ISJS Jainism Study Notes E5 Vol 01

SR No.: 007711
Original Sutra Author: N/A
Author: International School for Jain Studies
Publisher: International School for Jain Studies
Publication Year: 2013
Total Pages: 352
Language: English
Classification: Book_English
File Size: 21 MB

Page 279

SCHOOL
TIONAL
OF
SELF STUDY IS THE SUPREME AUSTERITY,
स्वाध्याय परमं तपः
STUDIES
pure linear form and is carefully executed. The paintings show lively figures in small size and minimum use of pigments. The man is idealized; with a large chest and narrow waist, and the woman have well-rounded breasts, small waists and well-curved hips. The figures are seen either in full face or profile, the farther eye projecting beyond the cheek, with pointed noses and small chins. Architecture is very much simplified and landscape finds little space. The art reveals no interest in anatomy but a deep understanding of emotion, and especially the language of gesture - movements of the hand, the fingers and stances of the body. There is an extensive use of foliage decoration. Plants are generally treated in a conventional manner, especially the mango and the palm. Also a number of animals and birds are represented. The men wear a waist cloth or dhoti reaching down to the ankles, with a short scarf thrown across the shoulders, leaving upper half of the body uncovered; and their headgear either a kind of cap or mukuta. The women wear long gaily-coloured printed scarves over skirts consisting of a wrapped piece of cloth of a different colour. Full blossom and narrow wasted, they wear closely fitting colis, reaching to just above the navel, and their sleeves cover the arms to the elbow. They are profusely bejeweled, with earrings, necklaces and bangles and their long hair is braided, and tied with black tassels adorned with jewellery and flowers. Water with wavy lines, clouds with bold curves, richly coloured textiles, furniture like swings, stools and bedsteads with ornate lathe-turned legs are some of the features of these miniatures. The colours applied in these miniatures are simple like brick red, yellow, blue, green and black.
At the end of 14th century, the political disintegration of the Delhi Sultanate into smaller Muslim and Hindu kingdoms, the art received great impetus. With the formation of smaller kingdoms-Muslim as well as Hindu, new centres of art were established. Scholars, musicians, artists and architects were extended encouragement by the rulers of these smaller kingdoms. As a result 15th century witnessed the efflorescence of regional idioms of artistic expression, new style emerged and existing forms received fresh vitality. In the Hindu kingdom of Gwalior, the Digambara Jains commissioned copies of their religious texts as well as in states like Gujarat and Delhi, governed by Muslim rulers, the Jain merchants and bankers considered it expedient to be less overt in their religious expression. They choose to pour their piety and wealth into unobtrusive works or art, commissioning copies of canonical literature. The Svetambara Jain community in Gujarat patronized this art form extensively. Their religious texts, transcribed during the 15th century in Gujarat, were kept carefully and protected and hence survived.
Page 266 of 317
STUDY NOTES version 5.0