More Documents of Jaina and Gujarati Paintings

Author(s): Umakant P Shah
Publisher: L D Indology Ahmedabad
Catalog link: https://jainqq.org/explore/001562/1

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MORE DOCUMENTS OF JAINA PAINTINGS AND GUJARATI PAINTINGS, OF SIXTEENTH AND LATER CENTURIES DR. UMAKANT P. SHAH

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MORE DOCUMENTS OF JAINA PAINTINGS AND GUJARATI PAINTINGS OF SIXTEENTH AND LATER CENTURIES bhAratIya manuS L. D. SERIES 51 GENERAL EDITORS DALSUKH MALVANIA NAGIN J. SHAH BY DR. UMAKANT P. SHAH L. D. INSTITUTE OF INDOLOGY AHMEDABAD 9 For Private Personal Use Only

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Printed by Bachubhai Rawat Kumar Karyalaya Ltd. 1454 Raipur Ahmedabad and published by Nagin J. Shah Director L. D. Institute of Indology Ahmedabad 9 FIRST EDITION June, 1976 PRICE RUPEES Revised SQ Price Rs. L. 1. Indolo

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FOREWORD It gives me great pleasure in publishing the 'More Documents of Jaina Paintings and Gujarati Paintings of Sixteenth and Later Centuries' by Dr. U. P. Shah. This em. bodies a lecture delivered by him on 22nd February 1972 at the L. D. Institute of Indology under the 'This year's University Lecture' Scheme of the Gujarat University. More than eighty illustrations are given in this monograph from the various sources selected by the learned lecturer. We are thankful to their custodians or owners. We have mentioned which illustration belongs to whom. In the field of Indian Miniature Paintings much work has been done by Dr. Coomaraswamy, Motichandra, Karl Khandalawala, U. P. Shah and others but still there remains much to be done, especially so far as mediaeval Gujarati Painting is concerned. How much field remains unexplored will be clear from this monograph. No doubt, the general survey has been done by various experts but deeper studies of the various styles developed in various parts of this great country during so many centuries is a desideratum. In this present work Dr. Shah has very ably explained and demonstrated the special features of the late mediaeval style of Gujarat paintings. As a preface to the Sixteenth century documents Dr. Shah has brought to light some new examples of Western Indian Paintings from the twelfth century onward, and has added an important chapter by discussing line engravings from copper plate charters which are dated, thus giving a better and surer understanding of the beginnings of the Western Indian miniature paintings. At the end he has given a list of the vast variety of illustrated materials available mainly from various Jaina sources for the guidance of the interested scholars working in the field of Indian Miniature Paintings. This list shows the vast variety of available Jaina book-illustrations. We are very much grateful to Dr. U. P. Shah for collecting very rich material for his lecture. Our thanks are also due to Shri Bachubhai Rawat of Kumar Karyalaya for carefully printing this book. L. D. Institute of Indology, Ahmedabad-380 009 15th April, 1976 Nagin J. Shah Director

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Amukha The present monograph is the revised and enlarged version of a lecture delivered at the L. D. Institute of Indology. The object of this monograph is two-fold as its title suggests-to bring to light some more documents of miniature paintings from Western India and to bring to the notice of the scholars materials that would in future help un. derstanding the new trends of painting in different parts of Gujarat during the last three to four centuries. I am of course aware that much more material is available than what is presented here; not only that future systematic search and studies would reward a patient worker in a big way. Even today there exists (though fast disappearing) a number of murals in temple ceilings, walls of private houses (mainly in villages) which show the painting of at least the last two centuries. Of these, the murals depicting the battle of Chittal, the battle of Patan, at Sihor in the territory of the old Bhavanagar State, Saurashtra, Gujarat or the paintings in Baroda in Shri Sitarambuva's vada or the paintings on the wooden doorframes of temples (as in Vithala-mandira, Baroda) can be cited as noteworthy examples. Some years back Padma Shri Ravishankar Raval published a few murals from Padarasinga. Recently the undersigned has come across a hand-written gutaka of Pancaratnagita from Samkheda (wellknown for its lacquer-work paintings on wooden furniture), in Central Gujarat, which shows a typical local style of eighteenth century. Another such gutaka from South Gujarat, recently obtained, is equally interesting and typical. No critical study or analysis of all these later trends is attempted here in this short introduction to the hitherto neglected aspect of the history of painting in Gujarat for the last three to four centuries, I am thankful to the late Agama-Prabhakara Muni Sri Punyavijayaji for making available to me any number of manuscripts from his as well as other Jaina collections and to Prof, Dalsukhbhai Malvania for continuing the same generous tradition of the late Muniji and for his readiness to publish this in this form. September 10, 1973. Umakant P. Shah

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MORE DOCUMENTS OF JAINA PAINTINGS AND GUJARATI PAINTINGS OF SIXTEENTH AND LATER CENTURIES

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More Documents of Jaina Paintings & Gujarati Paintings of Sixteenth & Later Centuries THE earliest known examples of Western Indian Miniature Painting (with the characteristic pointed nose, three-quarters profile, and the squarish broad jaw or cheek-bone) are the Visnu on Garuda at Kailasa, Ellora, the standing Sarasvati in the plamleaf manuscript of the Jnata and other Ariga texts, dated in V. S. 1184 / 1127 A.D., from the Santinatha Bhandara, Cambay, and the painted wooden book-covers from Jesalmer with paintings of Jinadatta suri. Still earlier, we have the painted roundels (with lotus and animal figures) in the palm-leaf manuscript of Nisithacurni dated in V. S. 1157 / 1100 A. D.s from the collections of Sanghavi-na Pada-no Bhandara, Patan. Recently, M. R. Majumdar brought to our notice the incised figure of Garuda in human form, with three-quarters profile, somewhat farther projecting eye and pointed nose, in the copper-plate grant of Paramara Vakpa tiraja, dated 974 A. D., (fig. 3), and another figure of Garuda with somewhat more developed similar traits, in the charter of Paramara Bhojadeva, dated in 1022 A. D., (fig. 4),5 showing clearly that by the last quarter of the tenth century and the first quarter of the eleventh century these traits had already gained currency in art. Besides the two engraved figures noted by M. R. Majumdar, we may here nota some more such incised figures. One is in the Banswara copper plates of Bhojadeva dated in Samvat 1076/ 1019-1020 A. D.', where Garuda shows the long pointed nose, as well as the extended farther eye, and can be looked as a figure in the style of Western Miniatures (fig. 5). In Vakpatiraja's charter of 974 A. D. referred to above, the farther eye is only slightly projected while the face of the eagle is more oblong and not squarish as in these two charters of Bhojadeva. A second noteworthy charter is that of Paramar Siyaka, dated in Samvat 1026/ 969 A. D., published by Diskalkar (fig. 2). This may be comparated with fig. 3 of 974 1. Moti Chandra, Jaina Miniature Paintings from Western India, Ahmedabad 1949, fig. 4, Kailasanatha temple, Ellora, and pp. 11-12. 2. Ibid., fig. 16, p. 28. Fig. 15 illustrates a miniature of Mahavira with attendants from the same manuscript. 3. Copied at Broach. Moti Chandra, op. cit., fig. 14, pp. 28-29. 4. Kirtane, N. J., 'Three Malwa Inscriptions', Indian Antiquary, Volume VI. pp. 48 ff. and pl. facing p. 52. Very similar in style to the figure of Garuda in the grant of Vak patiraja d. 974 A. D., and probably incised by the same artist, is another full standing figure of Garuda in the grant of Vakpatiraja, dated in V. S. 1038 (July, 982 A. D.), published by Rao Bahadur K. N. Dikshit, Three Copper-Plate Inscriptions from Gaonri', Ep. Ind., Vol. XXIII. pp. 101 ff. and plate B. Gaonri is about 3 miles from Narwal, about 11 miles south-east from Ujjain. Here the farther eye, though shown, is not projecting beyond the face in space. 5. Ibid., pp. 53-55 and pl. facing page 54. 6. Hultzch, E., Banswara Plates of Bhojadeva, Epigraphia Indica, Vol. XI pp. 181 ff. and plate facing p. 183.

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A. D.' The charter is in Muni Punyavijaya Collection of the L. D. Institute of Indology, Ahmedabad. But the third charter, namely, the Harsola copper plate grant of Paramara Siyaka, dated in V. S. 1005 (January 949 A. D). is more important because of the beautifully incised figure of Garuda in human form but having wings: fig. 1. The treatment of the figure in graceful swift curves, and of the face in three-quarters profile but without the pointed nose or the 'extended farther eye, suggests the existence of an earlier style derived from the style familiar in the region under the Gurjara-Pratiharas, or we might better say, Western Indian style during the ninth and tenth centuries. The existence of an earlier style is supported by another evidence of miniatures in the palmleaf manuscript of Ogha-Niryukti-Vitti, dated in V. S. 1117/1060 A. D., now in the Jaina Bhandara at Jesalmer and painted in Rajastan or Gujarat. For comparison are attached here the photoplates of these miniatures (figs. 6-8, 10). From the format and the names of monks, donor and the scribe mentioned in the two almost identical colophones on folios 105 and 212 respectively of Ogha Niryukti and Dasavaikalika-sutra-tika, it is certain that this manuscript was written in Gujarat or Rajasthan, probably the former. 10 Both the manuscripts form one bundle and the pagination being continuous, they belong to the same age. . This new dated find of painted palm-leaf MS. takes back our history of miniature painting in Western India to the middle eleventh century. But the Harsola plates of Siyaka found from Harsol in Sabarkantba district, Gujarat, take it still earlier, in the first half of the tenth century. In an earlier paper I published, 11 it was shown that some wooden book.covers of palm-leaf MSS. at Jesalmer can be assigned to the tenth and eleventh centuries A.D. 12 7. Also see Majmudar, M, R., Gujarat: Its Art Heritage (Bombay 1968), pl. XIII, and Pl. I. - 8. Dikshit, K. N. and Diskalkar, D. B., 'Two Harsola Copper plate Grants of the Paramara Siyaka' of V. S. 1005, Ep. Ind. Vol. XIX pp. 236 ff. and pl. facing p. 242. 9. S. M. Nawab, in his Nivedana (short statement as foreword) to the Pavitra-Kalpa Satra (critically edited text with illustrations from various MSS.) edited by Muni Punyavijayaji, refers to a palmleaf MS. of the Bhagavati Satra, dated in V. S. 111 X (= A. D. 1053 to 1062) having six minia tures, preserved in Dabhoi. I have not been able to see it as yet. 10. The new find, first referred to by Satya Prakash Shrivastava in a small article in his Hindi Journal Akrli, was published without the discussion as to its importance in the history of art, and the photograph reproduced was not clear enough to enable a closer study. Dr. Satya Prakash was kind enough to give me better enlargements from his negatives but even these being not so satisfactory, the photographs for the present illustrations were kindly obtained for me by Muni Punyavijayaji to whom I am grateful. Since I have not been able to see the original or its colour transparencies I cannot say more about its style, shading, colour scheme etc. 11. Shah, Umakant P., and Muni Punyavijayaji, 'Some Painted Wooden Book-Covers from Western India', Journal of Indian Society of Oriental Art, New Series Vol. I, Special No. on Western Indian Art, pp. 34 ff. 12. A bibliography of published Jaina painted Wooden book-covers is given in a foot-note in the paper referred to above, along with revised dating. 2

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One of the Pattikas of Jinadatta Suri, from Jesalmere, was already assigned by Moti Chandra 10 c. 1112-54 A. D., and another to c. 1130 A. D. Umakant Shah has assigned the two paltikas (wooden book-covers) with painting of Vidyadevis to c. late tenth century A. D. The pattika illustrated as figures 3, 4 and 5, in JISOA, N. S. Vol. I (Western Indian Art), pp. 34 ff., from collections of Muni Punyavijayaji, is clearly assignable to c. 1030-1060 A. D., while the pattikas nos. 13 and 14 (in the list of published paltikas, given in JISOA p. 41) from Jesalmer13 are assignable to c. 9th10th centuries A. D. and show decorative designs of creepers, lotus etc., and figures of dwarfs, elephants, fishes, etc., which have their parrellels in Gurjara-Pratihara art. From a study of all these paintings, it is now safer to conclude that a few examples of the tenth and eleventh century paintings in Western India are now available and have their affinities with contemporary relief carvings in stone obtained in the Gurjara-Pratibara art in Western India. Miniatures of Ogha Niryukti and the Dasavaikalika-tika (figs. 6-8, 10) depict an incense-burner, lotus, figures of elephants and lion, of Laksmi seated in padmasana and an exquisite painting of Kamadeva in the act of shooting an arrow. What is much more important, however, is the style of these miniatures. The rendering of the elephant is certainly superior to later examples hitherto known, while the figures of the Goddess Sri and Kamadeva (with bow, arrow and his makara-dhvaja planted beside him) call for special attention. These do not show the pointed nose or chin, or the face in the typical three-quarters profile. The rendering of the figure of Kamadeva is certainly of a superior type, in the tradition of the rendering of figures (on stone) in the age of the Gurjara-Pratiharas. From the black and white photographs supplied to me, it is difficult to say whether there was any attempt at shading (and one would not venture unless the original or its transparencies are available). But the style of the miniature of Kamadeva is different from the one found in the Sarasvati of 1127 A D, and probably belongs to a tradition which was existing in Western India at least in the age of the Gurjara-Pratiharas, in c 8th-10th centuries A. D. True, it is in the Visnu on Garuda at Kailasa that we had a first glimpse of the pointed nose and other beginnings of the Western Indian Miniatures-style; it is also true that on the copper-plate grant of Paramara Vakpatiraja dated in 974 A. D., we have an incised figure of Garuda with three quarters profile, somewhat farther projecting eye and pointed chin, all reminding us of Ellora Garuda, and in the charter of Paramara Bhojadeva, dated in A. D. 102i, we again have a Garuda with similar traits, with the face more squarish, showing clearly that by the last quarter of the tenth century and the first quarter of the eleventh century these traits had already been current; but the Jesalmere palm-leaf MS., dated. in 1060 A. D., now suggests that the older style was co-existing though it was gradually being influenced and replaced by the linear Western idiom in the eleventh century. The Garuda of Harsola copper plate of Siyaka (fig. 1) dated in 949 A. D. seems to be in this older style. 13. Discovered by Muni Punyavijayaji and published in Jaina Citrakalpadruma, Vol. II, figs. 3-5, 6-3.

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Incidentally, I wish to make it clear here that in the Sarasvati of 1127 A. D., we have a very close parallel, in style, of the frescoes of the Jaina caves at Ellora, assigned roughly to the ninth-tenth centuries. It would be interesting to note that in these caves at Ellora, the artists have usually painted faces in three quarters profile as in the Sarasvati of 1127 A. D. The faces are generally oblong, not squarish, though with prominent noses. A little slip on the part of the painter would project in space, the farther eye. The human figures are tall, with long somewhat slim legs, and thus totally different from the figures with stunted torsoes and thick-set bodies of Western Indian style. The Saraswati of 1127 A. D. does not represent the typical human form of other Western Indian miniatures and should be regarded as more akin to the style of Ellora Jaina frescoes which probably represent regional Deccaniform under the Rastrakutas. We must remember here that Minaladevi, mother of Caulukya Jayasimha Siddharaja was probably a Kadamba princess and dominating, ambitious, assertive personality, might have patronised in her kingdom several artists, scholars and others from her own homeland. It is only the linear conception and the gradual disappearance of shading that are common with other miniatures from Gujarat. Probably the Sarasvati of 1127 A. D. is a work of an artist from the Deccan painting in Gujarat. It is equally possible that this form is influenced by the art of the Paramaras of Malva; (cf. the Sarasvati from Dhara now in the British Museum) In the Mandhata plates of Jayasimha of Dhara dated in Samvat 1112=10551056 A. D. we have a small figure of Garuda with the farther eye very much subdued (fig. 11).14 Dated in V. S. 1214 (1157 A. D.) are the Bhopal Plates of Mahakumar Haricandradeva 15 which show Garuda in human form with a small three-peaked crown, long pointed nose, and slightly projected farther eye. The style is fully developed and mature and the figure of Garuda in human form is not without a realistic appeal (fig. 8). The Bhopal Plates of Maharaja kumara Udayavarman, however, show Garuda's face tarned on one side in complete profile, the farther eye and the pinched cheek are absent1 (fig. 16). They are dated in 1256 V. S. (1200 A. D.). Since we now have evidence of at least the tenth and the eleventh century painting in Western India, it will not be out of place to refer here to some literary evidence from the Selfsame region. About the art of painting in Western India, we have some interesting early literary evidence. The Kuvalayamala-kaha, a Prakrit work composed in 778-79 A. D. by Uddyotana Suri, the grand-pupil of Haribhadra suri, 17 is a treasure house of cul 14. Kielhorn, F., Mandhata Plates of Jayasimha of Dhara' Samvat 1112, Epigraphia Indica, Vol. III . pp. 46 ff. and plates. 15. Ep. Ind. Vol. XXIV. pp. 225 ff. 16. Fleet, J. F., 'Bhopal plates of Udayavarman' (d. V. S. 1256=1200 A. D.), Indian Antiquary Vol. XVI. pp. 252 ff. and plates. 17. See, Shah, U. P., 'Cattanam Madham', Golden Jubilee Volume, A. B. O. R. I., Poona, 1968, pp. 247 ff.

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tural data for the seventh and the eighth centuries A. D. A whole chapter (No. 29) is devoted to the description of an elaborate Samsara-Cakra-Pata, a painting on canvas depicting the miseries, inequalities, futilities etc., of human life, the conditions of lower animals, insects etc., and of heavenly beings. Another pata shows the futility of human efforts. Inspite of poetic fancies and exaggerations, it is obvious that large scale paintings showing various aspects of life with all its different sentiments and emotions, landscapes included, as also representations of torments of hell and pleasures of heaven, were popular. Translation of the whole chapter is not necessary for our purpose. It is sufficient to note here that painting on large scale, covering narration of stories through a chain of events depicted in succession, were practised. The whole description makes it quite clear that the efficiency of a painter lay in successfully depicting the different rasas (sentiments) and bhavas (moods, passions), with clear outlines and appropriate use of pigments. The Painter of this pata was Bhanu, prince of King Simha of the ancient city of Duarika situated in the Lata-desa. Uddyotana suri, who composed his work at Jalor in Western Rajasthan (Marvad) and whose field of activity along with that of his teacher, grand-teacher, great-grand-teacher and others was Marwar and modern Gujarat, includes Dvarika (on the west coast of Saurashtra) in the Lata-desa. If we remember Larakhand of Sindh, Lari dialect, and Larike of Ptolemy, we are led to the conclusion that the Lata-desa once possibly included the whole west coast from Sindh, Saurastra upto Narmada or Tapi. The author thus describes painting as practised in this Lata-desa (and Marwar) from personal knowledge. 18 Bhanu, the royal painter of the pata, here says that he knew citra-karma which was accomplished with proper lines, composition, and portrayal of bhavas with appropriate selection and application of colours (varna); he also knew how to look at, study and appreciate a painting; cf. : rekhA-ThANaya-bhAvehiM saMjuyaM vnnnn-virynnaa-saarN| jANAmi cittayammaM NariMda dadraM pi jANAmi / / (Kuvalayamala, ed. by Upadhye, p. 185). Thus the ideal painter was one who not only knew how to paint well but who was also well-versed in art-criticism. The citra-pata painted by Bhanu looked as if it was a celestial painting i. e., of an extraordinary, inspired, superhuman workmanship; it very vividly represented a large variety of incidents, and it was atisankula, i. e. crowded with a large number of compositions, of figures, scenes etc. Thus excellent workmanship lay in making the citra true to life, inspired and successful in the proper depiction of various scenes and figures on one canvas (cf. divva-lihiyayam piva aisamkulam savvavuttanta-paccakkhikaranam........etc.). 18. The reference to the Lata-Dindinah in the Padataditakam (a Bhana type of drama of c. 6th cent.) is interesting. The Laca Dindinah (Dandys of Lafa) were fond of and versed in the art of painting. Their painting is ridiculed in this farce.

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Uddyotana was a pupil of Virabhadra, who was a pupil of the great Jaina monk and scholiast Haribhadra suri. The main fields of activity (vihara) of Haribhadra were Chitod (Mevad), Marwar and Rajasthan. Haribhadra wrote his famous Samaraiccahaka in c. early eighth century. This work again speaks of a painting of Vidyadhara-yugala done with bright. colours (high lights) appropriately used, and made up of fine clear lines drawn with very fine brush (gulika). People also excelled in Portraits, that is, in Padicchandaya (skt. Praticchandaka). In later texts we find the term Viddhacitra, but it seems that in the days of Bhasa praticchandaka was possibly used for such portraits.1" The act of painting was alekhana, lekhana, as we also find in other texts including the Padatadilakam. A portrait of a princess Ratnavati of Sankhayanapura was drawn on a canvass (alikhito abhimatapatah). This was shown by the artists to a prince named Gupacandra with due humbleness. On seeing it, Gunacandra remarks (I quote the Sanskrit chaya): yathe kalAyA vastataH sampUrNA tu kIdRzI bhavati / saundaryAsambhava eva ataH paraM citrakarmaNaH || asmAbhiradRSTapUrvo'thairapi nUnamatra loke / evaMvidho surUpa rekhAnyAsoH na dRSTa iti // yadyapi ca rekhAnyAsaH pratyekamapi sundaraH kathamapi / tathA''pi samudAyazobhA nedRzI bhavatyanyasya // (Samaraiccakahd, ed. Jacobi., chp. VIII, p. 603) It will be seen here that while appreciating the portrait, emphasis is laid on the skill in drawing the outlines (rekhanyasa). Did this emphasis on the line later develop into what we know as 'linear conception' of painting, almost invariably seen in Western Indian miniatures ?20 Later, during the time of Citrakarma-vinoda, Gupacandra himself draws some painting. This is described as under (Sanskrit chayd): 19. Cf. - dhanuHzatamAtreNa dRSTaH sa divyavAraNapraticchandaH / -Pratija, L praticchan dhAtrA yuvati kiM tu racitam / -Avimaraka, II. 3. Haribhadra has used Praticchandaka in this sense in other passages also cf.: mayaNamaMjuyAtthammi kumArapacchidao rynnbiie| -Samaraiccakaha, p. 622 20. It may be remembered that some of the tendencies of Western Indian mediaeval sculptures already appear in the eighth century Nrsimha from Devangana illustrated by Kramrisch as well as Pramod Chandra, and in the middle layer paintings in Kailasa at Ellora we find similar beginnings of Western Indian Miniature paintings. 'Linear conception' could have been in vouge by c. 8th-9th centuries A. D. 6

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AlikhitaH kumAreNa suvibhaktojjvalena varNakarmaNA'lakSyamANagulikAbrajairanurUpayA sUkSmarekhayA prakaTadarzanena nimnonnatavibhAgena vizuddhayA vartanayA ucitena bhUSaNakalApena abhinavasnehotsukatvena parasparaM hAsyotphullabaddhaSTirArUDhamatvena laDinocitanivezo (lakSitocitanivezo) vidyAdharasaGghATaka iti / / The pigments were properly mixel and the colours appropriately differentiated in various shades (suvibhakta) and were bright (ujjvala, or showed proper high lights), the brushes (gulika-vraja) were extremely fine (almost imperceptible) with which were drawn extremely fine lines; the relievo was shown (heights and depths properly differentiated and suggested clearly), the vartana or shading and modelling was visuddha, i. e., faultless; the element of ornamentation (bhusana) was appropriatly introduced, and the element of joy and affection towards each other (bhava) properly executed. Siddharsi, another Jaina monk from Western India, who composed his allegorical story of Upamitibhava prapancakatha in c. early 10th century A. D., almost uses the same words in a passage recently quoted by Sivarammurti in his South Indian Paintings. The painting was drawn on a pattika. The two painters of the portrait of Rat. navati were asked by Gunacandra to study and criticize the Citra-pattika of Vidyadharayugala, executed by himself (Gunacandra). The technical term used for art-criticism is mirtipana (cf. niruvena tubbhe sayameveti and nireviya Cittamaibhusanehim. (Ibid., p.615). The nirupana of the Citra-pattika, done by these artists is noteworthy: ea! apUrvaiSA citrakarmavicchittiH kathayatIva nijabhAvaM sphuttvcnaiH| citrakarmaNi deva! duSkaraM bhaavaaraadhnm| prazaMsanti idamevAtrAcAryAH abhinavasnehotsukenApi parasparaM hAsyotphulladRSTitvaM tathA''rUDhaprematvenApi ca laci(kSi)tocitanivezakaM cAtrAkathitamapi deva! citrazAstre paThyate, yathA vinA caritAdinA adhikAreNa yathAkathacit kila yAdazabhAvayuktaM citrakarma niSpadyate tAdRzabhAvasaMpattirniyamena citrkaarinnH| tato deva! Asanno devasya priyadarzanena IDazo bhAva iti x x x (Ibid, p. 615). It is likely that here we have a quotation from a lost Citrasastra, in 'vina caritadina... ... Citrakarinah'. It is important to note here that success in suggesting the bhavas in painting was regarded as a great accomplishment of artist. We must note that the expression Citrakarmavicchittih, is possibly used here in the sense of both proper arrangement (composition) and colouring with suitable pigments. I am not repeating here the evidence from Tilakamanjari, Udayasundari-Kaha etc. already discussed by Sivarammurti. But I should like to quote here an interesting reference to a Citrasala (Hall of Paintings) attached to the Jaina shrine called Kumaravihara (now not extant) at Patan built by Kumarapal, some time in the third quarter of the twelth century. Ramacandra suri, the famous author of Natyadarpana and several plays, etc., who was a contemporary of Kumarapala, gives a poetic description of this Citrasala which had paintings of vyalas, elephants, monkeys, camels, chariots, lives of divinities, scenes of several natyas, and of the battles between gods and demons.21 21.Cf. vyAlairbAlAngajendraH kapikarabharathaimyisAthA~zcaritraiH zraddhAlUndevatAnAM nRpatimRgadRzo vaasvaantHpuriibhiH| nAnAnATyaiTaughAnmarudasurabhavaiH raMgarairvIravargAn ekAkinyeva lokAstaralayati muhuryatra citrasya saMsat / / 110 // -Kumaraviharasataka, published by Atmananda Jaina Sabha, Bhavnagar.

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At another place, paintings of horses, Kalpa-vyksas (wish-fulfilling trees) Moon, Kamadhenu, Laksmi and the elephant Airavata are referred to: (cf. Samkramadbhisturangadrumasasisurabhisrigajaih bhitticitraih - Ibid. v. 10).22 There are as yet a number of illustrated manuscripts in various Jaina collections which await publication. A few only, mainly from the collections of Pravartaka Muni Sri Kantivijayaji, and his colleague Muni Sri Hamsavijayaji, preserved in the Atmaramaji Jaina Joana-mandira, Baroda, and some more from Agama-Prabhakar Muni Sri Punyavijayaji's collections in the L. D. Institute of Indology, Ahmedabad, are reported here. The first is an interesting palm-leaf MS, of the Kalpasutra and the Kalakakatha from Baroda, dated in Samvat year 1377=1320 A. D. (fig. 14) with a few miniatures still preserved. The figures (fig. 12, 13, 15) show small roundish eyes, pointed nose; the faces, in three-quarters profile, are not static and are slightly bent.29 They remind us of the paintings of the Subahu-Katha published in Jaina Citrakalpadruma, Vol. I. fig. 52-59, pp. 40-41. But a fragmentary leaf in this manuscript preserves a much more interesting miniature with figures having long eyes with pointed ends, and seems somewhat realistic (fig. 15.) The figures, painted yellow, on a dull red back-ground, are full of life and action. Though there is no attempt at shading, the rendering of the eyes gives life to the figures. A very limited pallette is an important feature of these paintings. Of an earlier date, are the miniature paintings, hitherto unpublished, in a manuscript of a Jaina work (in questions-answers' form) called Satapadi composed in V. S. 1294/ 1237 A. D. and copied in Asahilavadapataka-Pattana by Samantasimha, son of Vayaja, in V. S. 1328 (1271 A. D.). The palmleaf manuscript (size 38.5 x cm. approx.), of 245 folios, with folio 244 (also containing some miniatures, now missing, perhaps stolen some years ago) is preserved in Pravartaka Sri Kantivijayaji collection (MS. no. 11 Palm-leaf MS. group) in Sri Atmaramji Jaina Jnana-mandira, Baroda. A miniature, illustrated here (from folio 245) shows in the upper panel a princely figure conversing with two persons sitting in front to his right, and in the lower panel, divided in two sections, a boat in a river or sea, and a lady carried in a palanquin by two persons (fig. 18). The painting (size 7.6 x 6 cm. approx.) shows red ground for the upper panel and for the lower right side section with the palanquin. Water in the other section is indicated by straight blue lines. All figures are painted in yellow carnation. Colours used are green, blue, yellow and black. 22. Paintings on walls of shrines and halls of paintings were common in Jaina shrines. Jinasena I (c. 830 A, D.) refers to Patta-sala in a Jaina shrine Adi-purana, parva 6, v. 188). Earlier still, Jatasimhanandi (c. seventh century A. D.) in his beautiful work Varangacarita, describing a Jaina temple also refers to a Pattaka-sala in a Jaina temple wherein were pattakas (scrolls or boards) with painting of the lives of tirtharikaras, great monks, cakravartins and vidyadharas. (VC. xii. vv. 67, 93). The references from Jinasena and Jatasimhanandi pertain to South Indian Jaina shrines. 23. Cf. with this, Nawab, Masterpieces of Kalpa-Sutra Paintings figs. 9-10 from a MS. of Kalpa Satra and Kalaka-katha, d. samvat 1336=1279 A. D. in the Sanghano Jnana-Bhandar, Patan.

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Figs. 17, 17a are from a palm-leaf MS. of Uttaradhyayana Sukhabodha-vrlli, in the Santinatha Bhandara, Cambay, assigned by Muni Sri Punyavijayaji to first half of the fourteenth century V. S., i. e. between 1250-1300 A. D. Fig. 17 deserves special notice for a miniature of Parsva with attendants in a shrine with two banana bushes on two sides. Fig. 17a shows the temple of Adinatha at Satrunjaya and the Rayana tree nt arby. Fig. 22 is an example of a long miniature from a palm-leaf MS. of Avasyaka Laghuvrtti, copied in Samvat 1445 (1388 A. D.), preserved in Santinatha Bhandara, Cambay, representing in eleven sections, the ganadharas of a Tirthankara who is represented in the centre in a Samavasarana. The painting is done on red ochre background. The format is 73 inches long x 21 inches broad. Some years ago from Muni Punyavijyaji's collections (now in L. D. Institute of Indology, Ahmedabad) was published by U. P. Shah and Moti Chandra, a Kalpa-sutra dated in V. S. 1403=1346 A. D.9+ which shows greater use of green and gold. It was given as a gift to him from a collection in Gujarat. The date of the above manuscript, though given in margin by a later hand, as the last folio was perhaps mutilated (and now lost), must be regarded as genuine for this paper manuscript and the old theory of dating on the basis of size following the earlier palm-leaves need not be regarded as an absolute guide in view of the format of a paper MS. of Salibhadrakakakula, dated in Samvat 1358 (see fig. 25), in the collections of the Oriental Institute, Baroda, and another of Dasasrutaskandha, eighth chapter (Kalpa-stilra), written in the V. S. 1443 (1386 A. D.), from the same collections (see fig. 26). Also may be compared a manuscript of Mahipa-kosa (from Oriental Institute, Baroda) dated in V. S. 1493 (1437 A. D.).25 Fig. 23 illustrates a page from a palm-leaf of jnata-dharmakatha-sutra-vrtti edited by Dronacarya in V. S. 1120 - 1063 A. D. A later entry on the page (fig. 24) shows that the MS. was at some later date purchased and donated by a lady in Samvat 1411 (= 1354 A. D.). The manuscript is somewhat earlier and perhaps dates from the beginning of the thirteenth century. The miniature shows the four-armed yaksi Ambika. The figure of the standing child to her right and the modelling of the face of the goddess shows traits nearer to the twelfth century rather than the fourteenth. It is a beautiful miniature with mango-trees represented, on two sides, with trunks bent in a wavy zig 24. Moti Chandra and U. P. Shah, New Documents of Jaina Paintings, Mahavira Jaina Vidyalaya Golden Jubilee Volume (Bombay, 1966) pp. 359, 374-376, figures 1-3 and colour plate 1. 25. The style of the Kalpa-Satra dated V. S. 1403 can also be compared with that of another Kalpa-Satra, painted at Patan and dated V. S. 1438 (1381 A. D.) from Khajanchi collection, now in the National Museum, New Delhi; (see catalogue of Miniature Paintings from Motichand Khajanchi collection, New Delhi, 1960, p. 22, figs. 1, 2, 3.) The type of face with a typical long straight-nose of the Tirthankara, is also seen in the Kalpa-Satra of V. S. 1403. Even the format and script of both these manuscripts are related. The National Museum has a KalpaSatra dated v. S. 1474 (= A. D. 1427) whose format is also noteworthy.

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zag manner (fig. 23). This page is preserved in the collections of late Shri Rajendrasimhji Simghi of Calcutta. The palm-leaf MS. of Santinatha-caritra, also from Pravartaka Sri Kantivijayaji's collection at Broda, (figs. 19, 20, 21), is less intersting. Written in Sarhvat 1412-1356 A. D. at Anahilwad-Patan, it demonstrates the beginning of the style of what had been once called the fifteenth century Gujarati style illustrated by the Vasanta-vilasa scroll. A Hindu manuscript of about the same age, painted also at Patan is reported to have been acquired sometime back by the Bharata Kala Bhavan, Varanasi, and a page from it, in Sri Kanodia's collection, was exhibited in the National Museum on the occassion of the International Sanskrit Conference in 1972. This manuscript is dated in V. S. 1443-1386 A. D. Especially important however is the small sized palm-leaf manuscript of the Kalpa-sutra, from Ujamphoi collection in Ahmedabad, (already publi shed) datable in c. A. D.1370. For neat and fine workmanship it has few parallels. This style, already fully developed in at least the latter half of the fourteenth century A. D., was very popular in the whole of Gujarat in the fourteenth and fifteenth centuries and now with several documents giving place-names discovered, it might be designated as Anahilwad-Patan style or Gujarati style. The style became so popular throughout Western India and even in Mewad that we have, as a result, a beautiful manuscript of Suparsvandtha-caritra painted in 1481 V. S. 1424 A. D. at Devakulapa faka (modern Delvada) near Ekalingji. This has been published by Muni Punyavijayaji in the Vijaya Vallabh suri Smaraka Grantha.27 That the style was not confined to Jaina theological works and manuscripts is demonstrated by the recently acquired Hindu text of some hymns by the Bharata Kala Bhavan, noted above, by the secular Vasanta Vildsa scroll published by N. C. Mehta** and later by Norman Brown, by a painting of Kamadeva from a Ms. of Rati-rahasya publised in Jaina Citrakalpadrum, Vol. 1" and by Balagopala stuti published by W. Norman Brown and Devi-Mahatmya publised by M. R. Majumdar. 30 One more non-Jaina work in this style, assignable to c. 1400-1420 A. D. and illustrating themes from Hindu mythology, mainly from the Mahabharata, has been 26. Moti Chandra, Jaina Miniature Paintings from Western India, figs. 54-58, p. 33. 27. Vijaya Vallabha Suri Smaraka Grantha, pp. 176-181 and plates. Muni Punyavijaya, graft hastalikhita pothImAMnA raMgIna citro 28. Mehta, N. C., Studies in Indian Painting chp. II. 29. Jaina Citrakalpadruma, I. p. 85, fig. 155. Moti Chandra, Jaina Miniature etc., fig. 174, p. 44. 30. W. Norman Brown, Early Vaisnava Miniature Paintings from Western India, Eastern Art, Vol. II (1930), pp. 167-206. Majmudar M, R., Some Illustrated Mss. of the Gujarati School of Painting, Proceedings, VII All India Oriental Conference, (Baroda, 1933), pp. 827-835; A 15th Century Gitagovinda with Gujarati Paintings, Bombay University Journal, May, 1937: Earliest DeviMiniatures with special reference to sakti-worship in Gujarat, Journal of the Indian (1038); A Newly discovered Gita Govinda Ms. from Gujarat,

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recently discovered. It is an incomplete manuscript of a work called Itihasa-Samuccaya, which was profusely illustrated but unfortunately a number of folios are missing and only about twenty paintings, somewhat worn out, are preserved. The background in most cases is red no doubt, but not brick-red. It is more rosy and must have shown a bright rosy colour. A few miniatures from this newly discovered manuscript are illustrated here in figs. 28-29 from the collections of the Oriental Institute, Baroda. Paintings of the Panca-tirthi scroll painted in Campakadurga or Campaner in samvat 1490 (=1433 A. D.), first published, from Muni Punyavijaya collection, by N. C. Mehta and later again by Moti Chandra, 31 viewed in this context, deserve further attention of scholars. The lively figures of monkeys and the two groups of three figures each forming a musical party show that this art was not confined to set formulas of Kalpa-sutra or Uttaradhyayana miniatures or to theological themes and usage. It was dynamic and not static, imaginative and creative, and represented life in various aspects. Fotunately some murals from residential buildings of Campakadurga have been recently discovered by the Department of Archaeology, M. S. University of Baroda. Though linear in conception and treatment this art had its own typical appeal and had become very popular. In the delineation of animals, birds, trees and flowers it had achieved great success as is suggested by the Campaner scroll (Pancatirthi-pata and the Devakulapataka Suparsvanatha Caritra. The bright colours and the fine brush work of the Ujamphoi Kalpa-sutra of c. 1370 A. D. should also be noted.32 A paper manuscript of Kalpasutra of the early fifteenth century (c. 1410 A. D.) in the collection of the Oriental Institute, Baroda, is in these best fourteenth century traditions. This incomplete manuscript with only 19 paintings, of fine workmanship, has been preserved. The latter show two circular red dots in two margins and a third in the centre of each page. Folio numbering in the left side red-dot is reminiscent of palm-leaf period. Size of Ms. 25.5 x 11.2 cms. Paintings are done beautifully with fine brush by a steady hand, in bright colours, practically without the use of gold, on brick-red back-ground. Female forms are both graceful and charming. Especially noteworthy are the pompons on hands of ladies and textile patterns of the lotus, the swan, the cris-cross designs, etc. The format with three red dots, method of numbering, patterns on garments, very sparing use of gold (occassionally in crowns etc.) and the use of yellow as carnation (which was popular in the fourteenth century miniatures) suggest that this manuscript cannot be later than c. 1400 to 1410 A. D. Experiments were taking place in various sizes and formats of paper manuscripts, during this period as is evident from a manuscripts of Salibhadrakakakula and Kalpa-sutra from the collection of Oriental Institute, Baroda, noted above. Amongst colours used in this undated Kalpa-sutra are green, blue, pink, white, magenta and pearl-shell or conch-shell for white. 31. Moti Chandra, Jaina Miniature Paintings from Western India, figs. 177-182, pp. 48-51; Mehta, N. C., A Painted Roll from Gujarat (A. D. 1433), Indian Art and Letters, Vol. VI pp. 71-78. 32. Nawab, S. M., Masterpieces of the Kalpa-satra Paintings (Ahmedabad, 1956), PI. IV, figs. 12-16 and pl. Vi fig. 21-23, pl. Vla, fig. 26. 11

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Fig. 33, from folio 17a of this manuscript, (enlarged and reproduced here), is divided into two panels, the upper one showing the Mother of Mahavira sitting on a stool and attended upon by a lady, at her back, holding a fan-like object, and by two ladies in the front. The mother is shown in a dejected pensive mood as the foetus of Mahavira in her womb did not move. In the lower panel, she is again shown, but in a happy mood, after the child, taking cognizance of the mother's grief, moved. The lady behind the mother is waving a fly-whisk. Circular tilaka-marks on foreheads, the various designs of garments and the tapestry hanging overhead (candaravo-vandanavara) may be noted. The painting shows all the characteristics of the fifteenth century painting fully developed. Lower garments of ladies show pointed ends comparable with such sari-ends in the Jaunapur Kalpasutra. Though the treatment is different, the close relation of the Jaunapur manuscript with Western Indian or Gujarati style is obvious. Several compositions in this manuscript are in the manner of such compositions, in single miniatures, of the Kalpa-sutra dated Samvat 1403 from Muni Sri Punyavijaya's collection. The attempt to regard such sari-ends, or the baloon-like scarf at the back of heads of ladies, or the way of showing the bed-spread, as peculiarities of the U. P. style is not convincing. Figures of wives of Vastupala and Tejapala, set up in the early thirteenth century in the Lunavasahi, Delvada, Mount Abu, and the figures of ladies on two architectural pieces from Ladol, North Gujarat, (dated in V. S. 1356=1300 A. D.) now in the Prince of Wales Museum, Bombay (fig. 27), show such baloon-like scarf. The mode of representation of bed-spread is also obtained in other manuscripts from Gujarat and Rajasthan, e. g. in a Kalpa-sutra dated in V. S. 1474=1417 A. D. now in the National Museum, New Delhi. So far as fine brush work and bright colour scheme are concerned, this manuscript in the Oriental Institute, Baroda, can be compared with the Prince of Wales Museum Kalpa-sutra, assigned by Basil Gray and Douglas Barrett to c. 1400 A.D. There is an undated Kalpa-sutra in Sri Atmaramji Joanamandir, Baroda, which in format as well as in the style of paintings, is closely similar to the Kalpa-sutra dated in 1428 A.D., preserved in the India Office Library, published by Coomara. swamy, Brown and Rawson.33 Rajasthani painting has its roots, rather deep, in such earlier paintings and though it is influenced by the Moghul Court, and Persian paintings, in the fifteenth and the sixteenth centuries, yet it is not evolved from the Moghul School. Comparable with the Campaner scroll, the Vasanta Vilasa scroll and the Suparsvanatha-caritra, is a beautiful canvas pata, now in the Victoria and Albert Museum, London. It is dated in the year V. S. 1504=1447 A. D. and contains some excellent paintings of divinities, animals and birds like the elephant and the peacock, lake, palmtrees, plaintain tree, weeping-wilow-like trees etc. Known as Jaitra-Yamin or as Vijay 33. First published by Coomarswamy, A. K., Notes on Jaina Art, Journal of Indian Art, July 1914; also see Philiphs S. Rawson, Indian Painting, Paris and New York 1961, plate 89 and p. 88. 12

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yantra, 34 and painted for a Jaina monk of Kharatara gaccha, it shows representations of Ganesa and Brahmanical gods also. This pata was painted in Gujarat, probably in a centre like Ahmedabad or Patan and is a very beautiful example from which are illustrated here in figs. 30-31-32 some painted portions through the courtsey of Dr. John Irwin of the Victoria and Albert Museum, London. The pata was originally in possession of a gentleman in Palanpura, North Gujarat. of the new discoveries from the collection of late Muni Sri Punyavijayaji, are the miniatures in a paper manuscript of Satrunjaya-mahatmya, written in V. S. 1525= 1468 A. D. (figs. 35, 35a). The typical figures of Ganesa in fig. 35a is noteworthy. The type may be compared with that of the Ganesa in Vijaya-yantra (fig. 30) painted in V. S. 1504=1447 A. D. Incidentally, one may note here the profusely illustrated Kalpa-sutra and Kalakakatha, manuscript in the Ancala-gaccha collection at Jamnagar, painted in Patan in 1558 V. S. = 1501 A. D. which is recently published by Moti Chandra and U. P. Shah in New Documents of Jaina Paintings. Fig. 34 illustrates a full page from this Kalakakatha. On the top of right margin over the head of a princely figure we find a label, 19 (g = Turkish ?) 1 Tr. Perhaps this label for the first time explains to us as to whose dress and figures were copied in the paintings of Saka king and his armies in this manuscript. Two more texts, composed in Gujarati by the poet Bhima, originally bound in one book form, but later the different folios separated and sold, were copied in !526 A. D. on the reliable evidence of Shri Jagdish Mittal who was fortunate in seeing the last page. One is Bhima's Gujarati version of the Sanskrit Harilila-sodasa-kali and the other a Gujarati version of the famous Sanskrit allegorical play Prabodha-candrodaya (called Prabodha-Prakasa in Gujarati). A painting from each of them is illustrated here in figs. 37 and 38 respectively as contemporary examples of non-Jaina texts. The two pages are in the collections of the Oriental Institute, Baroda. Gujarati Styles of Sixteenth and later centuries Two very interesting documents are in the collections of Agama Prabhakara Muni Punyavijayaji to whom I am indebted for the permission to study and publish them. The first is a rare illuminated paper manuscript of the Jaina canonical text Rajaprasniya sutra. It contains only six paintings. It is a complete text of 62 folios. The size of each folio is 25.3 x 11 cm. approximately. The miniatures are found on folios 1b, 26b, 14a, 46b, 61b and 62a respectively. Those on f. 26b and f. 46b are miniatures of the full length of the folio excluding the margins. These miniatures are unusual. Firstly, this is the only manuscript of this text so far known to have illustrations bearing upon the theme of the text. There are one or two unpublished manuscripts of this text woich are known as having illustrations, but they are the usual miniatures of 34. Basil Gray in The Art of India and Pakistan (ed. by Leigh Ashton) first published two photographs from this pata, and called it Gujarati Painting. 13

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a Jina figure with full parikara. Secondly the miniatures in this newly discovered ma. nuscript are in a style different from the usual style found in hundreds of Jaina minia. tures dating from about 1157 A. D. to about 1550 A. D. The format of the manuscript, the script etc., suggest a date c. 1600 A. D., or a little earlier. There is no colophon at the end giving the date or place of writing etc. Fig. 44 from folio lb represents a Tirthankara sitting and having on each side a standing ganadhara with folded hands. Fig. 38 from folio 14a. Scene of music and dancing. This long panel painted on a red background is framed in yellow lines. On the right end a princely figure wearing a long jama and crown is sitting on a throne with an umbrella and back-rest behind which is standing an attendant chaurie-bearer wearing a long coat held by a sash and a typical turban with red stripes. In front of the royal figure is a female dancer wearing green trousers, blue coli and a fine scarf. The pompons on the right arm may be noted. Behind her are a male drummer (playing on mydargam), a cymbal-player and a rabab-player, all males wearing turbans and long coats. The mrdanga-player wears a blue jama and a white turban with red stripes, the cymbal-player a white jama having reddish design and a blue turban. The last figure playing on a rabab-like instrument wears blue trousers, green jama and a white turban with red stripes. The full profiles with fish-like eyes, typical foreheads may be noted. The noses are not pointed as in the earlier Jaina miniatures of VasantaVilasa, Kalpa-sutras etc. The treatment of the scene reminds one of a similar treatment of the scene of music and dancing in the court of Indra depicted in the famous. Samgrahani dated 1583 A. D., painted in Matar (Central Gujarat) by the painter Govinda. Size of miniature: 20.2 x 7.2 cms. Fig. 39 from 46b represents King Paesi (Pradesi) visiting Mahavira. Long panel with red background and enclosed in a yellow frame. On the right end is sitting a Jaina acarya discoursing with his disciple in front with the sthapanacarya (crosslegged stand) between them. Both are sitting under a canopy hanging over them. In the left half of the picture is shown a king arriving in a chariot drawn by two horses and driven by a charioteer wearing a coat and a turban. All faces are shown in profile with only one eye. The monks wear fine white garments, the charioteer wears a blue coat while the king wears a pinkish jama. All the figures are shown with deep bright yellow complexion. Size of picture: 20.4 x 6.4 cms. Fig. 40 from folio 62a (the last page) represents a Jaina monk sitting on a big stool and giving lessons to two disciples in front. All the figures are painted as having a bright reddish yellow complexion, and wearing white garments. The typical faces in profiles, with flat heads, fish-like eyes, are especially noteworthy. Red background. Size: 7.4 x 11 cms. The figures of the monks in these miniatures are especially comparable with similar figures of monks in the Uttaradhyayana sutra (Figs. 41,42,43) dated 1591 A. D.,

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now in the Baroda Museum, and first published by W. Norman Brown in his Miniatures of the Uttaradhyayana Satra, also later discussed by Ananda Krishna, Khandala. wala and others. It will be quite obvious that the miniatures of this Rajaprasniya are in the same style as those of the Samgrahani Sutra painted at Matar in A. D. 1583 (figs. 51, 52, 53, 54) and the Uttaradhyayana Sutra dated 1591 A. D. (figs. 41, 42, 43). Both the Samgrahani and the Uttaradhyayana represent a new style with typical profiles and eyes etc., but while we know definitely that one was painted in Matar, Kheda district, Gujarat, we do not know where the other MS. dated 1591 A. D. was painted. However, when Norman Brown first published it, it was known to have originally belonged to a Jaina collection in Surat. Even though there is no colophon at the end of this Rajaprasniya giving the place where it was written and painted, it is interesting to note that Muni Punya. vijaya was presented this manuscript from a Jaina collection in Petlad, which again is in Central Gujarat and not very far from Matar. We would, therefore, be inclined to think that this new style represented in these three manuscripts was popular in Gujarat of the late sixteenth and early seventeenth centuries and perhaps for some more decades at least. The Bhagavata Datamaskandha (i. e. Book X) of 1610-11 A. D., painted by Govinda, son of Narada published by M. R. Majumdar, se shows the same style. Some pages in this style and from the same MS. possibly are in the collections of the Bharata Kala Bhavan, Varanasi, along with folios from another Bhagavata MS. painted at Ahmedabad in 1598 A. D. A page from Bhagavata dated 1598 A. D. and another from Bhagavata painted in 1610 A. D., acquired by the Oriental Institute, Baroda, are illustrated in fig. 49, 50 respectively. Some more paintings of the Bhagavata chp. X painted by Govinda in 1610-11 A. D. are in U.S.A. in the Earnest C. and Jane Werner Watson Collection etc. 37 Of this sixteenth century style of Gujarat, another set of Bhagavata paintings existed, of which a few pages are in the collection of Shri Jagdish Mittal (HyderabadA. P.) (fig. 61) and in U.S.A. in the Binny collection. Recently I was shown by a dealer from Jaipur a page of a Balagopala-Stuti in exactly the same style as the Uttaradhyayana of 1591 A. D., the Rajaprasniya of Muni Punyavijayaji collection referred to above (now in the L. D. Institute of Indology; Ahmedabad) and the Bhagavata Datamaskandha MSS. dated in 1610 and 1598 A. D. 35. Ananda Krishna, A Stylistic study of the Uttaradhyayana sutra Ms. dated 1591 in the Museum and Picture Gallery, Baroda, Bulletin of the Baroda Museum and Picture Gallery, vol. XV (1962), pp. 1-12 and plates; also see, Karl Khandalawala, Leaves from Rajasthan, Marg, vol. IV no. 3. (Dipawali, 1950), pp. 1-24 and plates. 36. Majmudar, M. R. "Two Illustrated MSS. of the Bhagavata Dasamaskandha" Lalit Kala, No. 8 (1960), pp. 47-54 & plates; "The Gujarati School of Painting & some newly discovered Vaisnava Miniatures", Journal of the Indian Society of Oriental Art, vol. X (1940). 37. Cf. Indian Miniature Painting by Pramod Chandra, pl. 83, p. 52. 15

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The Gita-Govinda of N. C. Mehta collection has been assigned to c. 1525 by N. C. Mehta 38 and to c. 1540 A. D. by Motichandra and Khandalawala. The landscape, spray-like trees, etc. or the profiles showing one fish-like eye show the beginning of Rajput paintings. He is said to have acquired the manuscript from a gentleman in Rajkot. The somewhat long noses and a little longish faces are closer to the faces in a single page of Bhagavata published by M. R. Majmudar39 from collections of the Vaisnava sect at Kankroli (Mevad) near Nathadwara, and with the old Gujarati manuscript of the Pancakhyana in the collections of the Gujarati Department of the M. S. University of Baroda. The Pancakhyana miniatures, which I formerly assigned to c. 1600-1625 V.S. or circa 1550-1570 A. D..40 show a similar tradition and are certainly earlier than the Bhagavata folio of Kankroli collection referred to above. The Panca. khyana miniatures do not seem to be later than 1530 A. D. and may be somewhat earlier. A few miniatures from Pancakhyana are illustrated here through the kind courtsey of Dr. B. J. Sandesara, (figures 56, 57, 55, 51A). The Vaisnava seat of Shrimad Vallabhacarya at Baroda (known as Bethaka) was regarded as the property of the acaryas of Kankroli till to-day and they have been staying at Baroda for several months every year. Their ancestors stayed at Ahmedabad for sometime in 17th cent. A. D. Under the circumstances, paintings from Kankroli collections need not necessarily be regarded as bailing from Mevad. Even the Gita-Govinda of N. C. Mehta, though acquired by him from a dealer in Saurashtra is likely to have originally come from Kankroli collection. But stylistically the miniatures do differ from several other miniatures of Bhagavata etc. in the Kankroli collection edited by Prabhudas Patwari.41 Some of these miniatures illustrated by Patwari belong to the third skandhr of the Bhagavala and are of course of a later date. These later Mewad paintings can hardly be regarded as derived from the Gita-Govinda (N. C. Mehta collection), the Bhagavata page (Kankroli, published by M. R. Majmudar) or the Bhagavata tenth skandha miniatures of 1598 and 1610 A. D. There is, however, a complete Balagopala-stuti, still unpublished, of 66 folios, in the Kankroli collection which is of the same style as the Ratirahasya page from Muni Punyavijaya collection (figs. 58, 60), the Bhagavata pages of 1598 and 1610. Profusely illustrated, it has many interesting characteristics which will be discussed in 38. Mehta, Nanalal Chamanlal, "A New Documents of Gujarati Painting," Journal of the Indian Society of Oriental Art, vol. XIII (1945), pp. 36 1f. and plates. "A New Document of Gujarati painting version of Gita-Govinda," Journal of the Gujarat Research Society. Vol. VII. no. 4 (Oct., 1975) pp. 139-146. Moti Chandra, Jaina Miniatures from Western India, pp. 43-44. Motichandra & Khan dalawala, New Documen s of Indian Painting, p. 21. 39. Majmudar, M. R., Discovery of A Folio of Bhagavata Dasamaskandha illustrated in the Gujarati style, Journal of the University of Bombay, September 1943, pp. 41-66 and Colour plate. 40. Shah, U. P., Citraparicaya, p. 20 with some more plates in the Yasodhira Kyla Pancakhyana Balavabodha, Vol. I, edited by B. J. Sandesara and S. D. Parekh, published as Pracina Gurjara Granthamala, no. 9, Baroda (1963). 41. Patwari, Prabhudas The Divine Flutist, published by the Vaisnava seat at Kankroli (1963). 16

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another special study. The first and the last pages are illustrated here in figures 45 and 46 respectively. Fig. 47 is the only miniature in this manuscript showing a Kuladhra turjan. Figure 48 shows another full page illustration from this manuscript. Paintings of the Rajaprasniya, the Uttaradhyayana of 1591, and the Matar Sangrahani of 1583, the Bhagavata Book X dated 1610 and 1598 and the Kankroli Balagopala-stuti have many common elements and can be definitely said to represent the Sixteenth Century Painting of Gujarat. The relation of the N. C. Mehta GitaGovinda, the Pancakhyana (in old Gujarati) of M. S. University of Baroda collection and of the single Bhagavata folio from Kankroli is also obvious and since the Pancakhyana in old Gujarati was very probably written in Gujarat, we can also take this group as representing Gujarati painting of c. 1520 to c. 1600 A. D. The Caurapancasika (N. C. Mehta collection) the Bhagavata page in the Madhuri Desai collection, the Bhagavata pages in the Clevelend Museum published by Sherman Lee, and the Prince of Wales Museum Gita-Govinda from a group which, as Gray and Barrett suppose, could have originated in Mewar, and, we might add, in the adjoining territories of Idar. A single page from a manuscript of Rati-rahasya, a text on Kamasastra, is preserved in the collections of Muni Sri Punyavijayaji. It is reported to have been I discovered in Patan some 30 to 40 years ago. Both the sides have paintings of the full-length of the folio (excluding the margins), neatly drawn in bright colours and fortunately well preserved. They are illustrated here as figs 58 and 60. Fig. 60 (Size : right side picture : 10.5 x 7 cm., left side, 10.7 x 7 cm.) Divided into two sections, each section illustrating the verse quoted on its top. The section on the right shows a disciple wearing a turban, white dupatta and red dhoti and taking lessons from a pandita wearing turban, white dupatta and red dhoti The teacher has long moustaches and his dupatta shows printed design. A cross-legged stand with a book atop is shown between the teacher and the pupil. Light green background: The second section shows two ladies standing with folded hands in front of a pandita wearing a turban, a dupatta, and a lower garment with a red printed design. The long pointed hair at the back of the ladies are noteworthy. The blue lower garment of the ladies has a pointed end. Ladies wear white Odhanis with red designs. Fig. 58 shows in the section on the right two persons engaged in a talk and wearing white turbans with black stripes, white scarfs and dhoti. The long moustache with curved end may be noted. Both the pandits have yellow complexion. The other section shows a lady sitting in a front of a cocoanut tree on the other side of which is beautifully drawn figure of a monkey. Some fine studies of monkeys are found in Jaina MSS. like the Mandapadurga Kalpasutra in Baroda Joanamandira collection (different from the Mandu style MS. in the National Museum), the Jamnagar Kalpasutra painted at Patan in 1558 and especially in the Campakadurga (Campaner) scroll of Samyat 1490 (=1433 A. D.) published by N. C. Mehta. The monkey has a 17

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light yellow body colour and red face. The lady also has yellow complexion, and wears red coli and lower garment. The painting on the right has red background, the other one on the left half of the folio is with blue background. Each of these paintings illustrates the verse written on top. The page can be assigned to c. 1580-1600 A. D. from its format, script etc. The paintings clearly belong to the Gujarati group referred to above. Treatment of figures of ladies as also of their dress has its parallels in the Uttaradhyayana dated 1591, and the Matar Sangrahani of 1583. The discovery of this page suggests the possibility of more secular paintings coming to light from Jaina collections. The style was not confined to religious texts and must have been popular in Gujarat. Shrimati Sarayu Doshi has discovered a profusely illustrated Digambara Jaina Adipurana from Jaipur. The paintings are in two styles, one of which resembles the Matar Sangrahani style. Unfortunately the Ms. bears no date, but seems not far removed from the Samgrahani painted by Govinda. It is not known where this Jaipur MS. was written and painted. Perhaps one of the painters belonged to the new school of sixteenth century in Gujarat. Mention may be made of the paintings of Raga Dhanasri and others in the Sarabhai Nawab's collection, referred to by B. Gray42 and published by Nawab in his Master-pieces of Kalpa Sutra Paintings, plates H-J. These have been assigned by Gray to Gujarat, early sixteenth century. He has rightly noted their relation to the Bhagavata paintings published by M. R. Majmudar. Recently the Baroda Museum has acquired three Ragamala paintings of one set, a painting from these bears a date, V. S. 1665=1608 A. D. The style of these paintings is allied to the above style. It does not seem desirable to date some of the abovementioned paintings on the basis of the occurence or otherwise of the pointed jamas which are taken as innovations of Akbar's court from some outside source. 43 An argument in favour of Gray and Barrett's views on the problem is the fact that such jamas are popular in temples of the Pustisampradaya, founded by Vallabhacarya, with its two principal seats at Nathadwara and Kankroli in Mewad. The sect would not have preferred the purely Moghul court dress for the deity in its sanctums. The whole argument based on cakadara jamas should not be pressed too far. A garment with pointed ends is found on a yaksi in the Mathura Museum, assignable to c. first century B. C. or A. D. Perhaps introduced by sakas and or Kusanas or even earlier it might have been adopted in Indian dress several centuries before Akbar. Incidentally we might refer here to the argument about balloon-shaped saris. In the Mandu Kalpa-sutra of 1439 A. D. (now in the National Museum), as noted by Khandalawala and Moti Chandra, "the odhani when covering the back of the coiffure, stands 42. Basil Gray in The art of India and Pakistan, p. 106, no. 385 (415) 43. Compare, for example, Khandalawala's view noted in New Documents of Indian Painting, Bulletin of the Prince of Wales Museum, No. 7, pp. 26-27. 18

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out balloon-like behind the head," Commenting on this they further note, Odhani standing out balloon-like behind the head is seen in Jaina manuscript illustrations even earlier than the Manda Kalpa-sutra of A. D. 1439 and the Jaunpur Kalpasutra of A. D. 1465. The treatment of this mannerism in the sixteenth century North Indian style is closest to the treatment of the balloon-like Odhani as seen in the abovementioned Mandu and Jaunpur Kalpa-sulras." This is a departure from their earlier remarks in the Lalit Kala, no. 6, p. 13 where it was stated: "There can be no doubt that the convention of the balloon-like odhani as practised in the Mahapurana of 1540 A. D., was borrowed from MSS. such as the Mandu and Jaunpur Kalpa-sutras." It may be noted here that this practice of balloon-like Odhanis behind coiffure is a typical Gujarati trait of at least the thirteenth century elite of Gujarat as can be seen on the portrait-sculptures of minister Vastupala and his family in the temple built by him at Delvada, Mount Abu, and on a dated pedestal of a Tirthankara sculpture from Ladol (N. Gujarat) preserved in the Prince of Wales Museum, Bombay. It is, therefore, not unlikely that this style was borrowed from Gujarat and/or Rajasthan by other centres in different paintings. It is good indeed that Moti Chandra and Khandalawala have modified their earlier views expressed in Lalit Kala no. 6. It may be noted that the balloon-shaped sari is seen in the miniatures of Madhavanala-Kamakandald-Katha, of Samvat 1500-1443-44 A. D., written at Patan published by U. P. Shah and Moti Chandra in New Documents of Jaina Paintings, op. cit. In the Golden Jubilee Volume of the Mahavira Jaina Vidyalaya, are published for the first time, some New documents of Jaina paintings, by Moti Chandra and U. P. Shah, mainly from Jaina collections, which the second author selected from two main points of view: (1) bringing to light unpublished noteworthy miniatures and (2) selecting documents which bear at the end dates and/or place-names. This method has helped in fixing the provenance and age of different styles. Several new trends in paintings of the sixteenth, seventeenth and eighteenth centuries led to the creations of different schools or styles, which are at present classed as Bundi, Mewad, Kishangadh, Basoli, Mandu, Malwa, etc. Similarly, some creative urge must also have inspired artists from Western India, mainly Gujarat and Western or South Western Rajasthan. Gujarat and Western Rajasthan (including South-Western Rajasthan) were known as the home or chief centres of what is variously styled as Western Indian, Gujarati, or Apabhramsa style of painting from c. 1100 A. D. to about c. 1500-1600 A. D. An area which had so much patronised and kept alive the art of painting could be expected to have created its own style in the sixteenth, seventeenth and eighteenth centuries when other schools of "Rajasthani Painting" (such as the Bundi, Kishangadh, Mevad etc.) came into being. Quite a large number of loose paintings were doubtfully called Malwa or Marwar or Mevad etc. with a question mark. Identification and provenance of styles of several such paintings can 44. New Documents of Indian Painting, p. 21, and colour pl. 2, and fig. 11. 45. Ibid., p. 21. 19

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be done with the help of similar miniatures of manuscripts bearing dates and or names of places of copying. With this view, the present writer tried to find out from the collections of the late Muni Sri Punyavijayaji and, through his kind co-operation, from some other collections, illustrated manuscripts which could be definitely assigned to Gujarat and which could be either accurately dated or could be assigned to a fairly reliable date with the help of the format etc. in which matter, there was no other scholar who had more experience than Muni Sri Punyavijayaji. Such attempts in future are likely to be rewarded with more success and will help us in deciding the provenance of different styles and in rewriting the history of North Indian Painting with a clearer perspective. Take for example, the Sri-Candra Rasa painted at Surat in 1716 V. S.- A. D. 1659 (figs. 70-71)48 For the first time we are on firm grounds regarding a Gujarati style (or Surat if one may like to call it so after the discovery of some more evidences of different local sub-styles from Gujarat) of the seventeenth century. Surat was an important trade centre in the Moghul period and certainly had patronised art and literature. When I showed this new evidence to Dr. Moti Chandra, he showed me a complete Devi-Mahatmya painted some years later (in V. S. 1776) in Surat. 47 The style in both the above manuscripts is related. Further evidence of the art activity at Surat is preserved in a Persian manuscript in the Prince of Wales Museum, Bombay; it is still unpublished and I hope the Museum will soon publish it. This manuscript, said to have been written in the age of Aurangzeb, is full of paintings in popular Moghul Style. Recently a Sripala-rasa painted at Surat in 1831 A. D. has been found. The Sri-Candra-rasa of 1659 seems to bave been the work of a mediocre artist, or we might say, it possibly represents (to some extent at least) the popular or the folk-art. Similar paintings on walls of private houses were very popular in Gujarat till the beginning of the twentieth century. We must await future discoveries of better examples of miniatures done by superior artists at Surat. But the Devi Mahatmya of V. S. 1776-A. D. 1719 and the Sri-Candra-Rasa of 1659 are examples enough to give us an idea of some of the characteristics of Gujarati-Surat-painting of the latter half of the seventeenth century. Big, heavy, healthy, heads on stunted figures are peculiar to this style. The backgrounds are simple, lines are thick and swiftly drawn, eyes are big, the farther eye is dropped, the squarish jaw-bone is now not popular. Turbans are heavy and typical, they are comparable with the undated ArdrakumaraRasats and the Upadesamala miniatures. It seems that the Ardrakumara-Rasa is also a product of the Gujarati school, but possibly from Northern or North-Eastern Gujarat, and, if I may hazard a guess, from the Idar region. Treatment of the figure of the Jaina monk in the Ardrakumara-Rasa has parallels with similar treatment in a manuscript recently discovered by Mrs. Sarayu Doshi, which according to its colophon was painted for some residents of Idar, by an artist called Nanji. 46. Moti Chandra and U. P. Shah, New Documents of Jaina Paintings, op. cit., pp. 417 ff., 371 ff., fig. 34. 47. Ibid., p. 372, fig. 28. 48. Moti Chandra and U. P. Shah, New Documents of Jaina Paintings. figure 30, and pp. 414-415. 20

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The undated Samgrahani (illustrated by us in the above volume), 49 from collections of Muni Sri Punyavija yaji also seems to have been originally painted in some part of the old Idar state. This will be more clear when Shrimati Sarayu Doshi pub. lishes the Digambara Jaina documents she has recently discovered. But the style of this Samgrahani was common throughout Gujarat. Recently the Baroda Museum has acquired a Samgrahani in this style, written in Bhuja in Kaccha. It is quite reason able to conclude the existence of a Gujarati school of the sixteenth-seventeenth century which had broken away from the old conservatism of the Kalpa-sutra and other miniatures of the preceding centuries so well-known to scholars. The tendency to break off from the earlier traditions is seen in the bold attempt of Citara Govinda who painted the beautiful Samgrahani sutra at Matar (Kheda district, central Gujarat) in 1583 A. D., which perhaps began in the still earlier scroll from Champakadurga (modern Champaner, to the N. E. of Baroda), dated in Samvat 1490 (=1433 A. D.), 50 whose importance is not so properly emphasised in this light. This is also seen in the Kalakacarya-Katha attached to the Jamnagara Kalpa-sutra painted at Patan in 1501 A. D. published for the first time in the Mahavira Jaina Vidyalaya Golden Jubilee Volume 81 The Matar Samgrahani of Citara Govinda is the most important document as it is dated and bears a place-name. This Samgrahani seems to have set a standard for several later manuscripts of the Samgrahani and an undated Samgrahani in Muni Punyavijayaji's collection, of about the same age as the Matar Samgrahani, (and not earlier of c. 1550 A. D. as suggested by Anand Krishna), first published by Anand Krishna, 52 obviously follow the Matar Samgrahani in the composition and mode of representation of several scenes and diagrams. This can now be supported by more evidence from Jaina Bhandaras. The Atmarama jnana-mandira collection at Baroda preserves an undated Samgrahani of circa seventeenth century in an inferior style which definitely seems to follow the Matar manuscript in the selection and general convention or mode of representation of the subject matter of its miniatures. The manuscript dated 1644 V. S. = 1587 A. D. painted at Cambay (fig. 62) and two more later ones, of the seventeenth century painted at Patan (fig. 63) and Cambay (fig. 64) follow this tradition. Just as in the Kalpa-sutra miniatures certain formulas became popular and were adopted in selection and representation of scenes (dikna scenes, samavasarana, Mother of a Jina dreaming the conventional dreams, and so on). Similarly the Matar Samgrahani was perhaps the pioneer in introducing several types of illustration for the Samgrahani-sutra. But the Cambay Sangrahani of 1587 uses bright colours with a preference for bright green prominently used. 49. Ibid., PP 415-416. fig. 32 50. First published by N. C. Mehta, A Painted Roll from Gnjarat, Indian Arts and letters, (New Series), Vol. VI. pp. 71-78 and plates. 51. Moti Chandra and U. P. Shah, New Documents of Jaina Paintings, op. cit., figs. 12, 13. pp. 387-389, 361-365. 52. Rai Ananda Krishna, Some Pre-Akbari Examples of Rajasthani Illustrations, Marg, Vol. XI, No. 2, pp. 18 ff., and figs. 6-8 on page 20.

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Apart from this, a comparative study of only a few dated Sangrahani manuscripts will also reveal to us the new trend in Gujarati painting of the seventeenth century. The miniatures in a Sangrahani-sutra manuscript can be divided into two groups : first a group of diagrams of the Cosmos, two and half continents, etc., second and the more important group includes scenes of dancing before Indra by the various gods and goddesses, figures of the various jewels of Cakravartins, Vasudevas and others, and scenes of hell-tortures and so on. These contain very interesting data for a study not only of the art style but also the costume etc. of the age; this data had not been explored so far. With this view I am adding here a few more photographs from different Samgrahani manuscripts (figs. 65-68, 72-73). Since this text had been very popular with monks, we are fortunate in having evidence of art traditions from late sixteenth upto the middle of the nineteenth century. In the Muni Punyavijaya collection (now in the L. D. Institute of Indology, Ahmedabad), is an eighteenth century manuscript of Sangrahani painted at Rajanagara (Ahmedabad). In the collections of the Baroda Museum, is another Samgrahani copied at Bhuj in Kaccha, and having miniatures similar in style to the undated seventeenth century Samgrahani of Punyavijaya collection (published earlier by us in New Documents of Jaina Paintings), and referred to above. Figures 72-73 are miniatures from a Samgrahani manuscript painted in Bombay in Samvat 1914 (=1857 A.D.). The variety of costume, in this Samgrahani are especially noteworthy. Male and female figures throw light on the mixed population of Bombay of 1857. It is hoped that all this new evidence will receive more attention of scholars from various points of view. The style of Govinda as seen in the Matar Samgrahani can now be regarded as a typical style which became very popular in Gujarat. It is the new Gujarati style of the Sixteenth century. Of this style a few noteworthy examples discovered so far are as under: (1) Bhagavata Dasama-Skandha, painted in 1610 A. D. by Govinda son of Narada (fig. no. 50), from collections of the Oriental Institute, Baroda. (2) Bhagavata with commentary painted at Ahmedabad in 598 A. D. (fig. No. 49). From collections of the Oriental Institute, Baroda. (3) Rajaprasniya Sutra (figs. 38, 39, 40, 44) from Muni Punya vijaya's collection in the L. D. Institute of Indology, Ahmedabad. (4) Bala-Gopala-Stuti of Kankroli collection (figs. 45-48). (5) The Uttarudhyayana sutra of 1591, published first by W. Norman Brown, now in the Baroda Museum. The Bhagavata Dasamaskandha painted in 1610 at Ahmedabad about 30 years after the Matar Samgrahani, is in the same style eliminating the farther eye (extended in space) and the long pointed nose. The turban used by several male figures is a peculiar sort commonly found in all these manuscripts (see fig. 38). The Bala 22

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Gopala-Stuti from Kankroli illustrated here in figs. 45-48 dates from c. 1620-1650 A. D. Of the Gujarati painting of the seventeenth century an interesting Sangrahani sutra from the Khajanchi collection, now in the National Museum, is dated in A. D. 1638.53 It was painted at Wadhwan in Saurashtra (Gujarat). A few pages from this are illustrated here through the courtsey of the National Museum, New Delhi (figs. 67-68). A beautiful eighteenth century Samgrahani imitating the themes of Matar Samgrahani, is preserved in Ujamphoi collection of the L. D. Institute of Indology. The bright colours used remind one of the Upadesamala-Balavabodha, published in the New Documents of Jaina Paintings. Closely allied to these paintings and also probably painted in Saurashtra, are the miniatures of a complete Sangrahani, with Gujarati commentary, written in Samvat 1720=1663 A. D., from the Philadelphia Museum of Art (figs. 74-75). The elimination of the farther eye and the omission of three-quarters profiles, representing human figures in full profiles seem to have started much earlier than c. 1500 A. D. This is seen in the figure of Garuda incised on the Mandhata Plates of Paramara Jayasimha-Jayavarman, d. V. S. 1331 (=1274 A. D.) published by D. C. Sircar, Epigraphia Indica, Vol. XXXII pp. 139 ff. and in the plates of Maharajkumara Udayavarma Deva, d. V. S. 1256=1200 A. D., published by Fleet in Indian Antiquary, Vol. XVI pp. 252 ff. and plates (fig. 16). Of perhaps the eighteenth century are the numerous, now dispersed, pages of what is known as Tularam's Bhagavata. The Philadelphia Museum of Art has six such paintings, some more are in various collections in Boston and elsewhere in the U.S.A. Of this group one painting from Watson collection is published by Pramod Chandra (Indian Miniature Painting, p. 54, fig. 85); another by S. C. Welch and M. Beach, in Gods, Thrones and Peacocks (New York 1965), no. 15. A painting from the collection of the Philadelphia Museum of Art collection is here published as fig. 39, by the kind permission of Dr. Stella Kramrisch. These paintings show a popula style, somewhat folkish, of the late seventeenth and the early eighteenth century A. D. The search for dated manuscript or manuscripts with place names produced one very interesting result. Muni Sri Punya vijayaji discovered a profusely illustrated Upadesamala-Balavabodha, from the Devasa na pada collection, which is discussed by Moti Chandra and Umakant Shah in New Documents of Jaina Paintings. The beautiful paintings in bright colours illustrate various stories of a didactic nature. The illustrations are almost like secular paintings and represent a mature style. Parellels of this style could be traced to two dated Vijnaptipatras written in Sirohi, now in the National Museum, to a Sapta-Sati MS. also from Sirohi in the National Museum, and to a few pages of Sapta-Sati in the Prince of Wales Museum. This style was therefore called Sirohi School. But a painting in the Los Angeles Museum bas in margin some writing in Gujarati language (fig. 76). Sirohi was also .. 53. Miniature Paintings from Shri Moti Chandra Khajanchi collection, figs. 97-98. 23

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once a Gujarati area. It would not be surprising if we later find that this (Sirohi) school was current in some other parts of Gujarat in the late seventeenth and the eighteenth centuries. A Sripala-rasa in Gujarati, copied in Surat in V. S. 1886=1829 A. D. has paintings reminiscent of certain characteristics of this Upadesamala Balavabodha which latter was originally composed in Surat, and since the last page of Upadesamala Balavabodha seems to have been a replaced one, it is difficult to say where it was copied and painted. For the information of scholars of the history of painting in Gujarat I am illustrating here painting from a Vijnaptipatra written from Rajanagara (Ahmedabad) in 1853 A. D, (fig. 78) from collection of Muni Sri Punyavijayaji in the L. D. Insstitute of Indology, Ahmedabad, and from another Vijnptipatra sent by the Jaina community of Surat to an acarya at Bahedanagar, written in the nineteenth century (fig. 79) also from the same collection. More interesting is a Kalpa-sutra painted at Ahmedabad in Samvat 1727=1670 A. D. from which a page is illustrated here in fig. 77. An artist Chavara Rajebaji from Palanpur, N. Gujarat, painted a Madhumalati Chaupai in c. late nineteenth century A. D. and inserted his own portrait in it, illustrated here in fig. 45. During the last forty years a very large member of illustrated manuscripts, scrolls, wooden-book covers, canvass patas etc. have come to light from Jaina collections in Western India. They not only throw light on the art of painting from the eleventh century to the twentieth century in Gujarat and Rajasthan, but also incidentally supply a good deal of data concerning the life and culture of their times. For example, the beautifully illustrated Upadesamala Balavabodh from Devasa-na Padano Bhandar has a miniature showing the runner postman in the late seventeenth and early eighteenth century; another miniature shows a goldsmith's workshop; a Pancakhyana miniature shows a weaver on handloom : The various Vijnaptipatras represent the main bazars of various towns and cities like Baroda, Jesalmere, Surat, Vadnagar etc. It would be interesting to give here a glimpse of the vast variety of illustrated material now available. I give a small list : (1) Kalpa-sutra, several manuscripts, of which the Mandu Kalpasutra in the National Museum, the Jamnagar Kalpa-sutra painted in Patan, the Jaunpur KP Su. now in Baroda Jaina Jnanamandir, the Devasa na Pada KP Su., etc. are amongst the most noteworthy ones. (2) The Kalakakathas, the Mandu style Kalaka-katha of Punyavijaya collection, and several others published by Brown, Nawab, and Moti Chandra are noteworthy. (3) The MSS. of Uttaradhyayana sutra--note the Uttaradhyayana ms. dated 1591 in Baroda Museum, the Anjara Vitaradhyayana in Punya vijaya collection, two more in Devasa na Pada collection not yet published, and several others. Besides the above more popular books, following varieties of illustrated manuscripts are discovered so far.* * Place names in brackets against titles in the list refer to the present location of the manuscript or manuscripts. 24

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(4) Jnatasutra and other Anga texts, (Palm-leaf, Cambay) (5) Ogha-Niryukti, (Palm-leaf, Cambay and Jesalmere) (6) Supasanaha Cariyam (painted at Delvada, Mevad, now in Patan) (7) Santinatha-caritra (Baroda and Ahmedabad) (8) Candraprabha-caritra (Ahmedabad) (9) Upadesamala-vrtti (Cambay, palm-leaf) (10) Satrunjaya Mahatmya (two in Ahmedabad) (11) Parsvanatha-caritra (Ahmedabad) (12) Upadesamala-Balavabodha (Ahmedabad) (13) Trisastisalakapurusacaritra (Cambay) (14) Nisitha-curni (Cambay) (15) Sthananga-sutra (Baroda, Patan) (16) Upasakadasanga-sutra (Ahmedabad, Baroda) (17) Rajaprasniya-sutra (Ahmedabad) (18) Samavayanga-sutra (Baroda, Patan) (19) Subahu-katha (Patan) (20) Dipavali-katha (National Museum) (21) Ardrakumara-Rasa (Ahmedabad) (22) Nala-Davadanti Rasa (Ahmedabad) (23) Priyamelaka-Rasa (Baroda, Ahmedabad) (24) Dhanya-Salibhadra-Chaupai (Ahmedabad, Calcutta, Delhi, Baroda etc.) (25) Sripala-Rasa (Ahmedabad, Baroda, Bombay etc.) (26) Sri-Candra-Rasa (Ahmedabad) (27) Simhalakumara Caupai (Ahmedabad, Baroda) (28) Pancakhyana Balavabodha (Baroda) (29) Hitopadesa (Ahmedabad) (30) Meghaduta (Ahmedabad) (31) Kumarasambhava (Ahmedabad, Baroda, Boston, New Delhi) (32) Abhidhana-cintamani Kosa (Baroda) (33) Satapadi (Cambay, Baroda) (34) Savaga-Padikkamana-sutra-vrtti (Boston). (35) Manatunga-Manavati Rasa (Ahmedabad, Baroda) 25 For Private Personal Use Only

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(36) Madhu-Malati-katha (Ahmedabad) (37) Madhavanala-Kamakandala-katha (Ahmedabad) (38) Damayanti-Katha-campu (Ahmedabad) (39) Kakaruta (Baroda) (40) Asvalaksana (Ahmedabad) (41) Samgrahani-sutra (Ahmedabad, Baroda, Cambay etc.) (42) Siddhahema-Laghu-vytti (Cambay, Patan) (43) Katha-Ratnasagara (Patan) (44) Prasna-Sakunavali (Ahmedabad) (45) Gautama-prccha (Ahmedabad) (46) Parsvanatha-vivahalu (Boston) (47) Parsvanatha-nisani (Ahmedabad) (48) Sakunavali (Ahmedabad) (49) Lokanaladvatrimsika (Ahmedabad) (50) Laghu-Ksetrasamasa (Ahmedabad) (51) Haribala Caupai (Ahmedabad) (52) Candana Malayagiri varta (National Museum, Khajanchi collection) (53) Naraki na citro (Hell Scenes) (Ahmedabad) (54) Kutubuddina-ni-vartta (Ahmedabad) (55) Vijnaptipatra painted by Salivahana (Ahmedabad) (56) Vijnaptipatra from Sirohi, d. v. s. 1782 (National Museum) (57) Vijnaptipatra from Devas (c. 18th century A. D.) Different Vijnaptipatras noted by Hirananda Shastri. (58) Do. undated fragment c. 18th cent. A. D. (59) Do. from Jodhpur d. v. s. 1848 (60) Do. from Baroda d. v. s. 1852 (61) Do. from Jodhpur d. v. s. 1892 (62) Do. from Jodhpur d. v. s. 1897 (63) Do. from Jesalmer d. v. s. 1916 (64) Do. from Surat d. v. s. 1845 (65) Do. from Sinor d. v. s. 1827 (66) Do, from Amodanagar d. y. s. 1862 (67) Do. from Saujat d. v. s. 1903 (68) Do. from Chhani d. v. s. 1912 (69) Do. from Rajanagar (Ahmedabad) d. v. s. 1853 (70) Do. from Ghogha d. v. s. 1717.. 26 :

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(71) Do. from Desuri now in Baroda Museum. (72) Panca-tirthi-pata painted at Campakadurga, 1433 A. D. (Ahmedabad) (73) Samgrahan-Tippanaka-pata d. v. s. 1453 (Patan) (74) Vijaya-Yantra-pata (London) (75) Varddhamana-Vidya-pala (Ahmedabad). (76) Suri-Mantra-pata (Ahmedabad) (77) Sahasraphana-Parsvanatha-pata (Ahmedabad) (78) Parsvanatha-pafa (Ahmedabad) (79) Atte-Matte Yantra-pata (Ahmedabad) (80) Pala painted for Tarunaprabhasuri (Bikaner) (81) Several Canvas Paintings of 2 Dvipas and continents in various collections in Gujarat and Rajasthan. (82) Several Wooden book-Covers most of them listed in JISOA new series Vol. I on Western Indian Art. Illustrated Manuscripts from Digambara Collections mostly discovered by Mrs. Sarayu Doshi (83) Yasodhara Caritra (Nagapur, Karamsad, Idar, Surat, Beawar) (84) Neminatha-paja Scroll (Karanja) (85) Adipurana (Jaipur) (86) Mahapurana (Jaipur, Delhi, Mojhame) (87) Bhaktamara-stotra (Beawar etc.) (88) Painted wooden covers and manuscripts of Dhavald, Jayadhavala (at Mudabidri) (first publ. by editors of these texts) (89) Jaina Ramayana (Arrah) (90) Sugandha-Dasami-Katha (Karanja) This is but a tentative small list. Out of the above, the beautifully illustrated Yasodhara-caritra from Karamsad (in Gujarat) was painted at Sojitra (near Karamsad) in Samvat 1555, with profuse use of gold. It is a very important document of Gujarati painting of the end of the fifteenth century. Similarly the Yasodharacarila painted by Citara Nanji at Idar in 1636 A. D. discovered by Mrs. Doshi from a Digambara collection is important for the history of Gujarati painting. The profusely illustrated Adipurana from Jaipur with about 500 paintings is a very interesting document done in the style of Matar Samgrahant of citara Govinda and when published it will cer tainly throw much more light on this style of Gujarat. 27

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Before concluding we might note here some less known sources for study of painting patronised by the Jainas. They are the folders or holders of paper manuscripts which Jaina monks hold in their hands and read while giving discourses from texts. The sides facing the audiance are artistically decorated and painted with figures of eight auspicious symbols, or of scenes from Jaina Jatakas etc. There are some good examples in Muni Sri Punyavijayaji's collection in the L. D. Institute of Indology, Ahmedabad and in the collection of the Oriental Institute, Baroda. The wooden or paper-mache boxes, in which bundles of manuscripts were stored and catalogued according to box-numbers, were also decorated with paintings of floral designs and with other scenes. Two very rare examples of such boxes with Mughal paintings exist in Muni Sri Punyavijaya's above-mentioned collections. Fig. 81 illust rates a (court) scene of Music and dancing on one of the sides of one of the above mentioned two boxes, painted on cloth and pasted on the paper-mache box. It dates from c. seventeenth century A. D. Fig. 82 is another scene of a lady playing an instrument before a prince, obtained on the smaller side of the box. Fig. 83 introduces a hunting scene. 28

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taay'aalnth haamjbaathrune ats & Aifin naambaar , 0s 32p kleolai raay'aakhdophaaiche guiierssii| 5) / Fig. 1. Harasola Plates of Paramara Siyaka, d. 949 A. D. (Reproduced from Epigraphia Indica, Vol. XIX) Fig. 2. Grant of Paramara Siyaka, d. 969 A. D. (Collection of Muni Punyavijaya, L. D. Institute of Indology, Ahmedabad)

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Fig. 3. From Copperplate Grant of Vak patiraja, d. 974 A, D. rAnamaramarAnamAranAyAlAi dAmAja maladala Fig. 4. From Grant of Paramara Bhojadeva, 1022 A. D. (Both reproduced from Indian Antiquary, Vol. VI)

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manAtibIjotramazaktiyAjognekazakti rAjAzramavAktibhananAmamumatIya brANavinAinar MOTIOTIRD ANCICIOGOO King Amarasakti, his sons, minister and Visnusarma. (Fig.57) (From Pancakhyana, University Library, M. S. Uni. of Baroda) ghAsAhapAe Daroo Univery Lb wy ANTAVAVALA srsvnii|| bArayAnavAdhikakarAtA manamAnIgaNapataye pacArayAnaspazAsya tApayakriyAtasunAya zodhavizvAsa zAprakAsikAzAma nAvavAcaspatyakA yArAzarAyamukAyacA NokyAyavAcanamA sunayazAmrakAra svaH ghakanakitAba SATTA SAWAVATMAITRARY Fig. 5A. First Folio of Pancakhyana (From University Library, M. S. Uni. of Baroda)

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HUAIIMEET nAbhika vAmamati:punarAdInAmamA kulajamamadAramadAha (rAsamAnAmA ramamAlAgAramA yAta godAmAlalala hararalAyodAna para pAyajampAraNIta nayA ne namAvinaHpAtArA mAyAmAyAgAcAtarAyana mAMgA gora gomayAgIkAra kaliyolanIyoma vAzimAnakama lAlArikAlAlamiyamalA tAmevajAtanavAsakalAma ara mAnasipakapara kA nAyAktilAmAsAnAmi mApadaha ye mA~ kI maiMgalamahInI va mAyakImoDa devaya Fig. 5. Banswara Plate of Bhojadeva, 1019-20 A. D. (Reproduced From Epigraphia Indica, Vol. VI) Fig. 6. Ogha-Niryukti, d. 1060 A. D. Fig.7. Ogha-Niryukti, d. 1060 A. D. bArAta naMtativasambAkasamA kAtaravAyatvAsana karatAta vikaNTha mAsakasamApicavanamAdAvadhi minAsAvAdAvadivAkara sAsaMda innar avasavAdArAvAsataHkAmAlakI yukrabAnihAramAnanAmAvagata yaakaannaashilnlisvite| negane vahArAhAmakAja sAna hamArAhAyayAyA hAyA HODI Fig. 8. From Ogha-Niryukti, d. 1060 A. D., Jesalmere. sasamAsAdakAlirIkA mAtra samayayalaspasaNArA satkAra tivAratA kA nAmamanAyUpa nisAra rakamaslAma jAnavamane mAnamatrovatApamAnAmA syAnaTAnIsivAsaINolera sH2|| Fig. I0. Ms. of Ogha-Niryukti Vritti and Dasavaikalika-tika

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Minnie sarvanAma simasi kata rA nAgI brg sAMgonAhAra koo yas karANa Fig. 9. Bhopal Plate of Maharaja Kumar Haricandradeva. (Reproduced from Ep. Ind. Vol. XXIV) davAsa kuMtA Fig. 12 Tamient sada vAhatu kAzramAgAvIturi pradhAnata rAgatamitraprati roSo nivAsI sadidAdi 1210 at samAnI raka khaDAma phara vakha mI gAru lagA zatAkSa gA katha alle Usa Fig. 11. Mandhata plate of Jayasimha of Dhara, 1055 A. D. (Reproduced from Ep. Ind. Vol. III) vimada For Private Personal Use Only kharasara rA si aria Fig. 13 kalAMnA zikSA niyAmA silavAda ThaMDA e zrIkAlika muurikaa|||kshaanN 1310 kAriki zuddhi mAlisA gAranikhitA zrIvAkara harI AdAna Fig. 14 Figs. 12-14. Palm-leaf ms. of Kalpa-Sutra and Kalaka-katha, d. V. S. 1377 (=1320-21 A. D.) (From Shri Atmaramji Jaina Jnana Bhandara, Baroda)

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davitAlAyayamAgha vargatilAyamizita sAvahamANakSiNa visadazvadayAzyA limakSAmadAvaha lApAvalAgAramA idAjhyAvariyA sarisajaNasmAna mANakiNavAdAuvA Fig. 15. Loose mutilated folio lying in the Kalpa-Sutra ms. noted in figs. 12-14. lapolatA yAna nadimAna sahA parama rASaSasahasANAjAjJAnAtavAnAspAnAmASUMAMMISPHENNAINANIYA savANyA nidAnonita pravAsa kasama ta yatAdAda vaha kSamaTAna hamAla vidInA niva mAladesakarAnibhAyA / pAka kinyavAnipratimAninAniviAnA masAba nagadadI nasatAnatonAdinaH pATi dAhAyAta ToyI vAnarAmasailAma napAtamsatarnupANI kAlakA ho tivasako vA pAponiketananA sAvitAtita pAnipalaTautamama cama mheN.tutissiipaadaarvidaa|| gala sanasonavAbhimapAe yata te na ke manavamA kmldlaamvidlaa| lAjadhamaritAmanupaDIvita tArA kinamidamadAhatAnAera para pirakA jAyAvAtyayA'nisahAna maha mAnAudalavamAvasthA dAmaTalI kA rAumA Fig. 16. Bhopal plates of Mabakumara Udayavarmmadeva, d. V. S. 1256 (=1200 A. D.) (Reproduced from Indian Antiquary, Vol. XVI) mAhinA rANA nAgA mAdAga misphasasAkSAdilipakSa zAAkhavadhAkAyatana dasagividyA dhkaadhaa| jhAtAvivAhabAjArI monAdavAdigAnAsa dAyitIcapaOHI pApama kvAlA v3|| pAvAsa HaFMti samhAjhiA Es. 17 and 17 A. From Palm-leaf Ms. of Uttaradhyayana Vrtti, Cambay.

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. . . . . lakar3IsAijamArikha sthAyI kamiAkAnamAmi ramathAvivAkisastA dabadhAlayanimita vinAvAyaREST sipAniyolAyamAbAI vinavaNakAmatamAnamA maSTampisamAnAmA sAmanyasmalyamA bikAmidvivanAta sAvakAgAnADAmA / rigAmazvAgAvAtavAyada minamA laamivaav| zikAlikviAnimA Fig. 18. Palm-leaf Ms. of Satapadi, d. V. S. 1328. (Joanamandira, Baroda) T H REE kAma Fig. 19 Fig. 20 Fig. 21 Figs. 19-21. Palm-leaf Ms. of Santinatha-Caritra, d. V. S. 1412 (Pravartaka Sri Kantivijayaji's Collection, Jnanamandir, Baroda) Fig. 22. Palm-leaf Ms. of Avasyaka-Laghuvrtti, d. V.S. 1445 (Santinatha Bhandara-Cambay)

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. Fig.23 FEBRRI tAhatAvanasiniAvasitAcitasA dhaarpihisaagrvihaadaav| hisAyaNasAzAdhitAvara dAnazIlatapohAvanAnirata mAyAnAsira dhaniyahavemunara bAgakAdaza yAvivakiya Fig. 24 tayAsikimapisvIkRtamiharakAdhanAmakathamatidizAtAvividhatAyanAtApiyavAsamArcapadasaMthayAdi catikavAkavApaMdhamatikotavAkatIyAni saMvadhivihAramapatidataMzAsAnusArAvadhAniyAvA-jAnazca dyAsaviNAviti hatAzAtAdhammakAMgadhakatatyAsamAsatamAnidRtakaUlanasammalakhADANArayasari bAbAmaMgalamadAyItAmAzivamasarvAgatapaditanistAsavaMsatagaNAmAdAdhApayAcanAzaMsarvadhana zAsavavA49mAghasudipaNIyAginIpuravAsAyImAlakalasaMtavAdakAnAcIdA0viradevapatra vAInAyakharataragaJja,vAra zrImaninavaMdariyA dAnAMsamarpita pusAva yamadavA sAdhanA bavAsanA sA0lAla Fig. 24A nAdinamA bAdAvA yabi nirata maayaanaanimtpmaannmnbNdhaatyaadyaaNckivaanpshcaanevitirissynirivliivaahaadisNdedhitnaanaanaa| dhaniyahavebharavanAzahAdisaladANAzrAmavinavidAsitAkratanidhizvAvivajhadAmANAzidhAgAsayAdavA) aapkaadmshaanvdhviNshtydhikdikrmsmaanaamaannaadilpaattkngaavvingydaayaacmiaaiyo|shniaa yAvitakiyAnAkhImunAvikayApuNyAmIjJAtAcamakavAsihAMtapakamalAna gRhIta Figs. 23-24A, A page of palm-leaf Ms. of Jnata-Dharma-Katha-Sutra. (From Shri Rajendra Singh Singhi's collection, Calcutta. Photographs Courtesy, Prof. Ernst Bender.)

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. zivakoyAlayamAsvaemAlarAtyidevadiyabharamasArUgaDesanuwaaninAdiyAniTi lADa nakai canapuvAmadupujAyadAdAmaDakubaDApatArasamAisalarakaliyasAmaMjasuviaire matadAranAmavaliyAnimAlasakhApAsaDhasAkAragadiuusamakaDArapasAbahakANinarayana upAvisahayapaOME svaramA AmAlAmudrasAravar3akiAmAdasAvAkaDiekiuvavAdaramAlahasacarAyatA purammarabanadamApAraharidisisajanadavA/siAmAjamuzivAsivanaUvasakarimitrAvAsa bAsasAsAvaralapahavAdamAvaNamUla jIvAtAkhyAsaliyaaura51avaladakhAzsamada hukUyaramamallarAtidivasaguruvAgAdAsa 53annadAjagappArAyanaparAmasAlinadyA eliyamakadiThiAlaNAmaMjamavitA tavanayahavaMdavAgatadinAna MEpadamatarUvAdhAra dUpatavaTamanAAdAAdhammadaparimaU majahanakarayAmA 16dAramaDalakAlaya 134vamadimANinihAsipane kamajagadizapadAlidamAmamaNimahAdaNa zivazAhaUmAkAyacamaveyavaravimaNiyAmapadayAmarAmaviNa/jaNyAgamAdazraNamaNamA diyAnAgAsayahavimAliyAraumAMgananAsAda mahAviAdAhasamapuyatAvAkavalanAmuladravAsA magamuravAmAhamArisidisaviyadayammakAhadi raGakAha kaakuulubaadtrihaadaadaasviyuumn| samaliyAspadalAunulAsasAniakmanamuniyamakayArAharabAgalAtaviyajAvAvibhApaDiya10 navanavagAlA02zrIsAvitar3akAkaUlasamAnahAAse.135pachIpakazagaThIyamadeilanirikhanAnAsAlA Fig. 25. A folio of Salibhadrakakakula, d. V. S. 1358 (Oriental Institute, Baroda) ONLINE wimmaushattern INTAmjaanaaeeautinitihaanwarmaNaIRemarthacanoeasiatvalintamanianRIMER kAmakAmacalAnAvaadhayAyaDinAmAvaliyAbamadhanyAsAvA-niyaMpArAvArakappazyanArAbAdasiMbApAgamanApAsa gayA sanavAsAkamAvatAratarasamaNAnagavaMtAvAsamaksayAmAnavinavamIdavAnakilarahitavAyaDijAvAtAvAdAsayA pramAdisiyA samalA naganApaTiyAganiAzavAsAbA-niyaMyANavAzAvatAripaMcajodhaNAniyana paMtarAvisakAvyaparanAmekapa ARE saravartitaThakAnAvAvamayAvazyasaMvatariyavikAsakAmanapAkapyA payomapradAtAsamakApaNakAsivApAninAmAnita NAYA samAnArAmAkATA dhArA dilANAyapAlisA paThAzyAtalavanazyaammaNainiyaMtiyAranivAzimayadarakANamanakArI IND niyalagatyA dakhajayayanazANAsanisAyakaritA ThagazyAmavaNejavayasAyakaritisAhanasyAkamenina TEAmAlagane samasamAnAmanAvIragayA gidanayarAyaNAsanazcayA~samayasamamA gAyA gayA yAbAhAsAviyAgAbahANaMdevAvahArAvIgAma nagaracavAyavamAzyAparvanAmavaMdhanAyavaMyasanApAmA yonArga dhanayamasadesAsakAraNAsaganAma aAThamAunayAmavAgaraNAnusArauvadanibAma4yama mamyAdasatsabakevaramayamaMzayAsamAnAlAsaMvanavAsAvadizAkA dayaparivAyathayAnAtinazkAraukalAnila nayarajayANadayArAjagapavAsakAlagAyAriAmagaDhagadharAvAsAvArapurAsI niyAyayarasIdAsaramadAsalanakAyanAkAlapurayAsa 2samayakalAkanAvaNasarasa unnAUmarArArasamasayAkAlavividAIkInAhi apradiUmarAAviliyayAdavAkSaNAnimiRana dhavalamiyamadhararAvayamasAgavAdhyayAvanikenaparIdhAnidhIpadamazAyAdAnadhanamAyAbadramAyAvayatAkrananazIla NRIE AarmAdayAmAyayAmA sasAnAmatsa'saMjAlamAkaMbhAragapAdhavavakSAzvasyakazyasAyagAnavazAyaTiyamayAANATRI DHA RRANAURimminariindiaHERBAngure/NIRAULAnmoseenemindeamraft-massanni4AL R ure AUTHot hee maPiS Fig. 26. Page of Dasasruta, eighth adhyayana, d. V.S. 1443 (Oriental Institute, Barcda) Fig. 27 Pedestal of a Jina image, from Ladol, now in Prince of Wales Museum, Bombay. (Courtesy, Prince of Wales Museum, Bombay)

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vitaMyuvAnA udayA mAdhaNayaanu mUlAdhazAlA mAdavAdAna yAvaragAvAde vAn vizlakyi rAjJAyAmanA smayegatAga prayatatvA kAryAdA rAyokIyo EO kA 1115 YADROOD Fig. 28. Paper Ms. of Itihasa-samuccaya, (Oriental Institute, Baroda) ASAN ne/ bAra au Fig. 29. Paper Ms. of Itihasa-samuccaya, (Oriental Institute, Baroda)

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www.jainelibrary.o vi06ca dI dalita Fig. 30. Jaitra-Yantra, Cloth, d. v. s. 1504 (Copyright and Courtesy of Victoria and Albert Museum, London). zrI

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29 32133115ajaan Fig. 31. Jaitra-Yantra, d. v. s. 1504 (Copyright and Courtesy of Victoria and Albert Museum, London).

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BBBBB Fig. 32. Jaitra-Yantra (Vijaya-Yantra) Copyright & Courtesy of V. & A. Museum, London.

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yu gi de a ga ga Fig. 33. From a paper Ms. of Kalpa-sutra in the collection of the Oriental Institute, Baroda. c. 1400-1420 A, D. (Courtesy : Oriental Institute, Baroda) www.Jainelibrary.org

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zarApA T WITRA MNASANN SONEBHE satibA sAdhanAtAgagAtATAtA nayamavAvAetArikhakA larUpavayavAcArAyana hAtapAzAzAalatati mAvimacAyAmAsAgara marAzvaravAkyamatannatApAta BLOXACHER NAAMENTANNAAR SHIK vidhAya kiMcida Fig. 34. Page from Kalpa-Sutra & Kalaka-Katha Ms. painted at Patan in V. S. 1558 (1501 A. D.). (Photo: Courtesy of Sheth Amritlal Kalidas)

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= avasamikAka zAdI nAmIcAmIkara tAdilo dA zrImAnnamiHDa rajAta suranAya vIsAtha zivi murakhAnA ritA dyameva kSayamita nAnA cakAra za 2 61212 CS JUMLALLAMA ESCHIN di saMra dA Fig. 35 Fig. 35 and 35A From Satrunjaya Mahatmya Ms. d. 1468 A. D. (L. D. Institute of Indology, Ahmedabad) Fig. 36. Saka-king and Kalaka. Kalpa-sutra Ms., d. v. s. 1403. Fig. 35-A (Muni Punyavijayaji Collection-Ahmedabad) 87

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govadhana parvata pagalAgaichara Fig. 37. From Harilila-sodasa-kala, d. 1520 A. D. (Collection of Oriental Institute, Baroda) rAmAnArukavAha garA -pradhI karomitanaM badhirIkarAmadhIra sacetana Fig. 38. From Praboda-Prakasa by Bhima, d. 1526 A. D. (Collection of Oriental Institute, Baroda) For Private Personal Use Only

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kotamAyAdavakamAyayAvavikAsamA yasamAvagalAsaraNakArati mAmAsaNakArakhA talavamANiya vAyavyAdhAnArAmA svasmahatyaka bAlavAvAvAsAkaNAtavA tmnaavaavvchmaaraayaadvkmaaryaataaysmymraavtmhaa| Fig. 38. From Folio 14 a. nAmAvalamAlAyamasaMgaligamanastArakhelamadetApa pAvasAnadaMzavachAvara bAmAzya yAraveSayikAdamakhAyokApAmiyAsAtamAgAsmayaramArAyANakAra yAlA kAyApAlavAkAlamA mAramaNayavevavAsAvakhemetadavAvamAmiyAsAsArAjApAnamApasiAvavalANavAtAvaraNa mayayamA Fig. 39. From Folio 49b. Below: Fig. 40. From Folio 62a. gAyanAAvAkamalAubaMbhAvasvAmitravANagaMvadaMtamaNAMghaaa vAdagImAmalAtAphalAmakAtAparayarayAvAsAmAga amANAdhyAmidAlAgAtAsvimagAtA tAlANAnAdhAradAgA tAnacAvayAviruvAbAvAsayarAmadAsammamAyAmakaMgAzcadi payAmimmati asamAmanAmAtmadisidhidimAninidisyatA cidimmAna pariNicAhimmatI sAmANametakAmyami Halme ninagAgAyamasamapAnagavaMmadAvArava daNamasa va dinAgamaMminAmanAmegatavamApramANasAva mAraNavidaraNamAdiNANaM GiyanayAgaMNAmAsayAdava thApAvaDagAmApapatrAyanagavAIyANAmAnagavajyarajyAma samAsyamayAsmayamyavAgANAmAyabArAyayAmadhyamammatA casamardhitamidaM yamAya nasAkalyAyAma Figs. 38 to 40. From Paper Ms. of Rajaprasniya sutra. (Muni Punyavijaya Collection, Ahmedabad)

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SKUESIE VE Fig. 41 Fig. 42 Fig. 43 Fig. 44 Figs 41 to 43. Ms. of Uttaradhyayana-Sutra, d. 1591. (Copyright & courtesy of Museum and Picture Gallery, Baroda) Fig. 44. Ms. of Rajaprasniya-Sutra, Folio ib.

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Fig. 45. Folio 2 from Balagopala-Stuti, Kankroli Collection. (Courtesy of Pujya Shri Vrajeshkumarji) itizrIparamahaMsaparivAjakaprAdhAta vidyamaMgajaviracitAzrI bAlAgazyAnakha tira pratimAgha purANalagAyaan all pAulA Fig. 46. Last page of Balagopala-Stuti, Kankroli-Collection. (Courtesy of Pujya Shri Vrajeshkumarji) For Private Personal Use Only 66

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vininoUna gunAtirAnA gAyarAna vAsyazrI pAlavRSa bitavallavAva sivitA kanyakAkana EZINUSI MONAL Fig. 47. Balagopala-Stuti, Kankroli Collection (Courtesy of Pujya Shri Vrajeshkumarji) Fig. 48. From Folio 6ob, Balagopala-Stuti, Kankroli Collection (Courtesy of Pujya Shri Vrajesbkumarji)

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vAbinisaka Fig. 49 A page from Bhagavata Dasamaskandha painted at Ahmedabad in 1598 A. D. (Courtesy Oriental Institute, Baroda.) sanyAtiprAbaMkratavAnasmiApradhayAmamaivazvata: miyAnavayanabalAtunanitayAdhatomametya paanaakibhiyNshvoymyaagitimmindyaalvaavemhaamneshyishrymysvlitaamtitiaayaa| samenakAsakamAyayApazpamayibrahmaNikalpinepara priyNvoysptmimngvtilvphaad| maprasavalitAapamittAmatiranavadityamubaMgAyayAmatyApAra pravAnAbApemayimadamAnavatA zivaetanakArAraMvamAyayApravidyayAkalpitamanusmunomItirakSaNamevaparazyAmi evNdyvtpaath| jJAtidehAdhinatavikSepanimnakkArakhyAbhUtaramanamAnidhanakAhanAmakrivityA nNgrkhaa| vidhikArAzivatAmanumadhayazomalAmakIyamAnamuminimadAtmanAnArtipuramA mopahArAhArayazAzAstomezrAmapaMdhikAkhamazvarajanamoyadAnaktiprasannAvitampakA rakI mAmRtampa itanammamadhAmaspabAlampadAsampAvarampavAtampatijJAtamyAthampara ki matAamRtamahinA nAnagRdyA maMgajAtamihAjJAzuddhatamaMyannaptamAkSAna nAdi paravAcanagarieyAnamAlAmamitimAdhanadhavijJAnaMyAdhara viviktAtmajJAnayatamAtApAimiDAsaMgrahAtamAgatAvitazrImazAgavazAmra InmhiMsAvihArapatijJAzAlamanitiniyAgrajAnAmAdaridarinityavijA 12pAedehitAyavinAyavevamevavAvimRjyamayaghAritAMgAthAsamagAyanAta mAgunamuyakranyakardicikezAvArikApavinavamebAlaMkhAlasamaTacha tAkiMci khananavanirvAsirahanAmnidhadhasAmanyabaMdhArAtaviyAlaNAmamAmata 28chA janakiciditikripathArAdiSiyanavanivAmadhadaramAvorAjanyabaMdhurapinAmibiha bAmala PAvAra mUka chiI jAmatirAmamajaghDanakahAna PATAVAVIANE Fig.50. Page from Bhagavata Dasamaskandha written in I610 A.D. (Courtesy Oriental Institute, Baroda)

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Fig. 51. From Sarngrahani Sutra, painted at Matar in 1583 A. D. nidama sAnArasavAmaNavANadiNAbamAsA raviDajiTAdhmayAmasavAtrayama lAsakagAyadharavaracaDhavAgavAravabaMda vgrvaaviismmmdmaavnnaashyyaa| Fig. 52 Sangrahani-Sutra, painted at Matar, folio giving name of Citara (painter) Govinda.

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makrayadavisattA Fig. 53. Life after death according to different actions Samgrahani-Sutra painted at Matar. Fig. 54. Hell scenes. Samgrahani-Sutra painted at Matar. (Figs. 51-54. From Samgrahani-Sutra, Mahendravimal Collection of Devasano Pado, now at L. D. Institute, Ahmedabad)

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jamara gayApalAdAnApamApanaTApAra Jitumtathy BUTTTTTTTTTTIMULINIATORITERATUTICS katalApurUSa nanAnatAkatalAdhananArakSapAlAbAlmI radAmAdya giiyo| nAma TAMAKIWAN ka vAma svavaca koI umapatriI mrIbAtI Fig.55. A weaver on hand-loom. A page from Pancakhyana Balavabodha (Courtesy of Gujarati Department, M. S. Uuiversity of Baroda) Fig. 56. From Pancakhyana Balavabodha (Courtesy and Copyright, Dept. of Gujarati, M. S. Univ. of Baroda)

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semaaryrlaattaaytrtmaayde| kaMparAyasyAyacasamastazvaviSyayA madhyevAtAravyavacamAkima ppaviSayavaTAkatAnAtmakAvAvi daniramamanmadhakattAvicimanI janarA jAtivasAvaNadevAjadharmavaza sAvaki vikalAratiniTa kyApidisvasvityodhanamaMganA nokinAlikeraphalanAyakapi.ka raati|| Fig. 58. A page from Rati-Rahasya (Muni Shri Punyavijaya collection) samastagopIyazodAkoMkahe haivAvidhemalamUha bakara haivaDiyazodAhasa~kanakokinakaditrA hiTahazyezumuvAzacitAuMgazivAschanAMDevAvetadinihitedadhamadovayunaMjJAnayasyamAliracyanitidhitachi gharacanAvitarAMtayuknegRhasvAgamevArthapadIyaracyativizeSatokRtamaNigaNAyahiyasminakAlenA evaMkSA suvAtikakAtamahanAdAnivAstastriyopAyaviracitalatimunAkoyamAranAzvAsilayanayamatrImukhAma mAkinIsipariyAnAthapidAsatamukhAnakapAlasAmachatA31maniSAgalyAnimivAtilokamanAyayazora dAyakAunAtivAstAsvaciItagRhemehanAmanipuraSosayadinikakAtAedasteyopAyaviracitAzatirakamIyana mazvasamApasughanIkAmAdhurivAnAsalayamayabhayasminAtaJcatachAyuktamuktadAnokinItiyArayAtApitA pitakamjinmaphalAupAladhuMdhATeSTInechatAkadAcidaparokSatarapAlanalAtadAcamahadAyabhasUditikathaya gopanIyazodAnika hiligopAminalamAmAdyAchi Fig. 59 A page from Bhagavata Dagamaskandha. Mevad or Gujarat. c. end of 16th Cent. A. D. (Copyright & Courtesy, Shri Jagdish Mittal) .

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nayAyamunikaragavIraghaDagyA nigdhAnimathyAzaNahitadhiyAsA yamAdAyamArAkhA:payyAlalita mAyAmanAtogatAmyAtsyAdai rvivkmtaamvitopdditddaa||' jn|| asAdhyAyAdhamiddhimidhAyAzvAvaraMja nAratAyAzcaratikSasamyarakAmazAdhya yAGanAyAmAgrI ATEGORY Fig. 60. A page from Rati-Rahasya (Muni Shri Punyavijaya Collection) rimaviyanA mATebAMsakarAmahAnAgaratibhayaMtAvAsvajanmanihagheNAdAvarAnakauMnidhodhamAzAvilagavavata sarayakA nimArichi vasudedavArili Fig. 61. A page from Bhagavata Dasamaskandha (Collection of Shri Jagadish Mittal. Photo copyright and Courtesy Shri J. Mittal)

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SadST vyAjAyazanamArakaNaanavina dAjA ravinagyAmiANAma managyAra vAdina kAsmAgarAgAhamamA dAudanI grA'yAyavidyArvA layAmAyayaTa madhe kApaTamo nAyavarakAvaTonAva didi yAmamAApAmAraMvadyAvA saya Fig. 62. Sangrahani Sutra, painted at Cambay, V. S. 1644 = 1587 A. D. (Collection of Muni Shri Punyavijaya) vaka kara rohitAzanApatirAhapatirabAdhikaratralArana 4 gajaranA baramakarana barajae varmarana khaDA kAnipIranAra malina / Fig. 63. Fourteen Ratnas (Jewels) of a Cakravartin, From Samgrahani Sutra painted at Patan in Samvat 1687 = 1630 A.D. (Muni Shri Punya vijaya Collection)

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Fig. 64. From Samgrahani-Sutra, Painted in V. S. 1694 = 1637 A. D. at Cambay Collection of Muni Shri Punyavijaya) 28 RHIN aspatAlakamayAnA THE TO ana Fig. 65. From a Samgrahani-Sutra, painted in Gujarat, C. 1600-1650 A. D. (Collection of Muni Shri Punyavijaya)

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'vikinnAradI vivi anAgAmivAdhAsa natra kina yasa ma AausisamayamA vidyArajanImaca dimA LONDON Fig. 66. From a Samgrahani -Sutra, painted in Gujarat, C. 1600-1650 AD. (Collection of Muni Shri Punyavijaya) Fig. 67. From Samgrahani - Sutra written at Wadhwan ( Saurashtra) in A. D. 1638 (Courtesy, National Museum, New Delhi)

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Fig. 69 From Uttaradhyayana Sotra, written at Kaccha. C. 1625-1640 A. D. SE zrAde zeya12 zruire mer3he lohiya naraghuvara so cakka ODOWE 36 1 garu 425e Fig. 68 From Samgrahani Sutra, written at Wadhwan in 1638 A. D. (Courtesy: National Museum, New Delhi)

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Above Fig. 70. Below Fig. 71 tumatimaMtrI demaragharAjA * maMgAmA 38 Fig. 70-71. From Sri-Candra-Rasa, painted at Surat in 1716 V. S = A. D. 1659 (Collection of Muni Shri Punyavijaya, L. D. Institute of Indology, Ahmedabad.)

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pyArA nAgakumAra suvarNakumAra bi A zrIkumAra udadhi ||do hilIe ke kAiimA 40 saudhamaMDa gadA IW dIvakumAra hogI DRC samA udadhi kumAraka ninAmekilAyeM hI zA tiradisiM nitina parauttara diye| ||ite ka~hiba)) 23 i dAhie 23 ucala rakavi tAvaI yAce va uttara disAe sabai pisana koDi bA do zivAra ttaic epI bAbukumA // sarvepi mAna kozizo tinApararacaladimaM kAmAdiyI esarvana vanako dakSiNadimipAnakA Hu Xiang Fig. 72 and 73 From Sarigrahani - Sutra, painted in Bombay in 1857 A. D. (Collection of Muni Shri Punyavijaya, L. D. Institute of Indology, Ahmedabad.) zikSAmara

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hisaab Fig. 7+ and 75. Samgrahani-Sutra, painted in Samvat 1730 = 1673 A. D., in Gujarat. (Copyright and Courtesy of Pbiladelphia Museum of Art.) 4777 au zaslapas fazn iaaasaazen 51

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Petasidana 3495 RECENT mAra mahAmA bAka SES batAyA Fig.76. A lesson. Miniature painting, Sirohi School, mid-I7th Century A. D. (Photograph, Copyright and Courtesy, Los Angeles County Museum of Art, The Nasali Heera-manek Collection, U.S.A.) PRAKAR yakarAvara AVAT maNAsavatAvAsAvAdisvAra nizrIrAnanagaravAstacyAusavaMzajJAnI yazAradIyAsArUpAsAamarAAsAdA shriikNarspsaaryaanunaavikaabaatriiimaanii| mutasAArAyAmallAsAnimidAsAlapusvAhA sAnimacaMdanaginIbAzrIAsavAzyA / iyamabAIbAjIvAtAsAnArTanAyA tilakAdagamatAdAtAdhAyAkanakAzA zrAmagaMdezamukhasamakaranAlAramANi. tidhidattAcapaMmittazrImAnaviyAgAdara Fig. 77. Kalpa-Sutra, d. V. S. 1727 = 1670 A.D., painted in Rajanagar (Ahmedabad) (L. D. Institute of Indology, Ahmedabad.)

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NAYA ALIARBund Fig.79. Vijnaptipatra sent from Surat, c. I9th cent. A.D. O Fig. 78. Vijraptipatra sent from Rajanagar, 1853 A. D sApaDI bvArA kI jAna girIhAravAsIyAepuranA pATajanamAjanAnanamaratanakamaNA janazacitrIjAnIyAnIraSadaSTAya nanAra 13, tamAzAkhAkaMnA dhamanadharatA dhAkAmichakaramanamAkarAvikatarjA banAnatI 7 makavAyavagachidarA rakhAnyadharImAna bitAtAko hanI majhakarajAnakAnA IzAratapUna, bhAlatI pradhAnatamAnAyakAvaTa ritabAramAsale svAIkamaracIvAzA svAtabUbjabakIkarA tabahI gayAkA 6ghaTa sAbArabhAga garavAkaMcAma makaMsTAra mitrAkapajAnA diAmarinI maannaa||7|caapaaddaakiyaakpjaab kAzInaghAIcArIhaMmapAzI manameM ghaTIvirahImatiauDhadhimakahAnamA Fig.80. Self-portrait of Chavara Raebji of Palanpur, Painter of (Fig.81) Madhumalati Katha (Gujarati) Jain Education Intemational

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AL VLC Fig. 81. Painting on a box for preserving manuscripts. (Muni Shri Punyavijaya Collection) Fig. 82 Painting on the smaller side of the box for preserving manuscripts. (Collection of Muni Shri Punya vijaya) TAN VIP Fig. 83 Painting on a box for preserving Manuscripts. (Collection of Muni Shri Punyavijaya) 900 DO doo VO

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