Science And Art Of Calligraphy And Painting

This document, "The Science and Art of Calligraphy and Painting" by Dr. Shridhar Andhare, is a comprehensive monograph sponsored by the Indian National Science Academy. It delves into the historical, artistic, and technical aspects of calligraphy and painting, with a particular focus on their evolution within the context of Jainism and broader Indian art traditions.

Key Themes and Content:

• The Dual Nature of Calligraphy and Painting: The introduction establishes that both calligraphy and painting are considered fine arts, blending scientific principles with artistic expression. Calligraphy is seen as the perfect form of writing, emanating from the seed-syllable and manifesting as visible sound and immutable speech. Painting is described as the creativity of mind and soul. Both arts rely on fluid lines, sensitive brushstrokes, and a harmonious organization of form and color to create visual language.

• Historical Evolution of Writing and Scripts:

  • The book traces the history of scripts from the Indus Valley Civilization's pictographs to modern calligraphic fonts.
  • It discusses the artistic evolution of writing, mentioning rock-cut edicts of Emperor Ashoka, copper plate grants, and temple inscriptions.
  • Special attention is given to the Brahmi script as the mother of all Indian languages and its subsequent divisions into Northern and Southern styles, leading to various modern scripts.
  • The Kharoshti script is also discussed, its possible Semitic origins, and its connection to trade routes.
  • The development of the Jain Nagri script is highlighted, noting its unique characteristics and its prevalence in Jain manuscripts.

• Jainism and the Necessity of Writing:

  • The document explains the historical context of Jainism, its founders, and its philosophical tenets.
  • It details the transition from an oral tradition to written scriptures, necessitated by challenges like famines that threatened the memory of monks and led to the compilation of Jain canonical literature.
  • The patronage of Jain rulers, merchants (shresthis), and monastic orders played a crucial role in the production of manuscripts, leading to the establishment of "Shastra-Bhandaras" (libraries).

• Materials and Implements of Writing and Painting:

  • Supports: The book discusses various writing surfaces, including palm leaves (from the Palmyra palm), paper (with its history tracing back to China and its introduction in India), and cloth.
  • Inks and Colors: Detailed recipes and preparation methods for various inks (black, gold, silver, red) and pigments are presented, drawing from ancient texts and traditional knowledge. This includes ingredients like lampblack, indigo, vermilion, minerals, and vegetable extracts.
  • Writing Implements: Various tools are described, such as inkpots (khadiya), pens (kalam), knives (krupanika), scissors (katarni), wooden boards (pati, patli), rulers (oliyo), and brush-making techniques.
  • Painting Implements: Specific tools for painting, like burnishers (ghoti), brushes (tulika, kalam, peechi) made from squirrel hair, and the preparation of "wasli" (paste boards) are explained.

• Typology of Jain Manuscripts:

  • The book categorizes Jain manuscripts based on their visual appearance and textual structure, referencing classifications by Muni Shri Punyavijayji. This includes categories like "Tri-patha" (three texts on a page), "Pancha-patha" (five texts), "Chitra-pustak" (illustrated books), and other classifications based on layout, ink use, and decoration.

• The Community of Scribes and Painters:

  • The document highlights the specialized communities of scribes ("Laiyas") and painters ("Chateras," "Mathen painters") who were instrumental in producing Jain manuscripts and artworks.
  • It discusses their occupational guilds, the transmission of knowledge through the Guru-Shishya Parampara, and the challenges in extracting this knowledge due to its guarded nature.
  • The specific contributions of "Mathen painters" from Bikaner and Marwar are detailed, noting their unique style and role in illustrating manuscripts.

• Regional Painting Schools and Jain Influence:

  • The survey includes an examination of the Mewar, Marwar, and Bikaner Schools of painting and their influence on Jain painting.
  • It discusses how Jain patronage and religious themes contributed to the development of miniature painting in these regions, blending with local and Mughal styles.

• Modern Status and Computer-Aided Work:

  • The book briefly touches upon the present status of calligraphy and painting in India, acknowledging the impact of technology.
  • It highlights the influence of calligraphy on type design and typography, and the potential of computer technology to revitalize Indian scripts through specially designed software.

In essence, "The Science and Art of Calligraphy and Painting" is a scholarly work that meticulously documents the rich heritage of Indian writing and painting traditions, with a dedicated focus on the significant role and distinct artistic contributions of Jainism in shaping these arts over centuries. It bridges the gap between historical art forms and their underlying scientific and technical processes.