Tanjore (South India)
reverse painting on glass
Indian painters have long delighted in depicting the romantic episodes of Krishna with the gopis, especially Radha. There are, however, numerous works, particularly from the Tanjore school, that portray the god in the company of various attendants and consorts. This scene unfolds within an opulent interior: elaborate pillars with decorative capitals support a ceiling from which a gold-coloured draped curtain hangs. Krishna is shown wearing his characteristic yellow dhoti, secured with a sash at the hips. His hair is tied in a jeweled topknot adorned with a peacock feather, and several necklaces and a floral garland hang from his neck. The two attendants, dressed in contemporary fashion, each play a stringed instrument while gazing toward Krishna.
Reverse glass paintings were introduced into India the late 18th century from China by way of the China Trade. Indian artists adopted the technique of reverse glass painting partly on account of its novelty and also because it was a relatively inexpensive medium which could produce rich effects. The technique proved extremely popular and soon spread through western and southern India and even to former provincial Mughal capitals of Oudh, Murshidabad.
In Tanjore – a small state with an old art tradition- a distinctive school of glass painting developed in the early 19th century and continued for more than a hundred years. The style was essential Indian – it tended to repeat patterns of regional painting: images of deities, portraits and themes form the ancient myths, secular themes such as portraits of kings or nobles, courtesans and musicians. The colour was rich and the style bold and defiant. The subjects were clearly presented with a certain opulence and glamour.
Framed Size (cms): 64(H) x 49(W) x 3(D)
Framed Size (inches): 25(H) x 19.5(W) x 1(D)
