Jain Journal 1997 10

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

Page 20

SOMĀNĪ REFERENCES PAINTINGS IN THE KUVALAYAMĀLĀ
important. It was painted in order to get a common man aware of the transitoriness together with direful tortures of human life (Manuyan)
and others.
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(iii) Attempts to depict natural scenary were made. It was perhaps a good tradition to paint the landscape and other scenes.
(iv) The artists and painters were individually respected. We have their identification in the Kuvalayamālā. They were known as CittakalaJutio, Cita-Kusalo, Cita-Kala-Kusalo, Cittagar-dārao and others. It is interesting that the artist was compared with Lord Brahmā. Similar comparision is also available in the Vasantgarh (Sirohi) inscription of VE 744 (687 A.D.) and Nagar inscription of VE 741 (684 A.D.).14
(vii) Some words for line (Reha), colour (Vanna), writing (VatiniVirayanam) expression of feeling (Bhava), posture (Thāyaṇa), measurement (Mana) and others were quite popular and were abundantly used in Indian literature. The word Dattanum was used in the Kuvalayamālā for critical examination of the qualities of the painting. Stress was laid on linear conception, appropriate use and application of colours and proper expression of the emotions and feelings. 15
During the Pratihar period, the Kuvalayamālā was the only example of depiction of paintings. We find similar good references in SamaraiccaKaha, Upamiti-Bhava-Prapanca-Katha, Dharmopodeśa-Mālā, SuraSundari-Cariu and other works composed in Rājasthān.
Thus the Kuvalayamālā remained a specific work containing the details not only of the miniature paintings, but also some other subjects of religious studies, art, architecture and others.
14. The Author's book Jain Inscription of Rajasthan 'Inscription No. I. 15. Dr. Prema Suman Jain, Kuvalayamālā-kā Sāmsaṛktika-Adhyayan p. 302305.