In the art of painting the Gupta age attained a high level of proficiency. The specimens of Gupta painting are preserved in the Ajanta caves, the Bagh caves (Gwalior), the Sittannavasal temple in Puddukottai and the rock-cut chambers in Sri Lanka. The fresco paintings in 6 out of 29 caves of Ajanta have survived the ravages of time. The painting of caves I, II, IX, XVI, XVII and XIX need special mention on account of their splendour and beauty. The murals of Ajanta include three-fold aspects of decoration, portraiture and narration.
The decorative designs include animals, trees and flowers in profusion. The central figures are those of Buddha and Bodhisatva. The narrative scenes mostly portray Jatak stories. Though painted for religious purposes the paintings of Ajanta bear a secular rather than religious message. Here are princes with their palaces, ladies in the harems, coolies carrying loads, beggars, peasants and ascetics.
The figure of Avalokiteswar Padmahari in Cave No I is one of the best-known single figures of Ajanta. The figure is known for its colour and design.
The paintings of Bagh caves are similar to those of Ajanta. They display the same variety of design, vigorous execution, decorative quality and secular nature. The paintings in caves No. II, III, IV, V and VII have survived till date. The paintings of dancing girsl and procession of elephants deserve special mention. The remains of the beautiful figures of twenty-one Apsaras painted at a height of 180 mtrs. on a rock citadel at Sigriya in Sri Lanka belonging to this period are simply superb.