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Paintings

Indian paintings provide an aesthetic continuum that extends from the early civilization to the present day. This form of art in
India is vivid and lively, refined and sophisticated and bold and vigorous at the same time. From being essentially religious in
purpose in the beginning, Indian paintings have evolved over the years to become a fusion of various traditions which
influenced them.

Murals
During the 4th century AD. in a remote valley in Western India, work began on the Ajanta caves to create a complex of
Buddhist monasteries and prayer halls. .

The sculptor-monks who lived here during the months of rain also took up a novel exercise of painting large tempera murals on
the walls of the caves. The walls and ceilings were painted with frescoes in vibrant mineral colours. These paintings turned out
to be of a quality which has never been surpassed

The themes of these wall-paintings range from Buddhist legends to decorative patterns of flowers and animals. They seek to
depict permanent human values and principles and are also records of the social texture of the times. The Golden Age of India
under the Mauryan Empire was marked by luxurious living and splendour. The Ajanta murals were painted during this time of
prosperity.

These murals also formed the basis of an entire aesthetic tradition which later spread to other countries in Asia. Versatility of
line and form and role of color and composition are the endearing features of this art form. These paintings create a feeling of
gaiety, wonder and resonance in the beholder. The viewer is transported into another state of consciousness where sound and
light and colour and palpable form are fused into one separate reality.

Miniatures
The essence of the Indian miniaturists' visual expression lay in the idea of symbolism. In the language of symbols they
recorded their communion with nature, rich in wonder, awe and delight. Their minds excelled in expressing what lay beyond the
primary function of lines and pigments.'The master painter disposes', Buddha once remarked while alluding to the art of
metaphysical teaching, 'his colours for the sake of a picture that can not be seen in the colours themselves.'

Painters delighted in unfolding the other dimension of the object; the basic shift in emphasis was from the multiplicity of sense
experiences to unifying ideas, from the mutable aspect to an ever-present situation. Subjects derived from myths served as the
base for such a transformation of nature into art, to reveal aspects of existence, human and supernatural or divine.

Indian miniature painting is a 'visual chamber music' to be savoured slowly, intently and privately. 'Miniature'

generally refers to a painting or illumination, small in size meticulous in detail and delicate in brushwork. The art of palm-leaf
illuminations were traditionally labelled as patra-lekhana in medieval Indian canons. But later a generalised term pata chitra
was conviniently used to define other kinds of painting than wall painting. It indeed included painted scrolls and panels.

Yet these paintings are not detached visions of artistic expression but provide the basis of Indian music and art forms. Most of
these masterly works are visual creations of emotional and perceptive concepts that depict the ragas or musical modes of
Indian classical music. Miniature painters employed at various medieval courts, discovered the potential of limitless self-
expression in their depiction and today there are 130 known sets of such miniatures.

These pictorially articulate visions of art first made their appearance in the Indian cultural scene in the 5th century. The artist
drew his inspiration from a musical text called Narada Shiksha. But while the text dates back to the early beginnings of art, its
artistic depiction did not gain credence till about a hundred years later, when artists and painters took cognizance of the
relationship that governs sound and sentiment. This art form soon generated into a dynamic movement, fanned by patronage
and fulfilled itself into figurative and pastoral scenes, making music the subject matter of art, through colour and mood.

These beautiful paintings also depict the court life of the time when they were created. The raiment of the figures, the
architecture of the land, the features of the faces come into sharp focus under the painter's lyrical eye. The thematic stance has
given the works a certain uniformity, a decided formalism and a feel of the glory and grandeur of the times. The gossamer-
veiled women with pinched noses, doe-eyes and graceful stances are not just an art form, but become a basis for appreciating
the charm of a bygone era.

Yet within this uniform diffusion of compositional selection, there are distinct differences. These are due to the different schools
of art. The Persian influence upon the Indian folk, or the workmanship of one court artist or another, have given this trove of
paintings a varied content. The schools of Mewar or Udaipur or Jaipur in Rajasthan have incorporated their desert landscape
and architecture. The hill kingdoms of Kumaon and Kangra are marked by fine drawing, while the plateau regions of Malwa
and Bundelkhand specialize in attractive brush work. The crowning glory of the miniature series is the Provincial Mughal works,
attributed to the reign of emperors Akbar and Jehangir. These depict the rulers themselves as well as historical personages
and musicians. The Tanjore paintings of the South depict Krishna and Shiva and reflect the mythical source of music.

Folk Painting
The somewhat lesser-known traditions of Indian painting are the so-called "folk"paintings dating back to a period that may be
referred to as "timeless". These are living traditions, intrinsically linked with the regional historico-cultural settings from which
they arise.

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