Jain Agam Sahitya

SR No.: 001431
Original Sutra Author: N/A
Author: K R Chandra
Publisher: Prakrit Text Society Ahmedabad
Publication Year: 1992
Total Pages: 330
Language: Prakrit, Hindi, Enlgish, Gujarati
Classification: Book_Devnagari, Philosophy, & agam_related_articles
File Size: 18 MB

Page 311

Citra-Kala in Jain Canonical Literature
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The āgamic literature is silent about scroll painting, but that does not signify that there were no scroll paintings, for we have non-agamic Jaina religious texts which speaks about scroll painting. Udyotana Suri's Kuvalyumālā, a Prakrit text written in 799 A. D., refers to a scroll painted by an artist named Bhānu.40 It depicted the cycle of births and deaths (samsāra-cakra). There are mentions of a few other scrolls of similar nature. We also gain knowledge of tonality of colours, mixing of colours and purity of lines which should be fine and distinct.41 These scrolls followed the traditions of early yama-pațas which are mentioned in Vishākhadatta's Mudrārākşasa42 and Bāna's Harşacaritra.43 One of the earliest references to scroll paintings is found in Dūtavākya of Bhāsa (c. 3rd-2nd Century B. C.).44 It mentions a scroll painting depicting the molestation of Draupadi by Duśśāsana. The gateways of Sāñci stūpa provide the earliest archaeological evidence to scroll paintings.45 The architraves of these gateways with voluted ends readily suggest the existence of painted scrolls. The narrative scenes of these scrolls in stone are to be seen on the unfolded portions, which actually form the main body of the architrave. We have already shown the influence of mamkha's art on the early plastic art. The architrave of these gateways again owes its direct inspiration to scroll paintings. It appears that early Indian painting traditions greatly influenced the early Indian art in stone.
The Vad därādhane, a Jaina religious text written in the Kannada in tenth century A. D., provides another example of scroll painting. 46 It depicts an interesting tale of picture--showmen who used to steal paddy-rice from the paddy-merchants. They would divert their attention by showing popular tales painted on the scrolls.
The Citra-Sabhā (picture-gallery) was an insignia of opulence and prosperity in ancient India. There had been atleast three types of picture galleries, viz., private gallery, public gallery and galleries in palaces.
The Jñatādhammakathā gives us an example of a private picture gallery of crown prince Malladinna who had it constructed in