Gujarati Painting Of 16th 17th Century

This document, "Gujarati Painting of the 16th-17th Century: A Reappraisal" by Lalit Kumar, explores the evolution of Gujarati Jaina painting, particularly the emergence of a "Neo-Gujarātī Jaina Painting" style.

The author argues against the prevailing theory that Mughal influence was the sole catalyst for the changes observed in 16th-century Gujarati painting, such as figures in strict profile with the removal of the farther eye and the introduction of new costumes. Kumar posits that the Caurapañcāśikā-Candāyana group of paintings from North India played a more significant role.

Key points discussed include:

• Shifting Stylistic Features: The text highlights the transition from traditional Gujarati Jaina painting to a new style, characterized by changes in facial representation (strict profile), costumes (e.g., the four-pointed jama, short bodice, ghāghrā, transparent odhani), and decorative elements (arabesque).
• Debunking Mughal Influence: Kumar critically examines the claim of Mughal influence, particularly citing the Matar Sangrahanīsūtra of A.D. 1583 as an example. He argues that the presence of the four-pointed jama, while also seen in Mughal art, is also found in the Caurapañcāśikā-Candāyana tradition. Furthermore, he notes features like trellised turbans and arabesque decorations that are not consistent with Mughal styles of the period. He also emphasizes the absence of clear Mughal technique or evidence of artist migration from Mughal ateliers.
• The Caurapañcāśikā-Candāyana Influence: The author strongly advocates for the Caurapañcāśikā-Candāyana style as the primary influence on the development of the Neo-Gujarātī Jaina painting style. He points to specific manuscripts like the Abhidhānacintāmani-namamālā (A.D. 1573) and the Dhananjaya Nāmamālā (A.D. 1575) as evidence of this impact, noting the presence of transitional figures and new costume elements.
• Regional Development and Spread: The study traces the emergence of the Neo-Gujarātī style, first in the Malwa region and then spreading to Gujarat. It highlights the Matar Sangrahaņīsūtra (A.D. 1583) as a significant milestone, representing a mature stage of the new style.
• Two Expressions of the Neo-Gujarātī Style: Kumar identifies two distinct expressions: the "superior idiom", characterized by better draughtsmanship and the typical facial type (seen in the Matar Sangrahanīsūtra), and the "inferior idiom", which retains older draughtsmanship but incorporates new costumes (seen in the Cambay Sangrahaņīsūtra of A.D. 1587).
• Continuity and Later Developments: The document examines the continuation of the superior idiom in works like the Gita Govinda (c. A.D. 1585) and the Uttarādhyayanasūtra (A.D. 1591), noting further stylistic refinements and regional characteristics (e.g., Malwa-type horses and nose-studs).
• Emergence of the "Popular Mughal Style": The text discusses the impact of the "Popular Mughal style" from the early 17th century onwards, brought about by artists migrating from Mughal studios. This style influenced Gujarati painting, leading to more naturalistic faces and contemporary Mughal costumes. However, older motifs and archaic styles of depiction also persisted.
• Enduring Legacy of Caurapañcāśikā: The author concludes by reasserting the significant and enduring role of the Caurapañcāśikā-Candāyana style in the development of Neo-Gujarātī Jaina painting, as evidenced by its continued influence throughout the 16th and 17th centuries in Gujarat and beyond.

In essence, Lalit Kumar's work provides a critical re-evaluation of the influences on 16th and 17th-century Gujarati Jaina painting, challenging the dominance of Mughal influence and highlighting the crucial role of the Caurapañcāśikā-Candāyana tradition in shaping this artistic evolution.