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to royal families are painted on the central cylinder. They are wearing crowns. Their large eyes, long mustaches and their clothes are painted in the Rajasthani style. They are shown in acts of worship. One of them is seen preparing a paste of sandalwood, another one has a plate (containing flowers etc.) in his hand; one is applying a mark on his forehead, still another is playing upon cymbals. One has to move around in circular manner to have a look at the entire Nandishwar dwip. Some of the figures, e.g. idols of gods and clothes, ornaments etc. are beautifully overlaid either fully or in parts with thin sheets of gold. The work of overlaying deserves our special praise. The artist who worked at this project was definitely a master artist and a very skillful craftsman with equal expertise in painting, sculpture and architecture. The colours are bright, clear and skillfully used. The figures are painted with ample of details and in very bold strokes. Special mention has to be made of the figures of the gods and godesses which are painted with ample of details. Floral patterns frame the paintings on the cylinders. The whole artefact is more than 275 years old. But it is extremely well preserved and taken good care of.
The main cylinder has at its top a canopy on four pillars and a small temple. There are beautifully carved arches and paintings on the dome. Door-guards and divine figures are painted on the enterance of the temples on the other parts of the Nandishwar dwip. The artists who painted the dwip are more matured and accomplished than and their rich and dignited style remarkably different from those who worked at the wooden pat paintings and the paintings on the ceilings inside the temple.
There are two wooden pat paintings in Shri Chandraprabhu temple. One is that of Shatrunjay pat and the other is Chaudbhuvanni Akruti which incorporates in its body the intricacies of Jain Tantra. The Palitana Shatrunjay pat, painted on a very large canvas of 7'.5" x 5.5", is by far the best of its kind we have in this part of India. The essence of its excellence lies in its composition and in the detailing of the human figures.
We cannot but discern a powerful impact of the Rajasthani miniature paintings here. Our eyes begin to glide smoothly from place to place. At the top the pat, angels with wings are portrayed as flying in the sky in the direction of the flags at the top of the temple, near which are portrayed five Pandavas and a well with steps of stone. Our eyes than move in the direction of the temple. The entire architectural design of the temple with the angles and the dimensions, the flight of stairs, the inside of its dome etc. are painted with perfect mathematical calculations, and keeping the principles of perspective drawing fully in mind. The other structures are also painted with the same mathematical precision. The images of the Tirthankars are painted in bright gold in small squares. The mount of Shatrunjay is
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Jain Kashthapat Chitra : 47
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