1. (3rd millennium BC.)

2. Geographically, it spans the entire Indian
subcontinent, including what is
now India, Pakistan and Bangladesh.
The origin of Indian art can be traced to pre-
historic Hominid settlements in the 3rd
millennium BC. On its way to modern times,
Indian art has had cultural influences
(e.g., Indus Valley and Hellenistic), as well as
religious influences such as Hinduism,
Buddhism, Jainism and Islam. In spite of this
complex mixture of religious traditions.

3. In historic art, sculpture in stone and metal,
mainly religious, has survived the Indian
climate better than other media, and provides
most of the best remains.
Indian funeral and philosophic traditions
exclude grave goods, which are a main source
of ancient art in other cultures.

4. painting
has a very long tradition and history
in Indian art. The earliest Indian paintings
were the rock paintings of pre-historic times,
the petroglyphs.
Indian paintings provide an aesthetic continuum
that extends from the early civilization to the
present day.

5. Indian painting has evolved over the years to
become a fusion of various cultures and
traditions.

6. Rock art
Bhimbetka rock painting showing man riding on horse.
The earliest example of
are the
petrogylphs such as
found in bhimbetka,
some of them older than
5500 BC.

7. Murals
The history of Indian murals starts in
ancient and early medieval times, from the
2nd century BC to 8th – 10th century AD.
There are known more than 20 locations
around India containing murals from this
period, mainly natural caves and rock-cut
chambers.

8. A mural painting depicting a scene
from MahajanakaJataka, Cave
1, Ajanta
Paintings of Padmapani and Vajrapani on either side of the
Buddha in Cave 1

9. A 17th-century Mughal painting
Mughal painting is a
particular style of Indian
painting, generally confined
to illustrations on the book
and done in miniatures,
and which emerged,
developed and took shape
during the period of
the Mughal Empire 16th
−19th centuries.

10. A folio from the Hamzanama
The Hamzanama,
stories of Amir Hamza,
an uncle of the Prophet,
were illustrated by Mir
Sayyid Ali. The paintings
of the Hamzanama are
of large size, 20 x 27"
and were painted on
cloth.

11. An 18th-century Rajput painting by the
artist Nihâl Chand
Rajput painting, a style
of Indian painting, evolved
and flourished, during the
18th century, in the royal
courts of Rajputana, India.
Each Rajput kingdom
evolved a distinct style, but
with certain common
features.

12. A painting of Laxmi
Mysore painting is an
important form of
classical South
Indian painting that
originated in the town
of Mysore in Karnataka.
These paintings are
known for their
elegance, muted colours
and attention to detail.

13. Tanjore style painting depicting the
ten Sikh Gurus with Bhai Bala and Bhai
Tanjore painting is an
important form of
classical South Indian
painting native to the town
of Tanjore in Tamil Nadu.
The art form dates back to
the early 9th century, a
period dominated by
the Chola rulers, who
encouraged art and
literature.

14.  Large amounts of figurative sculpture,
mostly in relief, survive from Early Buddhist
pilgrimage stupas.
figures in bronze and stone are rare and
greatly outnumbered by pottery figurines
and stone seals.
These include the famous small bronze female
dancer. However such figures in bronze and stone
are rare and greatly outnumbered by pottery
figurines and stone seals.

15. Sheshashayi Vishnu murti from 7th century AD on display
at The Prince of Wales Museum, Mumbai.
 The Supreme
God SvayamBhagavan of
Vaishnavism (one of the
three principal
denominations) and one
of the three supreme
deities (Trimurti). He is
also known
as Narayana and Hari.

16. "The Dancing Girl", a bronze statuette.
A bronze statuette dubbed
the "Dancing Girl", 10.5
centimetres (4.1 in)
high and some 4,500 years
old, was found in 'HR area'
of Mohenjo-daro in 1926.

17. "The Priest-King", a seated stone sculpture
In 1927, a seated
male soapstone figure
was found in a building
with unusually
ornamental brickwork
and a wall-niche.
Though there is no
evidence
that priests or monarch
s ruled Mohenjo-daro.

18. rooted in its history, culture and religion.
architectural methods practiced in India are a
result of examination and implementation.
Eastern tradition has also incorporated modern
values as India became a modern nation state.

19. Indus Valley Civilization (2700 BC-1700BC)
Indus Valley is one of the world's earliest
urban civilizations, along with its
contemporaries, Mesopotamia and Ancient
Egypt.
the Indus Civilization may have had a
population of well over five million. Inhabitants
of the ancient Indus river valley developed new
techniques in metallurgy and handicraft
(carneol products, seal carving) and produced
copper, bronze, lead, and tin.

20. A well and drainage system at Lothal
A bath and toilet excavated in Lothal
The baths and toilets
system the cities had is
acknowledged as one of
the most advanced in the
ancient world.

21. Post MahaJanapadas period (600 BC—200 AD)
The Great Stupa at Sanchi (4th–1st century BC).
The Buddhist stupa,
a dome shaped
monument, was used
in India as a
commemorative
monument
associated with
storing sacred relics.

22. Early Common Era—High Middle Ages (200 AD—1200 AD)
Māru-Gurjara Temple
originated somewhere in
sixth century in and around
areas of Rajasthan. Māru-
Gurjara Architecture show the
deep understanding of
structures and refined skills of
Rajasthanicraftmen of bygone
era.

23. Taj mahal-built by shah jehan
For his wife Muntaz mahal

24. (10th millennium BC, to the present.)

25. covers a wide range of art styles and media,
including ancient pottery, sculpture, ink
painting and calligraphy on silk and
paper, ukiyo-e paintings and woodblock
prints, kiri-e, kirigami, origami, and more
recently manga—modern
Japanese cartooning and comics—along with
a myriad of other types of works of art. It has
a long history, ranging from the beginnings of
human habitation in Japan, sometime in the
10th millennium BC, to the present.

26. Japan has been subject to sudden invasions
of new and alien ideas followed by long
periods of minimal contact with the outside
world. Over time the Japanese developed the
ability to absorb, imitate, and finally
assimilate

27. is one of the oldest and most highly refined
of the Japanese visual arts, encompassing a
wide variety of genres and styles.
Japanese painting exhibits synthesis and
competition between native Japanese
aesthetics and the adaptation of imported
ideas, mainly from Chinese painting which was
especially influential at a number of points.

28. Areas of subject matter where Chinese
influence has been repeatedly significant include
Buddhist religious painting, ink-wash painting of
landscapes in the Chinese literati
painting tradition.

29. E-maki: In the last century of the Heian period,
the horizontal, illustrated narrative handscroll,
known as e-maki ( lit. "picture scroll"), came to
the fore. Dating from about 1130, the Genji
Monogatari Emaki, a famous illustrated Tale of
Genji represents the earliest surviving yamato-
e handscroll, and one of the high points of
Japanese painting.

30. Panel from The Tale of Genji
handscroll
classic work of Japanese
literature written by the
noblewoman and lady-in-
waiting Murasaki Shikibu in
the early years of the 11th
century, around the peak of
the Heian period. It is
sometimes called the
world's first novel, the
first modern novel, the
first psychological novel or
the first novel still to be
considered a classic.

31. Siege of Sanjō Palace
was the primary battle of
the 1159 Heiji Rebellion. In
early January 1160,
after Taira no Kiyomori left
Kyoto on a family
pilgrimage, Fujiwara no
Nobuyori and Minamoto
no Yoshitomo saw an
opportunity to effect
changes they sought in the
government.

32. Pair of screens with
tigers and storm-
dragon by Kanō
Sanraku, 17th
century, each 1.78 x
3.57 metres.
Set of sliding doors of Plum tree by Kanō Sanraku
Kanō Sanraku -1559 - September
30, 1635) was a Japanese painter
also known as Kimura Heizō (his
birth name), Shūri, Mitsuyori,
and Sanraku.Sanraku's works
combine the forceful quality of
Momoyama work with the tranquil
depiction of nature, and they have a
more refined use of color typical of
the Edo period.

33. started from the clay figure. Japanese
sculpture received the influence of the Silk
Road culture in the 5th century, and received a
strong influence from Chinese
sculpture afterwards.
The sculptures were made at local shops,
used for sculpting and painting. Most
sculptures were found at areas in front of
houses and along walls of important buildings.

34. Most of the Japanese sculptures derived from
the idol worship in Buddhism or animistic rites
of Shinto deity. In particular, sculpture among
all the arts came to be most firmly centered on
Buddhism.
Materials traditionally used were metal
especially bronze and, more commonly, wood,
often lacquered, gilded, or brightly painted.

35. Is seeing a wide ascendancy and spontaneity
and seek to produce a similar artless artistry in
their own works. In every instance examples of
ancient primitive art have been found to
possess characteristics identical to modern arts;
and the ancient Japanese clay figures known
as dogū.

36. Shakōki-dogū (1000–400 BCE)
 dogū created in
the Jōmon era, and are so
well known that when
most Japanese hear the
termdogū, this is the image
that comes to mind. The
name "shakōki" (literally
"light-blocking device")

37. Dogū, Ebisuda Site in Tajiri, Miyagi
Prefecture, 1000–400 BC.
Figurine Dogū, Jomon. Musée Guimet

38. Amida Buddha Byōdō-in by Jōchō
Pure Land sect(Amida
Worship)
leader Genshin and his
work Ōjōyōshū influence
d many sculpture. The
masterpiece is the Amida
Buddha in Byōdō-
in in Uji by the
master Jōchō.

39. Enku, Buddha
The reconstruction of
Buddhist temples fired in civil
wars required the sculptors.
The new sculptures were
mostly conservative carved
from wood and gilt or
polychromed. They mostly
lack artistic power. However,
some Buddhist monk sculptors
produced unpainted, roughly
hewn images of
wood. Enku(1632–1695).

40. has traditionally been typified by wooden
structures, elevated slightly off the ground, with
tiled or thatched roofs. Sliding doors (fusuma)
were used in place of walls, allowing the internal
configuration of a space to be customized for
different occasions.
The introduction into Japan of Buddhism in the
sixth century was a catalyst for large-
scale temple building using complicated
techniques in wood.

41. The general structure is almost always the
same: posts and lintels support a large and gently
curved roof, while the walls are paper-thin, often
movable and in any case non-carrying. Arches and
barrel roofs are completely absent.

42. The roof is the dominant feature of traditional Japanese architecture.

43. During the three phases of the Jōmon period the
population was primarily hunter-gatherer with
some primitive agriculture skills and their
behaviour was predominantly determined by
changes in climatic conditions and other natural
stimulants.
Early dwellings were pit houses consisting of
shallow pits with tamped earth floors and grass
roofs designed to collect rainwater with the aid of
storage jars.

44. Reconstructed pit dwelling houses
in Yoshinogari, Saga Prefecture
2nd or 3rd century
Reconstructed dwellings in Yoshinogari

45. Reconstructed grain storehouse in Toro,
Shizuoka
Reconstructed raised-floor building
inYoshinogari

46. Typical machiya in Nara
machiya (townhouses) had
been around since the Heian
period they began to be
refined during the Edo
period. Machiya typically
occupied deep, narrow plots
abutting the street (the
width of the plot was usually
indicative of the wealth of
the owner), often with a
workshop or shop on the
ground floor.

47. Rokumeikan at its completion in 1883
A large two-story
building in Tokyo,
completed in 1883, which
was to become a
controversial symbol of
Westernisation in the Meiji
period. Commissioned for
the housing of foreign
guests by the Foreign
Minister Inoue Kaoru, it
was designed by Josiah
Conder.

48. Kaichi Primary School, Matsumoto, built in
1876
Kaichi Primary
School in Nagano
Prefecture built in 1876.
The master carpenter
Tateishi Kiyoshige
travelled to Tōkyō to see
which Western building
styles were popular and
incorporated these in the
school with traditional
building methods.