Treasures from the Lalbhai Dalpatbhai Museum

Author(s): L D Indology Ahmedabad
Publisher: L D Indology Ahmedabad
Catalog link: https://jainqq.org/explore/001573/1

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TREASURES
FROM THE LALBHAI DALPATBHAI
MUSEUM

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Pirst published in 1992
Text and photographs L.D. Museum, a division of L. D. Institute of Indology. Ahmedabad. Photographs by Anand Patel
Packaged by Mapin Publishing Pvt. Ltd. Chidambaram, Ahmedabad: 380 013, India, for L.D. Museum, Ahmedabad.
Designed by Mapin Studio Typeset in Benguit by Lippi Graphics Pvt. Ud. ISBN 81-85822-06-9
lain Education Internation!

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.
TREASURES
FROM THE
LALBHAI
DALPATBHAI
MUSEUM
SRIDHAR ANDHARE
L.D.Museum, Ahmedabad

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ACKNOWLEDGEMENTS
We are thankful to Dr. R.C.Sharma, Director General, National Museum and Chairman of the Grants Committee, Ministry of Cultural Affairs, New Delhi, for allocating the publication grant for this catalogue.
I express my gratitude to the Chairman and the Governing Body of the L.D. Institute of Indology and Museum, without whose encouragement and permission this publication would not have been possible.
Lastly, I acknowledge the insights gleaned from discussions with scholar-friends into some of the pieces included here, and the help of my colleagues Shri Lalit Kumar, Asst. Curator, and Smt. Malathikutty, in preparing this catalogue.
Shridhar Andhare
Director L. D. Museum
Jain Education internation

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INTRODUCTION
This brochure is to assist visitors during their visit to the galleries. It introduces them to various cultures and periods in art history spanning several centuries. It will broaden their perception of fine art and thus enhance the understanding of human creativity in its varied forms. Above all, it will help them appreciate the Museum as a source of learning and a place of aesthetic joy. Illustrations of twenty-two masterpieces will introduce the public to the content and calibre of the permanent collection of the Lalbhai Dalpatbhai Museum, a division of the L.D. Institute of Indology, Ahmedabad. The publication also serves discerning specialists, scholars, librarians and students of all levels as a tool and a visual reminder that this museum holds collections of great strength and of art historical importance. THE MUSEUM AS A SOURCE OF LEARNING AND
A PLACE OF ENJOYMENT The L.D. Institute of Indology at Ahmedabad in Gujarat and its new Museum are recognised leading repositories of Jain Art in general and Jain miniature paintings and manuscripts in particular. Since the inception of the Lalbhai Dalpatbhai Museum as a division of the L.D. Institute of Indology in 1984, there has been a steady increase in its collection through gifts. bequests, long term loans, purchases, etc. This has tended to cross the frontiers of Jain art and to give a much wider perspective through adding a variety of non-Jain objects. The credit for collecting and preserving the
antiquities goes to two outstanding personalities. The late Muni Sri Punyavijayji. a revered Jain muni, an outstanding scholar, a tireless researcher and a person of noble qualities; and Sri. Kasturbhai Lalbhai, a patron of art and learning and a devout Jain. The Muniji on his viharas went on collecting rare art pieces and manuscripts from remote villages and towns, where they lay unattended and neglected. He then stressed to Sri. Kasturbhai the need for a suitable institution where the collection could be properly housed for preservation and research. Sri. Kasturbhai responded by visualising and establishing the now renowned Lalbhai Dalpatbhai Institute of Indology to which Muniji entrusted the entire collection. This included a number of stone sculptures, metal images and artifacts, miscellaneous curios, a large number of illustrated manuscripts and specimens of excellent calligraphy, painted patas on cloth and paper and wooden objects which eventually found a suitable place in the Museum. The first notable addition of a valuable gift of non-Jain sculptures, Jain wood carvings, terracottas and a few textile pieces from the collection of the late Smt. Madhuri D. Desai of Bombay, enriched the quality and prestige of the contents and led the Governing Body of the L.D. Institute to form this new museum division to suitably house, and exhibit them. Thus the nucleus of the collection presented in the new building was formed and the two main galleries exhibiting sculptures and bronzes on the ground floor and paintings. manuscripts, painted patas, woodwork, coins, etc. on the first floor are named after Madhuri D. Desai and Muni Sri Punyavijayji, respectively.

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Between 1970 and 1975 a substantial collection of about 1850 art objects was gifted to the L.D. Institute of Indology by the Kasturbhai Lalbhai family. This includes a large number of Pahari drawings, sketches and line drawings of the Late Mughal and Company Schools, and stray sets of Barahmasa, Ragamala and other paintings. Among the Jain cloth paintings, the one of the Astadwipa pata of the 15th century is noteworthy. In the year 1989, a sizeable collection of about 1600 Indian coins, including some of gold, were received as a long term loan from Smt. Nandiniben and Sri P.T.Munshaw of Ahmedabad and are displayed on the first floor. At the same time a unique gallery presenting the Indus Valley Civilization has also been established as a 'Teaching Gallery" for school children as an activity of School Service. The contents of the Museum have been further enriched by the art collection of the late Shrimatiben (Soniben), wife of Shri Saumendranath Tagore (Rabindranath Tagore's nephew) as a long term loan via the Ahmedabad Education Society, and a gift of wooden and metal objects and books on Indian art and culture from the late Smt. Lilavati Lalbhai.
SCULPTURES As one enters the Museum, a group of shining white marble figures confronts us. It consists of a standing figure of Shantinatha, the sixteenth tirthankara, with the deer as his symbol on the pedestal. It bears an inscription giving a date
equivalent to A.D. 1269, and the place name as Nadol, in South Gujarat. The central figure of Shantinatha stands in Kayotsarga mudra flanked by a standing Jina on either side giving an appearance of a Tritirthi in a typical Jain manner. Its serene appearance lends a semi-religious background to the Museum and indicates a left-hand routing for the visitors. The aesthetic awareness of Smt. Madhuri D. Desai are amply revealed through her collection exhibited in the sculpture gallery. It is a very varied collection but contains at least five Chola sculptures from South India of a period ranging from the 9th to 12th century which are very rarely found in Gujarat. These include three great Brahma figures hitherto unknown. Among other sculptures, the first important sculpture, against the left wall mounted on a double pedestal, is an ideal piece of an attendant figure of the Post-Gupta era, though it poses some problems of identification. This figure has a marked Gupta influence including the type and colour of the stone. A number of important scholars in the field of Indian sculpture have been consulted on this piece but none could reach a conclusive decision. It is perhaps a piece from the Nachna area in Central India belonging to the 6th century A.D. (See fig.5). Among the important fragments displayed in showcases is a Bharhut fragment of a coping stone, a Gupta flute player, an excellent bust of Kartikeya of ca. 7th century and a pair of Chakrapurusas which represent the style and period adequately. The collection also includes

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some Eastern. Indian sculptures, a fairly representative Gandhara head and a few terracotta figurines of an early period from Ter, Mathura and elsewhere.
A black stone bust of a female goddess from Tintoi (Gujarat); a few specimens from Shamalaji and a rather mutilated image of Indrani from Bhinmal are also displayed. Noticeable is a set of four figurative architectural fragments from Kutch, presently displayed in a garden. These probably belong to a Siva temple and include two lintels; one depicting the saptamatrikas and the other depicting three principle deities, Brahma, Vishnu and Siva with their consorts, and two door jambs one full size with several manifestations of the Mahisasuramardini figures and the other half jamb with unidentifiable figures of deities. These represent the cream of sculptural art in Gujarat of the 10th century. Some of the later Gujarat sculptures represented here include a set of three white marble portrait sculptures of Jaisimha Siddharaj (and his queens) who ruled Gujarat in the 12th and the 13th centuries. This group of eight pieces was acquired from Hareej, Gujarat, long ago, and it bears a date of A.D. 1228. A large white marble Vaikuntha Vishnu from Palanpur of the 13th century which confronts us in the beginning of the gallery is also worthy of note.
Being predominantly a Jain museum, the presence of some Jain icons in white, black and green marble; interesting architectural fragments including large number of pabhasanas and parikaras of Jain tirthankaras, pronounce the
grandeur of the medieval sculptural tradition of Gujarat.
METAL SCULPTURES
The collection includes a handful of important Jain bronzes which can claim to be landmarks in the chronology of metal sculptures. The piece de resistance in this group is a seated image of Adinatha, the first tirthankara, with Brahmi inscription on the back of the pedestal and ascribed to the 7th century A.D. from Sirpur in West Khandesh, Maharashtra (see Frontispiece). A large group of bronze images of tirthankaras found from a hoard at Ghogha, South Gujarat, contains a number of dated images, stylistically akin to the hoards from Akota and Vasantgarh in Gujarat. Notable in the group is a large Jain chovisi, Chaturvimshatipatta (in Sanskrit) a group of 24 Jinas cast in one bronze dated V.S. 1123 or A.D. 1066 (Fig. 9),
The collection of non-Jain images includes smaller but significant images from Gujarat, South India and other regions. Amongst them a small image of Mahisasuramardini from Gujarat, attributed to the 12th century (Fig. 12) and another a standing Sarasvati of 14th century, are typical of the medieval trend of metal sculpture in Western India.
Apart from these masterpieces, the collection also has a large number of miscellaneous antiquities and curios related to the Jain pantheon. The personal belongings of the late Muni Shri Punyavijayji and his assorted specimens and implements for calligraph, are

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Institute of Indology, consists of illustrated manuscripts on Jain as well as non-Jain subjects, paintings of various schools, chitrapatas, cloth paintings: patlis or wooden bookcovers of palm-leaf manuscripts, decorative manuscript holders puthas, painted boxes in which to keep manuscripts, long painted scrolls such as vijnyaptipatras, letters of invitation, kshmapanapatras of the Jains, letters of pardon, vamsavalis , horoscopes and other works of art includinthe world famous vijnyaptipatra scroll painted by Ustad Salivahana of the Popular Mughal School at Agra in A.D. 1610 (Fig. 17).
unique in India's museums. A crystal and jadite (stone) image of a tirthankara - a propagator of the Jain faith, or Tirtha - comprising four sections • monk, nun, layman and lay woman ( sadhu, sadhvi, shravaka and shravika ); painted book stands; manuscript holders or (puthas) of various materials and kinds, including some of sandalwood, beadwork, lacquered and painted, embroidered in gold and silver on silk or cotton are all rare items. A flywhisk (chauri) made out of thin strands of sandalwood, (thavani), decorative ivory sticks for placing religious objects or books for worship in front of the tirthankara , dated and inscribed metal replicas of samavasarana (congregation halls built by celestials when a tirthankara delivers his sermon) (Fig. 11); a Jain temple, as well as some symbols in wood representing the fourteen dreams also find a place in the reserve collection. Among the non-Jain objects there is a varied collection of antiquities from Nepal, Tibet, Ladakh and Eastern India. Architectural and figurative Buddhist woodwork from Nepal and a large metal image of a standing Avalokitesvara are some of the best examples displayed in the gallery. Similarly there is a large number of ritualistic and domestic metalware objects including a variety of lamps which is rare in Western India. It has been proposed to create a new gallery for Eastern Metal Ware' shortly. JAIN MANUSCRIPT ILLUSTRATIONS AND
OTHER WORKS OF ART The majority of the collection housed in the museum and in the reserve collection of the L.D.
It has now been universally acknowledged by scholars that with Jain miniature painting of the miniature tradition in India commenced. Its principle regions have been Western India and Rajasthan as far as the Svetambara sect is concerned. The artistic and painted materials obtained from these regions and corroborative textual evidence available in the Jain libraries speak volumes for the importance of this painted treasure of which a sizeable share is preserved in this Museum and the Institute. This collection has many splendid specimens of aesthetic and historical merit which can claim to be prominent landmarks in the history of Indian miniature painting. Among the earliest painted book-covers, the Jinadatta Suri patli, datable to the 12th century, and the famous one of the sixteen vidyadevis, of the same date, have become important in the chronology of Jain painting. In addition to these bookcovers there are others which claim their importance in other

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aspects of painting. This material, being unique, has been published by scholars in reputed books and journals in the past..
Among the earliest palm-leaf manuscripts - both with and without paintings, there are some examples which exhibit the early art of Jain calligraphy and painting. The manuscript of Dharmottara Tippanika is dated V.S. 1116 (A.D. 1059) written at Gopagiri (modern Gwalior); the manuscript of Patanjali Mahatmya dated A.D. 1059 and a very long palm-leaf of the Vasudevahindi Madhyamakhand of ca. 12th cent. are exquisite specimens of Jain calligraphy of that period.
Also on show is a galaxy of illustrated Jain manuscripts which starts with the most important copy of Kalakacharya Katha, popularly known as 'Munijis Kalakacharya Katha (Mandu type) of ca. 1430. Also displayed are the Satrunjaya Mahatmya of A.D. 1468. The Santinatha Charitra of A.D. 1396, The Chandraprabha Charita of A.D. 1498, the Sangrahani Sutra painted at Matar in A.D. 1583 by Chitara Govinda and others which have been published by Dr. U.P.Shah in his book Treasures of Jain Bhandaras.
The Museum has acquired some folios of Rajasthani painting including Mewar, Marwar, Bikaner and other schools. They include some folios of Malwa Bhagavata Purana of the early eighteenth century, (Fig. 16) a Mewar folio of Rasikapriya of Rana Amar Singh II period (A.D. 1690-1710), an elephant procession of Rana Bhim Singhji (A.D. 1778-1828) of Mewar, a large battlescene (Fig. 19) in Marwar style, a portrait group from the thikana of Ghanerao.
Marwar and a splendid line-drawing from Deogarh painted by Bagta in A.D. 1811 (Fig. 20).
The Museum has also recently acquired a manuscript of Kota, Bhagawata painted at Kotah in A.D. 1799 and a manuscript of Sadayavachha Savalinga of the eighteenth century. Two illustrated copies of the Madhu Malati Chaupai, one from Kulu painted by Jagannath in A.D. 1828 and the other in Sirohi style of the 18th century have come as long-term loan to the museum from the Shrimati Tagore Collection via the Ahmedabad Education Society. The collection of Mantra Patas (mystic diagrams on cloth and paper), hitherto mostly unpublished, individual tirthapatas, pilgrimage paintings in cartographic or symbolic form, panchatirthi patas depicting more than one centre of pilgrimage in a scroll or rectangular form, are worthy of mention. The letters of invitation (vijnaptipatras) intended for inviting the Jaina sadhus to spend chaumasa (four months of the rainy season) at a particular town, and other miscellaneous works such aspatas of jnanabazi (snakes and ladders); scrolls of chitrakavya, illustrated poetry in a scroll form; horoscopes letters of pardon and known as kshamapana patrikas, are preserved. Some representative samples of each variety are displayed in the gallery.
The most important among this material is a painted scroll by the Ustad Salivahana painted at Agra in A.D. 1610. This popular Mughal style of the Jehangir period is intrinsic to the development of the popular Mughal Painting in India. For a detailed description see (Fig. 17).

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1 Adinatha
Bronze, Sirpur (W. Khandesh) Ca. 7th/8th Century A.D. 35.0 x 25.5 x 17.0 cms. Acc. No.463
1.
Gaccha Sravakah
Vidyadharanam
Nijakulatilakah
Sresthimukhyah Sriman tirthaisva (thesva) ranam niya (ja)- jina
(bha) Vanam Cakradevea (ddeva) Kosam Krtasam (sca) Snatrahetoscaturudadhi.
Adinatha, or Rshabhanatha, the first tirthankara, is seated in padmasana on a double lotus seat placed on an elaborate throne. The flanking figures of the yaksha and yakshi are lost except for their respective vehicles, the elephant (right) and lion. A vertical chakra seen in the centre of the throne is flanked by a bull on either side, being the distinctive symbol of Adinatha. In between the two legs of the simhasana there appears a decorative projection touching the ground where five out of the nine planets, navagrahas, are seated, while four appear on either of the two front legs. On the inside corners of the legs are seated a male on the right and a female on the left with one hand supporting the simhasana. The rear legs of the simhasanas are missing, two rectangular sockets on the asana at the back and a tenon with a hole for placing prabha. There is dark brown and reddish patination with eyes, urna and the srivatsa mark, inlaid with silver. The inscription, in Brahmi script, on the back of the pedestal reads:Fig. 1
Samana punyaparnau (parna?) nidhi (dhi)nvam (nam) Sasthaova Sam (sam) yutaulau (tosau) Jananya namanoharina (nam) Durggaka Khyah meaning "That Durgaka, the leader of merchants or the best of merchants, along with Sasthavva, erected a temple of jina and established a Devakosa i.e. a fund of Devadravya, or money to be spent for the lord, and also he made a lake, (vast) like the four oceans for bathing. Durgaka, the pride of his family,
was a Sravaka in the Vidyadhara Gaccha'. Published :U.P. Shah - Treasures of Jaina Bhandaras. L.D. Series 69, Ahmedabad. 1978. PP. 55-58, Col. plate, frontispiece and figs. 181-181 A.

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2 Fragment of a coping stone (ushnisha) Red Sandstone, Bharhut Satna District, Madhya Pradesh. Ca. 2nd Century B.C. 41 x 32 x 10 cms. Acc. No. 1105 Donated by Mrs. Madhuri D. Desal, Bombay.
A fragmentary sculpture carved in low relief depicts an ascetic in a short loincloth, holding a staff. There are two more figures in the background. It is perhaps a representation of some Jataka story.
See: Moti Chandra, Stone Sculpture in the Prince of Wales Museum, Bombay 1974 Introduction P. X
The above piece belonged to a group of at least 10 such pieces gifted to the Prince of Wales Museum. This last piece, which was left in Mrs. Desai's collection, was gifted to the L.D. Institute. Experts consider that it may belong to a later period.
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3 Siva-Parvati with Nandi Mottled sandstone Mathura region
Ca. 5th Century A.D 17.5 x 12.5 x 5.0 cms.
The haloed couple, Siva and Parvati, is standing close together, with Siva's left hand on Parvati's shoulder while Nandi, the vehicle of Siva, sits on the ground behind them facing to the right. Legs of all the figures below the knees seem to be mutilated. Due to even ageing the sculpture has assumed a smooth and rounded appearance which links its ancestry to the Mathura sculptures of that period.
www at Sere afte श्री महावीर जैन आराध Arm, R.

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4 Bust of a Mother-Goddess
Greenish Schist, Tintoi, Shamlaji region, Gujarat. Ca. 7th Century. A.D. 33 x 31 x 20 cms. Acc. No. 1120 Gift of Smt. Madhuri D. Desai, Bombay
A full-breasted bust of the mother goddess (cut away from the bottom of the breasts) wears an omamental necklace, one of its central strands hanging between the breasts, armlets and ear ornaments resembling padma kundalas. The hair is tied in an elaborate bun above the head with a decorative ornamental hair-band. Her face is mutilated and the arms are broken.
See:U.P.Shah, Sculptures from Shamlajl and Roda Bulletin of the Baroda Museum and Picture Gallery (Ed. V.L.Devkar) Baroda, 1960
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5 Unidentified Deity. Beige Sandstone, Madhya Pradesh (perhaps from Nachna area) Ca. 6th Century A.D. 89 x 54 x 22 cms. Acc. No. 1114 Gift of Smt. Madhuri D. Desal, Bombay
A two-armed standing male deity with a halo wears a kirita-mukuta, a dhoti, a walstband and various ornaments including a cross-belt, a broad necklace, ear onaments and armlets. A dagger is tucked in his waistband. The face is eroded and the arms and legs below the thighs missing. No conclusive opinion has been reached as to its identification.
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6 Kartikeya Buff Sandstone, Madhya Pradesh Ca. 7th Century A.D. 35 x 35.5 x 18 cm. Acc. No.1119 Gift of Mrs. Madhuri D. Desal, Bombay.
The bust of a three-faced and six-armed Kartikeya wears a small crown, necklaces, armlets, circular ear ornaments and a yajnopavita. Some locks of hair dangle on his shoulders. The bust represents a youthful body with placid faces and a juvenile beauty. Three small hair meshes (sikhandaka) arranged on top of the head can be seen through a small bejewelled crown. The figure shows late Gupta characteristics and thus it can be dated to ca. A.D. 650.
Published: Lallt Kumar, A Note on Sanmukha Kartikeya, Sambodhi, Vol. 12. Ahmedabad, 1984
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7 Standing Brahma
Granite, Chola style, South India
Ca. 9th Century A.D. (Pallava-Chola transition)
150 x 44 x 23 cms.
Acc. No.1099
Gift of Mrs. Madhuri D. Desai, Bombay
A three-faced Brahma is standing erect on a lotus pedestal. He is wearing a tall jata mukuta and a dhoti, clinging to his legs. His upper right hand shows abhaya mudra whereas the upper left is resting on his pelvis. The other two hands are. folded on the back. He is wearing ear-ornaments, a necklace, yajnopavita, udarabandha, kamarbandha, armlets and bracelets. The stylised ends of his dhoti appear on either side.
See P.R. Srinivasan, Rare Sculptures of the Early Chola Period, Lalit Kala No.5, April, 1959, Bombay.

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8 Seated Neminatha Greenish Marble, Gujarat Ca. 12th Century A.D. 88 x 72 x 39 cms. Acc. No.49
A beautifully modelled seated figure of Neminatha, the tenth tirthankara , is seated in padmasana on a decorative cushion, vertically divided by four floral bands. In the centre appears a large srivatsa mark, the identifying symbol of Shitalanatha, flanked by a circular medallion on either side having a mythical animal and other figures. The mythical figure has the upper portion of a human playing on a flute while the lower body appears to be that of a lion or bull. It has a pronounced lustre on its surface.
Note: Although the srivatsa symbol is clearly visible on the cushion we cannot attribute this image to Shitalanatha, the tenth tirthankara because the original colour of this tirthankara is golden. According to tradition only 3 tirthankaras were made in black or dark blue in earlier times. Therefore the dark green marble colour is representative of Neminatha and not Shitalanatha
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9 Chovisi of Adinatha
Brass, Ghogha, Dist. Bhavnagar, Gujarat. Dated V.S. 1123 = A.D. 1066 36.5 x 25.0 x 14.0 cms. Acc. No. Gho. 1 Donated by Ghogha Jain Sangh, Bhavnagar
A Jain shrine incorporating twenty four tirthankaras in the parlkara is known as a chovisi. Adinatha, the first tirthankara , is seated on a cushion placed on a pabhasana having a decorative temple-shaped parlkara on which are shown 24 miniature jinas.
The mula-nayaka, central figure, is flanked by a standing jina on either side: flying garland bearers and Indras on the recessed base can be seen. Yaksha Dharanendra and Yakshi Padmavati are seen riding their vehicles.
On the floor of the simhasana can be seen the navagrahas in pairs and the donors on the comers. The shrine rests on six strong legs. Eyes and other parts are inlaid with silver and copper. There is an inscription in Devanagri at the back of the pedestal giving the date as A.D. 1066.
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10 Jaisimha Siddharaj
White Marble, Maka, Harjeej
Dist. Palanpur, Gujarat
Dated V.S. 1285 A.D.1228 A.D. 39 cms. 24 x 13
Acc. No.1178
Jaisimha Siddharaj is seated in lalitasana in anjali mudra under a chhatra held by an attendant, standing to his left. He is wearing a dhoti, a scarf over his arms and a piece of cloth on his head. His ornaments include a circular ear ornament, necklace and a yajnopavita. He has a beard and a moustache. A male figure carrying a bag on his right shoulder and a certain object in his raised left hand, is seen standing on his right.
There is a Devanagri inscription on the pedestal. This portrait sculpture is one of the fifteen other pieces discovered from Maka village in Harjeej. The other notable pieces include the portrait sculpture of the minister, Santuk, and several figures of the royal noblewomen giving a date of V.S. 1285 A.D. 1228.

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11 Samvasarana of a jina
Brass, Gujarat Dated V.S. 1534 / A.D 1477 34 x 21 x 21 cms. Acc. No.464
A pyramidal form of the samvasarana is erected on a square pedestal, each side of which shows donors in anjali mudra at the two comers, and a female deity in the centre, and navagrahas. On the top of three circular tiers is installed a caturmukhi provided with a sikhara and a stupi on the top. Each side of the caturmukhi shows a pancatirthi composition. There is an inscription on the eaves which gives the date and other details.
Published: U.P. Shah, Treasures of Jaina Bhandaras, Fig. 170
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12 Mahisasuramardini
Brass, Gujarat Ca. 12th Century A.D. 17.0 x 9.0 X 6.0 cms. Acc. No. 85.136
Four armed Mahisasuramardini holding a sword and a shield in her upper hands stands with her right leg placed on the headless body of a buffalo from whose neck emerges the human form of the demon Mahisasura. With her right hand she thrusts her trident in to the body of the buffalo while with the left she pulls the hair of the demon. The lion attacks the buffalo from behind. The shikhara type of parikara has a stupi and a torana-like decoration inside. The head of the slain buffalo is lying on the ground.
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प्रभारी
13 Vidyadevi patli (detail)
Painted wooden book-cover of a palm-leaf manuscript.
Western India, Ca. 12th Century. A.D 58 x 7.8 cms.
Out of the 16 vidyadevis, goddesses of wisdom in the Jain tradition, eight devis and two female devotees are illustrated here. The vidyadevis appear to be common to both Buddhism and Jainism. This is the detail of one of a pair of covers, the other being badly damaged. The names of eight devis are labelled in Devanagri in addition to two female figures at the end as Devasri Sravika and Padmini. There appears some Pala Buddhist influence on the rendering of the figures and the backgrounds, though the
Western Indian style is apparent. For more discussion please see:
1.
Published:
Muni Punyavijayaji and U.P.Shah. "Some painted Wooden Bookcovers from Western India, JISOA, Special No. 1966, pp. 34-42
Karl Khandalavala and Saryu Doshi, 'Indian Miniature' Jain Art and Architecture, Vol. III, Bombay, 1975, pp. 397-398, Col. pl. 265 B.
2.
समाधाना
3.
4.
वा
Saryu Doshi, Masterpieces of Jain Painting, Marg. 1985, p. 43. Fig. 21
J.P.Losty, The Art of the Book In India, British Library, London 1982-p. 36

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विवईसयलनरेंदबंदचूडामणासासाहायुमादीलनात मूरीविठएगवासा यासमीवाश्यावधिध्यमामंततताइक्षिी नयाकयाध्यवासादिसामरिसमन्नियलस्सहारि शरमानाणाविक्षविणादिविष्ठमाणमा समाग शाविनतंबतेजनासामिसाहासादि यूनुडवाशमादिगासमिधेरजंयवसायियेसिध्यवयमातरमेव यदिन्नासणालयाणसमयियमवायणीनंचदानवान
श्याध ससरान यडिया
रविह
निसन्ना सकाल
14 Kalaka and the Sahi Chief
Gouache on paper A folio from the manuscript of the Kalpasutra and the Kalakacharya Katha, Western Indian Style (Mandu type) Ca. A.D.1430-40 29 x 10 cms Acc. No. MS. 103.7 Collection : Muni Punyavijayji The correct title of the manuscript in Prakrit is Paljosanakappasutta, i.e. the book of Paryushana Ritual composed by Bhadrabahu ca. 3rd Century. B.C. Usually the Kalpasutra contains three parts. 1. Jinacharitra, the lives of the 24 tirthankaras
(24 founders of the Jain religion). 2. Sthaviravali, the succession lists of the Jain
pontiffs and 3. Sadhu-Samachari , rules of conduct during
the Paryushana festival. An addendum to this book is known as Kalakacharya katha - which deals with stories
from the life of Kalaka Both these books are illustrated profusely in the style of Western Indian paintings - having pointed noses, double chins and a farther eye projecting in space against a red background. These are the prominent, characteristic features of Jain painting. The episode illustrated above relates to Kalaka and the Sahi Chief. Published: Pramod Chandra, A Unique Kalakacharya MS. In the style of the Mandu Kalpasutra of A.D. 1439. Bulletin of American Academy of Banaras, Vol. INov. 1967. pp.1-10 J.P. Losty, The Art of the Book in India , British Library, London, 1982, pp. 58,59.

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15 Detail from a Panchatirthi pata depicting Satrunjaya, painted cloth, Palanpur dated A.D. 1433 (Gujarat)
30 x 32" cms.
This pata painting (cloth painting) incorporates five or more tirthas (pilgrimage centres) of the Jains therefore called panchatirthi pata.
A pilgrimage to Satrunjaya hill at Palitana in Gujarat is considered an act of merit by the Jains. Small panchatirthi pata are made for home worship, but the larger ones are intended for exhibiting in front of the temples on the full moon day of the bright half of Kartika (Oct-Nov) for those who are unable to ascend the hill.
This pata is a unique example as it is a long and narrow scroll of a very early date and provenance. A portion of this pata is cut away and is in another private collection.
The scene here illustrates a congregation of pilgrims assembled at the foot of Satrunjaya hill. On the left is a samavasarana of Parsvanatha, meant for the edification of the devotees. The round kunda, tank, may be identified with Lalitasarovara built by Vastupala-Tejapala at Satrunjaya. The pavilion by the side has a figure of a tirthankara Such images are carried in processions even today. Near the chariot, a man picks flowers from a flower stand while a servant is ready to pour water over them to clean them. There are other scenes of dancing and music, preaching scenes, etc., which remain common to other patas of this category.
Published: Moti Chandra, Jain Miniature Paintings from Western India, Ahmedabad, 1949.

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रूवसाहदि बनारामाणवधिमा अविद्यारयातसदमछाउंधकामसदालापाअंधदिछमा
16 Dancing and music
A folio from Sangrahani Sutra Gouache on paper Western Indian style, Dated A.D. 1583 Painted at Matar (Kheda District) Gujarat; Artist Govinda 26.5 x 11.0 cms
The Sangrahani Sutra is a compilation of Jain concepts, summarised by Maldhari Chandra Suri in Prakrit. It illustrates Jain concepts of cosmology, the nature and number of the upper and lower worlds and their inhabitants, etc. Chandra Suri is said to have composed the text in A.D. 1136. The folio shows male and female figures clad in contemporary Mughal costume for the first time and it continues in several versions of the same work up to at least A.D. 1700. We believe that it is from this period onwards that a marked
Mughal influence comes into paintings at Ahmedabad and its neighbourhood. A number of precisely dated examples of Mughal manuscripts have been discovered which were painted in Ahmedabad during this period. Published: 1. Moti Chandra and Umakant Shah, New Documents of
Jaina Painting. Sri Mahavira Jaina Vidyalaya, Bombay. 1975. J.P. Losty, Art of the Book in India, British Library, London, 1982. Shridhar Andhare, Painting Activity in and Around Ahmedabad. Anarta Vol. II November, 91, North Guj. University, Patan. 1991.
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For Private Penal Use Only

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17 Details of an Illustrated Vijnaptipatra
(letter of request) in two parts. Paper pasted on cloth, Popular Mughal School, painted at Agra in A.D. 1610 by Ustad Salivahana. (Total) 285.7 x 32.2 cms.
To a request made by the Jain community of Agra to stop the killing of animals during the twelve days of Paryushana , Emperor Jehangir issued a firman stating that "His Majesty ordered in this connection with the coming of Paryushana in the presence of Ramdasa, it was to be proclaimed by beat of drum, the merciful one ordered that non-killing be observed for all the twelve days.
When the command was given His Majesty was seated in the balcony;
Letters of invitation called vijnaptipatras or vinantipatras were issued by Jain institutions of one town to another, inviting Jain monks to spend the four months of the rainy season ( chaumasa at a particular town. These invitations are usually long, narrow scrolls of paper or cloth with series of paintings beginning with the astamangalas and the fourteen dreams, the auspicious symbols of the Jains. They are followed by scenes of royalty, prominent landmarks of the town, bazaar scenes, etc., drawn and painted with mediocre draughtsmanship. The latter half of the scroll (text) throws light on the social, religious and political life of that town.
Raja Ramdasa was in front; behind him Pandit Udayaharsha; then our request for his favour was made; the Emperor issued an order, immediately, at that very moment. As the assembly was in a hall just so has it all been represented in the picture. Ustad Salivahana, an artist of the Imperial atelier; what he saw then the impression of that he has kept in this picture.
Published: 1. Pramod Chandra, Ustad Salivahana and the
Development of popular Mughal Art. Lalit Kala No.8. 1960.
The above letter of invitation however, is more of a letter of request than an invitation. This is a unique pictorial record made by Ustad Salivahana the painter, at Agra in A.D. 1610. This letter is sent by the Jain community of Agra to Vijayasena Suri, then residing at Devakapatan (Patan in Saurashtra, Gujarat) requesting him to
ce the town of Agra with his presence for the installation ceremony of an image in a temple being built by one Sah Chandu.
Shridhar Andhare, An Early Ragamala from Kankroll Collection. Bulletin of the Prince of Wales Museum, Bombay No. 12, 1972.
R. Pinder Wilson, An Illustrated Mughal Manuscript from Ahmedabad. Paintings from Islamic Lands Oxford, 1969.
Jain Education Internant

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18 Folio from the manuscript of Bhagavata
Purana, Gouache on paper, Malwa (Central India) Perhaps from a dated series of A.D. 1689. 36.5 x 19.6 cms., Folio 66 Collection : L. D. Museum The horizontal format of the painting is divided into twelve smaller registers depicting incidents from the Dasamskanda, X Canto. Each vertical register is supposed to be a building with different domes against a dark blue sky. Incidents are depicted against coloured grounds in these registers, in a series of continuous
narrations in a typical Malwa style with bright colours. Devanagri texts comprising six lines appear in a rectangle on the reverse. Published: Anand Krishna, Malwa Painting, Banaras Mindu University, Varanasi, 1963.
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19 Battle Scene
Gouache on paper, Rajasthani, perhaps a thikana of Marwar Ca. A.D. 1850 52 x 26 cms. Acc. No.87. 13 Collection : L. D. Museum
The scene is laid against a deep chocolate-brown ground where a host of cavalry and Infantry is engaged in a fierce battle. The attackers from the right are mounted on highly caparisoned horses with decorative coverings, carrying matchlocks, lances, swords, daggers, etc., and with cannons mounted on bullock-carts.
with bows and arrows. On the top right can be seen flocks of sheep, goats, camels, cows and buffalo fleeing the ground in despair. It appears to be a minor battle between the thakors of Marwar (perhaps for cattle). Stylistically, the painting falls into the catagory of pictures produced by Chitra Pemji (?) of the Marwar area who excelled in scenes of this genre. Published : Stuart Cary Welch, A Flower From Every Meadow, Asia Society, New York, 1973, See Fig. 14.
The footmen from the right, mostly clad in white, are facing an attack with a few mounted soldiers
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20 A bird of prey attacking a crane (an
allegory) Paper, Deogarh thikana of Mewar (Rajasthan) Inscribed in Devanagri and dated V.S. 1871/ A.D.1814 Painted by the artist Bagta 30 x 22.5 cms. Acc. No.84.3
This partially painted sketch in the nim-kalam technique depicts a strong bird of prey resembling a hawk, attacking a crane-like bird.
The sketch is painted in typical Deogarh style with two lines of text on the top and bottom giving the name of the artist as Bagta and the date as A.D. 1814. It also mentions the name of Ravat Gokul Das, the chief of Deogarh, who figures in almost all paintings of Deogarh as a
strong powerful and towaring personality, personified here by a hawk, overpowering the crane. It may be an allegory to show the strength of Ravat Gokuldas over his rival Raja Udaibhan, the Chief of another thikana. Published: 1. B.N. Goswamy, Rasa - (French) Les neuf visages de l'art
Indien 1986. Shridhar Andhare, Paintings from the Thikana of Deogarh, Bulletin of the Prince of Wales Museum of Western India, Bombay No.7. 1967.
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तभाई सग्रहा भाईदलप लालभार CIAIRHAN MEDABAD TAI DALPATV CUM AHMET ,