of Lord Brahma, Vishnu, and Shiva, united in divine harmony, and Lord Krishna, from his tender childhood (Bal Krishna) to his adulthood. Traditional materials and techniques are at the heart of it all. From the use of gold foil to colours, each element plays a crucial role in bringing these stunning works of art to life. In the local parlance, Thanjavur Paintings are also called ‘Palagai Padam,’ which translates to ‘pictures on wooden planks’ as they are typically completed on boards made from teak or jackfruit wood. Thanjavur paintings have a syncretic style, and the closest influences are the Kalamkari and Tirupati paintings. Kathirvel pulls out all the brushes, colours and 22 or 24K gold foil, he uses to create these paintings. Over the next few hours, I closely observe how he and other artists painstakingly create these masterpieces, skilfully blending colours and embedding precious gems to create a visual symphony. “When it comes to Thanjavur paintings, the journey from gold foil to vibrant colours is a fascinating one. These paintings have been around for centuries, and it’s amazing to see how they’ve evolved. They are not just beautiful, but they also tell tales of mythology, history, and everyday life. We have been keeping this ancient art form alive for generations, passing down skills to the next generation.” says Kathirvel. His son Aravind is the fourth-generation heir. The canvas is evenly coated with a paste of French chalk (gopi) or powdered limestone and a binding medium and dried. The artist then draws or traces using a stencil, a detailed outline of the main and subsidiary subjects on the canvas. A paste, made of limestone powder and a binding medium called sukkan or makku, is used for creating the Gesso work. Gold leaves and gems of varied hues are inlaid in selected areas like pillars, arches, thrones, dresses, etc. Finally, colours were applied to the sketch. Kathirvel says, “This art form finds its roots in the year 1600 AD, when the Nayakas under the patronage of the Vijayanagara Rayas, fostered a flourishing artistic renaissance. What sets Thanjavur painting apart is its resplendent gold coating, which adds to it, an ethereal touch. The paintings were initially created to decorate the walls of temples and palaces. However, it was during the Maratha court of Thanjavur, that Thanjavur paintings truly blossomed into the masterpiece we know today.” Dark brown or red is used for outlining. The colour red is preferred for the background, but blue and green are also used. Lord Vishnu is painted blue, Lord Nataraja white, and his consort Goddess Sivakami is painted green. Of course, the sky is blue, but black is also used on occasion. Figures in the paintings are likewise typical, with almost all of them having rounded faces, almond-shaped eyes, and smooth, streamlined bodies. The individuals are set within arches, draperies, and ornate borders in this static and two-dimensional composition. The main topic is substantially larger than the other subjects and takes up most of the painting’s space. Except for the face, which has shading, the figurines are painted in brilliant flat hues. Thanjavur art uses shading to create a sense of depth rather than to adhere to perspective rules. Within the artistic confines of a mantapa or prabhavali, the protagonists take centre stage, while an ensemble of subsidiary subjects gracefully adorn the surrounding canvas. In essence, these paintings act as devotional icons, where tales from the Puranas, Sthala-puranas, and other sacred texts are brought to life through vivid visualisations. Kathirvel says, “We use natural materials like limestone powder, tamarind seed powder, and gold leaf to create intricate designs and patterns. We also use a special technique called ’thickening’ to create a 3D effect on the paintings.” Then he takes me through the process of the making of a Thanjavur painting. He shows the wooden board covered with a cotton cloth, which serves as a canvas for the artwork. He first, deftly outlines the pencil designs. Then he uses a mixture of edible gum, chalk powder and limestone for embossing. The embossing adds depth to the paintings. After embossing, he uses the tamarind seeds paste to emboss the stones and 24k gold foil. When he presses the gold leaf inside, the design comes out. After this, he either adds semi-precious stones, or precious stones which are 50 per cent first-quality diamonds. These gems are arranged to create intricate patterns and designs, which enhance the complexity of the painting. Thereafter, different types of natural colours are painted over the outlined sketch. “We use three types of colours: Karli, water, and natural plant dyes. Finding natural colours is the biggest challenge in today’s art market so we have our own recipes for colours. Natural colours in the hibiscus flower produces the blue or cyan colour, while the teak wood (Tkku Maram in Tamil) leaf produces the saffron colour, drumsticks, lend their verdant touch to the palette with a green colour, and brinjal, contributes to the artistic spectrum by offering a blend of blue and purple tones through its skin,” says Kathirvel. The colour palette of Thanjavur paintings makes use of rich reds, azure blues, and lush greens. Kathirvel remains dedicated to the use of vegetable and mineral dyes as natural pigments for his artworks, just as the great artists of the past did. These colours convey many feelings and moods. Red, for example, indicates passion, love, and purity, whereas green represents fertility and prosperity. He adds, “We’re working on 2-3 natural colour choices. We use axles to grind the paste with milk in a wood colour. Natural colours have a more antique appearance. Acrylic and watercolour paints are less expensive, however, they are also durable because they are protected by a glass frame. These paintings which range from Rs 1500 to Rs 2.5 lakhs or more, are perfect for embellishing Pooja rooms and are frequently given as regal presents, or as home decorations.” The time it takes to make a Thanjavur painting varies tremendously based on its size, intricacy, and level of detail. A modest to medium-sized painting can take several weeks on average. It can take months to produce a large and meticulously detailed painting. The paintings illustrate scenes from Hindu mythology and also Tamil Nadu’s rich cultural legacy. Each picture offers a different story. Kathirvel points to a Krishna Thanjavur painting and tells me how these paintings are thought to provide auspiciousness to the home and are valued as rare antiques. He says, “These paintings are created using 24-carat original gold foils, natural paints, pearls, precious AD Stones, semi-precious stones, Arabic gum, and chalk powder on a fabric adhered to water-resistant plywood. Tirupati paintings, in particular, were made in the temple town using different techniques, like gilded terracotta relief slabs of the deity, which were framed and packaged in neat wooden boxes to be carried back as holy memorabilia. They are perfect for embellishing Pooja rooms and are frequently given as regal presents.” Inside Kathirvel’s workshop, I also noticed spherical plates hanging on the wall made of three metals: copper, brass, and silver with god figures etched in them. Meanwhile, Santhil, Keetha, Sangarai, Thivavakar, and Tharmaa (artists) continue to emboss gold leaves into drawn artworks and glueing gems to them in the third room. Their table is decked with brushes of various sizes and colours. Outside the third room is an open courtyard with mango and jackfruit trees, and directly across that is another room where artisans are sketching in natural or acrylic colours. Back in the time, Thanjavur paintings were created in a variety of sizes based on the occasion, theme, and client preference. Large paintings of deities and Maratha rulers, as well as their courtiers and aristocracy, were painted in Maratha palaces and buildings to serve as architectural accents. The art form has stood against the test of time, and the reason it survived through centuries is the adaptability of the painting style to change the format. The painters ensure that the mystery of Thanjavur paintings will be enjoyed and admired for years to come by conserving the techniques and materials that have been employed for millennia. With more than a decade of writing experience and a passion for exploring the world, the author is a travel journalist with a knack for captivating storytelling.Views expressed in the above piece are personal and solely that of the author. They do not necessarily reflect Firstpost_’s views._  Read all the  Latest News ,  Trending News ,  Cricket News ,  Bollywood News , India News  and  Entertainment News  here. Follow us on  Facebook ,  Twitter  and  Instagram .