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જૈન ચિત્ર-કલ્પલતા
१०
and Kalakacharyakatha, in which on the same page a miniature done in the Early Western Indian style will be supplemented with subsidiary side scenes of a Persian character So pronounced are the Persian characteristics of the latter that even experts might be convinced that the paintings are something direct from Persia. This manuscript is the most elaborately decorated I have seen, and the very brilliance and abundance of the ornament would alone constitute the occasion for high interest, although ever remaining second to the unwelded association of styles; that is the manuscript's prime claim upon our attention. The many variations of marginal ornamental arabesque and flower designs which Mr. Nawab has reproduced, especially those in full colour from the Kalpasutra manuscript of the Hamsavijayaji Jnana bhandar, Baroda, graphically reveal to us the mastery which the Gujarat artists of the 15th and 16th centuries had obtained over this means of enriching their pages.
This book represents a large expenditure of both labour and money by Mr. Nawab and his supporters. If it reveals to Jains alone the extent of the treasures their community possesses in manuscript paintings and encourages them to publish more of them, the labour and money will have been well expended. Such amplification of this present work would be a worthy part of that great informal programme of publication with which modern Jains are continuing their ancient and distinguished tradition of learning.
W. Norman Brown
