Jain Journal 1970 04

Author(s): Jain Bhawan Publication
Publisher: Jain Bhawan Publication

Page 21

APRIL, 1970
old traditions; but carrying us further back in actual examples than either of these.
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If we seek for definite parallels, other than such obvious resemblances as that of the figure of a seated Jina to a seated Buddha, we are reminded first of the illustrations to the oldest Nepalese palm-leaf mss of Prajnaparamita, etc. These illustrations likewise take the form of square frames let into the text very much as in the manuscripts. There are also resemblances in matters of detail: thus, the curious sloping throne (a perspective representation ?) seems to be derived from architectural canopies of the earlier art. There are also striking reminiscences of the Nepalese manner of drawing hands and feet, and general feeling for outline. Also the colouring, where gold is not employed, or only to an insignificant extent, recalls old Buddhist art.
The pictures are filled with characteristically Indian and ancient motifs for example the constant representation of hamsa, peacocks, lions and elephants, the occasional purely decorative use of the lotus to fill empty spaces (cf. 18th century Sinhalese Buddhist paintings); the fondness for clouds (which have no likeness to Chinese or Persian formulas); the conventions for water; the Hindu costumes (such as dhotinote the hamsa and diaper designs of the printed cotton or woven sāris, etc.); the lion thrones (simhasana); and the bending of trees (drumanatir) towards the holy man (cf. Rāmāyaṇa, exile of Rama-"the trees incline their heads towards him.") The plain domed arch is of makara torana origin; the same is doubtless true of the cusped arches which give no proofs of contemporary Persian influences, as they occur also in Nepalese art of the 9th century, and the upper frieze of the Visvakarma Cave temple at Elura, still earlier. The distinctively Persian costume of the Sahis in Kalakacarya pictures cannot be said to prove more than an acquaintance with Persian customs.
The physical type is rather peculiar, the very sharp-hooked nose and large eyes being especially striking. The sword-edged nose is also characteristic of mediaeval Nepalese bronzes and Orissa sculptures and was admired in the most Hindu circles (in Vidyapati, a beautiful woman's nose is compared to Guruda's beak); it was nevertheless a feature no less admirable in the eyes of the Persians. The large eyes are of course characteristics of all Indian art; but they are here drawn in a peculiar manner, not as in Nepalese or Rajput paintings. The further eye is made to project from the outline of the cheek in a most extraordinary way. The prolongation of the outer corner of the eye, almost to meet a ear, is also remarkable; it corresponds to characteristic passages in