Tanjore paintings were developed in the 17th century in Southern India, in and around the city of Tanjore. It was here that the peculiar style emerged to create icons for worship and devotion. Traditionally Tanjore paintings use bold colours, affix glass and precious stones to the works, not just gold foil. Tanjore glass paintings follow the techniques of Chinese reverse glass paintings that were popularised, during Serfoji II’s reign. The paintings were done on the mirror surface of a half-pint sheet with shreds of metal beaten into transparent gaps to simulate the effect of jewellery and precious stones. In the portraits, you will typically find a Hindu deity or saintly figure, at the centre of the composition. This painting has borrowed the Chinese and Tibet mythical creature to enunciate this fictional creature that has once believed to exist in real life.
Dragon is one of the guardian animals in Buddhist culture which symbolizes defeating the four great fears of birth, disease, old age, and death. The oriental yellow dragon has been viewed in a far more positive light: it represents the strong male yang principle of heaven, change, energy and creativity in Chinese culture. The dragon is believed to have served originally as a tribal sacred symbol, which later was borrowed by the Chinese emperor. Yellow Dragon is believed to be the yellow emperor also known as yellow thearch.
The amber-gold dragon scales are covered in gold and green colour which gives it a natural impression. The filigree impression from western could also be seen in this Tanjore piece. This amber dragon is the protection of the centre of the earth. In Buddhism, the dragon is the vehicle of Vairochana, The White Buddha of the centre of the east.
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