Rajasthan Ki Jain Kala - Book Summary

Here's a comprehensive summary of the provided Jain text "Rajasthan ki Jain Kala" by Agarchand Nahta, focusing on its content regarding Jain art in Rajasthan:

Rajasthan ki Jain Kala: A Comprehensive Summary

This extensive text by Agarchand Nahta delves into the rich and multifaceted Jain art of Rajasthan, tracing its origins, development, and significant contributions to Indian art history. The author argues that while art transcends religious and regional boundaries, studying it within specific contexts, like Jainism in Rajasthan, facilitates a deeper understanding of its unique characteristics.

Origins and Early Development:

The text begins by attributing the very concept of art and various crafts to Lord Rishabhadeva, the first Tirthankara. He taught seventy-four arts to men and sixty-four to women, encompassing essential crafts like writing, mathematics, agriculture, and metallurgy.
While Jain temples and sculptures are found in Rajasthan from the 8th century onwards, the tradition is believed to be much older. Texts like "Vividh-Tirth-Kalpa" suggest the existence of Jain temples and idols in places like Malanagar and Sanchor much earlier.
The "Kuvalayamala", composed in 835 AD, mentions that Yaksadatta's guru, Shivachandra Gani Mahattara, stayed in Bhinmal city for Jina worship, indicating the presence of Jain temples in Bhinmal before the 8th century.
A "Dharmopadesha Malavritti" from 715 AD in Nagaur mentions a Jain temple built in Khatoo (Khatttauwva) by Yaksha Mahattara.
The Mahavir temple in Sanchor is mentioned as being built in 600 AD, with a brass idol of Mahavir installed and consecrated in 130 AD (Vikram Samvat).

Sculpture:

Jain temple and sculpture art in Rajasthan can be systematically studied from the 10th century.
Brass sculptures from the 10th century, found in places like Basantgarh, represent Gupta-era Jain art. A similar magnificent metal sculpture exists in the Chintamani temple in Bikaner.
Metal sculptures are noted for their greater diversity compared to stone sculptures. Jain sculptures, including those of Tirthankaras and other deities, show significant transformation.
Tri-Tirthi, Pancha-Tirthi, and Chaturvimsatika (24 Tirthankara) idols are found in various forms. While art saw a decline after the 13th century, sculptures from the 8th to 12th centuries are particularly beautiful.
The ornamental development of halos and surrounding arches in sculptures is highlighted as particularly noteworthy.
Thousands of Jain metal sculptures have survived, dating from the 8th century to the present.
The Chintamani temple and Mahavir temple in Bikaner house a significant collection of metal idols, with the Chintamani temple's vault containing around 1100 idols, many of which were acquired through royal efforts following looting.
The Pali stone Saraswati idols, retrieved from Pally, and a similar beautiful inscribed Saraswati idol from a Digambar temple are considered world-renowned.
The Jivanta Swami (Living Lord) idol is a specific and significant form in Jain sculpture. While many are lost, some stone Jivanta Swami idols from the medieval period in Rajasthan are attractive and artistic, including an inscribed one from Khimvsar near Nagaur, now housed in the Jain section of Jodhpur. Three fragmented Jivanta Swami idols, one with an 11th-century inscription, were recently found in the Mahavir temple at Osian.

Architecture:

While famous temples like those at Mount Abu and Ranakpur are globally renowned, other Jain temples with similar styles and carvings exist.
Jain temples in Jaisalmer, made of local yellow stone, are also noted for their beautiful craftsmanship and carvings.
Many temples feature artistically crafted doorways, pillars, and ceilings with intricate carvings.
Despite destruction from invasions, the devotion and art-loving nature of the Jain community have ensured the preservation and renovation of many temples and sculptures. This allows for understanding not only ancient art but also the evolving public tastes.

Painting:

While ancient Indian paintings are found in caves, Rajasthan lacks such ancient painted caves with Jain art.
Jain painting in Rajasthan is primarily studied through wooden panels (Kashthapatikas) and palm-leaf manuscripts (Talpatriya Pratibhas), with the largest collection at the Jinvadra Suri Gyan Bhandar in Jaisalmer.
The oldest illustrated wooden panels and palm-leaf manuscripts are considered invaluable treasures of the Jaisalmer library.
Illustrated wooden panels from the 12th century are particularly significant, although earlier ones might exist.
Palm-leaf manuscripts, dating back to the 10th century, have been discovered, but many have been lost or discarded. The oldest surviving palm-leaf manuscript is the "Visheshavashyak Mahabhashya" from the first half of the 10th century.
Historically significant illustrated wooden panels include one depicting Somchandra, which predates 1166 AD (the year Somchandra was named Jinvadra Suri). Another panel depicts King Kumarpal showing devotion to Acharya Jinadatta Suri.
Vadideva Suri's illustrated panel from the 12th century, housed in Jaisalmer, is highly artistic.
Illustrated palm-leaf manuscripts of texts like the "Kalpasutra" are also found.
The oldest paper manuscripts in Jaisalmer date back to the early 13th century. Illustrated paper manuscripts become more common from the 18th century onwards, with the "Suparshvanath Charitra" from Mewar being particularly noteworthy for its numerous illustrations and clear inscription of date and place.
A 15th-century illustrated "Pandav Charitra" was found in the Kesariyaji Bhandar in Jodhpur.
Hundreds of illustrated copies of the "Kalpasutra" and "Kalikacharya Katha" from the 16th century, featuring gold lettering and unique borders, are found.
The Apabhramsa painting style is well-preserved in Jain illustrated manuscripts, with the characteristic "haldiya rang" (turmeric color) being exceptionally durable. Later, red, green, gold, and black colors became more prominent, enhancing beauty and detail.
The 17th century marked a new phase in Jain painting, influenced by contact with Mughal emperors like Akbar, Jahangir, and Shah Jahan. Illustrated "Vijnapti-patras" (notifications) and geographical texts were created.
Illustrated cloth banners (Vastra Patta) are also significant, with earliest ones dating to the 14th century. The oldest illustrated cloth banner, featuring a Parshvanath yantra, is from the early 12th century.
These cloth banners depict various Jain themes, including pilgrimage sites, offering insights into their condition at the time.
Geographical cloth banners illustrating Jambudvipa, Adhai-dvipa, and the 14 Raju-lok are also important from the 15th century onwards, featuring numerous small depictions of beings, deities, and celestial vehicles.
Wall paintings (Bhitti Chitra) are found in many Jain temples, with some dating back 200-300 years. These often depict Tirthankara birth ceremonies, Samavasarana processions, and lives of Jain saints.
Bikaner's temples house significant wall paintings, including those at the Gaudi Parshvanath Mandir and Bhandasarji Mandir.
Portraiture includes depictions of Tirthankaras (especially Parshvanath), Acharyas, and patrons. The "Choubis" (sets of 24 Tirthankara paintings) were common for daily worship.
Symbolic paintings include "Navapad," "Siddhachakra," and "Sarvatobhadra."
Geographical paintings and depictions of hellish realms were created to illustrate the consequences of sinful actions.
Kashthapatta (wooden panels) were also adorned with paintings, depicting themes like the fourteen dreams of Tirthankara mothers, processions, and decorative motifs.

The Role of the Mathren Community:

The Mathren community, which emerged in the 19th century, played a significant role in preserving and creating Jain art. It is said that after Emperor Akbar's visit to Bikaner and the inspiration of Minister Sangramsingh Bachhawat, those Jain ascetics who could not adhere to strict monastic rules became householders and were encouraged to pursue livelihoods like genealogy writing, copying manuscripts, and painting.
Mathren artists produced numerous illustrated Jain and non-Jain works, developing their own distinct style. They created hundreds of "Choubis," individual paintings, and illustrated versions of "Ras-Chaupais" and other narrative poems.
The Anup Sanskrit Library holds many illustrated works by Mathren artists, and the author's art collection also contains significant examples.

Contribution of Jains to Art:

The author emphasizes the significant contribution of the Jain community to the development and prosperity of Rajasthani art.
Jains commissioned artists from various regions, including Jaipur, for creating large-scale paintings, influencing art in places like Murshidabad and Calcutta.
The text concludes by stating that scholars lack complete knowledge of Rajasthani Jain art due to the dominance of Gujarati scholarship and limited publications in Hindi. The author aims to shed light on its importance and unique traditions. Jain painting has maintained its distinctiveness despite influences from other styles and continues to flourish with local characteristics.