Encyclopaedia of Jaina Studies Vol 01 Jaina Art and Architecture

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

Page 435

Pata-Citra
413
levels of hell where the demons live. The Madhya-loka is represented by a circular disk where human beings live. This is illustrated in the form of Jambūdvipa, the Adhāidvípa (i.e. the two and a half island continent) where in a complex ideology of the Jain geography is symbolically represented with oceans, mountains, rivers, trees etc. The document of social life and culture in the period such as the vijñaptipatra (letter of invitation), kşamāpaņa-patrikā (letter of pardon) and citra-kavya (pictorial poetry), were also executed
In early tantric literature there are references of yantras on cloth; however, very few of them have survived. These pata-citras are of different formats. such as square, rectangular and circular, containing geometrical designs, seated Jina figures, Yakșa and Yakşīs, devi and Samavasarana scene. Some of them are simple diagrams, symbolic and stylized in expression. The symbols are generally interpersed with mystic syllables or hymns written in red colour Devanāgari script. Dates, attributions of gifts, or presentation details are sometimes written on the body of the pata-citras.
There are three main types of Jaina tantric pata- citras : the Vardhamana vidyā-pata, the sūrimantra-pata and hrmkära mantra-pata. Some of these pata-citras have specific purposes. For example sūrimantra-pata is presented to a monk when he becomes an Acārya (teacher). For successful worship of mantra-pata the practitioner has to observe utmost purity of mind of his sādhana (effort). In tantric pata-citra the aesthetic corners are less important than the contents. The yantra pata-citras were executed by Jaina ascetics known as yati or by professional painter known as mathen.
The early pata-citras were rendered in a style similar to contemporary manuscript illustration showing two dimensional and figurative characteristics with primary colours and gold. The composition of these yantra-pațas is dominated by the squares and circles Apart from distinctive composition and colouring, the Jaina yantra pata-citras are distinguished for the use of mantras. In the yantra pata-citras a liberal use of
syllables may be seen. The mantras became the integral ingrients. The Jaina yantra-patas are not as eleborate as Buddhist mandalas from Nepal and Tibet. However, the basic principles of the configuration as well as the symbology are same in both religious traditions. Despite the basic similarities, the physical appearance of the Jaina yantra pata-citras is distinctly different from Buddhist mandalas. In such Jaina pata-citras the symmetry and order in the arrangement of the figures are essential as their principal purpose is to calm the devotee's mind and detach him from the chaos and disorder of the phenomenal world.
The pata-citras, much popular with the Jainas, are known as tirtha-patas (pilgrimage banner, Pl. 289). The Jainas gave great importance to pilgrimage. The tirthapatas are very popular among Svetämbara Jainas. When the tradition of tirtha-patas started in the 15th century A.D., they became very pupular. Most of the early examples of tirtha-patas are small in size and depict five pilgrimages in a succinct and symbolic manner. These are known as pañca-tirtha-patas among the Jainas. During the 18th and 19th centuries the tirtha-patas assume monumental proportions, as it became customary to devote an entire painting to a single pilgrimage site. For those who were unable to make the pilgrimage, a surrogate in the form of a topographical painting of the site serves the same purpose. At times more than one tirthas are represented on a single cloth executed in a rather symbolic and cartographic manner in the Jaina style of painting. It displays prominent land-marks like temples, lakes, kundas and havelis. Every year on the full moon day of the bright half of the month of karttika (October-November) such paintings are hung in the vicinity of a temple, or at prepared location, for the devotees to worship. From the day onwards the tirtha of Satruñjaya is thrown open to public. The paintings are usually of colossal size. The Satruñjaya, Girnar and Sammet Sikhara centres are considered most sacred by the Jainas for these patas. Realising the religious and spiritual significance of the pious act, wealthy Jaina
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