Mevad Ki Prachin Jain Chitrankan Parampara

This document, "Mevad ki Prachin Jain Chitrankan Parampara" (The Ancient Jain Painting Tradition of Mewar) by Radhakrishna Vashishtha, explores the early development and characteristics of Jain painting in the Mewar region of Rajasthan.

The author begins by situating Rajasthani painting within the broader context of the Western Indian painting style, noting various scholarly attempts to name and define it. The influence of Jainism on early Rajasthani art is highlighted, with references to the patronage of arts by figures like Jinadatta Suri of the Kharatara Gacch in the 8th century.

The text emphasizes the significant contribution of Jain illustrated manuscripts to understanding the evolution of painting in Mewar. It specifically mentions the "Samaraichchaha" by Haribhadrasuri (700-778 CE), written in Chittorgarh. This work contains rich descriptions of painting practices, including the use of a "color box" (vanneeyā samugayam) and "picture scrolls" (chitravattiy). The narrative details scenes where princesses and their maids create paintings, such as a princess painting swans and her attendant adding a couplet to the artwork, and a prince painting a picture for his beloved. These descriptions are linked to the sculptural traditions found in Chittorgarh's Digambara Jain monuments and the Mahavir Temple, which exhibit elements that connect to early Rajasthani painting.

The text further elaborates on the "Samaraichchaha," citing instances from its eighth chapter where painters are sent to capture the likeness of a princess. It describes the detailed observation of a prince's portrait and the appreciation of its artistic merit, even noting how the beauty of the subject made the linework appear to blend. The prince himself is depicted as a skilled painter, creating an image of a Vidyadhar couple.

The author then provides a chronological list of dated Jain artistic productions in Mewar, starting from 1226 CE. This includes:

• Inscribed line drawings on the pillars of the Samiddheshvara Mahadeva Temple, Chittorgarh (1226 CE). These are attributed to the architects (sutradhar) of the time and show stylistic features like a single eye, flowing garments, pointed noses, and beards, characteristic of the Jain or Apabhramsha style.
• "Shravak Pratikraman Sutra Chunni" (1260 CE), Aghatpur. This illustrated manuscript, now in the Boston Museum of Fine Arts, is considered a significant early example. It contains six paintings showcasing the prevalent artistic techniques of the period, with a blend of female figures and decorative elements. Key features include profile views (sava chashm), prominent noses, almond-shaped eyes, long curving fingers, a preference for red and yellow colors, repetitive decorative patterns, and vibrant color schemes (yellow, green, and red). The text notes that these paintings accurately depict the social attire of women in the 13th century.
• Inscribed line drawings from Gangarar (1317-18 CE). These depict figures of Digambara monks and are noted for their individuality, possibly reflecting local stylistic adaptations.
• "Kalpasutra" (1418 CE), Someshwar village, Godwad. This manuscript, housed in the Anup Sanskrit Library, Bikaner, contains illustrations for the Kalpasutra and Kalikacharya Katha. The use of red, light yellow, purple, and coral colors in the background is highlighted, along with the inscriptions confirming the artistic tradition of the period.
• "Supashvanahachariyam" (1423 CE), Delvada. Painted by Muni Hirananada during the reign of Maharana Mokala, this manuscript is described as a significant step forward from the "Shravak Pratikraman Sutra Chunni." It features distinctive background colors, clothing colors (blue for women's tunics, green for bodices, light pink for dupattas), and the attire of Jain monks (white) and lay figures (black).
• "Gyanarnav" (1428 CE), Delvada. This Digambara Jain manuscript, also from the reign of Maharana Mokala, is preserved in Ahmedabad.
• "Rasikastaka" (1435 CE) by Bhikham. This work, created during Maharana Kumbha's reign, includes dynamic depictions of seasons and animals, confirming the artistic traditions of the era.

The text emphasizes that Maharana Kumbha's era was a golden age for art in Mewar. He was a patron of Jainism, and literary sources from his time mention painting. Delvada emerges as a culturally significant center, with connections to other major artistic centers like Mandu, Idar, and Patan. The interaction between Mewar and these regions, including the movement of artists and the commissioning of manuscripts, is discussed.

A significant factor in the limited surviving artworks from this period is the destruction caused by the sacks of Chittorgarh and the subsequent Jauhar (mass self-immolation), which led to the loss of countless manuscripts and artistic treasures.

In essence, the document meticulously traces the historical and artistic trajectory of Jain painting in Mewar, highlighting its roots in the Western Indian style, the influence of Jain religious texts and patrons, the stylistic characteristics of early works, and the impact of socio-political events on its preservation and development.