Paintings found in various books are the Grantha chitra. The oldest book painting of Nepal to date, Pragyaparmita also a Grantha Chitra. Such paintings were made on Tamrapatra( copper plate ), Bhojpatra ( bark of trees), etc in the golden days. Grantha Chitras are made on paper thes days. Nepalese art of painting is rich in its high level of workmanship ,design and immense beauty.Thousands of tourists throng the city every year from foreign land to enjoy rich Nepalese art ,architecture and artworks .Our art work must be preserved and protected for the promotion of tourism and empowerment of local people moreover to keep our identity.

Manuscript cover with scenes from Kalidasa's play, Shakuntala, 12th century

Depicted on this manuscript cover are two delicately painted scenes from the play Shakuntala, which was written by the famous Indian poet and dramatist Kalidasa in the fourth or fifth century. Unlike the religious subjects that appear on the vast majority of other surviving manuscript covers, Shakuntala is a secular story. It is a romance about a king, Dushyanta, who encounters the miraculously beautiful Shakuntala while hunting in the woods near her stepfather's hermitage. They instantly fall in love, marry, have a child, separate because of a curse, and finally reunite. On the left, King Dushyanta and Shakuntala appear seated on decorated cushions. This scene most likely depicts the king's gift of his ring, to remind his wife of his love. Later, it is the sight of the ring that dispels the curse and causes the lovers to be reunited. 

This is the earliest known Nepalese painting on cloth (paubha). Its rich palette is dominated by red and yellow, and the elongated proportions and animation of the figures are characteristic of contemporaneous illustrated manuscripts, as is the attention to detail and humor. The careful treatment of details throughout the painting—the jewelry worn by Chakrasamvara and his consort Vajravarahi, the delicate crossed vajras (ritual implements) that fill the outer edges of the central circle, the many jewels and other elements that decorate the mandala—exemplify the best of Nepali painting and foreshadow the influence of this artistic tradition in Tibet during the thirteenth through sixteenth centuries. The central couple is surrounded by six deities, rather than the usual four or eight. There are hundreds of forms of the Chakrasamvara Mandala because it is considered the chief of all Mother Tantras of the Unexcelled Yoga Tantra class. This one is remarkable for the medley of varied figures in the charnel grounds just outside the circle as well as for the variety of their movements and actions.

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