Jaina Art And Architecture Vol 03 - Book Summary

This document is Volume III of "Jaina Art and Architecture," edited by A. Ghosh, former Director General of the Archaeological Survey of India, and published by Bharatiya Jnanpith on the occasion of the 2500th Nirvana Anniversary of Tirthankara Mahavira. It is a comprehensive study of Jaina art and architecture across various regions of India, spanning multiple historical periods.

Here's a summary of the key themes and content covered in this volume, based on the provided text (primarily the table of contents and the beginning of chapters):

Overall Scope: The volume is divided into several parts, covering a wide range of Jaina artistic and architectural expressions. It aims to provide a coherent compilation of material on Jaina art and architecture, filling a significant gap in existing scholarship.

Key Content Areas:

Part VII: Paintings & Wood-carvings (Concluded)
- Chapter 31: Miniature Paintings (On Pattas, Palm-leaf and Paper)
  - This chapter delves into the history and evolution of Jaina miniature painting, tracing its origins from early attempts to preserve canonical literature in written form.
  - It discusses the challenges of dating early Jaina manuscripts and the influence of Buddhist art.
  - Detailed analysis of Śvetambara manuscript painting from the earliest known illustrated manuscript (A.D. 1060) onwards, covering the styles, themes, and evolution through the 13th, 14th, and 15th centuries. It highlights the distinct Gujarati or West Indian style and its regional variations, as well as the impact of Persian art.
  - It also examines Digambara manuscript painting, tracing its development from the 12th century, with a focus on palm-leaf manuscripts from Karnataka and later paper manuscripts from Western India and Northern India (Delhi, Gwalior). The influence of Persian and Sultanate styles on Digambara painting is also discussed.
- Chapter 32: Wood-carvings
  - Focuses on intricate wood-carvings found predominantly in Gujarat and Rajasthan, dating mostly from the 17th to 19th centuries, with Jainism being a major inspiration.
  - Discusses the use of wood in domestic architecture and furniture, including decorative elements on door-lintels, window-frames, pillars, and house-shrines.
  - Examines temple architecture, specifically wooden temples and home-shrines (gharderasars), with examples from Ahmedabad, Patan, and other Gujarat locations.
  - Details the sculptural aspects of wood carvings, including decorative panels depicting scenes from daily life, processions, and religious themes. It notes the influence of Muslim architecture and the survival of the Bagh-Ajanta tradition in early wood-carvings.
Part VIII: Epigraphic & Numismatic Sources
- Chapter 33: Inscriptions
  - This chapter provides a comprehensive overview of Jaina epigraphic records across India, highlighting their importance in understanding the history of Jainism and its artistic patronage.
  - It covers early inscriptions from East India (Udayagiri), Mathura, Gupta period inscriptions, and significant epigraphs from Deogarh, Gwalior, Khajuraho, Kirāma, and Rajasthan and Gujarat.
  - Detailed discussion on inscriptions related to the founding, renovation, and installation of Jaina temples and images, often mentioning architects and sculptors.
  - Covers inscriptions from Andhra Pradesh, Tamil Nadu, Kerala, and Karnataka, showcasing the spread and evolution of Jaina activities and their artistic manifestations in these regions.
- Chapter 34: Symbols on South-Indian Coins
  - Explores the evidence of Jaina influence on early Pandya coins, focusing on the interpretation of symbols like the astamangala and the double fish (mina-yugala).
  - Discusses the historical context of Jainism in South India, particularly in the Pandya and Hoysala kingdoms, and the potential symbolism of their coinage.
Part IX: Canons & Symbolism
- Chapter 35: Iconography
  - Analyzes the literary sources for Jaina iconography, noting the absence of strict iconometric canons in early Jaina texts.
  - Discusses the evolution of Jaina image-making, from early practices to the development of the Jivantasvamin image and the canons described in texts like the Brhat-samhita, Manasara, and Pratishtha-saroddhara.
  - Explains the identification of Tirthankaras through lanchanas (symbols) and notes the differences between Svetambara and Digambara traditions regarding these symbols and complexions.
  - Details the Jaina pantheon, including the Pañca-Parameşṭhins (Five Supreme Ones) and their symbolic representations like the Siddha-cakra and Nava-devata.
  - Explores the symbolic significance of trees (caitya-trees), the Tree of Life, and kalpa-drumas in Jaina tradition.
  - Discusses the iconography of auspicious dreams (maha-purusa-laksanas), the astamangalas, and the various yantras or diagrams used in worship.
- Chapter 36: Architecture
  - Explains the fundamental principles of architecture according to Jaina texts like Vatthu-sara-payarana, covering tools, materials, site selection, and measurement formulae (ayadi-sad-varga).
  - Details the concept of the Jaina temple, interpreting it as a symbolic representation of the samavasarana (preaching hall).
  - Describes the components of temples, including the foundation pit (garta-vivara), plinth (pitha), wall (mandovara), spire (śikhara), and dome (stūpi).
  - Provides classifications of residential buildings and palaces based on the owner's status and caste.
  - Explains Jaina cosmography (Triloka) and its architectural representations, including concepts like Mount Meru (Meru) and the continent of Nandiśvara-dvipa (Nandiśvara-dvipa), detailing the plans and elements of these symbolic temples.
  - Describes the structure and symbolism of the samavasarana, the preaching hall of a Tirthankara, including its various regions, palaces, māna-stambhas, and the central gandha-kuti.
Part X: Art-Objects in Museums
- Chapter 37: Museums Abroad
  - Surveys Jaina sculptures and metal images housed in major museums outside India, including the British Museum (London), Victoria and Albert Museum (London), and Musée Guimet (Paris).
  - It highlights early Gupta period sculptures from Mathura, medieval sculptures from Central India, and examples from Orissa and South India, discussing their stylistic features, dating, and provenance.
  - It also touches upon the Museum für Indische Kunst (Berlin-Dahlem) and Jaina bronzes from American collections, comparing Jaina Tirthankara representations with Buddhist Buddha images and discussing the characteristic Jaina aesthetic of ascetic simplicity.
- Chapter 38: Museums in India
  - Provides an extensive overview of Jaina art objects in various Indian museums:
    - National Museum, New Delhi: Covers stone sculptures from Mathura and Rajasthan, metal sculptures from Western India, and images from Bihar and South India.
    - Prince of Wales Museum, Bombay: Details stone and brass images from Karnataka, Gujarat, and Rajasthan.
    - Museums in Rajasthan: Surveys collections in Bikaner Museum, Ahar Museum (Udaipur), Pratap Museum (Udaipur), Jodhpur Museum, Bharatpur Museum, Dungarpur Art Gallery, Ajmer Museum, and Central Museum (Jaipur).
    - Museums in Andhra Pradesh: Features sculptures from Bapatla, Patancheruvu, Nizamabad, Gulbarga, and Dharmavaram, including bronzes and stone images.
    - Khazana Building Museum, Golconda: Highlights unfinished slabs, bronze images of Parsvanatha, Mahavira, and Gommatesvara.
    - Museums in Madhya Pradesh: Covers collections from Dhubela State Museum (Mau, Nowgong), Jaisinghpura Jaina Archaeological Museum (Ujjain), Raipur Museum, and Shivpuri Museum.
    - Collections at Khajuraho: Details sculptures found at Khajuraho, including images of Rşabhanātha, Pārsvanātha, Mahavira, Ambika, and architectural pieces.
    - Museums in Tamil Nadu: Focuses on bronzes in the Government Museum, Madras, from various South Indian sites.

Overall Significance: This volume serves as a monumental repository of information on Jaina art and architecture, drawing upon literary, epigraphic, numismatic, and archaeological sources. It aims to enrich the understanding of Indian art history by highlighting the significant contributions of Jainism across different regions and time periods, emphasizing the canons, symbolism, and stylistic evolution of Jaina artistic expressions.