Ajanta Caves in the context of "Rock-cut architecture"

Vihāra generally refers to a Buddhist temple or Buddhist monastery for Buddhist renunciates, mostly in the Indian subcontinent. The concept is ancient and in early Pali texts, it meant any arrangement of space or facilities for dwellings. The term evolved into an architectural concept wherein it refers to living quarters for monks with an open shared space or courtyard, particularly in Buddhism. The term is also found in Jain monastic literature, usually referring to temporary refuge for wandering monks or nuns during the annual Indian monsoons. In modern Jainism, the monks continue to wander from town to town except during the rainy season (chaturmasya), and the term "vihara" refers to their wanderings.

Vihara or vihara hall has a more specific meaning in the architecture of India, especially ancient Indian rock-cut architecture. Here it means a central hall, with small cells connected to it, sometimes with beds carved from the stone. Some have a shrine cell set back at the centre of the back wall, containing a stupa in early examples, or a Buddha statue later. Typical large sites such as the Ajanta Caves, Aurangabad Caves, Karli Caves, and Kanheri Caves contain several viharas. Some included a chaitya or worship hall nearby. The vihara originated as a shelter for monks when it rains.

The Ekavyāvahārika (Sanskrit: एकव्यावहारिक; traditional Chinese: 一說部; ; pinyin: Yī Shuō Bù; Vietnamese: Nhất thuyết bộ) was one of the early Buddhist schools, and is thought to have separated from the Mahāsāṃghika sect during the reign of Aśoka.

The Bahuśrutīya (Sanskrit: बहुश्रुतीय) was one of the early Buddhist schools, according to early sources such as Vasumitra, the Śāriputraparipṛcchā, and other sources, and was a sub-group which emerged from the Mahāsāṃghika sect.

A chaitya, chaitya hall, chaitya-griha, (Sanskrit:Caitya; Pāli: Cetiya) refers to a shrine, sanctuary, temple or prayer hall in Indian religions. The term is most common in Buddhism, where it refers to a space with a stupa and a rounded apse at the end opposite the entrance, and a high roof with a rounded profile. Strictly speaking, the chaitya is the stupa itself, and the Indian buildings are chaitya halls, but this distinction is often not observed. Outside India, the term is used by Buddhists for local styles of small stupa-like monuments in Nepal, Cambodia, Indonesia and elsewhere. In Thailand a stupa itself, not a stupa hall, is called a chedi, a local Thai word derived from the Pali Cetiya. In the historical texts of Jainism and Hinduism, including those relating to architecture, chaitya refers to a temple, sanctuary or any sacred monument.

Most early examples of chaitya that survive are Indian rock-cut architecture. Scholars agree that the standard form follows a tradition of free-standing halls made of wood and other plant materials, none of which has survived. The curving ribbed ceilings imitate timber construction. In the earlier examples, timber was used decoratively, with wooden ribs added to stone roofs. At the Bhaja Caves and the "Great Chaitya" of the Karla Caves, the original timber ribs survive; elsewhere marks on the ceiling show where they once were. Later, these ribs were rock-cut. Often, elements in wood, such as screens, porches, and balconies, were added to stone structures. The surviving examples are similar in their broad layout, though the design evolved over the centuries.

The Vakataka dynasty (IAST: Vākāṭaka) was an ancient Indian dynasty that originated from the Deccan in the mid-3rd century CE. Their state is believed to have extended from the southern edges of Malwa and Gujarat in the north to the Tungabhadra River in the south as well as from the Arabian Sea in the west to the edges of Chhattisgarh in the east. They were the most important successors of the Satavahanas in the Deccan and contemporaneous with the Guptas in northern India.

Little is known about Vindhyashakti (r. 250–270), the founder of the family. Territorial expansion began in the reign of his son Pravarasena I. It is generally believed that the Vakataka dynasty was divided into four branches after Pravarasena I. Two branches are known, and two are unknown. The known branches are the Pravarapura-Nandivardhana branch and the Vatsagulma branch. Gupta Emperor Chandragupta II married his daughter into the Vakataka royal family and, with their support, annexed Gujarat from the Saka Satraps in 4th century CE. The power vacuum left by the Vakatakas were filled by that of the Chalukyas of Badami in the Deccan region. The Vakatakas are noted for having been patrons of the arts, architecture and literature. They led public works and their monuments are a visible legacy. The rock-cut Buddhist viharas and chaityas of Ajanta Caves (a UNESCO World Heritage Site) were built under the patronage of Vakataka king, Harishena.

Indian painting has a very long tradition and history in Indian art. The earliest Indian paintings were the rock paintings of prehistoric times, such as the petroglyphs found in places like the Bhimbetka rock shelters. Some of the Stone Age rock paintings found among the Bhimbetka rock shelters are approximately 10,000 years old. Because of the climatic conditions in the Indian subcontinent, very few early examples survive today.

India's ancient Hindu and Buddhist literature has many mentions of palaces and other buildings decorated with paintings (chitra), but the paintings of the Ajanta Caves are the most significant of the few ones which survive. Smaller scale painting in manuscripts was probably also practised in this period, though the earliest survivals are from the medieval period. A new style emerged in the Mughal era as a fusion of the Persian miniature with older Indian traditions, and from the 17th century its style was diffused across Indian princely courts of all religions, each developing a local style. Company paintings were made for British clients under the British Raj], which from the 19th century also introduced art schools along Western lines. This led to modern Indian painting, which is increasingly returning to its Indian roots.

Nandalal Bose (3 December 1882 – 16 April 1966) was one of the pioneers of modern Indian art and a key figure of Contextual Modernism.

A pupil of Abanindranath Tagore, Bose was known for his "Indian style" of painting. He became the principal of Kala Bhavan, Santiniketan in 1921. He was influenced by the Tagore family and the murals of Ajanta; his classic works include paintings of scenes from Indian mythologies, women, and village life.