The traditional paintings of Assam serve as a source of inspiration to thousands of art lovers across the globe. Known for their unmatched quality and outstanding strokes of mastery, they have become an integral part of the rich Assamese culture and heritage. Tracing their origin to seventh century AD, Assamese paintings and manuscripts are said to have been derived from the mythological tales, the most prominent among which are Chitra Bhagavata and Hastividyaranya. Most of these manuscripts have been collected from different parts of the state and published in the form of books, along with the reproduction in the form of paintings. However, the illustrations in these manuscripts are a bit too refined to be categorized as folk paintings.
Broadly, the paintings of Assam can be categorized under two headings or schools - Assam School and Tai-Ahom School. Let us explore them in detail.
Assam School
Assam School can be further subdivided into Sattriya and Royal styles. Sattriya style was mainly propagated by Sri Sankaradeva. Beautiful illustrations of this style can still be found in certain manuscripts of the region, like the Citra Bhagavat (1539 AD). In addition to the local Assamese tradition and traits, Mughal, Rajput and Pahari influence can be seen in these paintings.
There is a fine portrayal of local animal life, like lion and bison, apart from pictures of trees with flowers and birds. Such charming illustrations definitely attract the attention of the onlookers and students. The Royal style, on the other hand, developed two more styles namely, Garhagaon and Darrang styles.
Tai- Ahom School
Tai- Ahom School is mainly represented by the Phung Chin manuscript and Suktanta Kyempong. The Phung Chin manuscript shows illustrations of 16 heavens and 16 hells, while the latter deals with Lokadharma.