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surrounded by a fort with a number of canopy like structures on its rampart. At the foot of the mountain, we have a thick row of pilgrims. Some of the pilgrims are seen bathing in wells with steps of stones beyond the hills overgrown with thick forests in which are seen ascetics both male and female engaged in auster penance, and many birds and animals roaming or flying here there. Right below, there is an assorted sample of a village landscape that includes a well with steps of stone, a garden and cows sitting at rest. At the cenre of the pat, we see the image of a Tirthankar in a temple, and devotees engaged in several activities such as preparing the sandalwood paste, purchasing flowers for offering them to the deity, and climbing up the steps of the stair of the temple. The lower part of the pat shows a king with all his royal pomp going on a pilgrimage to the holy mountain. And the king is seen with all his royal retinue seated in chariots and palnquins or riding horses or elephants. The picture is still variegated with the portrayal of a person selling flowers near the shrine, a mendicant with cymbals in hands, a washerman or a shepherd, a soldier in a way-side tent, a sadhu, a rich man, a business man,
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women drawing water from a well, the royal tent of a king, and so on. The unknown artist has painted all of these figures with delicate artistry.
Excepting the image in the temple, the whole painting is infused with a rhythm of movement. Here we cannot but mark one crucial characteristic of the composition of the piece. The human figures are painted in full in the central parts of the pat. But the figures composing the royal retinue on the
48 : Jain Kashthapat Chitra
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