Match the different schools of painting in List- I with the characteristics associated with it in List- II

(A)-(II), (B)-(I), (C)-(IV), (D)-(III)

Jain paintings developed a schematic and simplified language for painting, often dividing the space into sections to accommodate different incidents. One observes a penchant for bright colours and deep interest in depiction of textile patterns. Thin, wiry lines predominate the composition and three-dimensionality of the face is attempted with an addition of a further eye. Architectural elements, revealing the Sultanate domes and pointed arches, indicate the political presence of Sultans in the regions of Gujarat, Mandu, Jaunpur and Patan, among others, where these paintings were done. Several indigenous features and local cultural lifestyle is visible through textile canopies and wall hangings, furniture, costumes, utilitarian things, etc. Features of the landscape are only suggestive, and usually, not detailed.

Sultanate School of Painting - With few Central Asian artists in these courts working with local artists, an intermingling of Persian features and indigenous styles led to the emergence of another style that is referred to as the Sultanate School of Painting. This represents more of a ‘style’ than a ‘school’ that has a hybrid Persian influence — indigenous pictorial style, which is an interesting coming together of indigenous features as described earlier and Persian elements, such as colour palette, physiognomy, simplified landscape with decorative details, etc.

Indigenous School of Painting- Distinctive stylistic features evolved during this phase and with this group of paintings. A particular figure type evolved with an interest in depicting transparency of fabrics — odhnis ‘ballooned’ over the head of heroines and draped with stiff and standing edges. Architecture was contextual but suggestive. Different kind of hatchings evolved for depiction of water bodies and particular ways of representing the horizon, flora, fauna, etc., got formalised.

Pala- School of Painting- Unlike the terse lines of Jain painting, a flowing and sinuous line in subdued colour tones characterises Pala paintings. Like at Ajanta, the sculptural styles of Pala at monasteries and the painterly images have a similar language. A fine example of a Pala Buddhist palm leaf manuscript is Astasahasrika Prajnaparamita