Jain Journal 1997 10

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

Page 19

JAIN JOURNAL. Vol-XXXII, No. 2 October 1997 Kamagajendra of Auranabhapur, a painter presented a patta having a portrait of a damsel (cita-putaliya). On its expressive and artistic qualities, all the persons presented in the court praised much and said that it was done by a painter, who was well-accomplished in the art. However, the Kumar, did not agree with them and said that the kings, painters, and poets, who misled by imagining and perceiving unreal thing as substantial, would positively go to hell. The painter strongly rescinded the charge and explained that a good painter was not free to adopt any scene imaginatively. He would always prefer to paint the thing which was subject to visualization. Thereafter the prince examined the picture of the paṭṭa and said that (i) the figure was quite graceful fascinating and charming. It was rivalling to the figure of Tilottamā. (ii) It has clear linear conception and luminous clarity in expression, (iii) several colours were successfully usual in it.12 (iv) Various units of measurements (Māna Jutān) not only for the total height but for various parts of body were strictly followed. Thus due proportion was maintained.
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The walls of the palaces and houses of the rich persons were spurred with the beautiful murals. There are references of cleaning the walls for doing the murals (Paphädesu-citabhitiyo). At the time of some auspicious ceremonies (marriage ceremony and others) the painting was done on them.
Thus the following details of the technical matters of the art of the painting are also noticed.
(i) Attempts were made to paint the figures more fascinating having expressive and artistic qualities. The only residuals of the contemporary-paintings are available in the Dasa-vaikālika-sūtra-cūmi and Ogha-Niryukti (1060 A.D.). The Pratihār sculptures specially of 8th to 10th centuries A.D. are obviously have similar senseousness and infinite grace. A careful study of them would reveal that both hieratic and profane figures were rendered with some angularity in poses. Depiction of careful platting and interwining of hair in braids, harmonious composition of body and arrangement of hands with obvious stances prove that the composition of the icons was made with luminous clarity.13
(ii) The painting was generally done on canvas. Sometimes a single story was painted on a citra-paṭṭa. But generally multifarious stories and portraits were done on it. The Samsaracakra paṭṭa was quite 12. ibid., p. 233 lines 20 to 24.
13. The Authors book 'Miniature Paintings from Rajasthan-chapter I.