The tradeful approach allowed the Gujarati style to flourish. The state had huge commercial feasibility because of the good arrangement of its seaport. From an earlier time, we can experience a commercial impact on Gujarati society and culture. The wealthy business community was helping artists at the time when the attack of exotic Muslim invaders destroyed the art practice of several king's courts across India. It's easy to guess that such a rich Gujarati community would never agree to receive the creed of Buddhism and the harsh discipline of Hindu Brahmin philosophy. Rather they were passionate to amuse themselves with art and enfolded it in their daily life. 

There is no evidence of paintings in this era; however, after the epoch of Chaitanya Mahaprabhu,[1] we got some evidence of paintings influenced by the Jain religion in manuscript illustrations and some sculptures made with metal. It continued to the 17th century. In the Jain manuscript illustration, we can notice the influence of the Persian miniature style that had been since its earlier stage. Resource said that some of the colors imported from Iran to work on the Jain manuscript illustration caused the impact of the Persian style on Gujarati painting. The impact appeared in several tiny areas of those paintings, such as the shape of faces, dancing postures, and even dresses.  

Nowadays, some art critics describe the Gujarati style as a Western Indian style. But around the 11th century, we can find the oldest style of Rajput painting in some manuscripts. But those were monotonous; nevertheless, it got developed in the 13th century. In those paintings, we can find the backgrounds of the painting, which appear with trees and other objects. At the end of the 14th century, when the era of palm leaf got to an end, and paper was invented, we could see some large paintings with vibrating colors. I said that colors were imported from Iran (Persia), and now papers also came from Iran, and with those (papers and colors), influences of Irani style also appeared in the Rajput painting of Gujarat. For instance, we can notice in Gujarati paintings, - bearded men wearing long Cloaks and men with high shoes that were used in Iran. These, for the first time, appeared in Indian Rajput paintings. Also, the Irani impact appeared in the designs, decorations, etc of those paintings. All of those were flat-typed. Only the line drawing and the reddish surface of the painting kept the trait of the ancient Indian tradition of Rajput painting.

 Some Jain manuscripts of the 15th century still exist. An important manuscript of the said century is Basanta Bilas[2]. Probably, the manuscript was composed in 1451 during the reign of Ahmed Shah Kutubuddin of Gujrat. The most ancient manuscript other than Basanta Bilas is Kalpasutra, which was composed in 1237. But the Basanta Bilas is important because of its illustration. In this illustration, we can feel an innocent but candid sense that brings infinite joy. Indeed in all Indian paintings, such a sense of candidness produces innocence, and it is the main grandeur that makes Indian paintings magnificent. 

Most of the Gujarati Rajput paintings are a kind of story-telling like the Ajanta cave paintings. A remarkable fact is that if we tend to take a deep look at those paintings, we can notice that the dresses of males and females are quite similar to Ajanta cave paintings. It is applicable in ornaments too. It means that the Mughal impact as yet was far away from the drapery arrangements, and ornamental designs in those paintings. The same matter can be seen in the Vaishnava paintings of the contemporary era. But all paintings were just composed in too conventional technique, and therefore, sometimes it looks monotonous. Nevertheless, the colors of those artworks are praiseworthy.  

 At the end of the 15th century, perfection got decreased and unnecessarily raised the use of ornaments. Similarly, the line drawing got weak and diverted. Such signs had been running up to the 16th century. In the manuscript named Kalpasutra, we can notice some specialties. For instance, on each page of that manuscript, more than one painting is composed, and in the frame of those paintings, birds, fruits, flowers, and even men are composed by following the concept of the Irani style. But the main painting follows the Indian traditional Rajput art. Therefore, we can consider that probably the Islamic impact in the Gujarati manuscript paintings came not from Persia (Iran) but from the southern part. Thus, if we consider that the highest transcendence in Gujarati Rajput painting occurred in the first half of the 15th century, then the said manuscript was composed after the mentioned period.

Here I want to bring forth a joking fact about how people want to hold on to the old tradition. In those manuscripts, we got the same joking fact as we can notice in the motor car. When It got invented, the engine of the motor car was placed on the front side of the car. It is because, in earlier times, horses took place at the front of the car to pull it. Therefore, the engine took the same place as horses. The same things happened in those manuscripts. After the invention of paper, illustrated manuscripts had started composed on paper instead of palm leaf. But as we have seen during the time of the palm-leaf manuscript, two little holes got placed in the palm leaf to bind the manuscript with a yarn; in the same area, artists placed two round shapes with color on the paper-made manuscript. Although there was no need to bind those paper-made manuscripts in the same way, nevertheless artists loved to indicate the points where manuscripts were usually bound with yarn. I enclosed an image of the manuscript named Uttaradhyayana Sutra in below paragraph where you can see that joking fact.