Encyclopaedia of Jaina Studies Vol 01 Jaina Art and Architecture

Author(s): Sagarmal Jain, Others
Publisher: Parshwanath Vidyapith

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Encyclopaedia of Jaina Studies
Chapter XIX is on Yasodharacarita which imparts religious instructions through stories interwoven with the life of king Yasodhara. The stories are carefully illustrated in the manuscripts of the text in prominent colours like red, indigo blue, yellow, white etc. but the illustrations lack the landscape. The illustrated manuscripts range in date from 15th century A.D. to 18th century.
Chapter XX exclusively discusses the wall paintings available in Jaina edifices of Ellora, Sittannavasala, Kundavi Jinalaya and Tiruparuttikunram. The murals of the Indra Sabha at Ellora depict maximum number of human figures. These have been discussed in detail with reference to their placement, subject and colour, comparing also with those of other caves there. The paintings in the Jaina cave at Sittannavasal are the earliest examples of frescoes and their technique is similar to those of Ajanta and Bagh. The wall paintings in Kundavi Jinālaya at Tirumalai depict Samavasarana of Neminätha and is of less artistic merit but its importance lies in that. It shows angular treatment of nose and chin and also the protrusion of farther eye into space. The art of wall painting was encouraged at the time of Vijayanagar rulers in the 15th century A.D. at Tiruparuttikunram. As a result, a number of Jaina temples were endowed with the representation of the life and birth of Tirthankaras.
Chapter XXI deals with Patali (wooden book-covers for palm-leaf and paper manuscripts) which bears paintings not only of flora and fauna but also of scenes of historical importance, Jaina Ācāryas, Tirthankaras, mothers of Jinas, Salākāpuruşas, Mahavidyas etc.
Chapter XXIV discusses Pata-citras (cloth painting) which are available in the form of painted scrolls, banners etc. They are of two types - Tantric and Non-Tantric. The Tantric Pata-citras show yantras, mantras, symbols, syllables and images of deities, while the Non-Tantric ones consist of pictures with religious contents. The Jambudvīpa-pata, Vidyā-pata, Sūrimantra-pata and Tirtha-pata are some examples of Pata-citra.
Chapter XXIII deals with Samavasarana which is a celestial assembly hall raised by gods for the first sermon of a Jina. It has been represented not only in wall and miniature paintings but also in sculptural form. We have discussed it in detail with regard to its structure, shape and representation of figures of gods, goddesses, human beings and animals who assembled to witness this occasion.
The six Appendices entitled Citta-sabha (Picture Gallery) and Citta-kamma (Art of painting), life of Tirthankaras, Painting and Jaina canonical literature, Jñana-bhandara, Bhattāraka (Administrative head of the Jaina religious establishment) and Tada (Palmyra Tree) would further elaborate the subject.
The scheme of writing this volume on Jaina Art and Architecture was chalked out about a decade ago by the dignitaries of the Parshwanath Vidyapeeth of Varanasi and the work was entrusted to us. We are happy that this difficult task has ultimately been completed and the book will soon go in the hands of the readers. For its completion and all sorts of help and cooperation we offer our sincere thanks and gratitudes to Prof. Sagarmal Jain, Chief Editor of this volume, Shri Indrabhooti Barar, Secretary, Prof. Sudarshan Lal Jain, Director, Dr. Shriprakash Pandey, Asst. Director, Shri Om Prakash Singh, Librarian, and other staff of the Vidyapeeth. We are deeply indebted to all those authors whose sources have been utilised in writing this Volume. We shall fail in our duty if we do not place on record our indebtedness to individuals and institutions whose illustrations have been reproduced and acknowledged. We also thank Shri Sunil Kumar and Shri Vimal Chandra Mishra for composing and scanning the manuscript and photographs. Mahavira Jayanti
M.N.P. Tiwari 28th March, 2010
Kamal Giri Harihar Singh
Jain Education Intemational