Madhyakalin Mru Gurjar Chitrakala Ke Prachin Praman

Here's a comprehensive summary in English of the provided Jain text, "Madhyakalin Mru Gurjar Chitrakala ke Prachin Praman" by Dr. Umakant P. Shah:

This article by Dr. Umakant P. Shah delves into the ancient evidence of Medieval Maru-Gurjar painting, a style predominantly found in miniature paintings within Jain manuscripts from Western India. The author prefers the term "Maru-Gurjar" (referring to the linguistic and cultural unity of the Maru/Rajasthani and Gurjar/Gujarati regions in the medieval period) over other common names like Western Indian Painting, Apabhramsa style, or Gujarati painting.

Dr. Shah traces the evolution of this art form by examining various ancient artifacts:

• Early Manuscript Paintings: The earliest known miniature paintings are found in the Tadpatra copy of the Vishishta Churni, written in Bhrugukachha (modern Bharuch) in 1157 VS (1100 CE). These feature decorative elements like lotuses, and occasionally animals (elephants) and human figures between circular motifs. More significant are the paintings in a Tadpatra copy of the Gyata and other Angasutras from 1184 VS (1127 CE), preserved in the Shantinath Jain Bhandar in Khambhat. These include a painting of a Tirthankara and another of Saraswati (Shrutadevi).

• Mural Paintings: Near contemporary with these manuscript paintings are mural paintings found in the mandap of a Vishnu temple in Madanpur, Lalitpur district, Uttar Pradesh. These date from the reign of Madan Verma (1130-1165 CE) and depict scenes from the Panchatantra. They exhibit characteristics of the Maru-Gurjar painting style.

• Ellora Caves Murals: The author also points to the mural paintings in the central level of the Ellora Caves, specifically a depiction of Vishnu on Garuda. Features like a long, pointed nose are clearly developed, suggesting that this painting style had already emerged between the 8th and 11th centuries CE. However, no other manuscript paintings from this early period are available.

• Line Drawings on Copper Plates (Inscriptions): Dr. Manjulal Majumdar's research brought attention to a new avenue of evidence: line drawings of royal seals on ancient copper plate land grants and royal decrees. While these don't have color or pictorial variety, they reveal the drawing convention and characteristic linework of the Maru-Gurjar style. Key features like a pointed nose, showing the second eye in a three-quarter profile (often referred to as "farhor eye extended in space"), and angularity in the face and body are observable in these engravings.

  • Parmara King Vakpati-raj's Inscription (974 CE): An inscription from Ujjain, dated 974 CE, features the Parmara royal seal of Garuda holding a serpent. This Garuda is depicted in motion, with human-like features and wings.
  • Parmara Bhojaraj's Inscription (1021 CE): Another inscription from Dhara Nagari, dated 1021 CE, also features the Parmara royal seal of Garuda.

• Harshola Plates of Seyaka (948 CE): Dr. Shah highlights an inscription found with a Brahmin in the Sabarkantha district (North Gujarat), known as the "Harshola Plates of Seyaka," published by K.N. Dixit and D.B. Diskalkar. This inscription, issued by Seyaka from his camp on the Mahi river, contains a Garuda depiction. The author believes this engraving was done by a Malwa or Gujarati artist, indicating that this art was prevalent in both regions. The Garuda depicted here (Figure 3) is not fully frontal but slightly more than frontal, with the other eye visible. It suggests that the practice of showing the second eye outside the facial outline might have started around 948 CE, but it wasn't yet as widespread or universally accepted.

• Seyaka's Inscription (969-970 CE): A copper plate inscription from Seyaka, dated 969-970 CE (Figure 4), clearly shows the practice of depicting the second eye outside the facial outline becoming established and accepted, even in royal seals. This solidifies the idea that the style's invention and widespread acceptance occurred between 950 and 970 CE.

• Banswada Plates of Bhoja (1019-20 CE): The royal seal on this grant, dated 1019-20 CE, further illustrates the propagation and development of the Maru-Gurjar style.

• Bhopal Plates of Mahakumar Harishchandradev (c. 1157 CE): This inscription, dated by N.P. Chakravarti to around 1157 CE, also features a Maru-Gurjar style Garuda. This date aligns with the time of the Saraswati painting in the Gyata Tadpatra copy.

• Rejection of Earlier Jaisalmer Manuscript Paintings: Dr. Shah also presents his earlier finding from a presidential address at the Banaras Oriental Conference. He showcased paintings from a Jaisalmer Tadpatra copy of the Oghniyukti, dated 1117 VS (1060 CE). He argues that the style of these paintings is not Maru-Gurjar (or Western Indian, Rajasthani, Apabhramsa, Gujarati). Instead, he posits that these represent the final phase of a style prevalent throughout Western India during the Gurjara-Pratihara period. This distinction is evident when comparing the Jaisalmer paintings with those from Figures 1-6, which clearly exhibit Maru-Gurjar characteristics.

In essence, Dr. Shah's article provides compelling evidence from various art forms – manuscript illuminations, murals, and especially the line drawings on royal seals – to establish the ancient origins and development of the Maru-Gurjar painting style, dating its significant emergence and acceptance to the latter half of the 10th century CE, with roots potentially extending earlier. He meticulously analyzes stylistic features across these different media to support his thesis.