Palitana Kalpasutrani Jain Chitrakala Par Vishesh Prakash - Book Summary

Here's a comprehensive summary of the Jain text "Palitana Kalpasutrani Jain Chitrakala Par Vishesh Prakash" by Shilchandrasuri, based on the provided PDF excerpt:

This article, "Palitana Kalpasutrani Jain Chitrakala Par Vishesh Prakash" (A Special Light on the Jain Painting Art of the Palitana Kalpasutra), by Muni Shilchandra Vijay, focuses on a significant Jain manuscript discovered in recent years. This manuscript, a palm-leaf copy of the Kalpasutra, is referred to as the "Palitana Kalpasutra" by Dr. Umakant K. Shah, and the author adopts this designation. The manuscript's importance lies in its distinctive illustrations.

Key Features of the Manuscript:

Physical Description: The manuscript measures 39 x 46 cm and contains a total of 145 pages. The first 110 pages contain the Kalpasutra, while the remaining pages feature the Kalakacharya Katha (the story of Kalakacharya).
Date of Creation: The colophon indicates that the manuscript was written in the year 1439 CE (Samvat 1439). The colophon also reveals that it was written by Muni Jinraj Suri, a disciple of Muni Jinoday Suri, and commissioned by Sadhu Dharana, son of Saha Teja, for reading to their Gurus.
Place of Origin: While not explicitly stated, the colophon's mention of the Kharatara Gaccha and Muni Jinraj Suri, coupled with external information from the Talajeevadasri Mantra edited by Muni Jinavijayji, strongly suggests that the manuscript was written in Patan. This is supported by the fact that Saha Dharana, who commissioned the manuscript, also organized the installation ceremony of Muni Jinraj Suri in Patan. Patan was a significant center for medieval art and literature.
Artistic Elements:
- Ink Usage: Although gold ink is not used in the illustrations themselves, golden ink lines are found in the borders that divide the text into two sections and in the three margins of the pages.
- Style and Period: The manuscript belongs to the second phase of palm-leaf miniature painting history, generally dated between 1200 CE and 1350 CE. The author places it within this period, considering it a crucial link between other contemporary palm-leaf illustrated manuscripts.
- Illustrations: The manuscript contains a total of 56 illustrations. The first 40 illustrate the Kalpasutra, and the remaining 16 depict the Kalakacharya Katha. The author provides a detailed list of these illustrations, referencing their page numbers.

Comparison with Other Manuscripts:

The author compares the "Palitana Kalpasutra" with other notable palm-leaf illustrated Kalpasutra manuscripts:

Ujamfai's Dharmashala Kalpasutra (1427 CE): This manuscript does not use gold ink.
Idar Kalpasutra: This manuscript uses gold ink in its illustrations. Its exact date is not specified, but scholars estimate it to be from the late 14th century CE.
Khambhat Avasyak Laghuvrutti (1445 CE): This manuscript also uses gold ink.

The "Palitana Kalpasutra" (1439 CE) is seen as an important bridge between the Ujamfai Dharmashala manuscript and the Idar manuscript.

Specific Artistic Techniques and Observations:

Conciseness and Skill (Laghav-Kaushalya): A remarkable feature of the manuscript's art is the artist's ability to incorporate multiple independent scenes within a single miniature. This is evident in illustrations such as figures 6, 13, 14, 27, 31, 33, and 38, where two distinct events are skillfully combined.
Marginal Sketches: Another significant characteristic is the presence of small, rapid line sketches in the margin of the pages containing illustrations. These sketches, made with hartal (yellow orpiment), served as guides for the artist. This practice is believed to have helped artists, especially when the writer and artist were different, to understand the intended subject.
Potential for Errors: The author notes that relying on small sketches could lead to inaccuracies, citing illustration #6 where the infant is depicted with the sleeping mother (Devananda), possibly due to the ingrained habit of seeing the infant with the mother in similar depictions.
Artist's Achievement: Despite such potential pitfalls, the author acknowledges the artist's significant achievement in creating complete illustrations based on these small, rough sketches.
Comparison with Another Manuscript: The author points out a similar marginal sketching practice in a 1297 CE palm-leaf manuscript of the Trishisthilakapurushcharitra from Shantinath Bhandar in Khambhat. They express surprise that Dr. Umakant Shah, while reproducing an illustration from this manuscript, did not comment on the marginal sketch, possibly mistaking it for later, random markings.
Illustration #24 (Gautam Swami): This illustration is highlighted as particularly remarkable. The facial features are so distinct that they might initially be mistaken for a depiction of Buddha. While the eyes are open and looking forward, unlike the typically downcast eyes in Buddha depictions, certain elements bear a strong resemblance, leading to this potential confusion. The author draws a parallel with a 8th-century bronze statue found in Mahudi, identified as a Tirthankara but previously misidentified as Buddha by scholars like Dr. Manjulal R. Majmudar.
Misinterpretation by Art Critics: The author provides two examples of art critics misidentifying subjects in Jain paintings:
1. Shri Kal Khandalawala incorrectly identified a painting of Bahubali being persuaded by his sisters (Brahmidevi and Sundari) to descend from an elephant as "Marudevi(?)".
2. A Jain miniature painting from the Jain Mandir Kalpasutra was identified as depicting "Gardabhilla and Kalakacharya" when it actually represented Rohagupta's debate with Vairashiva and their respective displays of seven Vidyas.

Conclusion:

The article concludes by stating that the "Palitana Kalpasutra" contains many other unique features that will undoubtedly be revealed through further study. The manuscript is housed in the library of Shri Nemi-Darshan Gyanashala in Palitana and has been officially registered. The author expresses his humility in stopping at this point, acknowledging the limitations of his understanding.

In essence, the article is a detailed examination of the "Palitana Kalpasutra" manuscript, highlighting its artistic significance, historical context, and unique features, particularly its illustrations and the innovative use of marginal sketches as artist's guides. It also contributes to the scholarly discourse by correcting potential misinterpretations of Jain art.