section_path: Culture/Visual art
section_name: Visual art
paragraph_text: Visual art
  
  India has a very ancient tradition of art, which has exchanged many influences with the rest of Eurasia, especially in the first millennium, when Buddhist art spread with Indian religions to Central, East and Southeast Asia, the last also greatly influenced by Hindu art. Thousands of seals from the Indus Valley Civilization of the third millennium BCE have been found, usually carved with animals, but a few with human figures. The "Pashupati" seal, excavated in Mohenjo-daro, Pakistan, in 1928–29, is the best known. After this there is a long period with virtually nothing surviving. Almost all surviving ancient Indian art thereafter is in various forms of religious sculpture in durable materials, or coins. There was probably originally far more in wood, which is lost. In north India Mauryan art is the first imperial movement. In the first millennium CE, Buddhist art spread with Indian religions to Central, East and Southeast Asia, the last also greatly influenced by Hindu art. Over the following centuries a distinctly Indian style of sculpting the human figure developed, with less interest in articulating precise anatomy than ancient Greek sculpture but showing smoothly flowing forms expressing prana ("breath" or life-force). This is often complicated by the need to give figures multiple arms or heads, or represent different genders on the left and right of figures, as with the Ardhanarishvara form of Shiva and Parvati.
  
  Most of the earliest large sculpture is Buddhist, either excavated from Buddhist stupas such as Sanchi, Sarnath and Amaravati, or is rock cut reliefs at sites such as Ajanta, Karla and Ellora. Hindu and Jain sites appear rather later. In spite of this complex mixture of religious traditions, generally, the prevailing artistic style at any time and place has been shared by the major religious groups, and sculptors probably usually served all communities. Gupta art, at its peak c. 300 CE – c. 500 CE, is often regarded as a classical period whose influence lingered for many centuries after; it saw a new dominance of Hindu sculpture, as at the Elephanta Caves. Across the north, this became rather stiff and formulaic after c. 800 CE, though rich with finely carved detail in the surrounds of statues. But in the South, under the Pallava and Chola dynasties, sculpture in both stone and bronze had a sustained period of great achievement; the large bronzes with Shiva as Nataraja have become an iconic symbol of India.
  
  Ancient painting has only survived at a few sites, of which the crowded scenes of court life in the Ajanta Caves are by far the most important, but it was evidently highly developed, and is mentioned as a courtly accomplishment in Gupta times. Painted manuscripts of religious texts survive from Eastern India about the 10th century onwards, most of the earliest being Buddhist and later Jain. No doubt the style of these was used in larger paintings. The Persian-derived Deccan painting, starting just before the Mughal miniature, between them give the first large body of secular painting, with an emphasis on portraits, and the recording of princely pleasures and wars. The style spread to Hindu courts, especially among the Rajputs, and developed a variety of styles, with the smaller courts often the most innovative, with figures such as Nihâl Chand and Nainsukh. As a market developed among European residents, it was supplied by Company painting by Indian artists with considerable Western influence. In the 19th century, cheap Kalighat paintings of gods and everyday life, done on paper, were urban folk art from Calcutta, which later saw the Bengal School of Art, reflecting the art colleges founded by the British, the first movement in modern Indian painting.