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Introduction
Jaina style is of Ogha Niryukti, on the rules of conduct for Jaina monks, from Jaisalmer and Daśavaikälikaṭīkā dated V.S. 1117 (A.D. 1060). One of the palm-leaf examples of the Ogha Niryukti carries beautiful drawings of an auspicious vase (kalasa), Lakṣmi, the goddess of riches, and Kamadeva, the god of love. According to Saryu Doshi (Masterpieces of Jaina Painting) throughout this early period, the stylistic expression in manuscript illustration oscillates between the Ajanta (5th-6th century A.D.) and Ellora (8th century A.D.) wall painting styles. But gradually, the linear expression derived from Ellora eclipses the older Ajanta tradition; all traces of modelling disappear and there is an increasing emphasis on abstract form.
The subject of the palm-leaf manuscripts, executed between A.D. 1050 to roughly A.D. 1350, was confined to the representation of the Tirthankaras, gods and goddesses, monks, nuns, male and female patrons etc. The appeal of these figures is more or less iconographic. In full accordance with the simplicity of the subjects, the attitudes and poses are also limited and strictly conventional. The Jinas are seated with their legs crossed and shown in full view. In the standing pose the face is generally represented in a modified version of threequarter profile and the tribhanga pose sometimes adds graceful curves to a standing figure. The miniatures in the introductory folios serve as invocations and usually feature Tirthankaras, the goddess Sarasvati or another divinity. Sometimes they portray religious preceptor, at whose suggestion perhaps the manuscript was commissioned. The miniatures, however, bear no relationship to the text; they neither illustrate it nor elucidate it. Their presence had a purely magical value which served to augment the mystical truths expounded in the text as well as to protect it. These miniatures played an esoteric rather than aesthetic role in the manuscript. The Digambara Satkhaṇḍāgama (scripture of six works) of A.D. 1112 is the earliest illustrated manuscript to show a preaching scene, a Jina, the goddess Cakreśvari and some decorative motifs.
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Mahavīracarita dated A.D. 1183, and the tenth canto of Triṣaṣṭiśalakāpuruşacarita dated A.D. 1237 also depict the figure of Jina, monks and lay people. The Neminathacarita of A.D. 1241 depicts the Jina Neminatha, the goddess Ambika and lay woman. Similarly the Kalpasūtra and Kalakācāryakatha, dated A.D. 1278, also bears paintings of iconic interest only. Most of these illustrations are not related to the text.
The Jaina miniature painting continues to progress along established lines until the end of 13th century A.D. At this time a new development occurs when the narrative content of the texts begins to receive attention. The pictorial narration of legends such as battle of Bharata and Bahubali (Pl. 245) or disputation between the two monks Kumudacandra, a Digambara monk, and the Śvetämbara monk Vadideva took place at Patan in the time of Jayasimha Siddharaja (A.D. 1094-1144) of Gujarat existed on book-covers. Similarly, Jinanathasūri (A.D. 1122-54) is also represented on book covers. The ancient Indian narrative tradition is used in these paintings. However, the palm-leaf manuscripts seldom show such representations. The illustrations of narrative nature, moreover, construct a progressive narrative by compressing two or three episodes in the same miniature and showing the person involved in those episodes at many times. Perspective of these innovations and the format of the paintings remained the same. The scheme of illustrations continued to be conservative. In the treatment of human figures stylistic changes are discernible. The angular rendering is exaggerated further and the protrusion of the farther eye becomes pronounced. The washes of colour along outlines have lost their meaning and become more cliches.
Towards the end of 13th century A.D. a new approach becomes visible in the manuscripts such as Subahukatha, the story of Tirthankara Pärśva and other tales. The Subahukatha is the earliest manuscript to establish a relationship between illustration and text. The Subahukatha and the manuscript depicting the story of Parsvanatha have a number of illustrations which
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