Image No.4 is a sculpture known as the Bodhisattva of Ajanta from south-central India belonging to the 5th century CE, which is a possible representation of the Guptas’ golden age. This art form is an illustration of dynasty vs. region as it is brought out by local vs. foreign traditions.
Image No.5 is an illustration of a large temple known as Ambh Sharif that is located on a salt range in West Punjab, Pakistan that was built in the 10th century AD. The building representation of the emphasis placed on dynasty vs. the importance of regional traditions. It is also a clear representation of fluidity of iconography between water cosmology, Hinduism, Buddhism, Jainism and Islam. Image No.6 is a folio from the Kalpastura & Kalakacharya-katha of northern India possibly from Delhi with the catalogue No.1475. This art form represents religion, its influences on trade and conquest and its role as a pan-Asian connector. It illustrates the fluidity of architectural iconography among Hinduism, Jainism and Islam. Image No.7 is a folio from the Harivamsa catalogue No.1595 called Fatehpur Sikri or Agra of India. It belongs to art of the Mughals, Rajputs and Deccani rulers’ period. In the context of this paper, this art form is a primary source of information regarding continuities and innovations of Islam in South Asia (Dhār and NMI 183). It is also a representation of the comparison between dynasties vs. regional traditions, fluidity of iconography among Hinduism and Islam, and fluidity among the religious and secular realms. Image No.8 is a piece of art that is described as Karkhana 89 of natural pigments on Wasli Ca.2003, and it features on the contemporary trends section.
Aniconism is the religious belief or practice that avoids or bans depiction of deities in art or other artistic expressions. Aniconism in south Asian art is witnessed after Islamic religious influences permeated this region,