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Style The influence of Rajput, Mogul and Maratha styles can clearly be seen in these paintings. The Shatrunjay pat painting in the temple of Shri Chandraprabhu in particular and many other pat paintings in general are some of the best examples of miniature paintings in western India. According to the writing on the Nandishwar dwip mural in the temple of Adishwar Bhagwan, the painting was painted by Anandrao of Baroda nearly 125 years ago. And I have a reason to believe that in all probability many other pat paintings in the temples of this region were also painted either by Anandrao himself or by his co-artists working with or under him. The clothes and the ornaments men and women wear in these paintings lead us to believe that the artists were Maharashtrians and so was the style of their paintings.
The influence of the folk paintings of Gujarat and that of Rajasthan can also clearly be marked in the paintings on the ceilings of the temples of Shri Chandraprabhu swami. The large figure of Chaud Rajlok in the temple of Suri Chandraprabhu swami with its forceful and dynamic lines and remarkable use of red and white is clearly done in the tantric tradition. The composition of the pat is especially praiseworthy,
The idols in Jain temples follow a set tradition of stylization. Some of them seated in meditative postures have a serene magnificence about them. Their eyes are sparklingly bright. Quite a few of them are sculpted in crystal-rock. Small images made of an alloy of five-metals, Siddhachakra, Yantra, Samvasaran and many other miscellaneous objects too are invested with high artistry.
Thus many of the Jain temples are store houses of rare pieces of high artiste value. But we are losing them fast now. The renovating-spree has done incalculable damages to these rich treasures of ancient art. That which we still have must be guarded and preserved with constant and zealous care. Experts must be cousulted and their services be availed of on every possible occasion and all possible steps must be taken to safeguard them for posterities.
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