Encyclopaedia of Jaina Studies Vol 01 Jaina Art and Architecture

SR No.: 006774
Original Sutra Author: N/A
Author: Sagarmal Jain, Others
Publisher: Parshwanath Vidyapith
Publication Year: 2010
Total Pages: 726
Language: English
Classification: Book_English
File Size: 51 MB

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Appendix III
427
ancient India. The Jñātādharmakathā refers to a portrait the other was still occupied with the preparation of the of Malli, a princess of highest perfection in beauty, ground on the facing wall apparently blank. But it was painted on the wall by an accomplished artist who was a pleasant surprise when the artist drew the curtain banished from the kingdom after it. By the same artist aside, the mural got reflected on the mirror like blank another portrait of princess Malli was prepared on surface of the wall. It is well known that after the canvas or cloth. The artist first prepared citra-phalaka application of plaster (vajralepa) on the wall, it was (citra-phalam sajjei). The preparation perhaps included burnished (Vişnudharmottara III, 40.8). But the amount fixing of canvas on the board and the preparation of of burnishing required in the preparation of the ground ground. The Avasyakacūrni (I, p. 88) also refers to a is very well indicated in this story. portrait of Mrgāvati painted by another accomplished There are some more references to wall painting. artist.
Silänkācārya Caupanamahāpurusacariya (A.M. Bhojak, There are references of painting from nature also. 1961, p. 263) mentions the depiction of the lives of The Āvasyakacūrņi (II, p. 57) refers to an aged artist Neminātha and Rajīmati in a palace which Parsvanātha Citrangada whose daughter Kanakamañjari painted a happened to see. The scenes influenced him so much lively picture of a peacock on the floor. The quality that he decided to renounce the world. There is also of the painting was such that the king, who employed a reference to some decorative motifs painted on the the old artist, passing that way mistook the painted walls in the Rajapraśniyasūtra (I, sūtra 11,13). feather as the real one.
The Āgamic literature is silent about scroll painting The paintings were done on other mediums also. but the non-Agamic Jaina religious texts speak about The Anuyogadvārasūtra (Bombay, 1968, sūtra 11) refers it. The Prakrit text Kuvalayamālā (8th century A.D.) to painting on palm-leaf and cloth both. The art of refers to a scroll painted by an artist named Bhānu. painting was also practised on wall. The Jñatadharmakathā The scroll depicts the cycle of births and deaths ( samsåra(1.17) refers to that the interior walls of Dhārini Devi's cakra). There are other examples of similar nature. The palace were painted with beautiful paintings text Kuvalayamala also gives the knowledge of tonality (sulloyacittakamme), the ceilings with lotus rhizomes of colours, mixing of colours and purity of lines which and flowering creepers. Similarly, the text describes the should be fine and distinct. These scrolls may be palace of Megha Kumāra which was painted with ihă- compared with the traditions of early yama-patas mrga (deer), bull, horse and number of other paintings. mentioned in Viśākhadatta's Mudrārākşasa and Bāņa's
The references of Jñātādharmakathā (8.96) to wall Harşacarita. One of the earliest references to scroll paintings in the picture gallery of the crown prince paintings is found in the Dutavākya of Bhāşa. It mentions Malladinna provide clues to the technique of mural a scroll painting depicting the molestation of Draupadi painting. It mentions that the wall space required to be by Dussāsana. The Vaddaradhane (10th century A.D.), painted was first divided into panels of different sizes a Jaina religious text in Kannada depicts an interesting (bhūmibhāge). Then the ground was prepared (bhumi tale of picture showmen who used to steal paddy-rice sajjei). After this the painter proceeded with colours and from the paddy merchants. brushes.
The citra-sabhā (picture-gallery) was an insignia Āvasyakacūrņi (II. 194) refers to the story of of opulence and prosperity in ancient India. There were Vimala and Prabhāsa who were called to make mural three types of picture galleries-private gallery, public paintings in the harem of a king. One of them engaged gallery and galleries in palaces. The Jñātadharmakatha himself in preparing splendid murals on one wall whereas (8.95) gives an example of a private picture gallery of
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