Description Tanjore (South India) reverse painting on glass Indian painters love to dwell on Krishna’s romantic involvement with the gopis, particularly with Radha. There are, however, a number of works, especially from the ‘Thanjavur’ school, that depict the god with his arms resting on the shoulders of his queens, Rukmini and Satyabhama. The scene is set in palatial surroundings. Elaborate pillars with rearing lion capitals support the ceiling, from which a draped red curtain adorned with pearl tassels hangs. The yellow floor tiles are impeccably polished. Krishna wears his characteristic yellow dhoti, held in place by a sash around his hips. His hair is tied in a topknot and adorned with jewels and a peacock feather. Several necklaces and a floral garland hang from his neck. The attire of the two queens reflects the fashion of the period. Reverse glass paintings were introduced into India in the late 18th century from China via 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 and 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 essentially Indian – it tended to repeat patterns of regional painting: images of deities, portraits and themes from 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): 55(H) x 70(W) x 2(D) Framed Size (inches): 21.5(H) x 27.5(W) x 1(D)
