Treasures From The Lalbhai Dalpatbhai Museum

Here's a comprehensive summary of the Jain text, "Treasures from the Lalbhai Dalpatbhai Museum," based on the provided pages:

Overview:

"Treasures from the Lalbhai Dalpatbhai Museum" is a catalog published in 1992 by L.D. Indology Ahmedabad, authored by Shridhar Andhare, Director of the L.D. Museum. Its primary purpose is to introduce visitors to the diverse and significant collection of the Lalbhai Dalpatbhai Museum, highlighting its artistic and historical importance. The catalog aims to enhance visitors' appreciation of fine art, human creativity, and the museum itself as a source of learning and aesthetic joy. It showcases twenty-two masterpieces from the museum's permanent collection, serving both the general public and specialists.

The Museum's Identity and Foundation:

• The Lalbhai Dalpatbhai Museum, a division of the L.D. Institute of Indology in Ahmedabad, Gujarat, is recognized as a leading repository of Jain art, particularly Jain miniature paintings and manuscripts.
• Its inception in 1984 has seen a steady growth in its collection through gifts, bequests, loans, and purchases, expanding beyond Jain art to include a variety of non-Jain objects.
• The collection's development is credited to two pivotal figures:
  • Muni Sri Punyavijayji: A revered Jain muni, scholar, and researcher who tirelessly collected rare art pieces and manuscripts from neglected rural areas.
  • Sri Kasturbhai Lalbhai: A patron of art and learning, and a devout Jain, who responded to Muni Sri Punyavijayji's vision by establishing the L.D. Institute of Indology to house and preserve these collections.
• The museum's initial nucleus included stone sculptures, metal images, artifacts, illustrated manuscripts, calligraphy, cloth paintings (patas), and wooden objects.
• A significant enrichment came from the late Smt. Madhuri D. Desai's collection, which included non-Jain sculptures, Jain wood carvings, terracottas, and textiles. This led to the formation of the new museum division.
• The museum's galleries are named after these key figures: the Madhuri D. Desai Gallery (ground floor for sculptures and bronzes) and the Muni Sri Punyavijayji Gallery (first floor for paintings, manuscripts, patas, woodwork, and coins).

Key Collections and Acquisitions:

• Between 1970-1975, the Kasturbhai Lalbhai family gifted approximately 1850 art objects, including Pahari drawings, sketches, line drawings of the Late Mughal and Company Schools, and various paintings. A notable Jain cloth painting is the 15th-century "Astadwipa pata."
• In 1989, a significant collection of about 1600 Indian coins, including gold coins, was received as a long-term loan from Smt. Nandiniben and Sri P.T. Munshaw.
• A "Teaching Gallery" dedicated to the Indus Valley Civilization was established for school children.
• Further acquisitions include the art collection of the late Shrimatiben (Soniben) Tagore (on long-term loan) and a gift of wooden and metal objects from the late Smt. Lilavati Lalbhai.

Highlights of the Collection (Detailed Descriptions of Specific Artworks):

The catalog then proceeds to detail specific artworks, illustrating the breadth and depth of the museum's holdings. Here are some key examples:

• Sculptures:

  • Standing figure of Shantinatha (16th Tirthankara): White marble, dated A.D. 1269 from Nadol, South Gujarat. Depicts the Tirthankara in Kayotsarga mudra, flanked by two other Jinas (Tritirthi).
  • Chola Sculptures: At least five from South India (9th-12th centuries), including three previously unknown Brahma figures.
  • Attendant Figure (Post-Gupta era): Stone sculpture with marked Gupta influence, possibly from the Nachna area (6th century A.D.), posing identification challenges for scholars.
  • Fragments: Bharhut coping stone fragment, Gupta flute player, 7th-century Kartikeya bust, and a pair of Chakrapurusas.
  • Eastern Indian Sculptures, Gandhara Head, and Terracotta Figurines: From Ter, Mathura, and elsewhere.
  • Female Goddess Bust: Black stone from Tintoi, Gujarat (7th century).
  • Architectural Fragments: From Kutch (10th century), likely from a Siva temple, including lintels depicting Saptamatrikas and the Trimurti (Brahma, Vishnu, Shiva) with consorts, and door jambs with Mahisasuramardini figures.
  • Portrait Sculptures of Jaisimha Siddharaj: White marble from Hareej, Gujarat, dated A.D. 1228, depicting the 12th-13th century ruler and his queens.
  • Vaikuntha Vishnu: Large white marble sculpture from Palanpur (13th century).
  • Jain Icons and Architectural Fragments: Pronouncing the grandeur of Gujarat's medieval Jain sculptural tradition, including pabhasanas and parikaras of Tirthankaras.

• Metal Sculptures:

  • Seated image of Adinatha (1st Tirthankara): Bronze, ascribed to the 7th century A.D. from Sirpur, Maharashtra. A piece de resistance of the Jain bronze collection.
  • Bronze images from Ghogha hoard: Including dated images stylistically similar to Akota and Vasantgarh finds. A notable piece is a large Jain Chovisi (Chaturvimshatipatta) dated A.D. 1066, depicting 24 Jinas.
  • Non-Jain Images: Smaller but significant bronzes of Mahisasuramardini (12th century Gujarat) and Sarasvati (14th century).

• Miscellaneous Antiquities and Curios:

  • Personal belongings and calligraphy implements of Muni Shri Punyavijayji.
  • Crystal and jadite image of a Tirthankara (representing the four categories of Jain followers: monks, nuns, laymen, laywomen).
  • Painted book stands, manuscript holders (puthas) of various materials (sandalwood, beadwork, lacquered, embroidered), sandalwood fly-whisks (chauri), ivory sticks, metal replicas of samavasarana, Jain temples, and wooden symbols of the fourteen dreams.
  • Non-Jain Objects: Antiquities from Nepal, Tibet, Ladakh, and Eastern India, including Buddhist woodwork from Nepal and a metal image of Avalokitesvara. A variety of rare ritualistic and domestic metalware, including lamps, are also present.

• Jain Manuscript Illustrations and Other Works of Art:

  • The museum houses a vast collection of illustrated manuscripts (Jain and non-Jain), paintings from various schools, chitrapatas, patlis (wooden bookcovers), manuscript holders, painted boxes, painted scrolls (vijnyaptipatras), letters, horoscopes, and other art forms.
  • Vijnaptipatra Scroll: A world-famous scroll painted by Ustad Salivahana of the Popular Mughal School in Agra, A.D. 1610, depicting Emperor Jahangir's decree prohibiting animal slaughter during Paryushana.
  • Jain Miniature Painting: Acknowledged as the origin of miniature painting in India, with key regions being Western India and Rajasthan (Śvetāmbara sect). The collection includes splendid examples of aesthetic and historical merit.
  • Painted Book Covers: Early examples include the Jinadatta Suri patli and the Sixteen Vidyadevis patli, both datable to the 12th century.
  • Manuscript of Dharmottara Tippanika: Dated A.D. 1059, from Gopagiri (Gwalior), exhibiting early Jain calligraphy and painting.
  • Illustrated Jain Manuscripts: Including the "Munijis Kalakacharya Katha" (Mandu type, c. 1430), Satrunjaya Mahatmya (A.D. 1468), Santinatha Charitra (A.D. 1396), Chandraprabha Charita (A.D. 1498), and Sangrahani Sutra (painted at Matar, A.D. 1583 by Govinda).
  • Rajasthani Paintings: Folios from Mewar, Marwar, and Bikaner schools, including Malwa Bhagavata Purana (early 18th century), Mewar Rasikapriya (1690-1710), an elephant procession from Mewar, a large battle scene in Marwar style, a portrait group from Ghanerao, and a line-drawing from Deogarh by Bagta (A.D. 1811).
  • Later Acquisitions: Kota Bhagavata Purana manuscript (A.D. 1799), Sadayavachha Savalinga manuscript (18th century), and illustrated copies of Madhu Malati Chaupai (Kulu and Sirohi styles).
  • Mantra Patas: Mystic diagrams on cloth and paper, many hitherto unpublished.
  • Tirthapatas: Pilgrimage paintings in cartographic or symbolic forms, including panchatirthi patas depicting multiple pilgrimage centers.
  • Kshamapana Patrikas: Letters of pardon.
  • Other Works: Jnanabazi (snakes and ladders), chitrakavya scrolls (illustrated poetry), horoscopes.

Significance:

The catalog effectively presents the Lalbhai Dalpatbhai Museum as a vital cultural institution, safeguarding and promoting the rich heritage of Jain art and Indian art in general. The detailed descriptions and acknowledgments underscore the collaborative effort and scholarly dedication behind the museum's collection and its documentation. The emphasis on both religious and secular art, spanning centuries and various regions of India, highlights the museum's comprehensive approach to art history.