Jain Chitra Kalpadruma 1

SR No.: 008468
Original Sutra Author: N/A
Author: Sarabhai Manilal Nawab
Publisher: Sarabhai Manilal Nawab
Total Pages: 374
Language: Gujarati
Classification: Book_Gujarati, Art, & Culture
File Size: 20 MB

Page 22

15
INTRODUCTORY NOTE the manuscript itself. If we disbelieve it, to satisfy our own ideas (should I say preconceived ?) there will be no end; every such date will become spurious or untrust-worthy. This point I have also noticed in my memoir on “The art of painting as developed in India in bookillustrations." To me there is nothing inherently impossible in this date and I am quite prepared to believe in its accuracy. Just as I am in the case of my own manuscript dated in 1125 V.S.
The most interesting illustrations in this publication pertain to the copy of the Kalpasutra of the late Muni Hamsavijayji's collection in the Atmaram Jnanamandira at Baroda and of Devashah's pado in Ahmedabad. They are pre-Moghul in origin and would show that the art of painting in Gujarat had reached a very high degree of perfec. tion before the Moghul rule in India. The Devashaha's pado manuscript is quite unique in that gives illustrations of different attitudes and poses of dances described in the Natyas'astra of Bharata. Similar figures are to be seen in the Chidambaram temple where full descriptive stanzas are also given. These have been published in one of the annual Reports on South Indian Epigraphy, Madras. The Devshaha's pado manuscript where these pictures are drawn on the margins gives the labels showing the name of the pose or the dance represented.
These illustrations of the Ragas and the Raginis given in it are original and not copies. Evidently, it is very desirable that the manuscript is printed in its entirety and placed before scholars interested in Indian Music and Dancing soon. It was prepared in Gandhara-"श्रीगंधारपुरी सदाविजयतेसद्धर्मकोंदया" which is evidently identical with the village near Cambay. It was a well known locality during the rule of Akbar for it was from here that the Jagadguru Hiravijayji was invited. Possibly the painters of the old Lata hailed from here. There will be no wonder if they had their share in the paintings of Ajanta even.
Several scholars have dilated upon the subjects connected with this publication hence I need not dilate upon them here.