Sumati Jnana

SR No.: 012067
Original Sutra Author: N/A
Author: Shivkant Dwivedi, Navneet Jain
Publisher: Shantisagar Chhani Granthamala
Publication Year: 2007
Total Pages: 468
Language: English, Hindi
Classification: Smruti_Granth & Articles
File Size: 14 MB

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Sumati-Jñāna pontiffs taking the manuscripts reached Mūdabidure, founded one more branch of Sravanabelagola monastery, and was named savasti śrī Cārukīrti Panditācārya almost identical with the name of the chief of Śravanabeļagoļa Matha.
Generally, an iron style was used for writing on palm-leaf. After the rounded/square script/characters were incised into the folios with a metal style, the surface was rubbed with ink compound to highlight the letters. But in this case, the entire writing is done, without using iron style. A specially prepared ink is employed to write on the specially treated and trimmed leaves of the palm-śtrītāļe, an excellent variety of palm-leaf. The ink, manufactured out of foliage and vegetable-greens, astonishingly has remained intact, retaining its colour complexion, even after the nine hundred years. Occasionally, iron style is employed for geometrical and scroll designs. Even there, colour ink is preferred to iron style to depict conventional motifs of lotuses and lotus medallions. This apart, a good number of illustrations representing figures of Jaina pantheon are brilliant for their exoteric potency rather than aesthetic quality. The plasticity of the figures, drawn in swift calligraphic strokes, deserves appreciation. The illustrations of monks, Jinas, rotund śāsanadevātas, and the votaries in their worshipful mood, are historically and stylistically interesting. The patrons who commissioned the extraordinary manuscripts, the dexterous artists who copied, the place where it was copied, the circumstances and the date of its copying - are clearly established by the researches of Prof. Hampa. Hagarajaiah.
The manuscript has played a pivotal part in preserving and promoting both the text of Jaina canon, and the art of Jaina tradition. The illustrations cover a wide range of Jaina theme, social and monastic, and many of them in colour breath an aura of 11th and 12th century socio-religious life. The colour figures may not rank among the masterpieces of Jaina paintings, yet its place in tracing the historical evolution of Jaina painting needs no exaggeration. The folios that take away one's breath are treasur trove of Jaina art, painting, and calligraphy. The paleography resembles that of the stone and copper-plate inscriptions of early 12th century, synchronizing the reign of Vişnuvardhana, the Hoyasala king. The paintings in bright colours and sinuous lines, on the palm-leaf, of exquisite quality, are rich in composition and mirror the dexterity of the artist. Surprisingly, the graceful Kannada characters on the folios have, even after nine-hundred years, still retained its distinctness, legibility and shining, where as the quality and strength of the palm-leaf is deteriorating.
The charming and richly ornamented illustration of Dānacintāmaņi Attimabbe is purely an imaginary figure. But it fairly represents her affluent background and dignified personality of her pre-widowed age. This is from an independent painting of a recent period and not from the palm-leaf manuscript.
Contemplating on the liberal and profuse attitude of dāna in the Jaina society, it is curious to note the paradoxy of the riches and renunciation, the wealth and worship, going hand in had. Again, in this aspect also female patronage tops the list.