Jain Chitra Kalpadruma 2

This document is the second volume of "Jain Chitra Kalpadruma," authored and published by Sarabhai Manilal Nawab. It is a collection of illustrations and descriptions pertaining to Jain art and culture, focusing on Western Indian Jain art from the 11th to the 16th century. The book was published in 2010 (Samvat 2066) by Shree Ashapurna Parshwanath Jain Gyan Bhandar in Ahmedabad.

The book's primary aim is to showcase and preserve Jain artistic heritage, particularly through the detailed reproduction of intricate manuscript illuminations and painted book covers. It highlights the artistic richness of palm-leaf and paper manuscripts, featuring various Jain Tirthankaras, deities, historical figures, and scenes from Jain scriptures and legends.

Key aspects and contents of the book include:

• Artistic Preservation: The project was undertaken to scan and digitize rare and decaying Jain manuscripts, making their artistic content accessible to a wider audience.
• Diverse Artistic Sources: The illustrations are drawn from various Jain manuscript collections, including those from the Jinbhadrasuri Jain Gyan Bhandar in Jaisalmer and the Hemchandracharya Gyan Mandir in Patan. Specific manuscripts mentioned include those containing the Kaashthapattika (painted wooden book covers), Kalpasutra, and Kalakacharya Kathasangraha.
• Detailed Descriptions: Each illustration is accompanied by a detailed description in Gujarati, explaining the depicted scene, the historical context, the style of painting, the materials used, and often the dating of the artwork. The descriptions also provide background information on the Jain stories or figures being illustrated.
• Chronological and Thematic Organization: The book presents a wide range of artistic styles and periods, demonstrating the evolution of Jain painting. The illustrations cover various themes, including:
  • Tirthankara Biographies: Depictions of the lives of Tirthankaras such as Rishabhdeva, Suparshvanatha, Mahavira, and Neminatha, including their births, renunciations, meditations, omniscience, and nirvana.
  • Kalakacharya and Related Tales: Illustrations from the Kalakacharya Kathasangraha, depicting the adventures and miracles associated with the monk Kalakacharya.
  • Decorative Elements: Intricate borders, floral motifs, geometric patterns, and depictions of animals and birds found in the manuscripts.
  • Courtly and Daily Life Scenes: Representations of kings, queens, courtiers, musicians, dancers, and scenes of daily life, providing insights into the socio-cultural milieu of the times.
  • Musical and Performing Arts: Illustrations related to music and drama, as mentioned in the context of the Sangeet-Natya-Rupavali.
• Editorial and Scholarly Approach: The author, Sarabhai Manilal Nawab, meticulously credits the sources of the illustrations, often mentioning the scholars like Muni Shri Punyavijayji who helped in their discovery and preservation. He also expresses his hope that the publication will be well-received by art enthusiasts and further his activities in art and literature.
• Significance of the Illustrations: The book emphasizes the historical and artistic value of these illustrations, some of which are being published for the first time. It highlights the skill of the artists, the use of vibrant colors, and the storytelling capacity of these visual narratives. The descriptions also offer interpretations of symbols and iconography.
• Collaborative Effort: The publication acknowledges the support received from various individuals and institutions, indicating a community effort in preserving and promoting Jain art.

In essence, "Jain Chitra Kalpadruma, Volume 2" is a significant contribution to the study and appreciation of Jain art history. It serves as a visual encyclopedia of Jain artistic expressions from medieval Western India, offering invaluable insights into the religious, cultural, and aesthetic traditions of Jainism. The book is a testament to the enduring legacy of Jain manuscript illumination and the dedication of scholars like Sarabhai Manilal Nawab in safeguarding this heritage.