Indian paintings provide an aesthetic continuum that extends from the early civilization to the present day. This form of art inIndia is vivid and lively, refined and sophisticated and bold and vigorous at the same time. From being essentially religious inpurpose in the beginning, Indian paintings have evolved over the years to become a fusion of various traditions whichinfluenced them.
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 onthe walls of the caves. The walls and ceilings were painted with frescoes in vibrant mineral colours. These paintings turned outto be of a quality which has never been surpassedThe themes of these wall-paintings range from Buddhist legends to decorative patterns of flowers and animals. They seek todepict permanent human values and principles and are also records of the social texture of the times. The Golden Age of Indiaunder 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 andlight and colour and palpable form are fused into one separate reality.
The essence of the Indian miniaturists' visual expression lay in the idea of symbolism. In the language of symbols theyrecorded their communion with nature, rich in wonder, awe and delight. Their minds excelled in expressing what lay beyond theprimary 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 senseexperiences to unifying ideas, from the mutable aspect to an ever-present situation. Subjects derived from myths served as thebase 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 chitrawas 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 artistdrew his inspiration from a musical text called Narada Shiksha. But while the text dates back to the early beginnings of art, itsartistic depiction did not gain credence till about a hundred years later, when artists and painters took cognizance of therelationship that governs sound and sentiment. This art form soon generated into a dynamic movement, fanned by patronageand 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, thearchitecture of the land, the features of the faces come into sharp focus under the painter's lyrical eye. The thematic stance hasgiven 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 appreciatingthe charm of a bygone era.Yet within this uniform diffusion of compositional selection, there are distinct differences. These are due to the different schoolsof 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 landscapeand architecture. The hill kingdoms of Kumaon and Kangra are marked by fine drawing, while the plateau regions of Malwaand 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