Encyclopaedia of Jaina Studies Vol 01 Jaina Art and Architecture

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

Page 437

Pata-Citra
415
squares, each having words and numbers pointing to which depict the futility of human existence, the the rule of conduct and good and bad effects thereof. miserable condition of other forms of life, the torments
The architectural type of patas has five pavilions of hell, and the delights of heaven. Such patas were on five levels indicating panca anuttara vimäna kşetra made for narrating events to the masses in public places, above the chequered board. They indicate highest where the picture showmen (citra-kathis) performed heavens. In the lokapurusa patas, the head represents with the help of cloth paintings. five highest levels located on the mouth, eyes, nose and There is a number of Samavasarana (the celestial forehead. The highest of the heavens lies above these assembly hall) scenes where the Jina delivers his final on a crescent shaped siddhasila where the liberated ones sermon for all sentient beings, following his dwell. The Jainas are supposed to strive hard to reach enlightenment. Besides these the cosmographical charts, the top by avoiding misconduct and attaining knowledge. Jambūdvipa, Navadvipa, Hrnkāra, Ghantakarņa, various The Jaina śrävikäs who remain indoors during rainy mantras and tantras, Samgrahaņisutra, Kșetrasamāsa, season play the game as a pass-time.
Prāyaścitta, the six sthānas of the samyamsreņi, sixty The vijñaptipatras begin with a picture and end two mārjanas, pañcatirthi etc. are also painted on cloth, with the text. These pictures were to demonstrate to dating from the 14th to 16th century A.D. the monks. The attractiveness and prosperity of the In the 15th century, as indicated by certain patatown were extended through the invitation. However, citras, both secular and religious, the painters were the pictures became stereotyped and were repeatedly struggling to free themselves from the rigidity of the copied. The majority of the vijñaptipatras were prepared earlier school and trying to enlarge their compositions in Jodhpur or Nagore in Rajasthan by professional which now become more convincing. mathen painters. Besides the vijñaptipatras these scrolls REFERENCE served the purpose of illustrating the pañcatîrthis for Saryu Doshi, 'The Panch-Kalyanaka Pata, School writing documents and the religious orders of the Jaina of Aurangabad', Homage to Kalamkari, Marg teachers during the rainy season, horoscope etc. They Publications, Bombay, 1979; Masterpieces of Jain were occasionally used for writing and illustrating large Painting, Bombay, Marg Publications, 1985; poems such as Vasanta-vilasa.
S. Andhare, 'A Note on the Mahavira Samavasarana The Jaina Jñāna-bhandaras possess the cloth Pata', Chhavi : Golden Jubilee Volume, Banaras, 1971, manuscripts containing the Dharmavidhiprakaraņa- pp 343-45; 'Vividha Tirtha Pata of Ahmedabad', Marg, Vịttisaṁhitä, chapters of the Trişastiśalākāpuruşacaritra Vol. 32, No. 4, pp 40-44; W.N. Brown, A Painting of (Saṁvat 1408 or 1410 = A.D. 1351 or 1353). a Jaina Pilgrimage', India and Indology : Selected
The Kuvalayamālākahă, an important Prakrit Articles, (Part 3, No. 28), Delhi, 1978; Pratapaditya Svetāmbara Jaina text of the eight century A.D. describes Pal, Jain Art from India, Los Angeles County Museum a pata-citra with a religious theme. The subject is the of Art, California, 1994. samsára-cakra featuring a windex variety of scenes