New Documents Of Jaina Paintings

This document, "New Documents of Jaina Paintings" by Moti Chandra and Umakant P. Shah, serves as a comprehensive overview and analysis of the history and development of Jaina painting in Western India, primarily from the 11th to the 19th centuries.

Here's a breakdown of the key themes and information presented:

1. The Significance of Jaina Bhandaras and Learning:

• The text begins by highlighting the crucial role of Jaina Jñana-Bhandaras (libraries) in preserving Jain knowledge, particularly after a devastating famine in the 5th century AD.
• These institutions were custodians of sacred lore, which was eventually committed to writing.
• From the 10th century onwards, these Bhandaras were recognized for their educational value, encouraging lay patrons and bankers to commission and donate religious and secular texts.
• Prominent rulers like Siddharaja Jayasimha and Kumārapāla of Gujarat, along with Jaina ministers like Vastupāla and Tejapāla, were instrumental in establishing and supporting these libraries. Pethad Shah is also mentioned for his patronage.
• Remarkably, these Jaina institutions did not shy away from preserving texts of different faiths, demonstrating a broad-minded approach and acting as "torch-bearers of Indian culture."

2. The Emergence and Evolution of Jaina Painting:

• For a long time, the rich pictorial material within the Bhandaras remained largely unknown to scholars.
• Early efforts by scholars like Glassenap, Coomaraswamy, W. Norman Brown, N. C. Mehta, and Muni Śri Punyavijayji began to bring these paintings to light.
• The publication of "Jaina Citrakalpadruma" in 1935 was a pivotal moment, introducing a vast number of illustrated manuscripts to the art world.
• The availability of this new material revealed that Jaina paintings were not as stereotyped as initially believed. Illustrators showed creativity, experimentation, and a developing understanding of aesthetics.

3. Key Periods and Centers of Jaina Painting:

• Formative Period (First Half of the 15th Century): This era saw a significant advancement in Western Indian manuscript painting, with a focus on improving drawing and color quality.

• Centers: Patan in Gujarat emerged as a primary center of inspiration, with other notable locations including Ahmedabad, Gandhar, Vadnagar, and Champaner. Mandu in Malwa was also a significant center for illustrated Jaina manuscripts.

• Advancements in the 15th Century:

  • Sumptuousness: Jaina bankers commissioned lavishly decorated manuscripts using expensive materials like gold, lapis lazuli, and carmine.
  • Decorative Elements: Border decorations became elaborate, incorporating motifs from architecture, textiles, carpets, dancers, musicians, devotees, and monks.
  • Emergence of New Styles: Persian elements began to influence the Jaina style, leading to a greater understanding of landscape and social life.
  • Wider Impact: The Western Indian technique began to be adopted by other religious traditions, such as Vaishnavas, for illustrating texts like the Gitagovinda and Balagopala Stuti, though these often displayed more liveliness and emotional depth than the typically "hide-bound" Jaina paintings.
  • Secular Themes: Secular scroll paintings like the Vasantavilasa (1451 AD) marked a new direction, introducing emotional elements that also influenced Jaina painters, as seen in illustrations of the Damayanti Katha and Madhavanala-Kamakandala.
  • Geographic Spread: The movement extended to Uttar Pradesh, influencing painting there, as evidenced by Kalpasutra illustrations from Jaunpur (1465 AD).
  • Evolution of Conventions: By the end of the 15th century, conventions like the "farther eye" began to be eliminated, and there was an attempt to synthesize Indian and Persian elements in illustrations of Persian classics. Heroic stories from Avadhi poets also became popular subjects.
  • The "Western Indian Tradition" Dominates: Evidence from Bihar and Nepal indicates that this tradition had become widespread across North India by the 15th century.

• 16th Century:

  • Malwa and Uttar Pradesh as Centers: These regions became important centers of painting, with both classical and folk phases.
  • Classical Phase at Mandu: Influenced by a Muslim court and the School of Shiraz, but retaining indigenous traditions.
  • Gujarat and Marwar Conservatism: While new traditions emerged, Gujarat and Marwar maintained a more rigid and hieratic style.
  • Digambara Patronage: The Digambara Jainas also began commissioning illustrated manuscripts of the Mahapurana, adopting the prevailing Western Indian style but with a greater emphasis on movement.
  • Delhi Area as a Center for Digambara Manuscripts: The Mahapurana painted at Palam (1540 AD) shows a distinct approach, retaining legacy of older traditions but eliminating the farther eye.
  • Hindu Patronage: Hindus also began commissioning illustrated manuscripts, like the Aranyaka Parvan of the Mahabharata (1516 AD).
  • Popular Mughal Style: Painters from Gujarat played a role in the Mughal atelier, leading to a "Popular Mughal style" that blended Mughal elements with older Indian traditions.

• Mughal Period and Beyond (17th Century onwards):

  • Influence on Indigenous Styles: Mughal influence became palpable in the "Popular Mughal style," which simplified Mughal elements while retaining indigenous features in color and composition.
  • Folk Variety: A cheaper "Folk variety" catered to a broader clientele, with simplified techniques and compositions.
  • Centers in Uttar Pradesh: Asani near Jaunpur and Nautanpur emerged as centers for the Popular Mughal style.
  • Analysis of New Documents: The text provides a detailed classified list of manuscripts discovered and analyzed by U.P. Shah, categorized into Groups I-VII, highlighting specific manuscripts with dates and locations. This section offers concrete examples of the evolution of themes, styles, and techniques.
  • Gujarat's Artistic Flourishing: Gujarat continued to be a vibrant center with multiple painting locations.
  • Interfaith Collaboration: The commission of a Kalpa-sutra by a Nagara Brahmana and its copying by a Patan artist exemplifies the absence of religious animosity.
  • New Themes and Techniques: Manuscripts like the Madhavanala-Kamakandala-Katha show the adoption of folk styles and a focus on narrative. The Damayanti-kathi Campu demonstrates the skill of master draughtsmen.
  • Mughal Synthesis: The Kumarasambhava manuscript from Nautanpur showcases the Popular Mughal style as a happy combination of indigenous and Mughal traditions.
  • Rajasthani Styles: In the 17th century, various Rajasthani styles emerged, influenced by both popular Mughal and indigenous traditions.
  • Regional Variations: The text notes specific developments in Marwar, Sirohi, and Bikaner, highlighting their individual artistic expressions. The Upadesamala Balavabodha manuscript is presented as a fine example of the Sirohi-Marwar style.

In essence, "New Documents of Jaina Paintings" is a scholarly exploration of the rich visual heritage of Jainism in Western India. It traces the development of Jaina painting from its roots in manuscript illumination to its engagement with broader artistic trends and influences, demonstrating the dynamism, creativity, and cultural significance of this art form.