Art, paintings, images, sculptures serve to be an immortal representation of the lifestyles of the era and the region from which they originate. They are like windows, enabling us to take a peek into the representational imagery which is in relation to the religious doctrines, rituals, ceremonies as well as the prevalent social customs. These pieces of art preserve and document what was once there, and become an important historic relic as time passes. Art focuses our attention even on studying the iconography and symbolism of the era they depict. It becomes pivotal in comparing the present day iconography and symbolisms to those of the yester years as well as to know the roots of the same. Most importantly, paintings narrate events, stories and lore which are then smoothly passed on from generation to generation. For instance, the pictorial storytelling at sites such as the Stupa at Sanchi, the Ajanta and Ellora caves, the Mogao caves at Dunhuanga demonstrate clearly how they are integral to the religious trends followed there.1 Along similar lines, studies have highlighted how the pictorial inscriptions on the early Chinese tombs, shrines and monuments function as a requisite for the social purposes as well as religious rituals.2 This article too, looks at some of the paintings coming from the yester eons, each speaking to the viewer about certain events or incidents, depicting the passage of time in them as well. Original Image: Unknown workshop, possibly Malwa, 1425-50, Published: Goswamy- A Jainesque Sultanate Shahnama (1988), Opaque watercolor and ink on paper. Picture Credits: Guy John, Britschgi Jorrit, Wonder of the Age: Master Painters of India, 1100-1900, (New York: The Metropolitan Museum of Art, 2011) p.31. This original painting is taken from the pages of a Shahanama manuscript (the famous Islamic Epic novels: The Shahnama (book of kings) of Firdawsi.) The original manuscript was bound as a single codex format volume comprising of 350 pages of Persian text, 66 of which are illustrated. 3 The painting here narrates the story of the tragic death of a Prince name Siyavas4. While resting in his bed chambers with his wife, the Prince is dragged out of his abode while his helpless wife gapes in horror. The Prince is taken outside and taken advantage of his ammunition less state to kill him. This painting becomes a pictorial narrative, as in a single picture frame, two simultaneous instances are depicted vividly. The change in the backdrop as well as the scenery depicts the continuity of the narrative within the single frame. When inside the bed chambers, the painting of the pavilion which changes into a scenery having trees in the background depict the journey of the Prince as he helplessly fought his way from life to death.5 Also, the figures and the positions of the Prince and that of the soldier who is killing him are repeated in the picture. Since there cannot be a particular person present in two different areas at once; the scene clearly indicates that it is a continuous story narration which follows the movements of the characters. The other important point which makes the story depicted in the picture clearer to the viewer is the character differentiation. Though the styles of drawing the eyes, the eyebrows, the nose and other facial features is alike, it is evident f