Paintings Final

ASTRA-2024 (AnC+Ancient India Module)
PAINTINGS
Painting is one of the most famous of art, giving expression to human thoughts and feelings
through the media of line and colour.
1. Prehistoric-Paintings
The earliest Indian paintings were the rock Petroglyphs:

painting of pre-historic times, which are known as Images created by removing
petroglyphs. part of a rock surface by
carving, abrading, picking,
incising, as a form of rock art.
Lower Palaeolithic Middle Palaeolithic Upper Palaeolithic
 2.5 million  300,000-30,000  40,000-10,000

years-100,000 years ago years ago
years ago  No evidence of  proliferation of
 No evidence of paintings artistic activities.
paintings
 By the upper palaeolithic times, we observe proliferations of artistic activities.

 The subject of their drawings were human figures, human activities, geometric designs,
and symbols. Paintings found here can be divided into three categories: Man, Animal,
and Geometric symbols.
Upper Palaeolithic ● Linear representation

Period ● Green and Dark Red
● Huge animal figures (bisons, elephants, tigers, rhinos, boars)
besides stick-like Human figures.
● Mostly geometric patterns (few-wash paintings)
● Green-dancers
● Red-hunters
Green paintings at Bhoranwali, Bhimbetka
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Mesolithic Period ● Most paintings of prehistoric times belong to this period.

● Paintings became smaller in size compare to Palaeolithic
period.
● Hunting scenes – people hunting in groups, armed with
barbed spears, pointed sticks, arrows and bows, men with
traps and snares (probably to catch animals), hunters
wearing clothes and ornaments
● Animals – Elephant, bison, tiger, boar, deer, antelope,
leopard, panther, rhino, fish, frog, lizard, squirrel, and
sometimes birds.
● Other scenes – Animals chasing men, Men chasing animals,
fear of animals, feeling of tenderness and love for them.
● Recently ASI discovered a rock painting depicting a person
tilling a piece of land in Guntur, Andhra Pradesh.
Chalcolithic Period ● Paintings of this period reveal the association, contact, and
mutual exchange of requirements of the cave dwellers with
settled agricultural communities of the Malwa plains.
● Themes: Pottery, Metal tools, adventurous men, youthful
and majestic animals, rituals of birth, death, marriage, food
habits, chariots.
● Colors: red (from haematite), green (from chalcedony), white
(from limestone)
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Bhimbetka (UNESCO World heritage site)
● Located in Raisen District (MP) → Southern edge of the
Vindhya hills. South of these rock shelters are successive
ranges of the Satpura hills.
● It is inside the Ratapani Wildlife Sanctuary,
embedded in sandstone rocks.
● Spans the prehistoric Palaeolithic and Mesolithic periods.
● Features prehistoric cave paintings, the earliest are about
30,000 years old.
● Show themes such as animals, early evidence of dance and
hunting.
● The Bhimbetka site has the oldest known rock
art in the Indian subcontinent.
● Painting of a man holding a trident-like staff and
dancing has been named "Nataraj" by
archaeologist V. S. Wakankar (who discovered
these caves for the first time in 1957-58).
● One is called “zoo-rock”.
● Reminiscent of Buddhism are also found.
● One mythical boar is also observed from
Bhoranwali.
Other Early rock paintings are:

1. Lakhudiyar in Uttarakhand,
2. Kupgallu in Telangana,
3. Piklihal and Tekkalkotta in Karnataka,
4. Bhimbetka and Jogimara in Madhya Pradesh etc.
Some of the characteristics of these early paintings are:

● Humans are represented in a stick-like form.
● A long-snouted animal, a fox, and a multi-legged lizard are the main animal motifs in
the early paintings (later many animals were drawn).
● Wavy lines, rectangular-filled geometric designs, and a group of dots also can be seen.
● Superimposition of paintings – earliest is Black, then red, and later White.
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Jogimara Caves:
● Ramgarh Hills, near Amarkantak, origin of Narmada, Sarguja, Chhattisgarh.
● Best example of pre Buddha paintings. Dated 300BC-1000Bc.
● Roof has seven paintings that includes Human figure, fish and elephant etc.
● First human endeavours as expert painting.
Indian Paintings:
● Rock painting: Bhimbetka caves (M.P.): Drawings and paintings of animals.
● Cave Painting: Narsinghgarh(Maharashtra): Skins of spotted deer left drying.
● Both Hindu and Buddhist literature refer to paintings of various types and techniques.
● Lepyacitras: Representation of folklore,
● Lekhacitras: Line drawing and painting on textile
● Dhulitcitras: Painting on the floor with rice etc.
● Vishnudharmottara purana (7th century A.D.): A section on painting called
Chitrasutra which describes the six organs of painting like variety of form, proportion,
lustre and portryal of colour etc.
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2. Classification of Paintings
Paintings
MURALS MINIATURES
Works on walls or Human figurine

solid structures seen with side
referred as profile.
Murals.
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2.1 Mural Paintings:
Material Used:
● Principal colours: Red ochre (dhaturaga), Vivid red (kum kum or sindura), yellow
ochre (haritala), indigo (blue), lapis lazuli blue, lampblack (kajjala), chalk white
(Khadi Mitti), terra verte (geru mati) and green.
● All these colours were locally available except lapis lazuli which was imported from
Pakistan, Central Asia and Persia.
● Mixed colours e.g. grey were used on rare occasions.
● Use of colours were decided by the theme and local atmosphere.
Mural Paintings of Ajanta:

● Ajanta caves: located in Maharashtra (Waghora river).
● Ajanta Caves are UNESCO world heritage site.
● The main theme of the paintings is the depiction of various Jataka stories, different
incidents associated with the life of Buddha, and the contemporary events and social
life also. The ceiling decoration invariably consists of decorative patterns, geometrical
as well as floral.
● Depiction of all aspects of Indian life eg. princes in their palaces, ladies in their
chambers, coolies with loads beggars, peasants, and ascetics, together with all the
many beasts, birds, and flowers of India.
● Most of the Buddhist Paintings are found to be Buddhism centered but are mostly
secular in nature.
● The paintings at Ajanta fall into two broad phases.
○ The earliest is noticed in the form of fragmentary specimens, which are datable
to second century B.C. The headgear and other ornaments of the images in
these paintings resemble the bas-relief sculpture of Sanchi and Bharhut.
○ The second phase of paintings started around 5th – 6th centuries A.D. and
continued for the next two centuries. The specimen of these exemplary
paintings of Vakataka period could be noticed in caves. The variation in style
and execution in these paintings also are noticed, mainly due to different
authors of them. A decline in the execution is noticed in some paintings as
indicated by some rigid, mechanical and lifeless figures of Buddha in
some later period paintings.
● Painting technique:
○ The paintings were executed after elaborate preparation of the rock surface
initially.
○ The ground layer consists of a rough layer of ferruginous earth mixed with
rock-grit or sand, vegetable fibres, paddy husk, grass and other fibrous
material of organic origin on the rough surface of walls and ceilings.
○ A second coat of mud and ferruginous earth mixed with fine rock-powder or
sand and fine fibrous vegetable material was applied over the ground surface.
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○ Then the surface was finally finished with a thin coat of lime wash.
○ Over this surface, outlines are drawn boldly, then the spaces are filled with
requisite colours in different shades and tones to achieve the effect of rounded
and plastic volumes.
○ The colours and shades utilised also vary from red and yellow ochre, terra
verte, to lime, kaolin, gypsum, lamp black and lapis lazuli.
○ The chief binding material used here was glue.
○ The paintings at Ajanta are not frescoes as they are painted with the aid of a
binding agent, whereas in fresco the paintings are executed while the lime
wash is still wet which, thereby acts as an intrinsic binding agent.
● Examples:
Padmapani/Avalokitesvara Symbol of Buddha’s compassion
Vajrapani Symbol of Buddha’s power
Manjusri Symbol of Buddha’s wisdom
Fig: Vajrapani Bodhisattva
It is a painting which dates

back to the late first century Vajrapani, also known as
CE. Indra, is a male figure
The Bodhisattva is holding a associated with power and
padma (Lotus), has large strength. He is often
shoulders and has three bents portrayed holding a vajra, a
in the body creating a ritual weapon used in
movement in the picture Buddhist ceremonies, in his
space. right hand.
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Other Murals:
Name Specs
Ellora Cave ● Mostly limited to Kailasha temple.

● Paintings related to all three major religion.
● 2 paintings: one at Kailasha and the other one in the Jainist Indra Sabha
(grotto)
Bagh Cave ● Close to Ajanta except figures more tightly modeled, more earthly and
human.
● Rang Mahal → at cave 4, depic ng Buddha and Jataka tales.
● More secular.
Arnamalai ● TN, Jain temples

● Depict Tales of Astathik Palakas and Jainism.
Ravan Chhaya ● OD, ancient fresco.

● Royal Procession etc.
Lepakshi ● Andhra, temple walls

● Made during Vijayanagar. Depict decline in quality.
● More secular.
Sittanavasal ● TN, Rock cut Jain temples

● Sittanavassal, Kanchipuram, Malayadipatti and
Tirunalaipuram: Wall painting of South.
● The paintings of Sittanavasal (abode of the Jaina Siddhas) are connected
with Jain themes while the other three are Saiva or Vaishnava in theme
and inspiration.
● Despite having a very traditionally secular design and theme the
paintings of these times started showing the impact of medieval
influences i.e. flat and abstract surfaces on the one hand and linear and
somewhat angular designs on the other.
Sittanavasal Cave:[Arivar koil]

● Pandyan Architecture, Tamil Nadu
● Rock cut monastery of Arihants, Created by Jains
● Murals Painted vegetable and mineral dyes.
● Roof painted → depic on of a lotus tank with images of men, women,
animals, birds, fishes representing Samavasarana faith of Jainism.
● One Pillar with dancing girl, king and queen.
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2.2 Miniature Paintings:
Paintings which are handmade, colourful and small in size. The earliest miniatures can be
traced back to the 7th century AD.
Pala School:
● Found as part of Manuscripts.
● Generally executed on a palm leaf or vellum paper.
● Mostly lonely figures, rarely finds group paintings.
● Buddhism esp. Vajrayana school.
● Ex: Astasahasrika Prajnaparamita (means the
perfection of Wisdom): written in eight thousand
lines. It was executed at the monastery of Nalanda
during the reign of the Pala King, Ramapala, in the last quarter of the eleventh
century.
Apabhramsa Art:
● Origin to Guj-Mewar region. 11-15th Century.
● Mostly Jain later Vaishnava.
● Gita Govinda, Secular ton.
● Figure shows the birth of Mahavira.
Medieval times:
Delhi Sultanate:
● Alauddin Khalji (1296-1316): we have mural painting, miniature painting (of illustrated
manuscripts) and paintings on cloths. During the Sultanate period, we notice the Persian
and Arabic influences on Indian painting.
● During 14th – 15th centuries A.D. miniature painting emerged as a powerful movement in
Gujarat and Rajasthan and spread to Central, North and Eastern India because of the
patronage of rich Jain merchants.
● Eastern India >> Pala kingdom in the 9th – 10th >> Miniature painting developed.
● Miniature: Made on perishable materials. In this category, Buddhist, Jain and Hindu
manuscripts were illustrated, on palm leaves. Resemble the Ajanta style, but on a miniature
scale. These were made on the request of the merchants, who donated them to the temples
and monasteries.
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Mughal Paintings:
● Generally remained confined to miniatures either as book illustrations (narrative
paintings) or as a single works to be kept in albums (album painting).
● Babur: No contribution to paintings as such but he is said to have patronized the
Persian artist Bihzad.
● Humayun: Literally origin of Mughal school.
“Princes of the house of Timur” is an
important painting. Executed on cloth, quite
large in size. Humayun brought two Persian
artists Abdul-Samad and Mir Sayyid Ali
when he returned from court of Shah Tamasp
I.
● Akbar and his successors brought
revolutionary changes to painting and sensual
illustrations. Largely focused on illustrating
manuscript but others like frescoes on palace Princes of the House of Timur
wall of Fatehpur sikri etc.

● Narrative paintings like Hamzanama,
Tutinama, Baburnama, Ramznama (Persian
translation of Mahabharata) etc. were painted.
● From this period book illumination or individual
miniatures replaced wall painting as the most
vital form of art.
● Akbar organized imperial est. or karkhana called
Tasvir Khana (initially organized under Abdul
Samad) where hundreds of painters worked.
Daswant, son of a Kahar is important.
● For the first time, painters’ names were Scene from Hamza Nama:
1. Depicts what’s happening inside the
recorded in inscriptions building
● Beautiful illustrations are found on the pages of 2. The movement on road
3. Viewer’s view
Baburnama and Akbarnama. 4. Emotive expression missing mostly.
● Akbar also encouraged the art of making
portraits.
● Art of painting reached its climax during the period of Jahangir who himself
was a great painter and connoisseur of art.
● Narattive paintings too gone mostly and specific focus on individual pictures and
albums. Naturalist, hunting scenes, birds and flowers were preferred.
● Ustad Mansur known for his floral paintings. The red blossoms is best known of
him.
● Artists began to use vibrant colours such as peacock blue and red and were able to
give three-dimensional effects to paintings.
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● Shah Jahan: profusion of court scenes and a lavish use of gold. Colors more
decorative. Major themes included musical parties, lovers (intimacy too :p) etc.
● Dara Shikoh patronised painting like his gradfather. He preferred depicting
natural elements like plants and animals in his painting.
● However withdrawal of royal patronage to painting under Aurangzeb led to
the dispersal of artists to different places in the country.
● This helped in the development of the art of painting in Rajasthan and the Punjab
hills giving rise to distinct schools of paintings, for example, Rajasthani and
Pahari Schools.
● Note that oil painting didn’t get attention of Mughals even when Europeans gifted
huge oil painted gifts to Jahangir.
● Goverdhan was an important painter during the times of Akbar, Jahangir and Shah
Jahan.
Rajasthan School of Painting:

● Maru-Gurjar painting
● Two type viz. Courtly and Literary. The paintings
of courtly type include the portraits of the rulers
holding different states of Rajputana.
● The literary paintings on the other hand show the
intimate connection with the poetry. These are the
illustrated versions of some of the important
literary works such as Amar-Sataka, Sur Sagara,
Rasamanjari, Rasikpriya etc.
● Subjects of the Rajput paintings included the Sri
Ram Charit Manas, Geet-Govinda, the divine love
of Radha and Krishna, ancient tales, lives of
Dhola Maru
saints, Baramasa (monthly festivities of the year)
and Ragamala (Rag-Raginis) and religious texts
such as the Ramayana, Mahabharata, Bhagvat Purana, Krishna Lila and Devi
Mahatmyam.
● Highly influenced by Mughals.
● Important schools: Malwa, Mewar, Bundi, Kota, Amber-Jaipur, Bikaner, Mawar and
Kishangarh.
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Pahari School Of Painting
● Basholi: {Kathua} founded by Raja Bhupat Pal,
miniatures use of strong and contrasting
colors, monochrome background, large eyes,
bold drawing, use of beetles wings for showing
diamonds in ornaments, narrow sky and the red
border are observable.
● Guler Painting: Birthplace of Kangra

paintings. Guler style of paintings is the early
phase of Kangra Kalam. Hindu artists trained
in Mughal style sought the patronage of the
Rajas of Guler in the Kangra Valley. Developed a
style of painting which has a delicacy and a
spirituality of feeling. The drawing is delicate
and precise. Subject matter of these miniature
paintings are Bhagavata, the Gita
Govinda, the Bihari Satasai, the Baramasa
and the Ragamala.
● Kangra Paintings: possesses the main characteristics

of the Guler style, like the delicacy of drawing and quality
of naturalism.
● Identical in style to the portraits of Raja Sansar Chand of
Kangra → thus named
● Shringar (the erotic sentiment) is considered as
the Focal theme of Kangra paintings. The subjects
seen in Kangra painting exhibit the taste and the traits of
the life style of the society. The love story of Radha
and Krishna was the main source of spiritual experience, which was also the
base for the visual expression. The other popular themes were Gita Govinda by
Jayadeva and Bhagavata Purana.
● Colors made of vegetable and mineral extracts are used by the artists.
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Ragamala Painting:
● agamala paintings are a form of Indian miniature painting, a set
of illustrative paintings of the Ragamala or "Garland of Ragas",
depicting variations of the Indian musical modes called ragas.
● They stand as a classical example of the amalgamation of art,
poetry and classical music in medieval India.
Random Collection:
● The Kulhadar group of paintings consisted of Chaurapanchasika – "Fifty Verses
of the Thief" by Bilhan, the Gita Govinda, the Bhagavata Purana and Ragamala.
● Nihâl Chand (1710–1782): was an Indian painter and
poet, produced some of the best known examples of Rajput
painting. He was a devout follower of Vallabha who had
founded a Krishna-centric philosophy that surfaces
repeatedly in his paintings as he deifies the king with light
blue skin.
● He was the chief painter at the court of Kishangarh
during the time of the ruler Savant Singh (also known as
Nagari Das).
● He is attributed with a small group of paintings in a
distinctive style, produced for Raja Savant Singh, and
mostly depicting the raja and his mistress Bani Thani Bani Thani –
as Krishna and Radha. Monalisa of India
Progressive Artists Group(1948)

● Set up at Bombay under Francis Newton Souza.
● Group also included S .H. Raza, M.F. Hussain, K.M. Ara, S.K. Bakre and H.A. Gode.
● This group broke away from Bengal School of Art and represented the modern forceful art
of independent India.
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3. Decorative Art / Folk Paintings
● Decorative painting on walls of homes in rural areas is a common sight.

● Rice powder is used for these paintings but coloured powder or flower petals are also
used to make them more colourful.
Name Region
Rangoli North
Alpana Bengal
Aipan Uttaranchal
Rangavalli Karnataka
Kollam Tamilnadu
Mandana Madhya Pradesh
Mithila Painting: {Bihar}

● Madhubani folk art: traditional art of Mithila region
{Bihar}.
● Produced by village women who make three
dimensional images using vegetable color with
few earthen colors.
● Pictures tell tales especially about Sita’s exile, Ram-
Laxman’s forest life, also paint celestial subjects like sun and moon.
● Court scenes, wedding and social happenings. Intricate flora, animal and birds
motifs can also be found along with geometrical designs.
● One can identify the community to which the painting belongs from the colors that
are used in them.
● Mother to Daughter
Kalamkari Painting: {Andhra Pradesh}

● It is hand painted as well as block printing with
vegetable dyes applied on cloth.
● Vegetable dyes are used for colour in the Kalam
Kari work and made on cloth.
● Related to decorating temple interiors with
painted cloth panels, which was developed in the
fifteenth century under the patronage of
Vijaynagar rulers.
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● Subjects are adopted from the Ramayana, the Mahabharata and Hindu religious
mythology.
● This art form is a continuous legacy from father to son.
● Dyes are obtained by extracting colours from plant roots, leaves, along with salts of
iron, tin, copper, alum etc.
Phad Painting: {Rajasthan}

● Scroll painting → depicting exploits of local
deities (Dev Narayanji, Pabuji, Ramdevji (deified
heroes – bhomiyas) by Rabari and Gujjar) are often
carried from place to place and are accompanied by
traditional singers (Bhopas), who narrate the
theme depicted on the scrolls.
● Paintings are created using bright colours and subtle colours. Raw colours are
used for these paintings.
● The unique features of phad paintings are the bold lines and a two dimensional
treatment of figures with the entire composition arranged in sections.
Warli Painting: {Maharashtra}

● ‘Gond’ and ‘Kol’ tribes → made mostly
by women as part of their routine at
auspicious celebrations.
● Warla – A Piece of Land or Field
● Local materials like white color and rice
paste and local vegetable glue on a plain
contrasting background, made in a
geometric patterns like squares,
triangles, and circles. Dots and crooked
lines are the units of these composition.
● The paintings are expanded by
adding subject after subject in a
spiraling manner.
● Unlike other tribal art forms, Warli paintings do not employ religious iconography
and is a more secular art form.
● Theme – Hunting, Fishing, Farming
● They are farmers – so monsoon is important in paintings – they worship the order of
life cycle.
● 1st after Rice Harvest (Naranadeva); Worship household gods (Hirva, Nimai,
Jhoting); Tiger God Festival; Worship of Grain Goddess (Kansari Festival).
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● Since life is cycle & death is not an end –
their paintings are spiral (no beginning, no
end).
● The Dance depicted – Tarpa Dance.
● Brush – Salati Grass or Bamboo stick.
● The most striking feature is a – Chaukat
● W/i Chaukat is drawn Palaghat Goddess
(the deity of Fertility)
● Palaghat can only be drawn by those
women (savasini) whose husbanbs are
alive.
Kalighat Painting: {West Bengal}

● Patua painters from rural Bengal came and settled in
Kalighat to make images of gods and goddesses in the early
nineteenth century.
● These paintings on paper made with water colours
comprise clear sweeping line drawings Using bright
colours and a clear background. Subjects are images of Kali, Lakshmi, Krishna,
Ganesha, Shiva, and other gods and goddesses.
Other Paintings:
Orissa Patachitra ● The Orissa Patachitras, mostly

painted on cloth are more detailed
and more colourful and most of
these depict stories of Hindu gods
and goddesses.
Gond Art ● Very sophisticated and abstract forms of

Artwork are also produced by the Santhals in
India.
● The Gond tribe of the Godavari belt who are as
old as the Santhals produce figurative works.
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Saora Painting ● By Saora tribals of Odisha.

● Sora finds mention in Ramayana &
Mahabharat.
● They practice witchcraft, magic &
astrology.
Paitkar Painting ● One of the earliest tribal painting in

India
● Scroll painting
● Depicted in a way of storytelling
● Theme: what happens to human life
after death
● Popular in Bihar, Bengal, Orissa,
Jharkhand
Thangka ● Ladakh
● Tibetan Buddhist painting depicting a Buddhist
deity, scene or Mandala.
Manpa ● Arunachal Pradesh

● Impressed by Vajrayana Buddhism
● Depict Abhidhamma Pitaka stories.
Manjusha ● Scroll Painting – Angadesh

(Bhagalpur, Bihar)
● Originates from the folk story of
Bihula-Bishari (Bishari Puja).
● Colours – Pink, Green, Yellow
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Pithora ● Bhils & Bhilala – MP

Rathwas – Gujarat
● In Honour of Baba Pithora
● Lakhindra – Painter
● Badvo – Head Priest (Only
Male Painters)
● Wall is plastered by Clay and
Dung (by Unmarried girls)
● Brush – Branch of Tesu or Palash Tree.
Cherial Scroll ● Cherial Scroll – Warangal, A.P

● Painters – Nakkash
● Scrolls are accompanied by story tellers along
with dolls called Tella Puniki.
*In Telangana – painter is called Kaki
Podagollu.
They use scroll painting – Telangana Phad.
● Irrespective of the theme – Lord Ganesha &
then Saraswati will always be there.
● Common themes – Krishna Leela, Ramayana,
Mahabharata.
● Made on Khadi Cotton.
● Blue – God; Yellow – Goddess; Brown –
Demon; Pink- Human.
Mata – ni – pachedi ● Behind the idol of

(Ahmedabad) Mother Goddess.
● Done during
Navaratri festival.
● Another type of Mata-
ni-pachedi is Matano
Candarvo (Canopy for
the Goddess).
● Vaghari Community paint these. *Only men paint, women are
not allowed.
● The Goddess is painted in Kalamkari style.
● Main colours – Maroon and Black.
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Sanjhi ● Painted during Navratri by unmarried

girls in North India.
● Usually painted in the evening so the
name Sanjhi/Sagya/Chandra
Tarayya.
● The 9 Sanjhi deities represent 9 main
goddesses of Hindu tradition.
● It is painted on the wall.
● Kilakot – elaborate painting done only
on Poornima night.
Chitrakathi ● AP, Maharashtra, Karnataka by

*Chitrakathi community
(wanderer story-tellers)
● It has close resemblance with
Lepakshi Painting of Vijayanagar
& Tholubommalata flat leather
shadow puppets.
● Two types: Religious (Maharshtra – Picchvai; AP & Karnataka –
Chaitra Gauri Patas; Secular – Chitrakathi.
● Popular painting subject – Pandavapratapa, 18th poem written
by Marathi poet Shridhar.
Picchvai ● Pichhvai paintings are done on cloth and

serve as painted backdrops for installed
icons of Shrinathji at Nathadwara in
Rajasthan. Nathadwara is a small pilgrim
town in Udaipur. The word ‘Nathadwara’
means Gateway to the Lord.
● Made by the members of Adi Gaud Caste.
● Morakuti (Vraj, Barsana-Radha’s home) or
Varsha Pichhvai is a speciality.
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Mains Practice Questions (MPQs)
Q1. Examine the significance of prehistoric paintings found in India. Also, trace the
changes that occurred in the painting styles during this period. (15M)
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Q2. How can cave paintings and murals be used to understand the cultural trends of the
period they belong? (10M)
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Q3. Paintings of Mughal period were inspired from the existing Indian art forms.
Illustrate. (10M)
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Q4. Folk paintings are often exhibiting the regional cultural milieu. Do you agree? Justify
your answer. (10M)
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Paintings
TTS-23 4. Murals have been found at

1. Sohrai paintings belong to 1. Lepakshi Temple
(a) Southern India 2. Elephanta Caves
(b) Eastern India
3. Sittanavasal Caves
(c) Northern India
Select the correct answer using the code
(d) Western India
given below:
(a) 1, 2
2. During Jahangir's period certain painters
(b) 2 only
developed recognizable areas of expertise in
(c) 1, 3
the field of Mughal paintings. In this regard
which of the following statements are (d) 1, 2 and 3
correct?
1. Mansur was expert in painting animals 5. Which of the following is/are not depicted in
and flowers the Rajput paintings ?
2. Abul Hasan was a portraitist 1. The stories of Krishna
3. Govardhan was an expert painter of
2. Ragas and Raginis
painting holymen, musicians, and eccentrics
3. The deeds of Hamza
4. The deeds of Babur
given below:
(a) 2 and 3 only
given below :
(b) 1 and 2 only
(a) 1, 2 and 3
(c) 1 and 3 only
(d) 1, 2 and 3 (b) 2, 3
TTS-22 (c) 3 and 4 only
3. Wall murals/paintings such as the (d) 4 only

Dashavatara, the Girijakalyana and the PRELIMS PYQs
Shivapurana murals are best known 1. The well-known painting “Bani Thani”
examples of
belongs to the [2018]
(a) Pala School of Painting
(a) Bundi School
(b) Chola School of Painting
(b) Jaipur School
(c) Satavahanas School of Painting
(c) Kangra School
(d) Vijayanagara School of Painting
(d) Kishangarh School
© ASTRA-24 (IASExamCongress)
Paintings
2. The painting of Bodhisattva Padmapani is
one of the most famous and oft-illustrated
paintings at [2017]
(a) Ajanta
(b) Badami
(c) Bagh
(d) Ellora
3. Kalamkari painting refers to [2015]
(a) a hand-painted cotton textile in South
India
(b) a handmade drawing on bamboo
handicrafts in NorthEast India.
(c) a block-painted woollen cloth in the
Western Himalayan region of India
(d) a hand-painted decorative silk cloth in
North-Western India
4. Consider the following historical places:
1. Ajanta Caves
2. Lepakshi Temple
3. Sanchi Stupa
Which of the above places is/are also known
for mural paintings? [2013]
(a) 1 only
(b) 1 and 2 only
(c) 1, 2 and 3
(d) None
© ASTRA-24 (IASExamCongress)

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ASTRA-2024 (AnC+Ancient India Module)

The earliest Indian paintings were the rock Petroglyphs:

Lower Palaeolithic Middle Palaeolithic Upper Palaeolithic

 2.5 million  300,000-30,000  40,000-10,000

 By the upper palaeolithic times, we observe proliferations of artistic activities.

Upper Palaeolithic ● Linear representation

Green paintings at Bhoranwali, Bhimbetka

Mesolithic Period ● Most paintings of prehistoric times belong to this period.

Other Early rock paintings are:

Some of the characteristics of these early paintings are:

Works on walls or Human figurine

Mural Paintings of Ajanta:

Vajrapani Symbol of Buddha’s power

Manjusri Symbol of Buddha’s wisdom

Fig: Vajrapani Bodhisattva

It is a painting which dates

Ellora Cave ● Mostly limited to Kailasha temple.

Arnamalai ● TN, Jain temples

Ravan Chhaya ● OD, ancient fresco.

Lepakshi ● Andhra, temple walls

Sittanavasal ● TN, Rock cut Jain temples

Sittanavasal Cave:[Arivar koil]

wall of Fatehpur sikri etc.

Rajasthan School of Painting:

● Guler Painting: Birthplace of Kangra

● Kangra Paintings: possesses the main characteristics

Progressive Artists Group(1948)

● Decorative painting on walls of homes in rural areas is a common sight.

Mandana Madhya Pradesh

Mithila Painting: {Bihar}

Kalamkari Painting: {Andhra Pradesh}

Phad Painting: {Rajasthan}

Warli Painting: {Maharashtra}

Kalighat Painting: {West Bengal}

Orissa Patachitra ● The Orissa Patachitras, mostly

Gond Art ● Very sophisticated and abstract forms of

Saora Painting ● By Saora tribals of Odisha.

Paitkar Painting ● One of the earliest tribal painting in

Manpa ● Arunachal Pradesh

Manjusha ● Scroll Painting – Angadesh

Pithora ● Bhils & Bhilala – MP

Cherial Scroll ● Cherial Scroll – Warangal, A.P

Mata – ni – pachedi ● Behind the idol of

Sanjhi ● Painted during Navratri by unmarried

Chitrakathi ● AP, Maharashtra, Karnataka by

Picchvai ● Pichhvai paintings are done on cloth and

TTS-23 4. Murals have been found at

TTS-22 (c) 3 and 4 only

3. Wall murals/paintings such as the (d) 4 only

2. The painting of Bodhisattva Padmapani is

one of the most famous and oft-illustrated

3. Kalamkari painting refers to [2015]

(a) a hand-painted cotton textile in South

(b) a handmade drawing on bamboo

handicrafts in NorthEast India.

(c) a block-painted woollen cloth in the

Western Himalayan region of India

(d) a hand-painted decorative silk cloth in

4. Consider the following historical places:

Which of the above places is/are also known