Aspect of Jainology Part 2 Pandita Bechardas Doshi

Author(s): M A Dhaky, Sagarmal Jain
Publisher: Parshwanath Vidyapith

Page 537

102
Ravi G. Hajarnis
The Šāmaļāji evidence proves the association of this area with Buddhism. The author recently has brought to light one other series of rock paintings showing signatory association with religious, cultural and art-activities of the Buddhist period. In all, there are seven stūpas depictions painted on the inner vertical surface of the rock shelters at Gambhirpur (Idar). These are for the first time discussed in English here.
Description of the paintings : Shelter 14
This shelter faces full front; the figure of a stūpa is visible even from the road side. The stūpa-figure is painted with thick red lines of geru (Indian red) colour. It is flanked by chatra-yaşți. Chatra is shown with (a sort of) perspectivity in view. The platform of the stupa cannot properly be discerned. The patākā (flag) is drawn by red lines with no block-filling. Although the proportions are not perfect, the figure is useful as an idea representation of the contemporary stūpa shape. The pigment used here is geru and a white colour as a fillar (Fig. 1.)
Shelter 15
The paintings in shelter 15 are not well preserved. Two stūpa figures, however, can be clearly recognised; their configuration is delineated in red, the inner area rendered in white (Fig. 2).
The first figure from the left is larger than the second. The stūpa's outline has somewhat suffered due to weathering. The shape of the chatra-yaşți and of the platform etc. cannot therefore be fully discerned.
The configurative lines of second stūpa figure are also damaged. These two stūpa figures illustrate the more developed form compared to the figures of shelter 16 to be discussed below, being the work arguably of a superior artist. The space distribution and the force of line are remarkable. The chatra-yasti and the hermikā are carefully drawn. The chatra is drawn after moon-shape. Shelter 16
Three stūpa-figures are met with here.
The first stūpa figure from the left side is not drawn with perfect symmetry. The lines too are uneven in thickness and reflect irregularity in proportions. The uneven rock-surface may have contributed to this "mishappen" appearance.
The second, which is the middle, stūpa figure is in better condition than the first stūpa figure, drawn carefully as it is. The lines are fine and more accurate compared to the preceding instance. However, the rendering of the chatra-yasti and the hanging patākā is not very accurate.
The third stūpa figure in this shelter is by far the superior of the three. The method in drawing adopted here is slightly different. Because of the uneven