Jain Monumental Paintings Of Ahmedabad

Here's a comprehensive summary of the provided Jain text, "Jain Monumental Paintings of Ahmedabad" by Shridhar Andhare:

The text delves into the significant role of pilgrimage (Tirtha) in Indian culture and religion, highlighting how both physical and spiritual aspects contribute to a place's sanctity. It explains that according to the Skanda Purana, Tirthas can be spiritual (Manas Tirtha) or physical (Bhauma Tirtha). Physical Tirthas are categorized by their primary association: Dharma Tirtha (learning), Artha Tirtha (trade), Kama Tirtha (worldly pleasures), and Moksha Tirtha (meditation). Many significant pilgrimage sites, common to Jainism, Buddhism, and Hinduism, often embody multiple of these aspects. The text also notes the assimilation of aboriginal cult figures like Yakshas and Nagas into various pantheons, leading to the creation of new Tirthas.

The ancient Jain tradition, rich in philosophy and ethics, also boasts a fascinating array of Tirthas, documented in the "Tirthamala" (memoirs of Jain pontiffs). Great centers of civilization like Mathura, Hastinapur, and Varanasi were also important Jain Tirthas. The work of Acharya Jinabhadra Suri, particularly his "Vividha-Tirtha-Kalpa," preserved records of wandering religious teachers and their literary activities, providing a religious history of the Jain Sanghas. "Sanghapatis" were leaders who organized and financially supported these pilgrimages, earning them titles like Sanghvi or Sanghi. This practice fostered the vitality and continuity of Tirtha Yatra among Jains.

Jain Tirthas are often situated in picturesque, accessible hilltops, ideal for concentration. Prominent examples include Satrunjaya and Gimar in Gujarat, and Sanmeta Shikhara in Bihar. Satrunjaya is particularly sacred, with Jains traditionally aiming to visit it at least once in their lifetime. For those unable to make the physical journey, Jains commissioned painted "Patas" (cloth banners) that symbolically and cartographically illustrated these Tirthas.

These Patas, often commissioned by wealthy Jain families, were hung during the public viewing on Kartik sud punam (a full moon day). They served as a devotional substitute for actual pilgrimage. The tradition of creating these Patas extended to wooden planks, temple wall plasterwork, and stone carvings. Early examples of such art are found in the Osian and Ranakpur temples, dating back to the 11th and 15th centuries, respectively.

The text then focuses on two significant "Vividha Tirthi Patas" from Ahmedabad, housed at the Samvegi Jain Upasraya and the Anandji Kalyanji Pedhi. These Patas, vertical in format, illustrate various Tirthas symbolically and feature extensive colophons with Sanskrit text.

A key finding is that these Patas were commissioned by Seth Shantidas of Ahmedabad, a prominent Jain magnate of the Mughal period. The colophons mention a lineage of Jain monks from the late Akbar to early Jehangir era, including Shri Hiravijayji, Vijayasena Suri, Rajasagar Suri, and Buddhisagar Suri, under whose guidance Seth Shantidas ordered the Pata. The colophon for the Anandji Kalyanji Pedhi Pata specifically dates it to A.D. 1641.

The text highlights Seth Shantidas's devotion and his significant contributions to Jain causes. His favorable relations with Mughal emperors Jehangir and Shah Jahan, facilitated by his financial expertise and court connections as a jeweler, allowed him considerable influence. He was even considered the "Mayor of Ahmedabad" by social consensus. Seth Shantidas was also the builder of the Chintamani Parsvanath temple in Ahmedabad, commenced in A.D. 1621 during Jehangir's reign and completed in A.D. 1625. This temple, visited by a German traveler Mendelslo, was later converted into a mosque by Aurangzeb, as noted by the French traveler M. de Thevenot, whose description of the mosque's interior walls filled with figures confirms painting activity in Ahmedabad in the early 17th century. Historical documents (firmans) from Shah Jahan also shed light on Shantidas's activities.

The text further connects this to the broader art historical context of Gujarat. Ahmedabad and Patan were centers of Jain and secular painting from the 15th century onwards, with landmarks like the Champaner Panchatirthi Pata (A.D. 1433) and the Vasanta Vilasa scroll (A.D. 1451). The influence of Mughal royalty visiting Gujarat likely led Gujarati painters to adopt new conventions in dress and landscape, as seen in the Matar Sangrahani Sutra (A.D. 1583). Seth Shantidas's interactions with the Mughals also influenced the arts and crafts of the period. Miniature painting, in particular, saw a new understanding in the early 17th century, with works exhibiting a popular Mughal style but with strong Rajasthani and Gujarati influences. Examples include the Anwar-i-Suhaili (A.D. 1601), the Cowasji Jehangir folio of Gita Govinda, and Ragamala paintings.

Architecturally, the text notes the presence of wall paintings in the Mughal style within the mosque of Sarkhej ka Roza in Ahmedabad, which stylistically resemble the two Suri Mantra Patas from the early 17th century. These lost Patas provide a glimpse into the prevailing style of the time. Another Pata from Prachya Vidya Pratisthana, Paladi, Ahmedabad, also depicting Vividha Tirthas, exemplifies early 17th-century Ahmedabad painting, a blend of Mughal and Jain elements with contemporary Mughal attire.

The two main Patas discussed (No. 1 and No. 2) are similar in composition, divided horizontally into four registers. The primary difference is the placement of the colophon. The ground of the Patas is filled with smaller rectangles depicting seated Tirthankaras and deities. The top register features a Shikhara-shaped arrangement with cosmological calculations and various figures. The second register depicts Satrunjaya and Girnar Garh, with the drawing style comparable to the Mewar Ramayana of 1649 by Manohar. The lower registers contain various other Tirthas, including Astapada and Sammeta Shikhara, with specific names like Sri Satrunjaya, Girinara, Taranga, Arbhuta, Chandraprabhu, Muni Suvrata, Sri Giraila Parsvanath, Kalavriddhi, Karahataka, and Sahor mentioned. The author acknowledges the institutions and individuals who assisted in the preparation of the paper.