Jain Kashthapat Chitra

SR No.: 006752
Original Sutra Author: N/A
Author: Vasudev Smart
Publisher: Omkarsuri Gyanmandir Surat
Publication Year: 2002
Total Pages: 156
Language: English
Classification: Book_English
File Size: 14 MB

Page 58

populated area, great care has been taken to make the temple open, airy and well lit with sun-shine. In accordance with the set tradition of the Jain temple architecture, this temple also has a rang mandap, a garbh gruh, an underground cellar and first floor.
There are twenty two small wooden images of puppet dolls in stiff postures on the beam of the enterance door. The images seem to have lost much of their original colour and details and hence their original charm. This could have been on account of the weather effects and or of the lack of proper care. These images are shown as playing upon different musical instruments.
As we enter into the rang mandap, we see four pillars on all the four sides at the top of which there are exquisitely carved images of celestial damsels with wings. They too are playing upon different musical instruments like kartal, sarangi, been, sankh (conch), mrudang and dhol. Some of them are shown as folding their hands to welcome us. There is a rhythmic movement in their wings and also in their clothes. A great artistic insight and care is shown in carving the details of the postures, the headgears and the clothes of these damsels. The artists who painted these images did not lag behind those that sculpted them. The painting of the eyes of the damsels as of the plaits of their hair, their ear-rings, the vermillion red mark on their foreheands and skilful use of the gold tell us of a curious blend of the Rajasthani and the Maratha styles of painting.
The nine ceilings of the rang mandap are painted in a totally different style. We can see a remakable influence of folkart here. The ceilings are painted as if on wooden canvas. As we carefully look up at the ceiling from below, we can feel the charm of these paintings. There is a symbolic representation of the sun at the centre which is encircled with floral designs. Then we have different figures of men and women engaged in ras or garba. The painting on each ceiling has eight figures in all. Some groups consist entirely of male figures and the others of female figures. Delineation of profile figures generally dominate Jain paintings. But here we have quite a few figures directly facing us. Similarly tall and thin figures generally dominate Jain paintings. But the figures on the ceilings are slightly bulky and short. It is here that we see the remarable influence of folk art. The use of bright gold and yellow ochre, the head-gears and the ornaments on the neck and hands, vermillion red mark on the forehead, the uniformity of designs on the clothes worn by women and on the pleats of the dhotis worn by men and the use of black in painting the clothes of women are remarkable. The thick mustaches and the long whiskers on the faces of the male figures give them a royal look. The space between the two
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