The third Khanda of the Vishnudharmottara Purana (5th century) serves as a source for Indian art and painting.
Features a chapter called Chitrasutra outlining:
Art of image making (pratima lakshana).
Canons of painting including:
Techniques and tools.
Materials and surfaces (walls).
Perception, perspective, and depiction of three-dimensional figures.
Roobheda: Looks and appearance.
Pramana: Measurements, proportions, and structure.
Bhava: Expressions in painting.
Lavanya yojana: Aesthetic composition.
Sadrishya: Resemblance to subjects.
Varnikabhanga: Use of brushes and colors.
These canons guide artists, influencing painting styles throughout Indian history.
Miniature Paintings: Small, portable, detailed artworks observed closely. Not intended for display on walls.
Mural Paintings: Large artworks decorating patrons' mansions.
Manuscript Illustrations:
Include artistic representations of texts like epics and literary works.
Texts usually handwritten in designated spaces above or below the illustrations.
Often presented in thematic sets, such as those for Ramayana, Bhagavata Purana, and others.
Colophon pages provide crucial information about the artworks:
Names of patron, artist, date, and place of creation.
Often lost over time, leading to challenges in attributing works.
Manuscript paintings are fragile, vulnerable to damage from fire, humidity, and mishandling.
Often gifted as dowries or exchanged between royalty, contributing to their dispersion.
The reconstruction of painting history is complicated due to missing colophon pages and undated sets.
Mainly flourished in the western regions, particularly Gujarat, Rajasthan, and parts of Central India.
Due to prosperous trade networks, wealthy merchant patrons, especially from the Jain community, influenced art themes.
Focused on Jain themes, bolstered by the tradition of shaastradaan (donation of books).
Important texts include Kalpasutra, Kalakacharyakatha, and Sangrahini Sutra:
Kalpasutra focuses on the lives of the 24 Tirthankaras with key events like conception and enlightenment.
Kalakacharyakatha follows Acharya Kalaka's quest to rescue his sister.
Uttaradhyana Sutra outlines Mahavir's teachings on monastic conduct.
Initially painted on palm leaves, treated for durability before the introduction of paper in the 14th century.
Paintings adhere loosely and feature moments from Jain narratives blended with text sections.
Use of bright colors and patterns, thin lines, and attempts at three-dimensionality.
Elements of architecture reflect the political contexts of the time.
Notable creative phase (1350-1450), showcasing dynamic representations of figures and landscapes, with lavish gold detailing indicating high social status of patrons.
A transition into pre-Mughal or indigenous styles, which showcase transparency in fabrics and suggestive architectural elements.
Emergence of Sultanate School of Painting blending Persian and indigenous styles:
Defined by hybrid features, as seen in works like Nimatnama.
Illustrates a hybrid style, encompassing rich culinary and cultural narratives.
Active during the 11th and 12th centuries, notable for Buddhist art.
Produced from Buddhist monasteries, spreading artwork across South East Asia.
Works like Astasahasrika Prajnaparamita exemplify Pala style with flowing lines and subdued colors.
The Pala dynasty weakened due to Muslim invasions in the early 13th century, marking the end of Pala art.
The manuscript painting tradition in India is a rich tapestry of cultural, religious, and artistic influences.
Understanding these various schools and styles enhances appreciation for India's artistic heritage.