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Episodes from Hindu mythology, epics, and the Puranas are depicted in Tanjore and Mysore paintings. The unique aspect of these artworks lies in their incorporation of various cultural influences from the Indian Myth, the Deccan, and the southern regions of Mysore.
Tanjore art showcases the immense skill and precision of Tanjore craftsmen. This form of art primarily focuses on achieving meticulousness and perfection rather than being driven by innovation and creativity. The subjects of this iconic art style are predominantly Hindu deities such as Siva, Parvati, Rama, Krishna, Lakshmi, Saraswathi, and others portrayed in various forms. When depicting events from Hindu mythology, the main figure is accompanied by smaller figures that complement the theme. A classic example of this is the Tanjore-style rendering of Rama Pattabishekam or Lord Rama’s coronation ceremony which incorporates several figures to create a lifelike representation.
Over time, there have been slight modifications to the style and technique to cater to contemporary demands. Traditionally executed on a single wooden board covered with cloth attached using an adhesive compound mixed with a smoothing agent.
Traditionally, artists of Mysore would gather all the necessary materials for creating their paintings. This included brushes, paints, boards, and even gold foil. The colors they used were derived from natural sources such as plant leaves and flowers, as well as minerals. Nowadays, commercially available media like poster and watercolors are commonly used. In the past, artists would paint on various surfaces like paper, wood, walls or cloth. Today’s preference is to use paper that is affixed to a board using glue or other adhesives.
Once the board is prepared, the artist begins by sketching out their design on paper with a pencil. If there already exists a tracing of this sketch, it can be transferred onto the board using carbon paper for convenience.
Gopala, the child manifestation of Krishna, is renowned for safeguarding cows. He captivates everyone with the enchanting melodies produced by his flute.
Sarasvati, the goddess of music and learning, is seated in an easy posture, playing on the Veena with her two normal hands. The painting is a remarkable one in every way.
Krishna as king of Dwarika is seated on his throne holding a damsel in his left hand. The entire scene suggests the influence of a pavilion in Mysore palace of those days.