Sambodhi 1994 Vol 19

SR No.: 520769
Original Sutra Author: N/A
Author: Jitendra B Shah, N M Kansara
Publisher: L D Indology Ahmedabad
Publication Year: 1994
Total Pages: 182
Language: English, Sanskrit, Prakrit, Gujarati
Classification: Magazine, India_Sambodhi, & India
File Size: 6 MB

Page 93

Vol. XIX, 1994-1995
CONTINUITY OF TRADITION... सर्वासामीदशौ हस्तो कथ्यते चोर्ध्वहस्तकौ ॥२३ ।। मृणालयुग्म ललिया लीलापद्यं च पुस्तकम् । लीलांङ्गी पाशप(:) च ललिता वज्रमण्डकुशम् ॥ २४ ॥ पाशांडकुशौ लीलावती ललियाः पञ्च चेरिताः इति पंचललियाः अथाऽताऽनंतर वक्ष्ये दुर्गानां नवकं कथा ॥ २५ ॥
Other folios from the same MS. had drawings of temples and their plans, proportions of animal figures and iconographic details of other deities. Thus, it is likely that the Sūtradhāra and Gajdhars followed this book as their working manual which could go back to atleast the 13th Cent. A.D. Although its exact usage is observed in the 15th Century gate ways of Chittor fort during the reign of Rāṇā Kumbhā (A.D. 1433-68). 11
The geneology also brings other points to the fore that there were also artists (Chitārās) among the family of Sūtradhāras as the names of some painters like Bhimaji (Sutār), Jiwanramji, Rupaji, Nathuji (Sutār) and others marked with a circle in the geneology, appear on the back of several large miniatures of the Mewar School. The majority of which is in the collection of City Palace Museum and Janäni Mahal at Udaipur. At the same time three copies of the grants were obtained from the same family which denote the gifts of villages to certain painters from Leeladharji's family during the reign of Mahārānā Bhim Singhji of Mewar (A.D. 1778 - 1828).
Thus, it can be surmised that the tradition of Sūtradhāras and Gajdharas has been active in Western India atleast from the 15th Century in Mewar and especially at Chittor. Another point which comes to light is that they must be following the technique prescribed by the Aparājitaprchhā which has been specified as of ca. 13th Century from Western India. The third important point to note is that there were Clitārās (painters) among the Gajdhar families who were executing painting jobs as well as jobs of interior decoration of Palaces, Havelies, temples etc.
In short the institution of Sūtradhāras did not have water tight compartmentalization of their skills but it was always an interdisciplinary activity of all members of the family or guild.