Jain Chitra Kalplata

This document is a partial scan of the Jain text titled "Jain Chitra Kalplata" (Jain Picture Kalplata), authored and published by Sarabhai Manilal Nawab. The catalog link provided is https://jainqq.org/explore/009121/1.

The primary purpose of this collection of scanned pages appears to be to provide a visual catalog and historical context for Jain manuscript paintings, particularly from Gujarat, dating from the 11th to the 20th century Vikram Samvat (roughly 10th to 19th century CE). The text is part of a larger project called "Aho Shrutagyan Granth Jirnoddhar," which aims to preserve and republish ancient and rare Jain texts.

Here's a breakdown of the key information and themes presented in the scanned pages:

1. Publication Details and Support:

• Title: Jain Chitra Kalplata (જૈન ચિત્ર કલ્પલતા)
• Author/Editor: Sarabhai Manilal Nawab (સારાભાઈ મણિલાલ નવાબ)
• Publisher: Sarabhai Manilal Nawab
• Project: Aho Shrutagyan Granth Jirnoddhar (અહો શ્રુતજ્ઞાન ગ્રંથ જીર્ણોદ્ધાર) - This indicates a restoration and re-publication effort of sacred Jain knowledge.
• Financial Support: The publication received support from religious organizations and individuals, such as Sadhviji Shri Bhadragunaashriji M.Sa. and Sadhviji Shri Kalpeshpadmaashriji M.Sa., and the devotees of Shri Manibhadra Society, Sabarmati, during their Chaturmas in Samvat 2067.
• Date: Samvat 2068 (2012 CE). Earlier publications in the series are also noted (2009, 2010, 2011).

2. Content and Scope:

• Focus: The book primarily focuses on Jain manuscript painting, specifically from Western India, with a strong emphasis on Gujarat.
• Historical Periods Covered: The paintings span from the 11th to the 20th century Vikram Samvat (roughly 10th to 19th century CE).
• Types of Manuscripts: Illustrations are drawn from palm-leaf manuscripts and paper manuscripts.
• Jain Influence: It highlights that during the palm-leaf era, Svetambara Jains were the primary illustrators of manuscripts. This community continued to produce most of the miniatures in the 'Early Western Indian' style even after paper became prevalent.
• Evolution of Styles: The book traces the development of Jain painting, noting its adherence to the 'Early Western Indian' style, and later its adoption of 'Rajput' and Mughal styles.
• Content of Paintings: The illustrations depict various Jain themes, including:
  • Tirthankaras (Jain spiritual leaders) like Shri Rishabhdev, Shri Parshvanath, and Shri Mahavir.
  • Deities and Yakshinis (attendant deities) such as Devi Saraswati, Apraticakra (Chakreshwari), Pushpadatta (Naradatta), Brahmashanti Yaksha, Ambika.
  • Scenes from Jain scriptures and narratives like the Kalpasutra, Kalakacharya Katha, and stories of historical figures like Hemchandrasuri and King Kumarpal.
  • Scenes of daily life, rituals, court scenes, religious ceremonies, and even mythological events.
  • Illustrations of Ragas and Raginis, and details of dance forms from the Natyashastra.
  • Architectural representations of Jain temples.
  • Depictions of the fourteen auspicious dreams (Swapan) of a Tirthankara's mother.
  • The "Eight Auspicious Symbols" (Ashtamangala).
  • Scenes related to the "Kalpadruma" and "Kalpasutra."

3. Key Themes and Analytical Sections:

• "Ancient Paintings and Their Artistic Principles" (પ્રાચીન ચિત્રાનું કલાતત્ત્વ): This section, likely by Rasiklal Ch. Parikh, discusses the nature of art in ancient paintings, the language of line and color, the importance of understanding the "time" (context and intention) of the artist, and the potential for misinterpretation by modern critics who might not grasp the underlying artistic goals. It emphasizes that these paintings are not merely representational but also convey spiritual and symbolic meanings.
• "Medieval Painting of Western India" (પશ્ચિમ ભારતની મધ્યકાલીન ચિત્રકળા): This section by Ravishankar Raval highlights the significant artistic tradition in Gujarat during the medieval period, emphasizing its connection to Jain religious texts. It notes the unique blend of styles, including Persian influences in some manuscripts, and praises the mastery of Gujarat artists in ornamentation and composition.
• "Jaina Painting of Gujarat" (ગુજરાતની જૈનાશ્રિત ચિત્રકળા): This section, likely by Sarabhai Manilal Nawab himself, provides a detailed historical overview of Jain painting in Gujarat. It categorizes the art into different periods based on the medium (palm-leaf, wood, cloth, paper) and traces its evolution, influences, and distinct characteristics. It also discusses the patronage of this art form by Jain communities and the significance of its preservation.
• Artistic Analysis: The text provides detailed descriptions and interpretations of individual paintings, discussing their composition, color palette, iconography, and the stories they depict. It notes the stylistic evolution, the use of specific colors (like gold ink on palm-leaf), and the attention to detail in costumes, architecture, and figures.

4. Specific Examples and Observations:

• Saraswati (Figure 1): Described with four arms holding a lotus, rosary, and book, with a swan as her vehicle, and accompanied by attendants.
• Hemchandrasuri and King Kumarpal (Figure 2): A scene depicting the renowned Jain scholar Hemchandrasuri imparting knowledge to his disciple, with King Kumarpal likely present.
• Tirthankara's Conception (Chyavan) and Birth: The text explains how these events are depicted artistically, often using the figure of the Tirthankara in a serene posture.
• Samavasarana: The celestial assembly of Tirthankaras is described and illustrated, showing different forms of architectural representation.
• Devotional Practices: Scenes of worship, rituals, and the adherence to religious practices are depicted.
• The "Mughal" Influence: The text notes how Jain art absorbed elements from Mughal and Rajput styles in later periods.
• Persian Influence: A particular manuscript is mentioned where Early Western Indian style is combined with Persian marginal scenes, creating a unique hybrid art form.
• The "Raised Eyes" Motif: A discussion about the characteristic depiction of eyes in Jain paintings, possibly influenced by temple sculptures.
• The "Jain Chitra Kalpadruma": The text mentions a previous, more comprehensive work by Sarabhai Nawab called "Jain Chitra Kalpadruma," and "Jain Chitra Kalplata" is presented as a more accessible version with selected illustrations.

5. Conservation and Preservation:

• The entire project of "Aho Shrutagyan Granth Jirnoddhar" and the republishing of these rare books emphasize the importance of preserving India's cultural and religious heritage.
• The digitization and DVD creation of these ancient, often decaying manuscripts are crucial for their long-term survival and wider accessibility.
• The text mentions that these scanned books can also be downloaded from a website, further promoting accessibility.

In essence, "Jain Chitra Kalplata" is a significant publication for art historians, scholars of Jainism, and anyone interested in the rich visual culture of medieval India. It serves as a visual repository and scholarly analysis of Jain manuscript painting, showcasing its evolution, artistic merit, and cultural significance.