Marvad Chitrashaili Evam Jain Vignapati Patra

This comprehensive summary of "Marvad Chitrashaili evam Jain Vignapati Patra" by Madhu Agarwal focuses on the visual culture of the Marwar region and its connection to Jainism, particularly through the medium of "Vignapati Patras" (invitation letters/documents).

Core Argument: The book posits that the art of any region reflects its culture and civilization of a particular era. Marwar, being a significant historical center for Jainism, has preserved its rich cultural heritage in its sculptures, murals, copper plates, and most importantly, its illustrated "Vignapati Patras."

Jain Vignapati Patras: Nature and Significance:

• Definition: "Vignapati Patras" are coiled scrolls, often with a fine cloth backing, featuring segmented illustrations. They are a traditional form of West Indian painting, with earlier examples dating back to the 15th century.
• Purpose: Primarily, these were formal invitation letters sent by Jain communities to Jain monks and Acharyas, requesting them to visit for the Chaturmas (a four-month period of religious retreat) or for the spiritual benefit of the community.
• "Kshamapana Patras": A specific type of "Vignapati Patra" are "Kshamapana Patras" (apology letters) sent during the sacred Paryushan festival, a period of atonement for past mistakes.
• Evolution: Initially, these were purely written documents. From the 17th century onwards, they began to incorporate illustrations alongside the text. This tradition continued into the early decades of the 20th century.
• Content of Illustrations: The paintings typically depict auspicious symbols like the Kalash (pot of fullness) and Ashtamangalika (eight auspicious symbols). They also feature the Fourteen Great Dreams seen by the mothers of Tirthankaras, portraits of Tirthankaras, and scenes of daily life in the city from which the letter originated. This includes main locations, Jain and non-Jain temples, buildings, roads, markets, vehicles, royal palaces, reservoirs, and general street scenes. Often, the arriving monks or Acharyas are shown at the city's entrance.
• Textual Content: The text includes details about the sending and receiving cities, salutations to the monks and lay followers of the inviting city, and the formal request for their arrival.
• Artistic and Literary Value: These "Vignapati Patras" are also seen as expressions of the poetic talent and scholarship of learned monks. Their creation involved significant time and financial investment.
• Exclusivity: The tradition of creating such illustrated "Vignapati Patras" is primarily a contribution of the Shvetambara Jain community and their art.

Marwar Chitrashaili (Marwar Painting Style) and Vignapati Patras:

• Influence and Origin: The book highlights that the Marwar painting style is the progenitor of the Bikaner and Kishangarh painting styles. This style also found its way into the Mughal court.
• Mughal Connection: The earliest known illustrated "Vignapati Patra" was painted by Shaliwahan, a Mughal artist in Jahangir's court. The text mentions a significant event in 1610 when Jain monks, with the support of a royal official, successfully petitioned Emperor Jahangir to prohibit animal slaughter during the Paryushan festival. A "Vignapati Patra" from the Jain community of Agra was written on this occasion.
• Distinction from Courtly Art: Unlike courtly paintings (e.g., Kalpasutra and Kalkacharya Katha), "Vignapati Patras" were not intended for royal display and thus lacked the extreme detail, refinement, and grandeur. However, they share stylistic similarities with contemporary court paintings and are crucial for understanding the evolution of artistic styles.
• Chronological Importance: These invitation letters found in Jodhpur and other Marwar centers play a vital role in establishing the chronology of the Marwar painting style.
• Decline of Patronage: Similar to other artistic centers, patronage for paintings declined in Marwar after the mid-19th century, leading to the gradual disappearance of this art form. The "Vignapati Patras" of the 19th and early 20th centuries, though in a declining state, preserve the artistic heritage of 200-250 years.

Analysis of Specific Vignapati Patras:

The book delves into the stylistic analysis of several "Vignapati Patras," with a particular focus on examples from the 18th and 19th centuries sent from Marwar to Gujarat.

• Example 1 (LD 27647, Sojat to Surat): Dated 1746, this letter is smaller in size and lacks elaborate cityscapes. Its eight illustrated sections showcase:

  • Horses: Excellent depiction of running horses, with riders influenced by Nagori equestrian styles.
  • Attendants: Figures with flags and streamers, similar to other Rajasthani paintings of the 18th century. The eye depiction is noted as distinct from Jodhpur and closer to Sirohi.
  • Gujarat Influence: Acknowledged influence of Gujarati paintings on Marwar art from the beginning.
  • Singers and Dancers: Depicted in vibrant colors, conveying a lively atmosphere.
  • Women's Procession: Women with attire and facial features closely resembling Sirohi paintings. The figures are described as attractive, well-proportioned, with flowing dupattas, and traditional ornamentation.
  • Initiation Scene: Jain monks and nuns are shown giving initiation. The depiction of adolescents is characteristic of the Mathen family of artists.
  • Preaching Scene: A serene atmosphere with spiritual expressions on the faces of monks and nuns.
  • Artistic Merit: Considered an outstanding example of 18th-century painting, technically refined with strong, flowing lines, despite lacking extreme minuteness. It holds significant importance in understanding the development of the Marwar style and the tradition of "Vignapati Patras."

• Example 2 (D.A. No. 200, Jodhpur to Ahmedabad): Dated 1825, this letter, painted during the reign of Maharaja Man Singh, shows a mixed quality.

  • Prominent Figures: Depicted with high quality, comparable to courtly paintings. The Jain monk's portrait features a round face, pointed nose, large eyes, and spiritual yet serene expression, reminiscent of Nath gurus.
  • Supporting Figures: Drawn in a more common style. The seated individuals listening to the sermon, the attendant with a dense beard and mustache, and the tall turban are consistent with contemporary courtly paintings.
  • Weaknesses: Lines in supporting figures are weaker, showing breaks. The depiction of monks and nuns in lower panels is lifeless and devoid of emotion. The female figures are short, unattractive, and deviate from traditional Marwar style. The depiction of women's eyes, cheekbones, and noses is unusual for the period.
  • Influence of Kishangarh: Some features like the long, pointed nose and facial length show Kishangarh influence.
  • Dance and Music Scene: Despite weaker drawing, the portrayal of dance and music is emotionally strong, with the dancer's pose suggesting movement.
  • Mata Trishla Scene: A successful depiction of Mata Trishla (mother of Mahavir) and her attendants, aligning with contemporary standards of feminine beauty in Marwar, Bikaner, and Jaipur styles.
  • Maharaja Man Singh's Image: The book notes that in Marwar paintings of this period, the image of Maharaja Man Singh was often depicted for male figures, a tradition followed in this letter.
  • Synthesis of Styles: This letter demonstrates a blend of old and new artistic elements, showing a freedom from strict courtly conventions and innovative experimentation.

Conclusion:

The author concludes that these "Vignapati Patras" offer a genuine glimpse into folk culture and are invaluable documents of contemporary Jain culture. They preserve not only generational traditions but also all facets of life in Marwar. Despite being folk art, they are, in many respects, equivalent to courtly paintings due to the artist's unfettered approach and experimental spirit.