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Thanjavur Painting For Sale

About Thanjavurpaintings

What is it? | History & Evolution | How Thanjavur Paintings are made?

Welcome to the unique and colourful world of Thanjavur paintings. This school of paintings originated in Thanjavur during the reign of the Marathas in the 16th century. It existed from 17th to 19th Century, and had a limited output. Today, this tradition is kept alive by a few hundred dedicated artists mostly based in Tamil Nadu, India.

What is Thanjavur Painting?

Thanjavur paintings basically signify paintings created using a style and technique, which originated in Thanjavur during the maratha period in the 16th century.

A typical Thanjavur painting would consist of one main figure, a deity, with a well-rounded body & almond shaped eyes. This figure would be housed in an enclosure created by means of an arch, curtains etc. The painting would be made by the gilded and gem-set technique - a technique where gold leaves & sparkling stones are used to highlight certain aspects of the painting like ornaments, dresses etc.

The painting would be bright & colourful and breathtakingly beautiful. The impact in a darkened room is that of a glowing presence. While most of the paintings would depict the Child Krishna and his various pranks, paintings of other deities were also created.

Over a period of time changes have occurred in the stylization - for example, the figures are no longer round. Presiding deities of various famous temples are also being depicted in the paintings. The technique is now more in use than the style.

Traditional Thanjavur paintings are possessed as heirloom

History & Evolution

THANJAVUR PAINTING is a peculiar, ancient, miniature type of painting named after the place Thanjavur [called Tanjore in English] in Tamil Nadu, a southern state of INDIA. Thanjavur district is famous for various arts and crafts in which paintings are ranked high among the other arts like Thanjavur Toys, Thanjavur Plates, etc. Its origin dates back to the Nayak & the Maratha period in the 16th century.

The Maratha rule of Thanjavur lasted for about 2 centuries from the late 16th century. The Thanjavur school of painting evolved in a period full of political chaos in South India. Thanjavur Paintings flourished under the patronage of the Nayak & Maratha princes in the 16th to the 18th centuries.

The art was practiced by two main communities namely - the RAJUS in THANJAVUR and TRICHY[a city near THANJAVUR] and NAIDUS in MADURAI[a city ruled by PANDIYAS]. The artists [Rajus & Naidus] who are originally Telugu speaking people from "Rayalseema" region, moved to Tamil Nadu in the wake of the Nayaks rule of Madurai & Tanjore. The paintings were rooted in tradition and innovation was limited. The art was sacred to those master craftsmen who chose to be anonymous and humble.

Paintings were done on materials like wood, glass, mica, exotic media such as ivory, murals and manuscripts. Most of the paintings were of Hindu deities & saints. Other courtly & secular portraits were also created.

The early paintings were embedded with real Diamonds, Rubies and other precious stones. Later, use of semi-precious & artificial stones gained popularity. There are some examples of this art in the "Saraswathi Mahal Library", in Tanjore set up & developed by KING SARFOJI. This monarch, who reigned from 1798 to 1832, to whom we owe the "Ganesha shrine" in the "Tanjore Big Temple", played an important part in the history of the art of his times.

Thanjavur paintings are found in the following great literatures.

1. Sanskrit work Prabotha Chandrodayam has a few pages of Thanjavur Paintings.

2. Marathi translations of Mahabharath & Bhagavatham which are works of the painter Madhava swami dated 1824 A.D.

3. Paintings of Gods & Goddesses occur in the wooden covers of every part of an edition of the "Rig Veda" made in King Sarfoji's time.

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How Thanjavur Paintings are made ?

Thanjavur Paintings are made on canvasses. The CANVAS for a Thanjavur painting is usually a plank of wood (originally wood of the Jackfruit tree was used, now it's plywood) over which a layer of cloth is pasted with arabic gum. The cloth is then evenly coated with a paste of limestone and a binding medium and let to dry.

The canvas is now ready for painting. The artist then draws a detailed sketch of the painting on the canvas.

A paste, made of limestone and a binding medium, is used to create 3D effect in embellishing and ornamenting the theme using a brush.

Gold leaves and gems of varied hues are used in selected areas like pillars, arches, thrones, dresses, etc. The shine and glean of the gold leaves used by the Thanjavur style paintings last forever. Finally, colours are applied on the sketch. In the past, artists used natural colours like vegetable dyes, whereas the present day artists use chemical paints which enhance the sharpness and provide better shade contrasts.

The old Tanjore artists restricted their scope to divine figures and used to mix their natural colours. The modern ones have, of course, no need to do so. What has survived in this convention is the choice of colours for painted personalities or objects.

For outlines dark brown is usually used. Red is favoured for the background. Scholars say that a red background is the distinctive mark of Tanjore paintings, but green is also sometimes used. Lord Vishnu, appropriately enough, is coloured blue, and Lord Nataraja chalk white. Yellow is used for the Goddesses. The sky, of course, is blue, but black is employed on occasions. There are conventions in regard to the use of embossing and bejewelling. But these do not appear to be followed very strictly these days. Often individual preference settles the matter.

The portrayals of the figures in the paintings are breathtakingly brilliant. Almost all the figures have rounded bodies and almond-shaped eyes, which is unique to THANJAVUR PAINTING. The traditional thanjavur artists have a flair for ornamenting the figures with jewellery and ornate dresses. Thanjavur paintings are notable for their adornment in the form of glass pieces embedded in parts of them.

Frames
The frames(teak wood) used for Thanjavur paintings are of two types.
1. The wooden type wherein plain type of wood is used. 2. The Chettinad type which are more ornamental with designs. Instead of breakable glass, "transparent acrylic sheets" are used to avoid breakage during transit.

1616 Coins COPPER IRIDIUM LEBBO COIN

COPPER IRIDIUM LEBBO COIN

(This document contains reliable knowledge and a Business proposal for the Copper Iridium Lebbo Coin.)

JAYADEVAN

Introduction

Copper Iridium coins are magical and powerful. They will stop a bus when carried in it by stopping ignition, but not when wrapped in a carbon paper. A candle flame bends towards this coin. When rice is brought near the coin, it gets attracted towards the coin. You can find an electric circuit tester indicating light when touched with, on the coin. Your electronic watch will stop when brought near this coin!

A device in Germany (details unknown) which cost / worth 1 million dollars absorbs power of the coin. The Copper Iridium coins called 1616 have three magical points, which disables entire power in any form near it. To test the coin, it costs 0.1 million dollar chemicals. The complete test can be done only in remote sea shores.

Facts about the 1616 Copper Iridium Coin

In 1603 AD, East India Company was formed in India, with establishments in various places, with head office in England. The company started minting coins to do business according to its new system.

In the year 1616 AD, there was a Grahakutami (A complete solar eclipse) which lasted for more than 5 hours in India. The Britishers, with the help of Indian Rishis minted Copper coins with Copper Iridium metal in assorted weights and sizes. The coins were hand made.

Only 16 pieces of the coins were made totally. In order to preserve the precious lebbos, the Rishis engraved the currency denomination prevalent on one side and the nine planets on the other side. Iridium Lebbo coins are also called Navagraha Lebbos. Lebbo in Greek means sun guard. The coins have the provision to be charged when required. The special range of powers of the coins can be activated by charging the coin on the three pin points, each having different functions. After charging the coin with MRC 87 chemicals, a magnetic attraction of carbohydrate contents is generated on the coin.

Sun (Surya), Moon (Chandra), Mars (Mangla), Mercury (Budha), Neptune (Guru), Jupiter (Sugra), Saturn (Sani), Uranus (Ragu) and Venus (Kethu) are the planets engraved on the coin and are interconnected with tiny veins, all leading to the charging point.

It is said that, millions of years ago, fragments of sun and other planets might have fallen on earth, particularly in South India sub continent. It is also said that the gurus had gone to all the planets to collect the metal from each planet. The material from other planets that reached earth thus is used to imprint the corresponding planet on the coin.

Our ancestors made the metal classification ‘space metals’. Metallurgists have discovered and included three metals under this group, Ikkidium, Iridium and Virenium. These metals were heavily priced in the 16^th century and Rishis hand made the lebbo coins using the Iridium.

In 1616 The British East India Company had presented one 200 gram Iridium Lebbo coin to King Leo of Hong Kong. Later in 1871, it was auctioned for 200 Billion dollars in the U.S.A. International exhibition.

Weights and Quantities of Iridium Lebbo coins available

The different weights and quantities of the Iridium Lebbo coins made in 1616 are:

42 grams 3 pieces

65 grams 3 pieces (as errosimimic shape only)

82 grams 3 pieces (the three miraculous pin points give light indication)

200 grams 3 pieces

260 grams 2 pieces

300 grams 2 pieces (Ser denomination)

How the 1616 Copper Iridium coin looks

One side consists of Navagrahas (Nine planets) embedded on it by the great gurus and Rishis of those time. The other side has the charging point divided into three a dotted hole through which charging of the coin is possible. Also, inscribed are E; IC and ANNA 1616. For more information see the images of the sides, shown below:

Precautions

The coin has to be kept away from any HDRC Powder, which contains chemicals like Metal oxide plain powders, Metaquide liquid drops. Any tests or experiments with such materials can damage the precious Copper Iridium Lebbo coin.

Scope of the Iridium Lebbo Coin

We believe, the magical powers of the Iridium Lebbo Coin can be utilized for commercial purpose in various Industries like:

Medical research

Aviation

Telecom and Communication

Defense

Satellite systems

Power Systems

Mining

Disaster relief

Media and entertainment

Oil and gas exploration

Experiments on other Iridium Copper coins on the globe have proved that

The power of iridium copper coins can be extended to making potassium gold cyanide from the chaff of rice kernels

References

For more information on the material, readers can go through the following:

Sputnik (January 1985)

World famous metals (Serial No 2)

Rare space metal by N.Brocinam, London S.M.P.C. (Page 101)

Rare space metals written by L.Fernando, west germany (Page 41 to 43)

Andrews Lebbo Grapy (page 40)

Business Proposal

I am the partner in the holding of a 200 gm Copper Iridium Lebbo Coin. We are total of 9 partners having stake on this material. Presently the coin is kept in South India (Palghat of Kerala).

We are looking forward to sell or make productive use of this material.

We are inviting business proposals from Individuals and Organizations for the purchase or share holding of the Copper Iridium Coin.

We are putting forward three proposals.

i) The buyer can buy the material by paying us the proposed amount as a whole.

ii) The buyer can buy a certain amount of stake in the ownership of the coin.

iii) The buyer can own the material by paying a certain amount, by agreeing to pay a certain percentage of any future gains from using (or selling) the coin to the existing owners for ever.

Terms and Conditions

i) The material shall not be bought or sold for use in any destructive purposes

ii) Any party who wish to see a demonstration of the coin has to get prior appointment and should pay a nominal amount, as the cost of the presentation.

iii) The preliminary tests on the coin (De-energizing of surrounding area, heating of water, Light indication, Rice pulling) can be demonstrated by paying a nominal price.

iv) The detailed test ( near sea shore ) (which needs purchase of 0.1 million dollar chemicals) can be done at the cost of the interested buyer, along with the payment of a nominal price, which is the cost incurred to us in the event.

v) Any tests or experiments that damage the coin should be avoided.

Navabashanam

About Navabashanam

Bhogar make Lord Muruga's "Thiru Uruvam" with Nine Poison(Navabashanam)

Palani has been mentioned in the Tamil Sangam Literature as “Podhini”, which came to be called as “Palani” later, according to the historions. In “Thirumurukatruppadai” ( a Sangam Literature ) Palani has been mentioned as the 3rd “PadaiVeedu”. This was the southern end of the Kongu Nadu and edicts refer to this place as “Vaiyapuri Nadu” , which was ruled by king “Vaiyapuri Kopperumbaegan”. Many “Siddhas” are said to have lived in this region. The idol of Palani Andavar is said to have been made of “Navabashanam”.

The deity of Palani is known as Dandayudhapani Swami, the Lord having the Staff in his Hand. The deity at the sanctum sanctorum is made out of an amalgam of nine minerals popularly called Navabashanam. Some people say it is a combination of medicinal herbs.

It consits of the following items :

Veeram

Pooram

Rasam

Jathilingam

Kandagam

Gauri Pasanam

Vellai Pasanam

Mridharsingh

Silasat

The deity is in a standing position with a baton in his hand. He has the look of a person who has renounced all worldly pomp. He has just a loincloth besides the baton. He is a mute messenger of the great precept 'Renounce all to reach Me'. The icon is unique in the whole world. It was made by siddha Bhogar by combining nine poisonous substances (Navapashanam). Murugan signifies beauty and Lord Murugan of Kurinji land is the god of Beauty and Youth.

Bhogar worship to Muruga

Navapashanam-1

Vaidyanathan: Siva abinding near Sirkazh is called Vaidyanathan, and the place is Vaithisvaran Koil. Muruga in that temple is called Muthukumaran. That is the reason for naming Muruga of Periyanayaki amman Koil as Muthukumaran.

As Palani is a place where ills are cures, the name of Muruga become Muthukumaran. You may wonder what is the connection between curing and Muthukumaran. Shell may be insignificant. But the pearl is very precious. Forms a low source a precious material is borne, Sugar-cane, ivory, rain, paddy too are all sources of pearl. Likewise from the sweat of the forehead Siva, contain curative properties. Has not that pearl - Muthukumaran - become famous? You might have heard of Muthu Paspam, which curus several maladies. Here Bogar did not carve the main deity in stone. On the contrary he solidified the essence of Nava Pashanam and from that material formed the Moolavar. Pashanam means poison. If it wxcwwds the proper proporation it will become poison. In propor proporation Bogar has used it. There is a special stone too called Pashanam!

It is customary to plant a stone on the 16th day of death of a person. That too is called Pashanam. In Palani not one Pashanam but nine Pashanams have been used. Eighty one Siddhars joined Bogar, mixed 81 Pashanams, converted in into 9 mixtures and made this image. That is why it is called Nava Pashanam. We have heard of 18 Siddhars. Their disciples were 81. The Pashanam was burnt by 9 type of fuel, filtered 9 times ( 9 x 9 =81 ) and that means 81.

1. Avarai, Chittamurutti - With this fuels they will heat for disease caused by heat.

2. Usil, Ilandai - By heating with this fuels, they cured discapes of eye, nose, ear and feet.

3. Iluppai, Tamarind - For oils for external use.

4. Vembu (Neem), Pooarasu, Arasu - for diseases of Vadha.

5. Nuna, Vanni, Mavilangam - for Vadha diseases external and internal.

6. Nelli (Amla), Vembu (Neem), Vila for Pitha ills.

7. Usil, Vel, Konrai, Vengai; for Phlegm.

8. Panai (Palm), Thennai (coconut), Vembu (Neem); for all medicines which contain Rasa.

9. Vel, Vengai; for medicines which contain iron.

After heating with the obove 9 types of fuel they will filter 9 times.

1. Excrement of Kadai 1

2. " Kowdri 3

3. " Kukkudam 10

4. " Varaham 50

5. " Peacock 100

6. " Elephant 1000

7. " Manal ( sand ) 90

8. Earth 4 finger measure

9. Garm 800

The first six are heated by fuel of the excreta then spreading sand buried in earth to a depth of 4 finger lengths. Then burnt by fuel of excreta of cow.

A substance called pashanam is sold in shops. Lingam, Chendooram, Gaudhakam, Padharasam, Rasakarpuram, Vediuppu, Paraiuppu, Chavuttuppu, Valaiuppu, Erukam flower, Kanthakam, Lokam, Venkaram, Changuppodi, Kalnar, Silachit, Chatravedi, Poonir, Chippithasan, Erukkampal, Kallippal, Thurusuparpam, Chippi, Chunnam, Anda Chunnam, Porikaram, Thalakam, Kal Channambu, Corel, Tin, Evacharam, Sambarani, Iron, Manosilai, Thakkam,Aritharam, Kundumani all these are ingredients in the pashanam.

When all these things are heated and filtered a semi liquid mass hardens into a stone.

Everyday ablutions are performed. During Kartigai days it will be in hundreds. These ablution provide not only grace of Muruga but also cures for ills. When milk ablutions are performed, the milk after coming in contact with the Navapashana body of Muruga absorbs all its medicinal qualities. The beauty is that for a long time the milk is spoiled. Similar is the case with sandal ablution. The sandal paste over the body of Muruga is removed in the shade. A process to preserve the sandal paste has been finished by Somaley.

We ourselves should purchase good sandal bars and grind it . Kasturi, Korochanai, Saffron, Pachaikarpuram, Kesari Powder, Sandal pieces, Sandal attar, panneer, Punugu, Poolankizangu. Mattipal should be of taken and mixed with ground sandal in proporation of 1 measure to 1 tola. one tola is 12 gms which is equal ato old one rupee weight. Now it has become a medicine.

would like to present the role of Salagrama aradhanai in the daily lives of observant SVs. Even though Salagrama aradhanai is not an ordained ritual like nithya and naimitika karmas, it is highly recommended. So much as, no householder can lead a traditional SV life without at least one SG moorthy. A household with a set of 12 is verily a Dhivya Desham.SVs believe the supreme Brahman is an inseparable combination of Dhivya Atma Swaroopam and Dhivya Managala Vigraham, both of which are nityam and infused with ocean of auspicious characteristics -- கல்யாண குணகண மஹார்ணவம் . This supreme Brahman, characterized by the eternal Dhivya Atma Swaroopam and Dhivya Managala Vigraham, takes five avatharas, says Pancharatra Agama, a part of divine SV canon. They are called, (i) Para, (ii) Vyuga, (iii) vibhava, (iv) Antharyami, and (v) archa.
Para roopam is the one in Sri vaikuntam, the one that the Nitya Soories and Mukthas are supposed to serve and enjoy eternally.
Vibhava comprises of Vasudeva, Sankarshana, Pradyumna, and Aniruddha and they have some esoteric theological roles to play in creation, sustenance, and dissolution.
Vibhava refers to the incarnations most people are familiar with. There are some 32 odd such avatharas, of which 10 are well known as Dasa Avathara. Lord Sri Krishna explained the reason for these avatharas in chapter 4.
Antharyami, aka, haarta, is a specific roopam the lord takes and resides in the heart of all human beings. This form has four hands, shangu, chakram, etc. The purpose of this avathara is to reveal himself to those who engage in Bhakthi Yoga -- which requires constant and uninterrupted meditation upon this roopam.
The fifth type, Archa avathara, refers to properly consecrated vighrahas and Salagramas. In the case of Vighrahas, only at the time of consecration the idol becomes divine. At that time, the Lord is supposed to take a physical form made up of Sudda Satva (different from the material of three gunas we see in the material universe), identical in shape and form to that of the statue, and pervades it completely. From that point onwards, the vighraha is no different from the Iswara in Sri Vaikunta.
No consecration is necessary for Salagramam because the lord is said to reside in all salagramas on his own accord.For SVs, all the five types are non-different. Yet archa is supposed to be very special. Swami Pillai Lokachariya compares these five categories to water desired by an intensely thirsty person, as follows.
Para is up in Sri Vaikuntam like water in the clouds -- of not much use to anyone,
Vyuha is inaccessible like Thirupparkadal,
Vibhahava are like flood water of river -- long gone
Antharyami is like water deep down in the ground, requires tremendous effort to get to,
Archa roopams are like cool waterholes readily available in all temples and homes, for one and all. So, Swami concludes, like the water in a waterhole for a thirsty man, archa avathara is the best for one tied down by samasara.Thiruvaradhanai for archa moorthees must be performed everyday. The divinity of Vighraha moorthees will be lost if thiruvaradanam gets interrupted. Salagrama moorthees are somewhat forgiving as the lord is supposed to be ever present in them on his own accord. However, aradhanam for salagrama moorthy must also be not interrupted. In case of saucham, one should have somebody else perform the aradhanai. In case of unavoidable interruption, thirumanjanam of salagrama moorthy in milk is supposed to make up for the lapse, but for Vighrahas a new consecration is needed to restore the divinity.The thiruvaradhanam for vighrahas must follow strict rules, but salagrama aradhanai can be brief or elaborate, as per desire or convenience. At the very least, one must offer plain cooked or rice, or even just fruits and recite the following two verses from Nachchiyar Thirumozhi.
நாறு நறும் பொழில் மாலிருஞ்சோலை நம்பிக்கு நான்நூறு தடாவில் வெண்ணை வாய்நேர்ந்து பராவி வைத்தேன்நூறு தடா நிறைந்த அக்காரவடிசில் சொன்னேன்ஏறு திருவுடையான் இன்று வந்திவை கொள்ளுங்கொலோஇன்று வந்தித்தனையும் அமுது செய்திடப் பெறில், நான்ஒன்று நூறாயிரமாக் கொடுத்து பின்னும் ஆளும் செய்வன்தென்றல் மணம் கமழும் திருமாலிருஞ்சோலை தன்னுள்நின்ற பிரான் அடியேன் மனத்தே வந்து நேர் படிலே.Now, strictly speaking, if cooked food is going to be offered, only a person who is a fully initiated SV (panca samskara) must prepare the food. All vessels and implements must be ritually cleansed, a process called சித்தப் பண்ணுவது. Finally, the SVs are supposed to restrict their intake of food only to the prasdam offered to the Salagramam moorthy during thiruvaradanam. This is the long and short of why SVs are strict about what and where they eat anything.I offer this explanation without making any value judgment. My own personal position is well known here.

NagaRathanam ( Snake Stone

This NagaRathanam Stone This is The Stone from Snake

Pictured above is a very rare sight, a Naga Mani or Cobra Pearl

Pearls from the cobra's hood are perfectly round, like fish pearls, and they radiate a natural effulgence. By repeated washing, a snake pearl becomes as lustrous as a polished sword blade. Anyone possessing such a naga-mani attains piety, rare good fortune, and eventually becomes illustrious as a leader of men, complete with a great collection of all precious gems.

Upon acquiring such a snake pearl, the owner should have the rite of installation performed by a priest who is learned in religious formalities. After hearing from the owner how the pearl was obtained and conducting the benedictory ritual, the priest should formally install the jewel inside the owner's house. On such an auspicious occasion, the sky becomes filled with dark and heavy rain clouds, thunder, and flashing lightning, such as exhibited at the time of universal dissolution. A man in possession of such a snake pearl will never be troubled by snakes, demonic beings, diseases, or disturbances in any form.