Dada Guruo Ke Prachin Chitra

This document, "Dada Guruo ke Prachin Chitra" (Ancient Paintings of Dada Gurus) by Bhanvarlal Nahta, is a comprehensive exploration of the visual representations of revered Jain Acharyas, particularly focusing on the "Dada Gurus" within the Kharatargachchha tradition. The author highlights the significant role of gurus in Jain philosophy, emphasizing that true spiritual guidance comes from those who have attained self-realization.

The article begins by establishing the importance of the guru in Indian culture, particularly in Jainism, where the "Sadhguru" (true guru) is placed on the highest pedestal. It notes that visual art, especially paintings, can convey complex spiritual teachings more effectively than words. The author traces the history of Jain painting from prehistoric cave art to the developed styles found in Ajanta, Ellora, and Sittanavasal, and further to temple murals and paintings in the homes of wealthy patrons.

The primary focus is on the paintings related to the lives of the Dada Gurus. The author states that these paintings are predominantly found in temples and "Dadavadis" (temples or institutions associated with the Dada Gurus). He acknowledges that restoration efforts can lead to the loss of ancient paintings but emphasizes that the tradition of creating such art continues.

The article categorizes the artistic mediums used for depicting the Dada Gurus:

• Murals (Bhitti-chitra): These are found in temples and Dadavadis, preserving the narrative of the Gurus' lives. Notable examples are mentioned from Bikaner, Raipur, Bhadravati, Udaramasar, and Bhadreshwar.
• Wooden Panels (Kashtha-phala): The tradition of painting on wooden panels began with the depictions of Shri Jinvallabhsuriji and Shri Jinvallabhsuriji. The author mentions that after the beginning of the Kalikala era, paintings on cloth scrolls (Vastra-pata) depicting Acharyas like Hemchandracharya and Kumarpal, as well as those related to philosophical debates (Shastrartha) and the "Surimantra Patta," became common. He specifically mentions a wooden panel from around 1700 AD depicting Shri Tarunprabhsuriji and his disciple, and a significant panel from the Jesalmer Bhandar (now in the Tharushah Bhandar) depicting Shri Jinvallabhsuriji and King Kumarpal. The author regrets not being able to publish this particular panel.
• Manuscript Illustrations: After wooden panels, the author discusses paintings within manuscripts. He highlights the importance of illustrations of Hemchandracharya and Kumarpal, and then focuses on Shri Jineshwar Suri (the second Dada Guru) from the Khambhat Bhandar. He also mentions paintings in texts like Kalpasutra and Shalibhadra Chaupai depicting various Acharyas, noting that popular belief and memory lapses can sometimes lead to misattribution of these narratives.
• Independent Paintings: Over the last two and a half centuries, independent paintings of the Dada Gurus have become prevalent, adorning temples, Dadavadis, residences, and royal palaces. These paintings depict significant events from their lives. The author mentions a painting in the Mal Ganj Mandir of Bikaner depicting the meeting of Shri Jinvallabhsuriji (the fourth Dada Guru) and the Mughal Emperor, and other collections in Lucknow, Jiyaganj, and Kolkata containing ancient paintings. He also notes that paintings of Shri Hirvijaysuriji and Akbar have been created in the last fifty years, with Munishri Vidyavijayji Maharaj being credited with commissioning the first such painting.

The article then delves into specific examples of these paintings, providing detailed descriptions:

• Shri Abhaydevsuriji: A 73x17 inch painting depicting a city, a Poshadhshala (monastic dwelling) where Acharya Shri is shown with his attendant goddess, his journey with disciples, and the manifestation of the Thambhan Parshvanath idol from the ground. It also includes a scene of the idol being bathed and the water being sprinkled on the Acharya to cure a disease. The background features various trees and landscape elements.
• Shri Jinvallabhsuriji and Shri Jinvallabhsuriji: A 75x17 inch painting showcasing various episodes from the lives of both Gurus. This includes Shri Jinvallabhsuriji with fifty-two Viras and sixty-four Yoginis, a scene at "Panch Nadi" with five temples, the Acharya suppressing lightning in Ajmer, a Mughal prince being revived by the Acharya's mantra, and scenes depicting Shri Jinvallabhsuriji's discourse in a city and saving a sinking boat.
• Shri Jinvallabhsuriji (Akbar's Reflector): A 74.5x16.5 inch painting depicting a city with gates, houses, and a mosque, along with a Poshadhshala. It shows Shri Jinvallabhsuriji in a palace chamber with disciples, facing the Emperor on a throne with royal insignia. There's a scene with a black goat and two white kids. Another part of the painting depicts the Acharya offering a platter to the goddess in the Poshadhshala, with a moonlight scene that amazes everyone. The author notes that a scene involving a Qazi's cap seems to have been omitted by the artist.
• Dada Shri Jinvallabhsuriji's Qazi's Cap: Depicting the Dada Guru's interaction with the Emperor in court, with the Qazi's cap removed and held towards the sky.
• Dada Shri Jinvallabhsuriji's Thali: Showing the granting of a platter by the attendant goddess in the Emperor's court.
• Shri Jinvallabhsuriji, Ujjain: Depicting the Acharya's procession into Ujjain after tearing through a pillar.
• Shri Jinvallabhsuriji, Multan: Showing the Acharya conquering five rivers in Multan.
• Shri Jinvallabhsuriji's Journey: Depicting the Acharya saving a merchant's ship in a river.
• Shri Jinvallabhsuriji's Conversation: Illustrating the Acharya's dialogue with an elephant.

The author then discusses paintings found in various locations:

• Jiyaganj: Two paintings of size 27x15 inches in the Shri Sambhavnath Jinalaya depicting episodes from the lives of Shri Jinvallabhsuriji and Shri Jinvallabhsuriji. The Shri Jinvallabhsuriji painting includes scenes of the "Bavan Veer," "Chausath Yogini," "Panch Nadi-Panch Pir," controlling lightning, entering a high city, and holding "Ambar hathe akshar."
• Jiyaganj (Shri Vimalnathji Mandir): Paintings of Dada Shri Jinvallabhsuriji and other important Acharyas like Shri Jinvallabhsuriji, Shri Abhaydevsuriji, and Shri Jinvallabhsuriji, created about 55-60 years ago under the guidance of Shri Jinkripachandrasuriji.
• Kolkata (Shri Mahavir Swami Mandir): Four paintings, including a small one of the jeweled Jinvallabhsuriji with the Emperor in front.
• Chanda-Chandpur: A painting of Dada Dehri by Magivaroji Maharaj.
• Lucknow: The author recalls seeing paintings of the Dada Gurus in Lucknow.

The article also features a significant wooden panel from the Seth Shankardan Nahata Art Bhavan, described as belonging to Shri Jinvallabhsuriji's personal collection and likely from a palm-leaf manuscript. This panel, 34x16 inches, is described in detail:

• First section: Depicts Acharya Shri Gunasamudr and Shri Jinvallabhsuriji (identified as Shri Jinvallabhsuriji) sitting face-to-face, with their attendants. It notes the presence of "Sthapanacharya" (representation of the Acharya) and mentions the attire and adornments of the disciples and patrons.
• Second section: Depicts a "Sadhviyon ka Upashray" (nunnery) with a "Pravartini" (head nun) Vimalmati and two other nuns, Nayshri and Nayamati. It also includes a female patron. The panel is noted to be from before Shri Jinvallabhsuriji's consecration as Acharya, around 1150 AD.
• The author also mentions a significant illustrated wooden panel from the Shri Jinvallabhsuriji Gyanbhandar in Jaisalmer, depicting Shri Jinvallabhsuriji and King Kumarpal, which is now in the Tharushah Bhandar. This panel, which he was unable to publish, is described as featuring the deity Navanana Parshvanath and scenes of the Acharya's discourse.

Finally, the author highlights a painting from Jaipur by the artist Ganesh Musabbar, who worked in Bengal for about fifteen years, creating hundreds of valuable Jain paintings. He mentions that the "Shri Jinvallabhsuriji Sangacharyam Sadrishya Gathaka Kaathpatta" is a pictorial wooden panel, likely from the late 12th or early 13th century, and is the oldest known example of this style. It depicts Shri Jinvallabhsuriji's discourses and is considered a significant artifact of ancient Jain art.

In essence, "Dada Guruo ke Prachin Chitra" serves as a visual chronicle of the Jain spiritual lineage, emphasizing the artistic heritage and devotional practices associated with the Dada Gurus, and showcasing the evolution of Jain painting through various mediums and periods.