Popular Colors To Use For Fashion In The 18Th Century The Use of Colors in Tanjore Paintings

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The Use of Colors in Tanjore Paintings

Tanjore paintings mainly depict scenes from ancient Hindu scriptures and are one of the most famous styles of South Indian paintings. These paintings are unique due to the harmony of colors, designs and traditional techniques used with attention to detail.

Tanjore derives its name from the capital of the Chola empire, which is Thanjavoor. This place has one of the beautiful temple of Lord Shiva-Brigadeeswara temple. This art form was developed under the patronage of the Maratha rulers in the eighteenth century. This art form is famous for its decorative work that flourished under the patronage of kings. The process of making a Tanjore painting requires skilled labour.

There are many steps involved in making these paintings. The canvas is usually a plan of teak wood, which is folded over a layer of fabric, which is applied to make the panel flexible. Its surface is covered with soft emery paper. The artist draws a broad line on the canvas. Semi-precious stones of different colors are used to decorate the table. In earlier days, diamonds, rubies and other precious stones were used.

To create a textured three-dimensional effect, layers of paste prepared from glue and limestone are applied. After extensive relief work is done, wafers like twenty-two carat gold sheets are placed on top. Bright colors are used to fill the remaining areas, then the main figures in the picture are large and other figures may not be relevant.

New techniques have been developed by talented artists to keep this art form alive. Chalk powder and modern synthetic binders have replaced traditional materials. Today’s artists use chemical dyes instead of vegetable dyes for colors and patterns, but still a great deal of attention is paid to traditional painting.

Rajput painting inherited a legacy of mural painting as well as book art, where a pictorial map in color was designed as a primary means of visual expression. Obviously, he keeps the colors, clothing and architecture as local, while playing the tone of the natural environment to a lesser or greater extent, or changing them completely from their normal colors. The strength of many Rajput paintings lies in balancing the tension between the two. It meant that the world of the natural environment was conceived through the eyes of the images of the people who lived there and not through an objective view from the outside. It gave the artist an opportunity to design a color scheme to match the mood of the image displayed in the environment, approximating its changes by raising or lowering the tenor of the colors.

Color cannot be seen empirically as a result of light absorption, as its use is not necessarily descriptive. This notion that color is local to objects of optical perception is so integral to impressionist art. It describes light figuratively as a source that enlivens, elevates, or beautifies the field of vision, but light must be distinguished from sunlight or artificial light by its appropriate shadows. Darkness and shadow as means of expression and formal concealment, which is such a dominant factor in European painting, are conspicuously absent here.

Night scenes, except for the very late miniatures that flourish under the influence of European art, are usually presented in full or filtered moonlight or lanterns with the full vision and presence of the night indicated by traditional symbols. This also distinguishes it from the representation of the atmosphere in the European painting. The Impressionist use of color to represent light and air is equally alien to Rajput painting. In the Impressionist scheme, the change of color means the rejection of brown and black as shadows and the aesthetic confirmation of the new theory of light according to the invention of the prism.

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