Thanjavur has a unique place in the history of Indian painting, in that it houses the 11th century Chola wall paintings in the Brihadeeswarar temple (Periya koyil or Pervudaiyar koyil in Tamil) as also paintings from the Nayak period (many times superimposed on the earlier Chola paintings ) dating to the 16th century. The fall of the Vijayanagara Empire and the sack of Hampi in the Battle of Talikota in 1565 CE resulted in the migration of painters who had been dependent on the patronage of the empire. Some of them migrated to Thanjavur and worked under the patronage of the Thanjavur Nayakas. Subsequently, the Maratha rulers who defeated the Thanjavur Nayakas began to nurture the Thanjavur atelier. The artists absorbed the local influences and the individual tastes of their Maratha patrons which helped evolve the unique Thanjavur style of painting. The Thanjavur artists in addition to decorating temples also began painting and decorating the major buildings, palaces, chatrams and residences of the Maratha kings and nobility.
The Vijayanagara empire, founded by Harihara and Bukka, was for long a bulwark against the rapidly advancing Islamic influence from the nearby Deccan and the farther North. While the foreign influences did gradually percolate into the Peninsular South, the Vijayanagara empire ensured that the older Hindu artistic traditions were protected and preserved. The empire had reached its zenith under Krishnadevaraya (1509–29). Its territory stretched across the entire South Indian peninsula, from the Tungabhadra river in the North to Kanyakumari in the south and the Malabar coast on the Arabian sea in the west to the Coromandel coast on the Bay of Bengal in the east at its peak. In 1521–22, Krishnadevaraya travelled to the Tamil country (Tamilagam) visiting holy places and as was his wont, made munificent donations to temples and other religious establishments. It can be surmised that some of this munificence was also channeled into art and artists.
The Vijayanagara Rayas administered their vast kingdom through Nayaka Governors who also administered the outlying provinces or states under the supervision of the Raya. The third important Nayaka state in Tamil country, Thanjavur, (Senji and Madurai being the others) had been established under the reign of Krishnadevaraya's half-brother and successor Achyutaraya (1529–42). The Thanjavur Nayaka line commenced with Sevappa Nayaka (1532–72). Sevappa ruled for several years, ably supported by his son Achyutappa (1564–1614), who later succeeded him. It was during Achyutappa's reign that the Vijayanagara empire fell, leading to the exodus of numerous litterateurs, philosophers, musicians and artists who migrated to several other neighbouring kingdoms like Mysore and Thanjavur. Achyutappa was succeeded by his son Raghunatha Nayaka who in turn was succeeded by Vijayaraghava Nayaka. Raghunatha, who was possibly the most successful Thanjavu…

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Tanjore paintings were painted by 'Moochys or Artists of India' according to the British chronicler Charles Gold in his book Oriental Drawings published in 1806. Traditionally, it is well known that the Raju community of Thanjavur and Tiruchi, also called as Jinigara or Chitragara and the Nayudu community of Madurai were the artists who executed paintings in the Thanjavur style. The artists (Rajus & Naidus) were originally Telugu speaking people from the artistically vibrant "Rayalseema" region of Andhra, who moved to Tamil Nadu in the wake of the fall of the Vijayanagara empire and the establishment of Nayak rule in Madurai and Thanjavur.

The artists turned out a wide repertoire of paintings on different subjects and of varied quality depending upon the patron's interest, urgency and most importantly influence and financial capacity. However, the art was by and large a sacred task to be performed with a reasonable degree of ritual purity and humility by the master craftsmen, many of whom chose to remain anonymous and never signed their paintings, true to the Indian artistic tradition. However a few works signed by the Thanjavur artists are also known. C. Kondiah Raju, the famous calendar artist from Kovilpatti, was one of the illustrious descendants to make a name as an artist during modern times from the Raju community.

The Tanjore style of paintings spring from a late phase of South Indian classical art, when the society in which it originated was itself going through turbulent times. Needless to say, Tanjore paintings are informed by a syncretic style, notable for its assimilation of the contemporary diverse cultural influences – Tamil, Telugu, Maratha, European, Deccani, Folk, etc. The style drew heavily from the other major South Indian styles of painting which were all deeply influenced by the Vijayanagara school. The closest influences among these could be the Kalamkari and Tirupati paintings.

Although artists used natural colours such as vegetable and mineral dyes in the past, artificial paints have gradually taken over. Tanjore paintings have a stunning colour scheme of vivid reds, blues, and greens. This, along with the paintings’ richness and dense compositions, distinguishes them from other Indian art styles. Bal Krishna, Lord Rama, and other gods, goddesses, saints, and subjects from Hindu mythology are popular themes in Tanjore paintings.

Tirupati paintings, in particular were produced in the famous temple town using different media and techniques, like painted terracotta reliefs, brass repousse works, paintings on paper and canvas, etc. The commonest examples were painted and gilded terracotta relief slabs of the deity, framed and packaged in neat wooden boxes which could be carried back as holy memorabilia and worshipped in the Puja room by the pilgrim-devotee. Paintings of the main deity, gilded and gem-set, in a manner similar to Tanjore paintings are also known.

Tanjore paintings were also closely related to the crafts of painted and carved wood on the one hand and gilded, stone set jewellery work which flourished in Thanjavur. It is also pertinent to remember that Thanjavur art was functional, in that it was made for a specific purpose on a specific demand from a customer. And it is also in the same context that one understands the iconic style of Thanjavur paintings in contrast to say, the Pahari miniatures or even Surpur paintings.