Kalpasutra Aur Chitrakala

Here's a comprehensive summary of the provided Jain text, "Kalpasutra aur Chitrakala" by Pushpa Baid:

The book "Kalpasutra aur Chitrakala" by Pushpa Baid explores the deep connection between the Jain religious text Kalpasutra and the evolution of Indian art, particularly Jain painting. The author posits that long before the development of written language, humans expressed themselves through signs, drawings, and paintings. With the advancement of civilization and culture, painting became a powerful medium of expression, even being declared the "king of arts" in the "Chitrasutra."

The Kalpasutra and its Visual Representation:

• Purpose of Illustrations: The Kalpasutra, a significant Jain text, was increasingly documented with illustrations to convey religious teachings. While early Jain manuscripts before the 10th century are scarce, likely due to a lack of suitable preservation facilities, the Kalpasutra itself became a primary subject for artistic depiction.
• Content of Kalpasutra Illustrations: Jain monks created thousands of "Kalpasutra" texts, often incorporating illustrations of the lives of Tirthankaras like Rishabhdev, Neminath, Parshvanath, and Mahavir. These paintings aimed to spread the Tirthankaras' teachings to the masses.
• Artistic Style and Themes: The illustrations primarily focused on religious and spiritual themes, depicting key events from the lives of Tirthankaras such as:
  • The fourteen great dreams of Trishala, Mahavir's stepmother, and the conception of Mahavir.
  • Mahavir's birth ceremony and his renunciation (Mahabhinishkraman) involving tonsuring his hair.
  • Mahavir's Samavasarana (preaching assembly).
  • The procession of Lord Neminath.
  • The coronation of Rishabhdev.
  • The penance of Parshvanath.
• Symbolism and Artistic Elements: The paintings incorporate symbolic elements like bulls, lions, elephants, serpents, urns, umbrellas, fire, and flags. Initially, fundamental colors like red, yellow, green, black, and white were used. During the Mughal era, blue, gold, and silver were also incorporated.
• Evolution of Jain Painting Style: The text notes that Jain painting, originating from the Shvetambara tradition in Gujarat, developed in Rajputana and eventually merged into the "Rajput style" after shedding Iranian influences.
• Manuscript Format and Size: Kalpasutra manuscripts typically measured 5-6 inches wide and 10-12 inches long. Illustrations were placed alongside the text, within a limited area of 9-12 square inches, demonstrating the artists' ability to convey complex narratives concisely. Later, Iranian influences introduced decorative floral patterns.
• Artistic Characteristics: Jain paintings, while adhering to traditional depictions of Jain deities, are highly artistic. They feature simple backgrounds, sharp figures with outward-looking eyes, and attire and ornamentation appropriate to the characters. Gods and kings are adorned with jewelry, while monks wear white or golden robes.
• Gender Representation: The Kalpasutra's subject matter is largely male-dominated. Men are depicted wearing dupattas and dhotis, while women wear tight-fitting bodices and dhotis, often with floral patterns on their clothes.
• Nature and Landscape: Trees and plants are used to enhance the visual appeal of the paintings, depending on the context of the scene.
• Stylistic Development: The evolution of style is evident, for instance, in the depiction of curtains. Early instances show only a small part, while later paintings provide more detailed representations.
• Notable Manuscripts:
  • A Kalpasutra from 1216 CE is preserved in the Bhandar of Jaisalmer.
  • A "Kalpasutra" and "Kalkacharya Katha" from 1370 CE, featuring 6 exquisite paintings, is in the collection of Muni Punyavijayji.
  • A 14th-century Kalpasutra is in the collection of Sarabhai Nawab in Ahmedabad. Its significance is noted from the perspectives of Indian drama, music, and painting, with musical arrangements in accordance with musicology.
  • A 1427 CE Kalpasutra, housed in the India Office Library in London, contains 46 illustrations.
  • The earliest and finest Jain manuscript on paper, the "Kalpasutra Kalkacharya Katha," is at the Prince of Wales Museum.
  • A significant "Kalpasutra Kalkacharya Katha" from 1415 CE has its Kalpasutra part in the Birla Academy, Kolkata, and the Kalkacharya part in the private collection of Premchand Jain in Mumbai.
  • Kalpasutra paintings from 1465 CE were created in Jaunpur during the reign of Husein Shah Sharqi, depicting women in contemporary attire.
• The Devasthan Bhandar, Ahmedabad Manuscript: This is considered the most beautiful and extensive illustrated Kalpasutra. It features dense vegetation, colorful birds, lively animals, and women in various poses wearing multi-colored attire. It also includes dance and music poses based on Bharata's Natya Shastra.
• Wooden Book Covers: Jain manuscripts were protected by wooden covers (daftiya), often adorned with intricate floral paintings, showcasing the artist's patience and devotion.

The Role of Monks and Artists:

• The painters of the Kalpasutra were often monks themselves, dedicated to spiritual practices and asceticism. Their art was infused with their deep spiritual understanding and their desire to propagate the Tirthankara's teachings. They used fundamental colors, avoiding excessive ornamentation, and focused on conveying the essence of the Tirthankaras' lives.
• The spiritual insights gained by monks and Jain artists while meditating on the Tirthankara's teachings formed the bedrock of their artwork. This art deeply influenced the spiritual outlook of ordinary people and also contributed significantly to the development of Rajasthani and Mughal styles.

Significance and Legacy:

• The Kalpasutra, through its illustrations, enriched the Indian repository of knowledge and played a vital role in preserving Indian civilization and culture during times of crisis in the Mughal empire.
• These manuscripts, being gilded with gold and silver, are extremely valuable. Their contribution is significant from literary, historical, artistic, and spiritual perspectives. Today, these paintings, along with religious texts, have become an integral part of our spiritual heritage.

In essence, "Kalpasutra aur Chitrakala" highlights how Jain monks, through their profound spiritual engagement, utilized the Kalpasutra as a canvas to visually communicate Jain philosophy and the lives of the Tirthankaras, thereby fostering spiritual awakening and contributing significantly to the broader landscape of Indian art.