Sramana 2005 01

SR No.: 525055
Original Sutra Author: N/A
Author: Shreeprakash Pandey
Publisher: Parshvanath Vidhyashram Varanasi
Publication Year: 2005
Total Pages: 280
Language: Hindi
Classification: Magazine, India_Sramana, & India
File Size: 12 MB

Page 128

The Jain Manuscript and Miniature Tradition : 121 costumes are easily discernible, such as the Sangrahaṇīsūtras painted in 1630 in Wadhavan.
The Mughal influence also brought about the significant change of the vacuous eye into a vivacious eye in the true profile. The Adhaïdvipa painted at Kheralu in North Gujarat in 1630 is an example of this hybridisation of the Neo-Gujarati and the Mughal painting styles. The cosmological diagram follows the same scheme as seen in the Aḍhāīdvipa of the Khajanchi collection. There are two such cosmological diagrams in the collection of Lalbhai Dalpatbhai Institute, Ahmedabad.
The Popular Mughal style had also influenced the older Gujarati Jaina painting style at the beginning of the seventeenth century. The Uttarādhyayana-sūtra dated c. 1600-1610 in the Lalbhai Dalpatbhai Institute of Indology, Ahmedabad and similar ones in other collections show it direct influence especially in the costumes worn by the figures in the paintings. Some of these miniatures show the eyes in more than three quarter profile but the nose and lips in strict profile.
From the first quarter of the seventeenth century however, the Gujarati Jaina painting style gradually began to lose its moorings, first under the impact of the Caurapañcāśikā style, followed by the Popular Mughal style, and then by the styles emerging from Rajasthan, especially the so called Sirohi style, which completely usurped it. The Sirohi style developed in the second' quarter of the seventeenth century and shows influences from the Mewar and Marwar schools of Rajasthani painting.
The Jaina manuscript tradition preserved a vast body of Indian literature and gave new life to the waning tradition of Indian painting. It brought into being the Gujarati painting style, which had the longest survival span in the history of Indian miniatures, retained its strengths and character while absorbing outside influences and in its turn, played akey role in the development of other miniature painting styles, opening new possibilities for the growth after schools of painting.