These paintings were used for domestic worship and served as a portable puja altar.
Many of the traditional paintings of the Mysore School which have survived until today, belong to this reign or later.
The ruler Krishnaraja Wadiyar III, who was the twenty second Maharaja of Mysore, from 1799 to 1868, put a renewed effort into encouraging the arts. Up until that point, Mysore paintings were mostly murals, and very few of those survive today. Subsequent rulers also patronised these painters, commissioning them to work on palaces and temples. The genesis of the Mysore School of painting can be traced back to the rule of Raja Wodeyar I (1578–1617), who provided patronage to several families of painters of the Vijayanagara School in his capital Srirangapatna. Absorbing local techniques, their styles changed over time to form the different schools of paintings that are famous in South India even today. When the artisans lost this patronage, they migrated to other areas such as Tanjore, Mysore and Shorapur, looking for work. The rulers of Vijaynagara had been great patrons of the arts. This classical style of South Indian painting was initially born out of the dissolution of the Vijaynagara Empire in 1565. The former state of Mysore established a unique and distinctive form of painting that came to be known as the Mysore School in the 17th and 18th centuries. While he was born into a family that was involved in farming and business, the artist always had a keen interest in art, and has won several awards for his work over the years.
This artwork has been created in 2008 by artist Ram Shiva Kumar (born 1960) and carries his signature on the bottom right. At the top right is the rishi Tumburu Maharshi and to the left, it is most likely Parashurama. Lakshmi and Saraswati are fanning her, and Rajeshwari is sitting on Shiva as she is the supreme form of Shakti. Seated around her on the bottom left are Brahma and Vishnu, and to the right is Karthikeya. She is also one of the ten Mahavidyas who reside in Manidweep. She is the ‘Tantric Parvati’, and the most potent incarnation of Adi Parashakti - the universal Mother (the original creator, observer and destroyer of the universe). In her four hands, she holds sugarcane, a lotus, pasha (rope) and ankusha (axe with spear). This beautifully detailed Mysore Painting with elaborate use of gold depicts Goddess Rajarajeshwari, also known as Tripura Sundari (beautiful in the three worlds).
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