Bharatiya Kalama Jain Sampurti

Here's a comprehensive summary of the Jain text "Bharatiya Kalama Jain Sampurti" by Ravishankar M. Raval, based on the provided pages:

This extensive text, "Bharatiya Kalama Jain Sampurti" (Jain Heritage in Indian Art), by Ravishankar M. Raval, explores the rich and often overlooked artistic legacy of Jainism within the broader context of Indian art and architecture. The author argues that while modern Jain society may not fully recognize it, researchers and art connoisseurs have increasingly attributed significant artistic achievements to the Jain tradition.

Key Themes and Arguments:

• Jainism's Ancient Artistic Roots: The text firmly establishes that Jain art and architecture emerged concurrently with Buddhism, contradicting the notion that it is a later development. The author highlights that the earliest artistic remnants in India are often found in cave temples and dwellings, suggesting that yogis and religious founders sought solitude in natural caves for their spiritual practices, leading to the creation of monumental memorials.
• Similarities and Distinctions with Buddhism: The author notes the parallel development of Jain and Buddhist monastic orders. Both traditions built cave residences and monastic dwellings (viharas). However, Jainism did not require the "chaitya mandaps" (assembly halls) as prominently as Buddhism. This shared architectural language, coupled with the tendency of early scholars to categorize all ancient cave sites as Buddhist due to the prevalence of Buddhist sites, led to initial confusion and misattribution of some Jain creations.
• Geographical Spread of Jain Art: The text traces the significant artistic contributions of Jainism across various regions of India, including:
  • Odisha: The Udayagiri and Khandagiri caves are presented as prime examples of early Jain architecture, with the Haathigumpha inscription, deciphered by Pandit Bhagwanlal Indraji, confirming their Jain origin and linking them to King Kharavela. The architectural style, sculptures, and inscriptions are discussed, noting influences and common motifs of the era like Gajalakshmi and tree worship.
  • Western India (Gujarat & Rajasthan): The author emphasizes the flourishing of Jain art and architecture in Gujarat and Rajasthan, particularly from the 11th-12th centuries onwards. Sites like Mount Abu (Dilwara Temples) and Ranakpur are highlighted for their exquisite marble carvings, complex architectural designs (like the Meghnad Mandap), and intricate decorative elements. The dedication of the Jain community to religious art, often funded by wealthy patrons, is emphasized.
  • Southern India: Jain influence is seen in the cave temples of Badami, Aihole, and Ellora (Verul). The Badami caves, dating back to the 6th century CE, show the coexistence of Brahmanical, Buddhist, and Jain philosophical traditions. The Ellora caves are described as monumental works of art, with Jain caves representing the later phase (around 850 CE), showcasing Dravidian architectural styles. The colossal statues of Gomateshwara (Bahubali) at Shravanabelgola, Karkala, and Venu in Karnataka are presented as unique examples of Jain sculpture, demonstrating exceptional artistry and engineering, particularly the method of carving from the top of a rock cliff.
  • Mahakoshal (Central India): The text mentions the Jain artistic traditions in Mahakoshal, noting the patronage of the Kalachuri dynasty and the presence of Jain scholars and poets like Pushpadanta in their courts.
• Evolution of Jain Architecture and Sculpture:
  • Cave Architecture: The book details the evolution from early rock-cut caves (like Udayagiri and Khandagiri) to more elaborate rock-cut temples (like Ellora). The architectural features, including verandahs, chambers, pillars, and decorative motifs, are discussed.
  • Stupa Culture: The author explains the prevalence of stupas in ancient India, initially for the relics of great men, and how this practice was adopted by Brahmanism, Buddhism, and Jainism. He clarifies that many ancient stupas and cave constructions were initially misattributed to Buddhism due to the widespread nature of Buddhist sites and inscriptions.
  • Temple Construction: The shift from cave temples to free-standing stone temples is noted. The evolution of temple architecture, from earlier simpler structures to the complex designs with mandapas, shikharas, and intricate carvings seen in the 10th-11th centuries and later, is discussed. The author points out that Jain patrons often commissioned the most elaborate and artistically significant structures.
  • Sculptural Art: The text describes various forms of Jain sculpture, including images of Tirthankaras, Yakshas, Yakshis, and intricate decorative panels. The colossal statues of Bahubali are a particular focus, highlighting their scale, artistic merit, and the spiritual message of renunciation they convey.
  • Painting: While the primary focus is on architecture and sculpture, the text briefly mentions Jain painting traditions, particularly those found in the Sittanavasal caves, which show the influence of Ajanta's later style and reflect the continuity of mural painting practices within Jainism. The artistic contributions found in Jain manuscripts like the Kalpasutra are also acknowledged.
• Patronage and Preservation: The author stresses the crucial role of Jain patrons and wealthy merchants in commissioning and preserving these artistic treasures. He contrasts this with the decline of other religious institutions that relied solely on royal patronage. The Jain community's dedication to religious art, even when facing foreign invasions, is highlighted.
• Artistic Syncretism and Influences: The text acknowledges the cross-pollination of artistic styles and influences across different religions and regions of India. Jain art absorbed influences from Persian, Greek, and Babylonian art, as seen in motifs and decorative elements, while retaining its distinct Indian character. The common use of symbols like trees, wheels, and decorative patterns across different religious sects is noted.
• Challenges and Modern Preservation: The author laments the neglect and deterioration of many ancient Jain art sites due to lack of proper maintenance and renovation. He criticizes modern restoration efforts that sometimes compromise the original artistic integrity of the structures. He calls for a renewed focus on scholarly study, accurate documentation, and skilled restoration to protect and promote Jain art for future generations.
• Jainism's Impact on Indian Culture: The book concludes by emphasizing that Jainism, despite sometimes being overshadowed by Buddhism and Brahmanism in historical narratives, has made profound and lasting contributions to the artistic and cultural fabric of India. The meticulous craftsmanship, spiritual depth, and architectural innovation showcased in Jain art stand as testaments to its enduring legacy.

In essence, "Bharatiya Kalama Jain Sampurti" is a scholarly defense and celebration of Jainism's significant artistic heritage, aiming to educate readers about the depth, breadth, and enduring beauty of Jain art and architecture across India.