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 312

Lalit Kumar
his house-garden (pramada-vana).47 It had scenes on erotics. (fringāra-rasa). We have another example of private picture gallery in the Bṛhat Kalpa-Bhasya.48 It was maintained by a clever courtesan who was well versed in sixty four arts. She had in her gallery portraits of all classes of men occupied in the professions of their respective castes and in varying moods. This assisted her in the treatment of her clients whom she would first send to the gallery and judging from their reactions their caste, character and taste for arts, would deal with them accordingly. Hemacandra Suri's Parisistaparva gives us yet another example of a picture gallery maintained by a courtesan called Kośā, which had paintings on erotics.49
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In Jñātādhammakatha we also have an example of a public picture gallery which functioned in a manner analogous to that of a modern museum, where people assembled for recreation and discussion.50 There were arrangements for sitting and reclining. Various groups of professional entertainers like dancers, actors, picture story tellers etc., were permanently employed. The gallery not only had paintings but various other artifacts in stone, wood, metal, clay and other arts. It was built in the eastern garden (vanakhanda) at the behest of a rich merchant Nanda-Maniyar. It is evident enough that the gardens were mostly preferred for building picture galleries.
The Tiloya-Pannatti (c. 5th century A. D.) is an agama of the Digambaras, it refers to various kinds of palaces of the bhavanavāsi devas, one of them was citra-gṛha.51 An example of murals in the harem of palace has already been mentioned above.52 The Visnuharmottara maintains that paintings in palaces should exhibit scenes. on erotics, humrous or peaceful sentiments while citrasalās should represent any of the nine-rasas.53
Rasas, emotions or flavour, are as important in painting as in literature. Bharata's Natyaśāstra ennumerates only eight rasas, whereas Anuyogadvāra recognises nine-rasas, the ninth being Santrasa.54 Later on Viṣṇudharmattara also included it as the ninthrasa 55 But Anuyogadvara has replaced bhayānaka with a new raz,