A Study on Thanjavur Art to design a range of Jelwlry

A STUDY ON
THANJAVUR ART
TO DESIGN A RANGE OF JEWELRY
BY
RADHIKA KISHORPURIA
SUBMITTED TO NIFT IN PARTIAL FULFILMENT OF
THE REQUIREMENTS FOR THE DEGREE OF
MASTER OF DESIGN
DEPARTMENT OF DESIGN SPACE
FACULTY GUIDE: PROF. SHARMILA J. DUA
NATIONAL INSTITUTE OF FASHION TECHNOLOGY,
MUMBAI
2013
i
NATIONAL INSTITUTE OF FASHION TECHNOLOGY
Mumbai
2013
TITLE OF (Document/Thesis)
By Radhika Kishorpuria
M.Des.
Batch
Submitted by Ms. Radhika Kishorpuria to NIFT in partial fulfillment of the requirements
for the degree of Master in Design of the National Institute of Fashion Technology at
New Delhi and hereby certify that in the judgment of the following members of jury id
worth of acceptance:Name
Institute/Organization
Signature & Date
____________________
____________________
_____________
____________________
____________________
_____________
____________________
____________________
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____________________
____________________
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____________________
_____________
Remarks, if any:______________________________________________________________________
______________________________________________________________________
______________________________________________________________________
Signature of CC – Design Space
Date:
ii
ABSTRACT
Tanjore painting, also known as, Thanjavur Oviyam is a major form of classical South
Indian painting from the town of Thanjavur in Tamil Nadu, India. The paintings of
Thanjavur have travelled a long way, from the fresco paintings of the Chola Dynasty, to
the wall hangings of today.
The goal of this project is to perform an in depth study of Thanjavur Paintings art and
then coming up with innovative jewelry designs.
The initial research conducted was secondary research, which focused on
understanding the history, materials and the technique used in the painting, the current
status of the craft and finalizing on what innovative product could be made out of it. It
also focused on understanding of a similar art in terms of jewelry. The next stage of
research focused on understanding the current trends in jewelry around the world. The
research, thus, is inclined towards developing unique jewelry out of these paintings
through design exploration.
iii
ACKNOWLEDGEMENT
At the very onset of this report, I would like to offer my sincere thanks to my mentor
Prof. Sharmila J. Dua for her valuable guidance to me throughout my research. I would
like to thank Ms. Disha Gupta, Course Cordinator, NIFT, Mumbai for encouraging me
and discussing my project and suggesting me valuable sources to get information.
I am also indebted to Miss Neel Shah, Jewelry Designer also, a pass out student of
NIFT, New Delhi and Mr. Jimit Shah, Jewelry designer for sharing their in-depth
knowledge on Jewelry Designing. I would also express my gratitude to all the artists,
who have spare their valuable time and have supported me through this project.
Last but not the least; I would like to thank Juhi Verma and Abhishek Shinde for sparing
their valuable time to aid me in the project.
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TABLE OF CONTENT
INDEX
Sr. No.
Title
Page no.
Chapter 1- Background
1.1
Introduction
1
1.2
Research Objective
2
1.2.1
Aim of the research
2
1.2.2
Objectives
2
1.3
Significance
3
Chapter 2 – Review of Literature
2.1
Introduction
4
2.2
Paintings of Thanjavur
5
2.3
Who where the patrons of Thanjavur paintings?
6
2.4
Characteristic of paintings of Thanjavur
7
2.5
Religious Aspect
9
2.6
Thanjavur on exotic Media
9
Chapter 3 – Research and methodology
3.1
Methodology
11
3.2
Research Design
12
3.3
Sampling
13
3.4
Secondary Research
14
3.4.1
Study of Books and eBooks
14
3.4.2
Articles Published in newspaper and magazines
14
3.4.3
Information available online
14
3.5
Primary Research
15
Chapter 4 – Analysis
4.1
Analysis of Secondary Research
16
4.1.1
Process- tools and Raw Materials
16
4.1.2
Process- Technique of making the painting
18
4.1.3
Motif Study
21
4.2
Analysis of primary Research
24
4.2.1
Case Study and observation
24
4.2.2
Product analysis
26
4.3.1
Market research on jewelry
28
4.2.3.1
Study of contemporary jewelry inspired by
29
traditional art
4.2.3.2
World view on jewelry
31
Chapter 5 – Design process and Experimentation
5.1
Brain Storming
34
5.2
Mood Board
35
5.3
Sketch and Material Board
36
5.4
Initial Exploration
38
5.5
Final Designs
40
5.5.1
Category I
40
5.5.2
Category II
41
5.5.3
Category III
41
5.5.4
Category IV
43
5.5.5
Category V
44
5.6
Feedback
45
Chapter 6 – Conclusion
50
Bibliography
51
Glossary
53
Annexure
55
Appendix
LIST OF CHARTS
Chart 1: Research Design .................................................................. Error! Bookmark not defined.
Chart 2: Case study ........................................................................... Error! Bookmark not defined.
Chart 3: Brain Storming..................................................................... Error! Bookmark not defined.
LIST OF PLATES
Plate 1: Mural on the wall of The Big Temple .................................. Error! Bookmark not defined.
Plate 2: Chola Period – Sixty –three Shaivaite saints, Appar. ........... Error! Bookmark not defined.
Plate 3: Nayaka - A Popular theme, Ramas’ coronation. .................. Error! Bookmark not defined.
Plate 4: A Maratha king on his ivory throne with an impressive array of weapons.Error! Bookmark not
defined.
Plate 5: Rama's Coronation ............................................................... Error! Bookmark not defined.
Plate 6: Glass Painting, Ganesha ....................................................... Error! Bookmark not defined.
Plate 7: Initial Sketch made on plywood........................................... Error! Bookmark not defined.
Plate 8: The Drawing area is first coated with single layer of chalk powder and fevicol mixture, in orderr
to raise it from the base surface. ...................................................... Error! Bookmark not defined.
Plate 9: Finely embossed patterns with gold leaf and enhanced by Kundan along with mirror in the
border are the main charm of the Thanjavur painting ..................... Error! Bookmark not defined.
Plate 10: Yali, a mythical creature .................................................... Error! Bookmark not defined.
Plate 11: Another variation o Yali ..................................................... Error! Bookmark not defined.
Plate 12: Ganesha ............................................................................. Error! Bookmark not defined.
Plate 13: Yashoda Wih Baby Krishna ................................................ Error! Bookmark not defined.
Plate 14: Parrot ................................................................................. Error! Bookmark not defined.
Plate 15: Garlands/ Flowers .............................................................. Error! Bookmark not defined.
Plate 16: Mukut................................................................................. Error! Bookmark not defined.
Plate 17: Shankha.............................................................................. Error! Bookmark not defined.
Plate 18: Elephant ............................................................................. Error! Bookmark not defined.
Plate 19: Corner of the painting........................................................ Error! Bookmark not defined.
Plate 20: Chakra ................................................................................ Error! Bookmark not defined.
Plate 21: Gaja Lakshmi ...................................................................... Error! Bookmark not defined.
Plate 22: Ramas Pattabishegam........................................................ Error! Bookmark not defined.
Plate 23: Thanjavur Style Elephant Sculpture ................................... Error! Bookmark not defined.
Plate 24: 3D Thanjavur Lakshmi ........................................................ Error! Bookmark not defined.
Plate 25: Portrait ............................................................................... Error! Bookmark not defined.
Plate 26: Abstract Durga ................................................................... Error! Bookmark not defined.
Plate 27: Mother Mary in Thanjavur Style ........................................ Error! Bookmark not defined.
Plate 28: Thanjavur Pooja Tray ......................................................... Error! Bookmark not defined.
Plate 29: Thanjavur Mirror................................................................ Error! Bookmark not defined.
Plate 30: Shiv Shakti Collection ......................................................... Error! Bookmark not defined.
Plate 31: Monastri Collection............................................................ Error! Bookmark not defined.
Plate 32: Akshay Trithya Collection .................................................. Error! Bookmark not defined.
Plate 33: Akshay Trithya Collection .................................................. Error! Bookmark not defined.
Plate 34: Shiv Shakti Collection ......................................................... Error! Bookmark not defined.
Plate 35: RadhaKrishna Miniature Set, CSK, Kolkata ........................ Error! Bookmark not defined.
Plate 36: Ganesh Miniature Set, Shrimgar Jewelers, CST ................. Error! Bookmark not defined.
Plate 37: Radha Krishna Set, Shrimgar Jewelers, CST ....................... Error! Bookmark not defined.
Plate 38: Ganesh Miniature Set, Beads, CST ..................................... Error! Bookmark not defined.
Plate 39: Miniature on wood by Kramasa ........................................ Error! Bookmark not defined.
Plate 40: Miniature on Marble by Kramasa ...................................... Error! Bookmark not defined.
Plate 41: Miniature on wood by Kramasa ........................................ Error! Bookmark not defined.
Plate 42: Lost wax Jewelry by Ruhh .................................................. Error! Bookmark not defined.
Plate 43: Miniature on paper by Ruhh .............................................. Error! Bookmark not defined.
Plate 44: Terracotta Jewelry by Ruhh ............................................... Error! Bookmark not defined.
Plate 45: Streetfsn street shot, New York 2011, Stylesight .............. Error! Bookmark not defined.
Plate 46: Carved Figures inspiration, Stylesight Trend board, 2012 Error! Bookmark not defined.
Plate 47: Indian color inspired earrings, Dior ................................... Error! Bookmark not defined.
Plate 48: Thanjavur Collecction: mood Board .................................. Error! Bookmark not defined.
Plate 49: Sketch board 3 Initial sketches .......................................... Error! Bookmark not defined.
Plate 50: Sketch board 4 Initial sketches .......................................... Error! Bookmark not defined.
Plate 51: Sketch board 2 Initial sketches .......................................... Error! Bookmark not defined.
Plate 52: Sketch board 1 Initial sketches .......................................... Error! Bookmark not defined.
Plate 53: Exploration on Semi-Precious Stone (Agate) ..................... Error! Bookmark not defined.
Plate 54: Exploration on Wood ......................................................... Error! Bookmark not defined.
Plate 55: Exploration on mother of pearl ......................................... Error! Bookmark not defined.
Plate 56: Initial stage of explorations of different materials (look without the gold foil)Error! Bookmark
not defined.
Plate 57: Exploration on Different color and textures of glasses (with gold foil work and brass wire work)
.......................................................................................................... Error! Bookmark not defined.
Plate 58: Initial Explorations 1 .......................................................... Error! Bookmark not defined.
Plate 59: Initial Explorations 2 .......................................................... Error! Bookmark not defined.
Plate 60: Initial Explorations 4 .......................................................... Error! Bookmark not defined.
Plate 61: Initial Explorations 3 .......................................................... Error! Bookmark not defined.
Plate 62: Close up view of the product ............................................. Error! Bookmark not defined.
Plate 63: Model wearing the neck piece........................................... Error! Bookmark not defined.
Plate 64: Model wearing the neck piece........................................... Error! Bookmark not defined.
Plate 65: Close up view of the product ............................................. Error! Bookmark not defined.
Plate 66: Close up view of the product ............................................. Error! Bookmark not defined.
Plate 67: Model wearing the neck piece........................................... Error! Bookmark not defined.
Plate 68: Model wearing the neck piece........................................... Error! Bookmark not defined.
Plate 69: Close up view of the product ............................................. Error! Bookmark not defined.
Plate 70: Model wearing the earring ................................................ Error! Bookmark not defined.
Plate 71: Close up view of the product ............................................. Error! Bookmark not defined.
Plate 72: Close up view of the product ............................................. Error! Bookmark not defined.
Plate 73: Model wearing the earring ................................................ Error! Bookmark not defined.
Plate 74: Model wearing the neck piece........................................... Error! Bookmark not defined.
Plate 75: Close up view of the product ............................................. Error! Bookmark not defined.
Plate 76: Model wearing the neck piece........................................... Error! Bookmark not defined.
Plate 77: Close up view of the product ............................................. Error! Bookmark not defined.
Plate 78: Close up view of the product ............................................. Error! Bookmark not defined.
Plate 79: Model wearing the neck piece........................................... Error! Bookmark not defined.
CHAPTER 1
BACKGROUND
1.1
INTRODUCTION
“Painting is just another way of keeping a diary.”
― Pablo Picasso
Painting is the practice of applying paint, pigment, color or other medium to a
surface (support base). The medium is commonly applied to the base with a
brush but other implements, such as knives, sponges, and airbrushes, can be
used. Paintings may have for their support such surfaces as walls, paper,
canvas, wood, glass, lacquer, clay, leaf, copper or concrete, and may incorporate
multiple other materials including sand, clay, paper, gold leaf as well as objects.
Painting is a mode of creative expression, and the forms are numerous. “Murals
are paintings on wall and have to be considered as part of interior decoration.
South India and the Thanjavur area in particular, boasts a long tradition in the
painting of murals though few of these survive today.” 2 These murals in
Thanjavur are done with the fresco technique. Fresco is any of several related
mural painting types, done on plaster on walls or ceilings. The word fresco
comes from the Italian word alfresco which derives from the Latin word for
"fresh". Fresco technique consists of painting in pigment mixed with water on a
thin layer of wet, fresh, lime mortar or plaster is used.
1
Thanvajur paintings refer to the distinctive visual elements, techniques and
methods that characterize the movement or school that an artist is associated
with. This can stem from an actual group that the artist was consciously involved
with or it can be a category in which art historians have placed the painter. This
painting is defined by the process.
1.2 RESEARCH OBJECTIVE
The goal of this project is to perform an in depth study of Thanjavur Paintings art
and then coming up with innovative jewelry designs.
This research is an exploration towards a study of Thanjavur Painting. To
understand the history, technique used in its making. The research was done on
the brief that incorporating this style of painting would open more streams for the
craft.
1.2.1 AIM OF THE RESEARCH
The main objective of this research is “to carry out reflective learning of
Thanjavur Paintings art and then coming up with original jewelry designs.”
1.2.2 OBJECTIVES

To study and document the art of Thanjavur painting.

To understand if evolution has taken place.

To explore the diversification of the art of Thanjavur painting into a new
product line of personal accessory.
2

To collect feedback on the products made.
1.3 SIGNIFICANCE
At Poompuhar on Mount Road, at least 200 pieces in every size is available at
any given time. Says V. Subbaiyan, Manager, “our showroom sources it directly
from traditional artist-families involved in the art from Thanjavur we now see
brighter days when Tanjore art is a part of everyone's drawing room."
Making new Products with Thanjavur paintings would give a new direction to the
art. Creating a new unique product can open another source of income. This
would also allow the younger generation to attract to the craft. Also, more
intricate designed products like jewelry can be sold to a larger audience, which is
not possible with large Thanjavur wall hangings.
3
CHAPTER 2
REVIEW OF LITERATURE
“Paintings. Or the collapse of time in images”
-Paul Auster
2.1 INTRODUCTION: THANJAVUR – THE ANCIENT TEMPLE
TOWN
Thanjavur, also called Tanjore in English, is a town in the South Indian state of
Tamil Nadu. Scholars believe the name Thanjavur to have been derived from
"Tanjan", a legendary asura in Hindu mythology. While the early history of
Thanjavur remains unclear, the town first rose to prominence during the reign of
the Medieval Cholas when it served as the capital of the Chola Empire. After the
fall of the Cholas, the town was ruled by various dynasties like Pandyas,
Vijayanagar Empire, Madurai Nayaks, Thanjavur Nayaks, Thanjavur Marathas
and the British Empire. It has been a part of independent India since 1947.
Thanjavur is one of the major cultural zones and holds an eminent position as a
religion place in the southern part of the Indian subcontinent. It particularly has
been dominating for centuries a great centre of dance, music, architecture, and
arts – sculpture, woodcraft, metal-cast, mural painting, etc. “Most of the Great
Living Chola Temples, which are UNESCO World Heritage Monuments, are
located in and around Thanjavur. The foremost among these, the Brihadeswara
4
Temple, is located in the center of the town.”7 Though, it was during the last twothree decades that the world bowed to its unique talents and for it brilliant
miniature painting. “Thanjavur’s inherent creative genius turned to miniature
paintings around the 18th century, when its Maratha rulers brought to it some
level of stability and economic prosperity.”7 The town is an important agricultural
center located at the heart of the region, known as the "Rice bowl of Tamil
Nadu".
2.2 PAINTINGS OF THANJAVUR
Tanjore painting, also known as, Thanjavur Oviyam is a major form of classical
South Indian painting from the town of Thanjavur in Tamil Nadu, India. The
paintings of Thanjavur have travelled a long way, from the fresco paintings of the
Chola and Nayaka Dynasty, to the
wall hangings of today. Tanjore
paintings
surface
compact
are
known
richness,
for
their
vivid
colors,
composition
and
especially the glittering gold foils
Plate 1: Mural on the wall of The Big Temple
used to give the paintings their rich look. “Tanjore paintings are mainly panel
paintings done on solid wood planks, and hence referred to as palagai padam in
local parlance.”5
5
2.3 WHO WHERE THE PATRONS OF THANJAVUR PAINTINGS?
There are lots of high quality paintings in the Tanjore big temple that explain
many things about the kingdom of Raja Raja Chola and also the greatness of the
Raja Raja Chola. Some paintings also explain about the Raja Raja Chola's
favorite God Shiva. There were also some stories present in the painting present
in Tanjore big temple. In the secret passage from Tanjore big temple there were
great paintings present that explain about many great things. The most admiring
part of the painting in Tanjore big temple is the painting of Raja Raja Chola
offering his respect to his Guru. The colors chosen for the painting are great such
that the paintings are still good and healthy to see.
The temple has Chola frescoes on the walls around
the sanctum sanctorum portraying Shiva in action,
destroying demonic forts, dancing and sending a
white elephant to transport a devotee to heaven.
These frescoes were discovered in the 1940s and
portray
Plate 2: Chola Period – Sixty –three
Shaivaite saints, Appar.
the
mythological
episodes of the journey of
Saint Sundarar and the
Chera King to heaven, the battle scene of Tripurantaka
(Lord Siva) with Asuras (demons). The Chola artists
have proved their mettle by portraying even the Asura
6
Plate 3: Nayaka - A Popular
theme, Ramas’ coronation.
women with a sense of beauty. Some of the paintings in the sanctum sanctorum
and the walls in the passage had been damaged because of the soot that had
deposited on them. Owing to the continuous exposure to smoke and soot from
the lamps and burning of camphor in the sanctum sanctorum over a
period of centuries certain parts of the Chola paintings on the circumambulatory
passage walls had been badly damaged. The Tanjore Nayak kings replaced
them with a few paintings of their own, about 400 years ago. The Archaeological
Survey of India, for the first time in the world, used its unique de-stucco process
to restore 16 Nayak paintings, which were superimposed on 1000-year-old Chola
frescoes. These 400-year-old paintings have been mounted on fiber glass
boards, displayed at a separate pavilion.
2.4
CHARACTERISTIC
OF
PAINTINGS OF THANJAVUR
The characteristic of Thanjavur Painting
defines it.
Iconic
style:
iconology
conveys
knowledge through images or pictures.
Subject matter: The themes are most
Plate
Plate4:1.AAMaratha
Marathaking
kingon
onhis
hisivory
ivorythrone
thronewith
withan
an
impressive
impressivearray
arrayofofweapons.
weapons.
often illustrated from the Ramayana and
Bhagavada Purana (both these epics
being held in high esteem by the
7
Hindus). The subject matter was mainly Vaishnavite, the members of the royal
house who commissioned these paintings being Vaishnavites. Common themes
were various depiction of Krishna, Rama’s coronation and variations of Vishnu.
To cater to customers demands, Shaivite theme came into existence.
Composition: the composition is characterizing static and generally consists of
one main Plate, that is, the deity,
centrally placed. The deity is usually
housed within an enclosure of a palace
or a temple pavilion. Even when there is
no architectural background, such as,
enclosure created by means of curtains
or an arch. Thus the composition is such
that it restricts movement.
Drawing style: the depiction of Plates is
Plate 5:
2. Rama's Coronation
monumental and robust. The firm clear
brush outlines enclosing the forms further heighten its massiveness. The deity is
always shown face front, never in profile. All the ten fingers and toes are shown.
The garlands are mostly open ended. The chief Plate follows a hierarchy.
Color scheme: colors schemes are generally strong. The background may be a
deep blue, red or dark green, while the main Plates are in white, green or blue.
Red and blue or red and green compositions often dominate the compositions.
Colors are rendered flat with minimal shading.
8
Embellishments: the major role is played by the gold which binds and holds the
picture together. With time, the usage of gold as decoration in these paintings
has increased. No one can find with the entire painting ornamented with gold.
The gold work is complimented by stones usually red, green, and white. Cutglass pieces from Jaipur are also used today, though the color remains the
same.
2.5 RELIGIOUS ASPECT
Having started of the painting for the pooja room, certain norms are followed in
the making of Thanjavur painting. While painting, the artists work barefoot. Also,
the painting is complete except for the eyes, this ‘opening of the eyes’, that is, the
painting of the eye ball is done at an auspicious hour.
Initially only male members did these paintings. Females were not allowed to
work on it, as during their menstrual cycle they were considered impure and not
allowed to enter the pooja room to do any kind of religious work.
2.6 THANJAVUR ON EXOTIC MEDIA
Glass Paintings: The idea of glass painting seems to
have risen from the local artists attempts to create in
expensive paintings for the middle and lower middle for
their Pooja rooms. The colors are rich and the style is
Plate 6: Glass Painting, Ganesha
9
bold.1
Ivory painting: The technique used is similar to water color. This art requires
much more skill since it involves rendering a highly polished surface. This art was
mostly prevalent during the British era.
Mica Painting: Also, done during the British era. It is less fragile than glass.
It has also been found that Thanjavur paintings were done on Playing cards.
10
CHAPTER 3
RESEARCH DESIGN AND METHODOLOGY
3.1 METHODOLOGY
The research was exploratory in nature. This involves studying the art of
Thanjavur painting of Thanjavur district, in Tamil Naidu and to bring innovation in
the products.
As the research was exploratory, the exact nature of the findings was not known
in advance. This was because there was no previous research with which to
predict the direction the research will go in. while this may seem like a challenge,
it was believed this will give the advantage of flexibility and freedom for the
research.
Thus, the first step in the research was to understand the art and technique used
in crafting it. The next step was to analyze the different kinds of products made
and available. Visiting the artisans workshops, gave an opportunity to observe
how they make Thanjavur painting, interacting with and interviewing the artisans,
documenting the process involved, examining the designs used, and to examine
deeper any issues that are highlighted by the step. Also, to focus on the kinds of
motifs used in these paintings.
The next step was to decide on a suitable product that could be made, that is,
jewelry. Also, it was required to find out a similar traditional craft with products
11
like jewelry. Product innovation was the next step wherein, with the help of the
conclusions from the data collected, a brand new product from Thanjavur
Paintings is visualized. This stage includes experimentation and creativity.
Prototype development was the next stage where the ideas that were visualized
before are realized. This stage involves working with different kind of material
exploration in terms of Thanjavur art to be done on. This was the most critical
stage as the success or failure of the dissertation depends upon it.
The final stage was preparation of thesis. Firstly, a draft will be prepared and
submitted for review by mentor and conclusions and inferences will be
adequately by evidences from data collected and work done. Then the final
thesis was submitted to bring the research into an end.
3.2 RESEARCH DESIGN
Library
ROL
Secondary
Research
Traditional
technique used
Internet
Modern technique
used
Interaction
with the
artisans
Exploratory
Research
Market and
Contemporization
Primary
Research
Interaction with 2
Jewelry Designers
Contemporary
Jewelry inspired –
traditional craft
Study on
Contemporized
traditional jewelry
Brain
Storming
Product
Diversificatio
n
Mood
Board
Sketch and
Material Board
Chart 1: Research Design
Initial
Exploration
12
Final Design
3.3 SAMPLING
Sampling was done by the case study method. Case study is a research
strategy, an empirical inquiry that investigates a phenomenon within its real-life
context.
Case study I: Interaction with Traditional Thanjavur Artists, namely, Mr. R
Jayanthan and Mr. Pradeep Rajendran.
Case study II: Interaction with Modern Thanjavur Artists, namely, Mr. Vineet
Mittal and Mrs. Sheena Kishorpuria.
Case study III: Interaction with Jewelry Designers, namely, Ms. Neel Shah and
Mr. Jimit Shah.
Case Study
Case Study
I
II
Case
Study III
• Interactio
n with
Traditional
Thanjavur
artist
• Interactio
n with
Modern
Thanjavur
artist
• Interacti
on with
Jewelry
Designer
Chart 2: Case study
13
3.4 SECONDARY RESEARCH
Secondary research is being done through study of literature relate to the
research. It is done to gain the understanding of Thanjavur paintings from its
origin. Secondary research also emphasizes on different exotic media used in
making Thanjavur painting.
The secondary research has been done through the following:
3.4.1 STUDY OF BOOKS AND eBOOKS
Many books were read to get the thorough knowledge about the research topic.
Books on Thanjavur paintings gave a holistic insight on the same. Book have
been referred by visiting various libraries, namely, Prince of Wales Library,
Asiatic Library, Nift Resource Center(Mumbai), National Library(Kolkata),
Saraswati Mahal Library (Thanjavur).
3.4.2 ARTICLES PUBLISHED IN NEWSPAPER AND MAGAZINE
National newspapers have been browsed to get to know the current scenario of
painting in India. Some of the newspapers who have published articles related to
Thanjavur paintings are: The Hindu, The New India Express.
3.4.3 INFORMATION AVAILABLE ONLINE
Most of the secondary data collected are through internet. Websites dealing with
information on Thanjavur painting have been visited. Blogs and Social Media
Websites have been searched upon to gather information.
14
3.5 PRIMARY RESEARCH
The primary research is qualitative in nature. It has been done to find the actual
state of Thanjavur Painting along with the process of making it. And an extensive
study on motives has been carried on so as to understand the kinds of motifs that
are prevalent which would further help in the development of new products.
Through the primary research an effort has been taken to understand the
process, products made, and market of the art.
3.5.1 OBSERVATION
Observation was one of the most effective tools for conducting primary research.
Observation has been done while interacting with various artists, and jewelers.
3.5.2 CASE STUDY
Case study of Various Traditional and contemporary thanjavur artists has been
studied to critically compare the same. Also, case study of various Jewelry
Designers was taken in to consideration in order to proceed with the
diversification of product.
15
CHAPTER 4
ANALYSIS
The data collected through primary research and secondary research is being
analyzed for design suggestion. Following are the analysis of data collection.
4.1 ANALYSIS OF SECONDARY RESEARCH
Secondary Research was mainly conducted on the basis of the data collected to
various libraries and to have an understanding of thanjavur. Also, emphasized on
different exotic media used in making Thanjavur painting.
A visit was made into the showroom of Poompuhar, which is The Tamilnadu
Handicrafts Development Corporation Ltd. It is explained that Thanjavur
paintings are amongst the best selling products in their shop and the art market
as a whole, due to its craftsmen ship that is put into making it.
During the course of interview, Mr. Chakravarthy explained the importance of
Thanjavur painting to the livelihoods of thousands of craftsmen and traders, and
emphasized that protecting and developing this art has been taken up by the
Archaeological Survey of India and many NGOs.
4.1.1 PROCESS - TOOLS AND RAW MATERIALS USED
Palagai: Traditionally, wood of the jack fruit tree is used as it does not invite
termites nor it rots easily.
16
Cotton fabric: Kezhungu passai (Indigenous gum): Gum from a root used for
sticking cloth to the wooden base.
Chukangu powder: A root ground to powder: Used with fevicol as to coat the
fabric.
Calcium carbonate stone: The stone is ground and sieved to fineness and used
with chalk powder and gum from the karuvela maram/babul tree for coating on
cloth.
Polishing stone and Emery sheet: For smoothening the coated board in
preparation for tracing the image.
Red stone: It is used in the past instead of sunnambu kallu for embossing work. It
was mixed with chalk powder and gum. Red stone is believed to be longer lasting
than sunnambu kallu.
Chalk powder: Used in the coating of cloth.
Tracing sheet with a template for the painting.
Kari (Charcoal dust): Used to create impression of tracing on board.
Kundan stones/Glass: The cut glass, set in lac on a stick is then shaped by
rubbing on a stone till it has soft curves. The glass is then placed on a silver plate
with color smeared on it. On heating the silver plate, the color sticks to the glass.
This colored glass has better luster as compared to the kundan used today.
Mirror is used for decorating borders.
Gold leaf: A thin film of flattened gold. Made by artisans in the past by beating a
17
gold bit by placing it on a animal skin. In the 1930s and 40s it was imported from
China. Fake gold leaf is available.
Cloth: for pressing emboss work.
Squirrel tail hair brush: it is made by the artisan according to required thickness.
Mooligai colors: These colors are available at country medicine stores in the form
of tablets or powders. These colors are grinded/churned and mixed with gum and
water. The preparation of colors takes about two to four days and has a limited
shelf life. Painting with natural colors creates a subdued tonal effect as compared
to
the
stark
effect
of
poster
colors.
Other materials used are: Teak wood for frame and glass placed over painting
4.1.2 PROCESS - TECHNIQUE OF MAKING THE PAINTING

Fixing of cloth: A wooden board of required size is procured. A cardboard
is placed on the board. Cotton fabric is stretched and stuck/pasted on the
board using kezhangu passai (an indigenous gum). Once the fabric has
adhered/attached well to the board, the process of coating the cloth
begins.

Coating
maavu
the
cloth
(paste)
of
board:
A
chukangu
powder and fevicol is prepared.
Three coats of this paste are
Plate7:3.Initial
InitialSketch
sketchmade
madeon
onplywood
plywood.
Plate
18
applied on the cloth board over a span of
ten days including drying time in between
coats. This coated area is then rubbed
with a smoothening stone and emery
sheet to obtain a surface with mild sheen
and good texture. Coating of the cloth
Plate 8:
4. The
The Drawing
drawing area
Plate
area is
is first
first coated
coated
with single
single layer
layer of
of chalk
chalk powder
powder and
and
with
Fevicol mixture,
mixture, in
in orderr
order to
fevicol
toraise
raiseititfrom
from
the base
base surface.
surface.
the
board helps prevent the painting from
damage caused by moisture and heat.

Tracing the image: The painter has templates of religious themes to be
used in the paintings. The template is in the form of a tracing sheet with
pinpricks on the outlines. This tracing sheet is placed on top of the cloth
board and dusted with kari (charcoal dust). The outline is further clearly
marked using mai (soot) from a vellakennai
lamp using an anil vaal.

Emboss and colored stonework: A paste
made of chalk powder, sunnambu kallu and
karuvela maram gondhu is used to create the
relief work. Using a brush, the first layer of the
paste is applied to create a raised effect for
the designated areas of the work. Once this
layer is dry, finer details are painted on using
the same paste to create raised patterning. At
this stage, the colored glass or kundan stones
19
Plate 9: Finely embossed patterns
with gold leaf and enhanced by
Kundan along with mirror in the
border are the main charm of the
Thanjavur painting
are embedded. They are stuck with Fevicol or chukangu paste. Once
dried, the embossed areas are covered with gold leaf.

Gold leaf work: Thin gold foil is placed on an embossed area and
measured for size. The foil is then cut to shape. Karuvela maram gondhu
is applied on the back and pasted on the embossed area. The leaf is
smoothened over the area using a piece of cloth. Using the pointed back
of a paintbrush, the foil is pressed down to reveal the embossed details. In
this manner, all the embossed areas are covered with gold leaf. In
summer, the gold leaf takes about three hours to dry on the board. The
edges of the shapes are trimmed for excess gold.

Painting: Depending on the grade of the painting, poster color or poster
color + mooligai color or mooligai color is used. Colors are painted and
allowed to dry in several coats. Skin tones are applied in stroke gradations
to create softness. A fine outlining is done for features. The gold leaf, in
some paintings is detailed with black soot or permanent marker for clearer
contrasts.

Framing: The painting, once complete is placed inside a teakwood frame
with clear glass on top. The local aasari makes the frame according to the
dimensions of the painting and sends it to the painter.
20
4.1.3 MOTIF STUDY
A motif is an element of a pattern, image or part of one, or theme. A motif may be
repeated in a design or composition, often many times, or may just occur once in
a work. A motif may be an element in the iconography of a particular subject or
type of subject that is seen in other works.
The motifs observed in Thanjavur paintings are much inclined toward elements
related to Hindu mythology. In terms of motifs, Deities like Krishna, Vithoba, Shiv,
Parvati, Lakshmi, Ganesha, Saraswati, Dhanwantari, Andal and Vishnu are
captured. Themes such as Coronation of Rama, Panchmukhi Ganapati, Aleyeli
Krishna, RadhaKrishna, Vithoba Krishna, Rukhamini Krishna, Yashoda Krishna,
King Sarafoji with courtiers, King Parthasarthi with consorts, Gaja Lakshmi, Shiv
Parvati Wedding, Navanita Priya are depicted.
Also, when observed closely one would find
mythical creatures like Yali on most of the
Thanjavur pieces. Yali, also known as Vyala or
Sarabham or Vidala in Sanskrit, is a mythical
Plate 10: Yali, a mythical creature
creature seen in many Hindu temples, often
sculpted onto the pillars. It is called as Leogryph
in English. Yali is a motif in Indian art and it has
Plate 11: Another variation o Yali
been widely used in south Indian sculpture. Descriptions of and references to
Yali’s are very old, but they became prominent in south Indian sculpture in the
21
16th century. Yali’s are believed to be more powerful than the lion/Tiger or the
elephant. In its iconography and image the Yali has a catlike graceful body, but
the head of a lion with tusks of an elephant and tail of a serpent. Images or icons
have been found on the entrance walls of the temples, and the graceful mythical
lion is believed to protect and guard the temples and ways leading to the temple.
Similar, to Yali, another mythical creature that is seen in these paintings are
Makara is a sea-creature in Hindu mythology. It is generally depicted as half
errestrial animal (in the frontal part in animal forms of elephant or crocodile or
stag, or deer) and in hind part as aquatic animal, in the tail part, as a fish tail or
also as seal. Sometimes, even a peacock tail is depicted.
Plate 13: Yashoda Wih Baby Krishna
Plate 12: Ganesha
22
When
observed
closely
minute
motifs
such
as
different
varieties
of
garlands/flowers, mutuks, Garments, Ornaments, Chakra, Shankha, Pooja Items
Corners of the painting, Thorne Legs, Attendants, consorts arch, Hasthamudra,
Angel, Animals like parrots, elephants are also found.
Plate 14: Parrot
Plate 20: Chakra
Plate 18: Elephant
Plate 19: Corner of the painting
Plate 17: Shankha
Plate 15: Garlands/ Flowers
Plate 16: Mukut
23
4.2 ANALYSIS OF PRIMARY RESEARCH
Contacts were received of artists to aid with the research and to better
understand both the processes, and the people, behind Thanjavur painting. Also,
contacts where made with different Jewelry Designers, in order to gain insight on
different kinds of jewelry. Following are the main objective of primary research:
To understand the current scenario of Thanjavur painting as well as to study the
traditional and modern technique used in developing the painting. Also, the study
would define the kind of Jewelry available in the market. It would help in
understand a similar art Jeweler in terms of products in seen today in the market.
The main technique applied was observation throughout the research.
4.2.1 CASE STUDY AND OBSERVATION
4.2.1.1 Case study I
Interaction with Traditional Thanjavur Artists, namely, Mr. R Jayanthan and Mr.
Pradeep Rajendran; the art of traditional thanjavur art was documented. Both the
artisans are post graduates. They have been practicing this art for more that 15
yrs, which has been passed down to them from their fore-fathers. The artisans
are expert in thanjavur paintings. For them the meaning of contemporization is to
make Ravi Verma Paintings into Tanjore paintings. Since they are high qualified,
both make full use of today’s technology, by showing their work on computers.
Also, they know that usage of internet is highly beneficial and it helps them to
surf new design online. At times, they make their own designs in Photoshop.
24
They also, prefer making new designs in thanjavur as it is more beneficiary that
the traditional once. They are sold more when compared. Since they are skilled
they know about their copy rights. With the development of technology, it has
become easy for them to interact with the customers and market them self’s.
4.2.1.2 Case study II
Interaction with Modern Thanjavur Artists, namely, Mr. Vineet Mittal and Mrs.
Sheena Kishorpuria; the art of contemporary thanjavur art was documented. Both
the artisans are educated personals. This art has not been passed down to them
from their fore-fathers. The artisans are expert in thanjavur paintings and have
been practicing it for years now. In terms of contemporization, they are making
family portraits, and abstract Thanjavur painting. They make these paintings only
on order basis. These thanjavur paintings are more often customized in nature.
4.2.1.3 Case study III
Interaction with Jewelry Designers, namely, Ms. Neel Shah and Mr. Jimit Shah;
this interacting was done after the first exploration of the diversified products.
Also, the process of making jewelry was understood in order to come up with fine
range of thanjavur jewelry.
25
4.2.2 PRODUCT ANALYSIS
Vaishnavite themes in Thanjavur paintings developed during the Nayak period.
The most popular themes include:
Plate 22: Ramas Pattabishegam
Plate 21: Gaja Lakshmi

Vennai Thali Krishnan (Krishna with a pot of butter)

Ramar Pattabishegam (The crowning of King Rama)

Saraswati and Gaja Lakshmi (Lakshmi flanked by elephants)
Royal portraits were also painted. The puranic themes are the most sought after.
Chandramukeshwar,
Shiva-Parvati
and
Bhooma
Devi
and
the
108
Bharatanattiyam poses of Shiva are few of the puranic style still prevalent today.
These paintings have been visualized after a rigorous study of narratives in the
Puranas. Today, artists undertake family portrait orders and the occasional
recreation of a famous Ravi Varma painting in Thanjavur oviyam style. Apart
from paintings the artisans also make idols of god and goddesses. Artists today
have also started taking inspiration from the work of a Tamil painter namely,
26
Veera Santhanam and have converted them into Thanjavur style painting. Apart
from these, in present times, a lot of artists are making Thanjavur paintings of
other deities instead of taking deities from the Hindu mythology. Also, products
like 3D Thanjavur Painting which has extra relief work, Family or individual
portraits, abstract Thanjavur Paintings, Thanjavur Painting Mirror, Thanjavur
Gold foil work on a Wooden elephant sculpture, and Trays, are also being done
in the name of contemporization.
Plate 27: Mother Mary in Thanjavur Plate 25: Portrait
Style
Plate 24: 3D Thanjavur Lakshmi
Plate 29: Thanjavur
Mirror
Plate 28: Thanjavur Pooja Tray
Plate 23: Thanjavur Style
Elephant Sculpture
Plate 26: Abstract Durga
27
4.2.3 MARKET RESEARCH ON JEWELLERY
The study mainly helped in exploring the kind of jewelry available in the market
today. Contemporary Jewelry inspired by traditional Indian concepts was look
seen. Jewelry by Apla fits perfectly in this category.
Plate 30: Shiv Shakti Collection
Plate 31: Monastri Collection
Plate 34: Shiv
Shakti Collection
Plate 33: Akshay
Trithya Collection
28
Plate 32: Akshay Trithya Collection
4.2.3.1 Study of contemporary jewelry inspired by traditional art
A similar contemporary Jewelry inspired by traditional Indian art was taken and
explored, that is, Jewelry made out of Miniature Painting. Initially miniature
painting was studied in order to gain insight about the same. Also the study
helped in understanding how different kinds of products made out of miniature
painting are prevalent in the market today.
For some time now, a variety of contemporized version of miniature jewelry has
been seen in the market; this can be said for a fact that the market is flooded with
pendants and earrings inspired by miniature jewelry.
Plate 36: Ganesh Miniature Set, Shrimgar Jewelers, CST
Plate 35:
RadhaKrishna
Miniature Set, CSK,
Kolkata
Plate 37: Radha Krishna
Set, Shrimgar Jewelers,
CST
Plate 38: Ganesh
Miniature Set, Beads, CST
29
Different jewelry brand like Kramasa, RuHH today are coming up with their own
version of miniature painting jewelry giving the painting a whole unique touch to
it. Also, to make their product unique and different they are exploring this style of
miniature painting on other materials like wood, marble, paper, terracotta, etc.
Also, when said that these brands are making contemporized jewelry inspired by
miniature painting, they take element from the painting or a part of a scene and
as depicted in the pictures below.
Plate 41: Miniature on wood by
Kramasa
Plate 39: Miniature on wood by
Kramasa
Plate 40: Miniature on Marble by
Kramasa
Plate 43:
Miniature on
paper by Ruhh
Plate 42: Lost wax
Jewelry by Ruhh
Plate 44:
Terracotta Jewelry
by Ruhh
30
4.2.3.2 World view on jewelry
This study was done in order to gain insight on similar kinds of jewelry created
around the world in the current season. The catalogs from International India
Jewelry week were reviewed to understand the fashion in jewelry. Also, trends
depicting websites like style sight and WGSN were studied for the same.
The Cameo Earrings add an heirloom-inspired touch of refined elegance to any
ensemble. Carved from a range of materials including Plexiglas, Lucite and
glass, the earrings are offered in classic or updated drop styles. Elaborate details
such as Swarovski crystals, ivory pearls and splashes of color add glitz to the
overall vintage look and allow retailers to hit a
variety of price points. Cameos return as a new
must-have item. Either classic or novelty motifs /
Classic portrait brooch with beaded frame / Oval
pendant earrings with biblical Garden of Eden
Plate 45: Street fashion, Street shot,
New York 2011, Stylesight
theme / Vintage look earrings surrounded by
gemstones / Gothic motifs reflect a modern update in mismatched motifs.
Cameos are the 21st Century’s Romance jewelry inspiration. Inspired by the
dramatic effect of the A/W 13/14 macro trend, cameos are an important motif for
women's jewelry and influence men's design too.
Symbolisms seemingly are religious, protective and good luck symbols are motifs
that have gotten emphasis. Crucifixes, hamsas, evil eyes and religious charms /
Pendants and charms, rings, and earrings / from oversized statement pieces to
31
simple designs / Crucifixes have been paired with punk elements for mixed motif
messages.
Plate 46: Carved Figures inspiration, Stylesight Trend board, 2012
Kaleidoscopic glamour is the bright and
optimistic
jewelry
spring/summer
2013
direction
in
lined
for
with
nostalgia, nodding to a golden age of
jet-set socialites. The next generation of
Plate 47: Indian color inspired earrings, Dior
designers and muses are asserting their own interpretation of era defining
glamour For spring/summer 2013, the fine jewelry look is confident, energized
and above all optimistic Although styling is inspirational, there is a languid
elegance to the look, enabling an easy blend of high jewelry and costume pieces
Vibrant gems are given centre stage and juxtaposed with
32
gold’s in
complementary colors Attention to detail is exemplified by a harmonious use of
gem setting, exquisite colors, and updated metal manipulation.
Costume jewelry once again takes center stage with a renewal of large-scale and
outlandish clip-on earrings - Raid vintage jewelry boxes to create accumulated
styles - Pearls, gems, cameos and gold develop an extravagant look.
Pure gold has a rich yellow tone. Trends show that gold would be on the top list
in the next two seasons. The bright yellow color emphasizes gem stones / Cuffs
and collars have an ancient look / Far Eastern influences /Paired with coral. It
was observed that lariat necklaces and multiple-string neckpieces are also in
fashion.
33
CHAPTER 5
DESIGN PROCESS AND EXPERIMENTATION
5.1 BRAIN STORMING
Chart 3: Brain Storming
At the initial stage brainstorming was done to get a clear picture so as to what
kinds of personalized product would be appropriate. Through this mind-map it
was easy to understand the process to be followed in order to achieve the
desired product.
34
5.2 MOOD BOARD
This Mood boards is create so as to enable the direction of style pursued. It is a
visual representation to inform the overall feel of the designs to be achieved. In
short, this mood board would be a used as a channel in the creation of design
concepts.
Plate 48: Thanjavur Collection: mood Board
35
5.3 SKETCH AND MATERIAL BOARD
The following are the initial sketches of the desired products.
Plate 52: Sketch board 1 Initial sketches
Plate 51: Sketch board 2 Initial sketches
Plate 49: Sketch board 3 Initial sketches
Plate 50: Sketch board 4 Initial sketches
36
Thanjavur explorations were done on various materials like glass wood, mother
of pearl, semi precious stones, etc. These explorations were done to see how
Thanjavur style would look on each of the above mentioned material and which
one would be the most appropriate to make products. Also, these explorations
would suggest whether the technique used is fit for other materials or not, its
aesthetic appeal, etc. The following are a few images on which thanjavur painting
was explored on.
Plate 53: Initial stage of explorations of different materials (look
without the gold foil)
Plate 55: Exploration on Wood
Plate 56: Exploration on
mother of pearl
37
Plate 54: Exploration on Different
color and textures of glasses (with
gold foil work and brass wire work)
Plate 57: Exploration on SemiPrecious Stone (Agate)
5.4 Initial Exploration
Almost all the initial design explorations were done on wood. The wooden Pieces
were cut according to the desired shape and then the process of Thanjavur
Painting was applied, formulating in beautiful neck pieces.
Plate 58: Initial Explorations: Shankha
Plate 59: Initial Explorations: Krishna
38
Plate 61: Initial Explorations: Durga
Plate 60: Initial Explorations: Yali
39
5.5 FINAL DESIGNS
The designs have been divided into certain categories, namely,
1. Traditional
2: Glass
3. Semi- Precious
4. Mother of Pearl
5. Wood
5.5.1 Category I
Category: Traditional Jewelry inspired by traditional Thanjavur painting; an
attempt to keep the look and feel of the jewelry more inclined towards Thanjavur
painting.
Plate 63: Close up view of Traditional Neckpiece
Plate 62: Model wearing the traditional neck
piece
40
5.5.2 Category II
Category: Glass Jewelry
Plate 64: Model wearing the Yali on
glass neck piece
Plate 65: Close up view of Yali on glass
5.5.3 Category III
Category: Semi-Precious Jewelry
Plate 67: Model wearing the Blue
Chelsea neck piece
Plate 66: Close up view of the Blue Chelsea
neck piece
41
Plate 68: Model wearing the Yali on
Turquoise neck piece
Plate 69: Close up view of Yali on Turquoise neck piece
Plate 71: Close up view of the Orange
Carnillion Earring
Plate 70: Model wearing the Orange Carnillion Earring
42
5.5.4 Category IV
Category: Mother of Pearl Jewelry
Plate 72: Close up view of Mother
of Pearl Tanjore Earring
Plate 73: Model wearing the Mother of Pearl Earring
Plate 74: Model wearing the Mother of Pearl
Plate 75: Close up view of the Mother of Pearl
Peacock feather neck piece
Peacock feather neck piece
43
Plate 76: Model wearing the Mother of Pearl neckpiece
(abstract)
Plate 77: Close up view of the Mother of Pearl
neckpiece (abstract)
5.5.5 Category V
Category: Wood Jewelry
Plate 78: Close up view of the Tanjore
on wood neckpiece
Plate 79: Model wearing the
Tanjore on wood neckpiece
44
5.6 FEEDBACK
The feedback was taken over a social media website to gauge the response and
reaction towards the products created as a result of the research. The exhibit
included information regarding the products. The following is the link to the page
to the social media website where the products where put up:
https://www.facebook.com/media/set/?set=a.10151407423087499.1073741827.6
64257498&type=1
The respondents belonged from all walks of life, from entrepreneurs, engineers,
professors to home makers. These respondents are perspective customers.
Students were also a part of the respondents and gave feedback on aesthetics
and design innovation. These students will form a major part of the future
clientele.
The respondents liked the designs made on the semi precious products
especially on turquoise. They appreciated the fact that the intricate gold foil work
was done on such small jewelry pieces and yet increase the aesthetic appeal of
the product. They also liked the addition of abstract art in the same style which
made them unique, rather the products with abstract art were most appreciated.
Combination of colors was also appreciated for some of the products.
Some feedback also included constructive criticism which will be useful while
making products in the future. Some design suggestions were that more products
should have been made in Category I, that is, with Traditional look and feel. Also,
45
they suggested that more products in terms of usability like mang-tikka could
have been made. The following are the rating each product got in the feedback.
Sample size – 30
Category I – Neckpiece with Traditional Thanjavur motif
Neckpiece with Traditional Thanjavur motif
Excellent
Good Fair
0%
0%
23%
Average
poor
44%
33%
Category II - Neckpiece with Thanjavur on Semi- precious Stones (Blue Chelsea)
Neckpiece with Thanjavur on Semi- precious Stones
(Blue Chelsea)
Excellent
Good
13%
17%
Fair
0%
27%
43%
46
Average
poor
Category II - Earring with Thanjavur on Semi- precious Stones (Orange
Carnillion)
Earring with Thanjavur on Semi- precious Stones
(Orange Carnillion)
Excellent
Good Fair
0%0%
19%
Average
poor
45%
36%
Category II - Neck Choker with Thanjavur on Semi- precious Stones (Turquoise)
Neck Choker with Thanjavur on Semi- precious Stones
(Turquoise)
Excellent
Good
0%
Fair
0%
23%
27%
50%
47
Average
poor
Category III - Neckpiece with Thanjavur on glass
Neckpiece with Thanjavur on glass
Excellent
Good Fair
0%
0%
33%
Average
poor
40%
27%
Category IV - Neckpiece with Thanjavur on Mother of pearl (Peacock)
Neckpiece with Thanjavur on Mother of pearl
(Peacock)
Excellent
Good
13%
Fair
0%
20%
47%
20%
48
Average
poor
Category IV - Neckpiece with Thanjavur on Mother of pearl (Abstract)
Neckpiece with Thanjavur on Mother of pearl
(Abstract)
Excellent
Good Fair
0% 0%
13%
23%
Average
poor
64%
Category IV - Earring with Thanjavur on Mother of pearl (Parrot)
Earring with Thanjavur on Mother of pearl (Parrot)
Excellent
Good Fair
0%
0%
23%
44%
33%
49
Average
poor
Category V - Neckpiece with Thanjavur on wood
Neckpiece with Thanjavur on wood
Excellent
Good
Fair
0%
Average
poor
17% 13%
30%
40%
The reaction from the respondents was highly overwhelming and encouraging. A few of
them expressed their inclination to give orders for personalized products for themselves.
They were also curious to know how the products were made. They also appreciated the
intricate Thanjavur work on various materials.
50
CHAPTER 6
CONCLUSION
The dissertation began with a simple idea- to bring innovation into Thanjavur
painting. While researching it, in almost every step of the way, many interesting
issues and ideas were revealed. The major points are highlighted below:

Thanjavur Painting is Tamil Naidu is a scattered sector. It would be
incorrect to say that its prevalent only in Tamil Naidu, rather one can find
artists all over India.

Most of the young artists today are educationally highly qualified, like
M.A., M.B.A., yet they have immense interest towards the craft.

The artisans also take full advantage of the internet, they search the
desired design through the internet and later edit them in Photoshop; also
these artisans show their design to their customers on their computers.

Most of the artists are taking inspiration from other Tamil painters and
converting their paintings into Thanjavur style.

Also, these artist are open to take customized orders; they do a lot of
family portraits in Thanjavur style.
This dissertation is an academic document. Through which, this art form has got
a new look. Another hemisphere is now opened. It records how the process of
innovations occurs, how design intervention is brought upon. It is a resource; for
any prospective individual interested in this art.
51
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14. Somasundaram, J. The Great Temple at Tanjore. South East Madras:
Solden and Company, 1935.
15. Srinivasan, Shakuntala. Tanjore Painting: Revieving An Art of Divine
Images Paintings. Chicago South Asia Newsletter, pg 2, Volume 17,
Spring, 1993.
16. Subramaniam, K.R. The Maratha Rajas of Tanjore. New Delhi: Madras:
Asian Educational Services, 1988.
17. Tanjore Painting: Revieving An Art of Divine Images Paintings by
Shakuntala Srinivasan, Chicago South Asia Newsletter, pg 2, Volume 17,
Spring, 1993.
18. The Tanjore Art Gallery. Tanjore Gallery Administration Committee, 1958.
19. Yadav, Smita and Raghavan. The Royal Art of Tanjore Paintings. Mumbai:
English Edition, 2010.
53
GLOSSARY
Anil vaal: squirrel tail hair brush
Aleyeli: Dancing
Asura: In Hinduism, the Asuras are non-suras, a different group of powerseeking deities besides the suras, sometimes considered naturalists, or
nature-beings. They are the forces of chaos that are in constant battle with
the Devas.
Aasari: local wood craftsman
Deva: Deva is the Sanskrit word for deity, its related feminine term is devi.
Dhanwantari: The god of medicine
Karuvela maram: Babul tree
Karuvela maram gondhu: Gum from the babul tree
Kundan: Kundan keshri is a traditional form of Indian gemstone jewellery
involving a gem set with gold foil between the stones and its mount,
usually for elaborate necklaces. It is the oldest form of jewellery made and
worn in India.
Mooligai colors: pigments extracted from natural sources like leaves, root
and bark
Navanita: The Butter thief
Oviyam: Painting
Palagai: wooden plank
Padam: picture
Puranic: traditional
54
Sunnambu kallu: Calcium carbonate stone
Thanjavur: Thanjavur, formerly Tanjore, is the headquarters of the
Thanjavur District in the south Indian state of Tamil Nadu.
Vellakennai: Oil used during old periods only for lighting village lamps in
house and temple
55
ANNEXURE
(Questionnaire)
GENERAL INFORMATION
1.
Artisan’s Name-
2.
Artisan’s Address-
3.
Artisan’s Sex
4.
Education level of artisan
1)Male
2) Female
1) Illiterate
( )
2) Primary( )
3) Secondary ( )
4) College ( )
5.
What craft are you associated with?
6.
Are you engaged in any other activity apart from the handicrafts?
1) Yes ( )
2) No ( )
If yes, specify the occupation _________
7.
No. of months for which artisan is involved in craft related activity:
1) 3 – 6 months ( )
8.
9.
2) 6 – 9 months ( ) 3) Throughout the year( )
Are you a member of any of the following organizations?
1) SHGs ( )
2) Cooperative ( )
3) Society ( )
4) any other ( ) 5) None ( )
No. of family members dependent on the Artisan (specifically not doing any
other work and has no income source)
10. Are you planning to train your children in your traditional craft practices?
1) Yes ( )
2) No ( )
Give reasons for your choice _______________________________
56
INCOME RELATED QUESTIONS
11. Current monthly income of the artisan:
1) Rs. 2500 – 5000
(
)
2) Rs. 5000 – 7500
3) Rs. 7500 – 10,000 (
)
4) More than Rs. 7500 (
(
)
)
DESIGN & TECHNOLOGY
12.
Are you working on1) Traditional Design (
(
13.
) 3) Market Demand Design
)
Who gives the design?
1) Own (
14.
) 2) Latest Design (
) 2). Trader/Agent (
) 3) Old Patterns (
) 4) Designers
Have you developed any new products in last two years?
a.
_______________________
b.
_______________________
c.
_______________________
15. If yes, are the new products more profitable than the old products
(paintings)?
1) Yes ( )
2) No ( )
16. Identify the skill level of the artisans (as per the artisan’s perception), with
respect to the handicraft only:
1) Unskilled (
) 2) Semi-skilled (
) 3) Skilled (
) 4) Expert (
17. Which are would you like to strengthen for your growth
1) Production (
4) Marketing (
)
2) Design (
)
3) Packaging (
)
) 5) Any other __________________________
Have you worked with any designer? (Designers name)
57
)
If yes then what kind of work have you done with them?
TRAINING
18. Have you received any training recently for upgrading your skills?
1) Yes ( )
19. If
2) No ( )
yes,
what
is
it?
(pl.
specify)
_________________________________________
20. Are these kind of training good for your work opportunities?
1) Yes ( )
2) No ( )
21. Do you need further training?
1) Yes ( )
2) No ( )
22. In which of the following areas would you want to be trained?
1) Skill Development 2) Capacity Building 3) Design Innovation
4) Better Quality 5) Marketing
23.
6) Any other _______________
Do you know how to use Computer?
1) Yes ( )
2) No ( )
24. Do you use Internet:
1) Yes ( )
2) No ( )
If yes, what do you use it for?
1) Personal ( ) 2) Business Purpose ( ) 3) Both ( )
25. Have you benefited in any way by the use of Internet?
1) Yes ( )
2) No ( )
PRICING
26. Who or what decides the pricing of your products?
1) Self (
) 2) Trader/Agent (
) 3) Raw Materials (
) 4) Local Market
Demand ( ) 5) Labour Cost ( ) 6) Any other _____________
58
27. Are you satisfied with the present system of pricing?
1) Yes ( )
2) No ( )
If no, then give suggestions
___________________________________________
28. Where do you procure raw material from?
1) Local Market (
) 2) Agents (
) 3) Nearby Markets (
) 4) Far away
markets ( )
29. How can this problem be eliminated? (Give suggestions).
________________________________________________________
30. Do you get any subsidy from the Govt. while procuring raw materials?
1) Yes ( )
2) No ( )
MARKETING
31. How do you sell your products?
1) Directly to customers ( ) 2) melas & Festivals ( )
3) Dealers/Agent Network ( ) 4) Exports ( ) 5) Local Markets ( )
6) Trade fairs ( )
32.
7)
Any other
__________
Are you facing any difficulty in marketing your products?
1) Yes ( )
2) No ( )
33. If yes, what are the main reasons?
1) Distance from your unit to market ( ) 2) Transportation ( )
3) Middlemen/Agent ( ) 4) Lack of domestic/local market ( )
Any other ( ) ___________
59
LIST OF CHARTS
Chart 1: Research Design ............................................................................................................... 12
Chart 2: Case study ........................................................................................................................ 13
Chart 3: Brain Storming.................................................................................................................. 34
60
LIST OF PLATES
Plate 1: Mural on the wall of The Big Temple ................................................................................. 5
Plate 2: Chola Period – Sixty –three Shaivaite saints, Appar. .......................................................... 6
Plate 3: Nayaka - A Popular theme, Ramas’ coronation. ................................................................. 6
Plate 4: A Maratha king on his ivory throne with an impressive array of weapons. ....................... 7
Plate 5: Rama's Coronation.............................................................................................................. 8
Plate 6: Glass Painting, Ganesha ...................................................................................................... 9
Plate 7: Initial Sketch made on plywood........................................................................................ 18
Plate 8: The Drawing area is first coated with single layer of chalk powder and fevicol mixture, in
orderr to raise it from the base surface......................................................................................... 19
Plate 9: Finely embossed patterns with gold leaf and enhanced by Kundan along with mirror in
the border are the main charm of the Thanjavur painting............................................................ 19
Plate 10: Yali, a mythical creature ................................................................................................. 21
Plate 11: Another variation o Yali .................................................................................................. 21
Plate 12: Ganesha .......................................................................................................................... 22
Plate 13: Yashoda Wih Baby Krishna ............................................................................................. 22
Plate 14: Parrot .............................................................................................................................. 23
Plate 15: Garlands/ Flowers ........................................................................................................... 23
Plate 16: Mukut.............................................................................................................................. 23
Plate 17: Shankha........................................................................................................................... 23
Plate 18: Elephant .......................................................................................................................... 23
Plate 19: Corner of the painting..................................................................................................... 23
Plate 20: Chakra ............................................................................................................................. 23
Plate 21: Gaja Lakshmi ................................................................................................................... 26
Plate 22: Ramas Pattabishegam..................................................................................................... 26
Plate 23: Thanjavur Style Elephant Sculpture ................................................................................ 27
Plate 24: 3D Thanjavur Lakshmi ..................................................................................................... 27
Plate 25: Portrait ............................................................................................................................ 27
Plate 26: Abstract Durga ................................................................................................................ 27
Plate 27: Mother Mary in Thanjavur Style ..................................................................................... 27
Plate 28: Thanjavur Pooja Tray ...................................................................................................... 27
Plate 29: Thanjavur Mirror............................................................................................................. 27
Plate 30: Shiv Shakti Collection ...................................................................................................... 28
Plate 31: Monastri Collection ........................................................................................................ 28
Plate 32: Akshay Trithya Collection ............................................................................................... 28
Plate 33: Akshay Trithya Collection ............................................................................................... 28
Plate 34: Shiv Shakti Collection ...................................................................................................... 28
Plate 35: RadhaKrishna Miniature Set, CSK, Kolkata ..................................................................... 29
Plate 36: Ganesh Miniature Set, Shrimgar Jewelers, CST .............................................................. 29
Plate 37: Radha Krishna Set, Shrimgar Jewelers, CST .................................................................... 29
Plate 38: Ganesh Miniature Set, Beads, CST .................................................................................. 29
Plate 39: Miniature on wood by Kramasa ..................................................................................... 30
61
Plate 40: Miniature on Marble by Kramasa ................................................................................... 30
Plate 41: Miniature on wood by Kramasa ..................................................................................... 30
Plate 42: Lost wax Jewelry by Ruhh ............................................................................................... 30
Plate 43: Miniature on paper by Ruhh........................................................................................... 30
Plate 44: Terracotta Jewelry by Ruhh ............................................................................................ 30
Plate 45: Street fashion, Street shot, New York 2011, Stylesight .................................................. 31
Plate 46: Carved Figures inspiration, Stylesight Trend board, 2012 ............................................. 32
Plate 47: Indian color inspired earrings, Dior ................................................................................ 32
Plate 48: Thanjavur Collection: mood Board ................................................................................. 35
Plate 49: Sketch board 3 Initial sketches ....................................................................................... 36
Plate 50: Sketch board 4 Initial sketches ....................................................................................... 36
Plate 51: Sketch board 2 Initial sketches ....................................................................................... 36
Plate 52: Sketch board 1 Initial sketches ....................................................................................... 36
Plate 53: Exploration on Semi-Precious Stone (Agate) .................................................................. 37
Plate 54: Exploration on Wood ...................................................................................................... 37
Plate 55: Exploration on mother of pearl ...................................................................................... 37
Plate 56: Initial stage of explorations of different materials (look without the gold foil) ............. 37
Plate 57: Exploration on Different color and textures of glasses (with gold foil work and brass
wire work) ...................................................................................................................................... 37
Plate 58: Initial Explorations: Shankha........................................................................................... 38
Plate 59: Initial Explorations: Krishna ............................................................................................ 38
Plate 60: Initial Explorations: Yali................................................................................................... 39
Plate 61: Initial Explorations: Durga............................................................................................... 39
Plate 62: Close up view of Traditional Neckpiece .......................................................................... 40
Plate 63: Model wearing the traditional neck piece ...................................................................... 40
Plate 64: Model wearing the Yali on glass neck piece ................................................................... 41
Plate 65: Close up view of Yali on glass ......................................................................................... 41
Plate 66: Close up view of the Blue Chelsea neck piece ................................................................ 41
Plate 67: Model wearing the Blue Chelsea neck piece .................................................................. 41
Plate 68: Model wearing the Yali on Turquoise neck piece ........................................................... 42
Plate 69: Close up view of Yali on Turquoise neck piece ............................................................... 42
Plate 70: Model wearing the Orange Carnillion Earring ................................................................ 42
Plate 71: Close up view of the Orange Carnillion Earring .............................................................. 42
Plate 72: Close up view of Mother of Pearl Tanjore Earring.......................................................... 43
Plate 73: Model wearing the Mother of Pearl Earring................................................................... 43
Plate 74: Model wearing the Mother of Pearl ............................................................................... 43
Plate 75: Close up view of the Mother of Pearl ............................................................................. 43
Plate 76: Model wearing the Mother of Pearl neckpiece (abstract) ............................................. 44
Plate 77: Close up view of the Mother of Pearl neckpiece (abstract) ........................................... 44
Plate 78: Close up view of the Tanjore on wood neckpiece .......................................................... 44
Plate 79: Model wearing the Tanjore on wood neckpiece ............................................................ 44
62