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events were juxtaposed in one panel.20 But roots of this art is still a matter of conjecture.
Visual representation of the story was a common feature in both the traditions viz., in the art of mankhas and in early Indian plastic art. For narrative visuals, space would have been an important parameter. Therefore, the artists must have had certain devices to narrate the whole story in the most effective manner and without losing its essential elements in a given space. Such devices were available to early Indian sculptors as noted above. Archaeological findings do not help in tracing the roots of this art. It is speculated that the material used as medium was perisbable in nature.21. Mankhas tradition of art is perhaps the only answer to the vexatious problem of finding its precedent. It is the only known tradition of narrative art in painting which should have provided sufficient expertise and knowledge to early Indian sculptors in the representation of Jätakas in stone.
Besides the narrative panel, there are more references to panel painting. In Acārya Padlipta's Tarangalolā, a Jaina Prākrit text of second century A. D., there is a romantic tale which mentions a merchants' daughter, Tarangavatı who displayed her canvases in public in the Kaumudi-Mahotsava.22 These canvases represented the scenes of her past life. Similar motifs are also found in later Jaina and non-Jaina stories, for instance, the story of Lalitānga as mentioned in Āvašyaka Cūrni; the story of Nilayasa Lambha in Vasudevahindi and in Asata's Hamsauli in old Gujarati.23
The art of portraiture was well developed in ancient India. In the Inätādhammakatha (c. late 3rd Century A. D.) we read about a portrait of Malli, a princess of highest perfection in beauty, which was painted on the wall by an accomplished artist. In order to appreciate the essence of the art of portraiture, we must note the remarks of Malladinna's mother (dhāya-mātā). "She says, My son ! certainly, this is not Malli, the princess of highest perfection in beauty. But the artist has painted her exact likeness."24 The artist was banished from the kingdom by Malladinna for doubting the chastity of his
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