Wall Paintings As Depicted In The Patodi Jaina Temple Jaipur

Here's a comprehensive summary of the text "Wall Paintings as Depicted in the Patodi Jaina Temple, Jaipur" by Rita Pratap:

This paper focuses on the wall paintings found in the Patodi Jaina Temple in Jaipur, offering insights into their artistic style, subject matter, and historical context. The author, Rita Pratap, situates these paintings within the broader tradition of Indian mural painting, which was deeply integrated with social life and personal refinement, as evidenced by ancient texts like Bharata's Natyaśāstra and the Viṣṇudharmottara Purāṇa.

The tradition of wall embellishment in Amber and Jaipur has a long history, spanning over three hundred years from the late 16th century to the present. Royal patronage for wall paintings began under Raja Man Singh (1590-1614 AD), particularly after his association with Emperor Akbar, making wall decoration both a necessity and a fashion. Amber and Sanganer served as important Jaina literary and Bhattāraka centers in the Dhundhar region. Following the establishment of Jaipur city in 1727 AD, Jaina scholars, poets, artists, and merchants migrated, establishing their own temples and institutions, including Grantha Bhandāras (manuscript libraries).

The Patodi Jaina Temple, a Digambara Jaina temple located in Maniharo Ka Rasta, Modi Khana, Jaipur, exemplifies later Jaina temples in North India. It shows the influence of later Mughal structural styles but also exhibits a degree of artistic degeneration. The temple was built by Jodh Raj Patodi and houses the idol of Adinatha. The shifting of the capital also led to the relocation of the Bhattāraka Gaddi to Jaipur in Sambat 1815, with the Patodi temple becoming a hub of their activities. During the reigns of Sawai Madho Singh I and Sawai Pratap Singh, Jains held prominent administrative positions in the state, including that of Diwan. The royalty of Jaipur had a penchant for decorating their palaces, courtyards, and temples with paintings depicting their customs, beliefs, mythology, and history. The Patodi temple is a notable example of this, featuring a painted dome with Jaina themes.

The Painted Themes:

The paper details the various themes depicted in the temple's wall paintings:

• Dome Ceiling: The mid-ceiling of the dome features a lotus design with petals in green and red, surrounded by extensive floral motifs.
• Arch Panels: Below the dome, 16 panels illustrate the places where Tirthankaras attained liberation. Interspersed are 16 panels of Gandharvas and eight panels of Vidyādhars, depicted with specific attributes like a camvara (fly-whisk) or a lotus. The figures are consistently portrayed in similar attire: dhoti, dupatta, mukuta (crown), bhuja-bandha-mālās (armbands/garlands), and kanthi (necklace).
• Lower Panels: Further down, 16 panels depict the dreams of Tirthankara mothers and the Pancakalyāṇaka (five auspicious events in a Tirthankara's life), including Garbhāvatarana (descent into the womb), Janmābhiṣeka (birth ceremony), Diksāgrahaṇaṁ (initiation), Kevala jñāna (enlightenment), Mokṣa (liberation), the Siddhacakra, and a scene from Neminatha's marriage procession. These are described as beautifully rendered with miniature precision.
• Pillar Panels: Eight long, narrow panels above the pillars and eight squarish panels in between portray Jaina beliefs and scenes of common people worshipping Jaina deities, undertaking pilgrimages, and celebrating sacred occasions. Some of these panels have inscribed details in red on a pink background.
• Wall Panels: The wall facing the idol and behind the door features two identical panels of male figures, likely Dvārapālas (door guardians), holding sticks, wearing jamā, pataka, headgear, and ornaments. Above them are smaller panels of Indra holding a stick and plate with a pot. On the sides are larger panels depicting Indra with four dancing females.
• Symbolic Depictions: The temple also features two significant symbolic representations of Jaina preachings:
  • Cosmic Tree: A Banyan tree illustrates the ephemeral nature of existence, with a man clinging to its roots. These roots are being gnawed by rats (symbolizing day and night). The man is shown enjoying the honey of life, ignoring a nearby religious vehicle, unaware that the severing of roots will lead him to hell (symbolized by serpents below).
  • Yamuna Tree: On the front right wall, a symbolic Yamuna tree represents six different human characteristics (svabhāvas). A black-natured man cuts the tree at the root, a blue-natured man cuts a branch, and a white-natured man cuts the main stems – all considered inauspicious. Among auspicious traits, a yellow-natured man plucks bunches of fruit, a pink-hued man plucks a single fruit, and a well-omened man is content collecting fallen fruits. This panel is praised for its depiction of varying fortunes within society.

The pillars and ceiling are adorned with floral patterns in vibrant colors, with the pillars featuring the common lotus design.

Technique of the Wall Paintings:

The paintings are executed on "Araish," a technique that is not true fresco but rather secco (tempera painting on a dry fresco ground). The plaster is prepared with marble powder and lime, allowed to dry, and then painted upon. The pigments adhere to the dry surface, allowing for multiple layers and shades. The natural pigments used include Kajal (lamp black), Nila (indigo), Geru (red stone powder), Kesara (saffron), Harbhata (terre verte), Safeda or Chuna (lime), Hirmich, and Pevri (yellow clay). Light and dark shades were achieved by mixing white and black with these natural pigments.

The style of figures, material culture, architecture, and landscape in the Patodi temple paintings is consistent with those found in other havelis and temples in Jaipur. The distinctiveness here lies in the Jaina themes, intended to reinforce the religious identity of the influential Jaina community. Although the temple may be old, the paintings appear to be from a later period. A panel depicting an Englishman seated on a stool with attendants, dressed in coat, trousers, and hat, helps date the paintings to the early 19th century, coinciding with the advent of the British and the treaty signed in 1818 AD.

The tradition of painting on Araish walls is now declining, with few artists continuing the technique. However, efforts are being made to preserve it, with mentions of Padmashri Kripal Singh Shekhawat's mural at Jaipur Railway Station and training at Banasthali Vidyapeeth.

The paper concludes by noting that old temple paintings are being repainted in oil colors under the patronage of the Jaina community, with painters from the Bhojaka family being prominent.