Gujarati Painting of 16th 17th Century

Author(s): Lalit Kumar
Publisher: Z_Nirgrantha_1_022701.pdf and Nirgrantha_2_022702.pdf and Nirgrantha_3_022703.pdf

Page 11

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Lalit Kumar
Nirgrantha
11. ibid., 67. 12. Ibid., 67-68. 13. Ibid., 68. 14. M. R. Majmudar, "Two Manuscripts Illustrated in the Western Indian style during Hiravijaya
Suri's Time-Abhidhana Namamala and Uttarādhyayana Sutra," Bulletin of Baroda Museum
and Picture Gallery, XV, Baroda 1962, 16. 15. Ibid., pl. IX-XVIII. 16. Ibid., pl. X, fig, 3-4. 17. Ibid., pl. XI, fig. 3 18. Ibid., pl. XII, fig. 1 19. W. G. Archer, Indian Miniature, Connecticut, n. d., pl. 7 and 8. 20. Karl Khandalavala, Moti Chandra, and Pramod Chandra, Miniature Painting from the Sri
Moti Chandra Khajanchi Collection, New Delhi 1960, 23-24, fig. 14-17. 21. Ibid., 14. 22. U. P. Shah has also attributed it to Malwa. (Treasures of Jain Bhandaras, Ahmedabad
1978, 33). 23. U. P. Shah, More Documents of Jaina Paintings and Gujarati Paintings of the Sixteenth and
later centuries, Ahmedabad 1976, 16, fig. 5 (a), 55, 56 and 57. 24. M. R. Majmudar, "The Gujarati School of Painting and some Newly Discovered Vaisnava
Miniature," Journal of the Indian Society of Oriental Art, X, 1942, 16, PI. I, fig. 1. 25. Shah, More Documents., fig. 57. 26. Ibid., fig. 56. 27. Ibid., 16. 28. Majmudar, "The Gujarati School of Paintings," JISOA, 16. 29. Chandra and Shah, NDJP, 30. 30. Krishna, "Some pre-Akbari Examples," Marg, XI-2, 21, figs. 6-8. 31. Karl Khandalavaia and Saryu Doshi, A Collector's Dream Indian Art in the Collection of Basant
Kumar and Sarla Devi Birla and the Birla Academy of Art and Culture, Bombay 1987, 66,
fig. 4. 77. 32. Saryu Doshi, Masterpieces of Jaina Painting, Bombay 1985, 66. 33. Ibid., fig. 11 on p. 73 depicts Mt. Meru, The last line of the explanatory notes at the bottom
ends with "Mātargrāma". It apparently refers to the place name i. e. Matar village where this Samgrahani was copied and illustrated. Place name has been found included in the explanatory notes in many other Samgrahanīs too. It appears to be an ethical code of conduct practised by scribes at such occasions whenever they had fallen short of the text; the place name was included to complete the line. The Matar Sangrahaņi dated A. D. 1583 also shows a similar practice being followed. Whatever may have been the true reasons behind this idiosyncrasy of the scribe, it turns out to be of immense value; for it definitely provides information on the provenance of the manuscript especially when the colophon of
the manuscript, is either lost or is silent about this. 34. Ibid., 66, fig. I on the same page. 35. N. C. Mehta, "A New Document of Gujarati Painting," JISOA, XIII, 1945 36-48.