Jain Kala Evam Sthapatya Part 3 - Book Summary

This is a comprehensive summary of the Jain text "Jain Kala evam Sthapatya Part 3" by Lakshmichandra Jain, published by Bharatiya Gyanpith, based on the provided content:

Overall Scope:

"Jain Kala evam Sthapatya Part 3" (Jain Art and Architecture, Volume 3) is the final installment of a significant work dedicated to the artistic and architectural heritage of Jainism. Published in 1975 by Bharatiya Gyanpith, New Delhi, this volume, like its predecessors, was released to commemorate the 2500th Nirvana Mahotsav of Lord Mahavir. The work aims to provide a comprehensive overview of Jain art and architecture across India, meticulously detailing various art forms, materials, and historical periods.

Key Themes and Content:

This specific volume delves into several crucial aspects of Jain art and architecture, as evidenced by the detailed table of contents and chapter discussions:

Chapter 31: Miniature Paintings (Laghuchitra): This chapter focuses on manuscript illuminations, particularly on palm leaves and paper. It traces the evolution of Jain miniature painting from its early stages, discussing the challenges faced by the publishers in producing such a large art book. The text highlights the historical context of knowledge preservation in Jainism, the transition from oral tradition to scriptural documentation, and the various efforts made to safeguard the Jain canon. It explores the artistic styles, themes, and patronage of these paintings, noting the influence of regional and contemporary artistic trends. Specific examples from the Jaisalmer Bhandar, the National Museum, and private collections are discussed, illustrating the evolution of painting techniques and iconography. The chapter also touches upon the introduction of paper for manuscript creation and the influence of Persian art during certain periods. The detailed description of various illustrated manuscripts, their dates, and the motifs used (animals, floral designs, narrative scenes) provides a rich tapestry of Jain artistic expression.
Chapter 32: Woodwork (Kaashth-Shilp): This chapter focuses on the intricate and often overlooked art of Jain woodwork. It primarily discusses the surviving examples of woodwork found in Gujarat and Rajasthan, dating from the 17th to 19th centuries, though earlier traditions are also acknowledged. The text emphasizes the durability of wood in drier climates and its accessibility due to nearby forest resources. It highlights how wood was favored for its ease of carving detailed sculptures, lattices, and decorative elements, which were difficult to achieve with stone. The chapter details the use of wood in residential architecture and temple construction, including carved doorways, window frames (gavaksha), pillars, lintels, toranas, ceilings, and decorative panels (madal). The influence of Muslim architecture, such as the incorporation of arched windows (mehrabdar gavaksha), is also noted. The discussion extends to wooden elements in domestic settings like cupboards, water vessels, and small shrines (ghar-derasars). Specific examples from Ahmedabad, Patan, and the collection at the National Museum are cited. The chapter also highlights the Jain practice of protecting birds, leading to the construction of wooden structures for feeding them (parabadi).
Chapter 33: Epigraphic Material (Abhilekhiya Samagri): This chapter explores the historical and artistic insights provided by inscriptions found on Jain sculptures, temples, and artifacts. It begins with early inscriptions from Eastern India, such as the Hathigumpha inscription and those from the Kankali Tila in Mathura, dating back to the Kushan and Gupta periods. The text discusses inscriptions related to the patronage of Jainism by rulers and officials, providing information about the construction, renovation, and consecration of temples and the installation of idols. It highlights the significance of inscriptions in identifying the deities, patrons, sculptors, and dates of creation. The summary of inscriptions from various regions like Uttar Pradesh, Madhya Pradesh (Devgarh), Rajasthan (Mount Abu), and South India (Tamil Nadu, Karnataka) underscores the widespread presence and evolution of Jainism and its art. The chapter also touches upon the Jain concept of nishidhis (memorial stones for deceased monks) and manastambhas (victory pillars).
Chapter 34: Motifs on South Indian Coins (Dakshin Bharatiya Mudraon par Ankit Prateek): This chapter examines the influence of Jainism on South Indian coinage, particularly the coins issued by early Pandya rulers. It discusses how certain symbols found on these coins, such as the chatra-traya (three umbrellas) and ashta-mangal dravyas (eight auspicious items), are strongly indicative of Jain iconography. The author suggests that while Buddhist motifs were prevalent on early South Indian coins, certain local patterns point towards Jain influence. The chapter details specific symbols like the elephant, horse, bull, and fish ( min-yugal ), discussing their potential Jain significance and drawing connections to Sangam literature and early Jain practices. The analysis of these coins sheds light on the socio-cultural landscape and religious affiliations of the period.
Chapter 35: Iconography (Murtishastra): This chapter is dedicated to the principles and practices of Jain iconography. It begins by discussing the textual sources for Jain iconography, noting the absence of a singular, comprehensive text and relying on various scriptural references, commentaries (chūrṇis and bhāṣyas), and later ritualistic texts (pratishtha-grantha). The chapter differentiates between the iconography of the Digambara and Shvetambara traditions, particularly concerning the nudity of Tirthankaras and the representation of shrivatsa marks and uyana (hair curls). It explores the conceptual basis of idol worship in Jainism, emphasizing that idols represent the perfected qualities of the Tirthankaras rather than an anthropomorphic deity. The text details the significance of ashta-pratiharayas (eight auspicious signs of a Tirthankara) and the ashta-mangal dravyas (eight auspicious items) and their artistic representation. It also discusses the iconography of associated deities like Yakshas and Yakshis, highlighting their roles as guardians and devotees. The evolution of Tirthankara representations from early symbolic forms (like stupas and trees) to anthropomorphic images is traced, with a particular focus on the characteristic kayotsarga (standing meditation) and padmasana (seated meditation) poses.
Chapter 36: Architecture (Sthapatya): This extensive chapter explores the principles and practices of Jain architecture. It begins by discussing the theoretical frameworks, including the concept of Vastu and the importance of directionality, land selection, and auspicious timing for construction. The text outlines the principles of measurement (ayaadi shad-varga) and architectural treatises like Prasadmandanam and Vastu-manjari. It then delves into the specifics of residential architecture, including the layout of houses, the use of decorative elements in doorways and windows, and the concept of the ghar-derasar (household shrine). The chapter also focuses extensively on temple architecture, describing the various components of a Jain temple, such as the garbhagriha (sanctum), mandapa (hall), shikhara (spire), and torana (gateway). It discusses the cosmological representations like Meru and Nandiśvara Dvipa and their architectural interpretations. The text also delves into the concept of samavasarana, the celestial assembly of Tirthankaras, and its symbolic representation in temple design. The chapter highlights the importance of manastambhas (victory pillars) and their iconography.
Chapter 37: Artworks in Museums Abroad (Videshon mein Sangrahalayon mein Kalakritiyan): This chapter provides a catalog of Jain artworks held in international museums, primarily focusing on the British Museum in London and the Victoria and Albert Museum in London. It details the historical periods, regional origins, and stylistic features of the sculptures and bronzes discussed. The descriptions highlight key characteristics such as iconography, material, craftsmanship, and dating. Examples include early Kushan and Gupta period sculptures from Mathura, medieval pieces from Madhya Pradesh and Rajasthan, and South Indian bronzes. The chapter also mentions museums in Paris (Musee Guimet) and Berlin (Museum fur Indische Kunst) as repositories of Jain art. It also briefly mentions some Jain bronze statues in American museums.
Chapter 38: Artworks in Indian Museums (Bharatiya Sangrahalayon mein Kalakritiyan): This chapter focuses on Jain art collections within India, specifically mentioning the National Museum in New Delhi, Prince of Wales Museum in Mumbai, museums in Rajasthan (Bikaner, Udaipur, Jodhpur), museums in Madhya Pradesh (Dhulela State Museum, Raipur Museum, Shivpuri Museum), and museums in Andhra Pradesh (State Museum Hyderabad, Salar Jung Museum). It provides descriptions of key sculptures and bronzes, detailing their material, period, iconography, and any associated inscriptions. The chapter meticulously catalogues the diverse range of Jain artistic expressions found across these institutions, from early Gupta-period sculptures to later medieval bronzes and architectural fragments.

Publisher and Context:

The publisher, Bharatiya Gyanpith, is a renowned institution dedicated to promoting Indian languages and culture. The publication in 1975, timed with the 2500th Nirvana Mahotsav of Lord Mahavir, signifies the importance placed on documenting and celebrating Jain heritage. The book is a translation from English to Hindi, edited by Lakshmichandra Jain, indicating a significant effort to make this scholarly work accessible to a wider Hindi-speaking audience.

Overall Significance:

"Jain Kala evam Sthapatya Part 3" serves as a vital resource for understanding the rich and diverse artistic and architectural traditions of Jainism. Through detailed descriptions, historical context, and scholarly analysis, it illuminates the evolution of Jain art forms, their iconographic principles, and their cultural significance across various regions of India. The inclusion of artworks from international museums broadens the scope and reinforces the global reach of Jain artistic influence.