The three types of paintings done on the bridal chamber were:

2. The paintings of propitious symbols as a ring of lotuses, flowers, a bamboo tree, parrots, turtles, fishes, sun, moon, flowering trees and elephants. The symbols of the lotus ring and the bamboo tree figured most prominently as they symbolized fertility because of the speed with which they proliferated and because they were diagrams of sexual organs. For the paintings on the second marriage bamboo tree plunging through the lotus circle was depicted. The painting of the moon symbolized long life and the sun symbolized fertility and. Parrots were symbols for the bride and bridegroom and are Indian equivalents of lovebirds. The people believed that buy including all these paintings there will be marriage bliss and the couples will be blessed with progeny.
3. In addition to these, paintings of the four servants of Durga were depicted in each corner of the room to prevent anyone from bewitching the bride and bridegroom.

Some families kept a stock of paper patterns on which the family`s current designs were recorded, which were painted in pen-and-ink or and watercolors. It is this pattern that has become the property of the Library. These patterns provide symbols for the bride and bridegroom and their attendants, for the god Brahma, for the lotus ring, for Krishna and the circular dance. These were preserved as family possession and the bride takes this when she leaves to her husbands home. So that she could continue her family`s tradition of painting and at the same time add it to the stock of her mother-in-law. Through this circulation process, the ancestral idioms were spread throughout all Mithila, thus resulting in common caste styles.
In the paintings made by Maithil Brahmin women, there was an attempt to place figures or objects in a natural relation to each other. They depicted the figures as aimless creatures floating in a tranquil aquarium. The paintings depicted showed Krishna and a peacock standing above the head of a bridegroom`s attendant, a bride and bridegroom walk below a lotus ring, a child trips along a ribbon floating from Shiva`s headdress fishes drift in the sky, parrots perch at any angle, and enormous flowers burgeon besides a tiny milkmaid. They depicted a fish as big as a tiger and a monkey was depicted larger than a man.
The paintings were relaxed collections of images, which however gracefully combined with one another in the picture space. The figures and objects are depicted on a single flat plane which are defined by a thin and wiry line which bounds large segments of bright color. The bodies were depicted in triangular, rectangular and semicircular shapes that gave them a geometric dignity. Attires and apparels had liveliness of developing plants. For example, goddess Durga may stand firmly in her rectangular skirt, but her arms and crown radiate like the petals of a sunflower. The colors depicted had a vivid brilliance. The blue or black of Krishna`s skin, are depicted by religious canons, but most of the paintings had no relationship to life. Parvati may have a pink head or Shiva a yellow body and it is these distortions, which give the figures an air of gentle vision.
The paintings of the Maithili Kayasth were entirely different. Though they painted on a flat plane with the same irrational relationship of figures and images as of the paintings of Maithil Brahmins, in the paintings of the Maithili Kayasth color plays a very little role and the strength of their paintings lies in their line. They used colors as bluish grey, ochre madder and black and in most of the paintings the last two colors were predominant. The figures they painted did not float in space but were tightly bound into panels with patterned frames or ranged in long processions round the walls. The figures instead of being represented as fairy-tale shapes were fleshy, muscular and had an air of sensual energy and quick compulsive power. The chief subjects depicted by them were the pictures of gods, elaborate lotus circles and complicated patterns. As a result the paper patterns were more common in Kayasth than in Brahmin households as the complex designs could be less easily memorized. As time passed the women of the household began to think that painting on walls was menial and below their dignity and they considered knitting, embroidery and sewing more appropriate. Some of the rich families employing lower caste Kumhars (or potters) to execute the paintings.