Miniature paintings from Kashmir are a unique fusion of various styles. It seems initially to incline noticeably towards Persian models, traces of some late Mughal elements are also visible along with Pahari flavor, and it seems painters even drew upon conventions and iconographies that go back to the Buddhist period of Kashmir history. It was not just for the royal court that these paintings were made, the patronage extended to common people for their religious requirements and therefore Kashmir painting has a long and rich tradition of illustrated and illuminated manuscripts. Few folios from Bhagvata Puran depicting the scenes from life of Krishna are amongst the jewels of the collection. Elements of folk are noticeable in this series, such as decorative borders, the lack of notion of space, absence of essential and realistic faithfulness to nature.
The lion-riding ten-armed Devi holding in her hands a sword, goad, mace, conch, rosary, decapitated human head, tongs, lotus, shield, and wine-cup, is on charge against demons, perhaps of the Raktabija clan. Some already killed lay under her lion's feet while many more, as if emerged out of the soil, face her. Roktabija had powers to recreate a new Raktabija demon out of each drop of his blood that fell on the earth. Various colours of their bodies symbolise evil's various ways. Devi's iconography, floral border and distribution of the space into two blocks, one for the goddess and other for demons, are characteristic features of Kashmir style.
Inscribed in Gurumukhi saying ‘Guru Nanak had met Sanyasi Dattatreya'. Guru is seen with his inseparable disciples Bala and Mardana. The palette is vibrant, typical of Kashmiri style. Both Bala and Mardana are chancing upon the ascetic figure of Dattatreya. The painter has rendered the encounter with dramatic simplicity.
This seems to be a folio of a manuscript with elaborate geometrical and floral borders. The style is Kashmiri with tiny figures and typical colours of orange, green, mauve and blue forming the plain compartments. This is the beginning verse from the Bhagvata Purana when Raja Parikshit has come to Vishnu.
Krishna showed his Vishvarupa to Arjuna in the battle field of the Mahabharata when the latter had refused to fight with his fellows. Krishna took the form of Vishvarupa by opening his mouth and showed the entire Brahmanda to Arjuna. The colours are typical of the Kashmiri palette with orange, green, yellow and mauve.
The flat patches of green, orange and yellow form the hillocks whereas the two patches of red and yellow in the foreground are where the main scene is taking place. The two royal persons are having some kind of discussion with the two holy men. There is some offering placed in the plates. The painting has elaborate, geometrical and floral border.