The Early History of the Deccan (Parts I–XI) v2.c16.s2.45

v2.c16.s2.45

In concluding this brief survey of the painting of the Deccan it should be observed that the art of the country in the best period of its history is essentially Buddhist, both in spirit and in its outlook upon life. It must have originated, as has been stated above (p. 763), many centuries earlier than the advent of the Buddhist missionaries,² but the humane teaching of this faith and the doctrine of unity binding the different aspects of nature into a common organism, inculcated in the sacred Buddhist literature, inspired the artist with visions embracing every phenomenon of the physical and the spiritual worlds. The majestic elephant, the beautiful swan, or the care-free deer with their nimble movements, the mischievous monkey, or even the venomous serpent, are all alike, as members of the family of life, capable of showing forth the divine qualities of sympathy and mercy. In the artist's themes they are represented with all their natural characteristics, proving a close study of their instincts and physical features. The rājās and rānis play the religious role, but are pictured with all the desires and inclinations, and in all the adventures, of their normal life, including hunting expeditions, love episodes, the life of exiles in the forest, battle-scenes, and the gay life of the court.