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Image Of A Dream
"For me mythology is like a gift wrapping.”
Her personal technique has developed through much experimenting. As Namita states: "We were trying to do a large piece of mural and I found metal very suitable for my work. Of course I had a lot of teething problems, to understand the metal, the etching and the colouring part of the work. Now I have come to a formula which works just fine."
Indian mythology has consistently been the theme of her work and the starting point of her creative process. She selects a style which is appropriate to her theme. The folk styles of "Pata" from Orissa, "Kalamkari" from South India and "Madhubani" from Central India were particularly influential to her. Once the mythological theme and the style have been selected, she makes her composition.
The composition is transposed onto a 3mm thick sheet of metal by drawing through carbon paper. The lines are then redrawn with greasy ink. When the design is complete the sheet of metal is given an acid bath. The acid eats away some of the metal leaving the lines protected by the greasy ink standing proud. The surface then requires some titivation using hand tools to make the design exactly as the artist wants. The whole surface is then thoroughly cleaned to make it both acid and oil free.
At this point the etched metal sheet is ready for painting. Namita uses oil paints, which she carefully selects to echo the traditional colours. The base colour of the script reflects the colour of the palm leaves used in the ancient palm-leaf folios. The colours of the illustrations reflect the ancient colours achieved by the use of vegetable dyes. Only the surface between the metal lines is then painted. Each tiny section has a clear metal outline, which enhances the flat linear effect traditional to Jain manuscript paintings.
The final stage is to spray the surface with lacquer to fix it and ensure that the metal surface will not tarnish. The appearance has some similarities to stained glass windows of the Christian
tradition, even though the picture has not framework to enclose the piece. The use been fired
of highly decorative frames, according to This technique is particularly suit- John Guy, dates back to the fifteenth able for Jain manuscript paintings since it century when Persian illuminations gives Namita the control necessary to
inspired Jain artists to adopt intricate achieve the intricacy demanded by the borders, script writing and the precision of the Namita is passionate about Indian symbolic illustrations. The example mythology. When the subject is raised, depicted here, entitled Trishala's Dream, she lights up: "For me mythology is like represents an extract from the Kalpasutra a gift wrapping. It is a very interesting Manuscripts telling of the life of gift-wrapping, which you open to find Mahavir.
what is inside. It is a beautifully packaged idea presented in a different way, presented in a unique way, whereby the message never gets forgotten." The message in Trisila's Dream is that of prediction. Namita explains that we all have within ourselves the ability to know
in advance the results of our actions The illustration is divided into three whether they are good or bad, selfish or spheres. At the bottom Trishala lies on selfless. This power of premonition was her bed. Above her are the fourteen not only granted to Trishala but is there articles she saw in a dream prior to the for all of us. birth of Mahavir. An interpretation of the Namita's paintings have an enchantarticles makes the prediction that hering duality. On the one hand, they unborn child will either be a Prince or a have the sense of permanence and Sage. Namita has given Trishala the continuation of an ancient tradition, sharp features typical of the Jain whilst on the other they have the manuscript style. Trishala's eye pro
lightness of the beautifully decorated trudes in an unrealistic manner, yet gift-wrapping within which there is an entirely in keeping with the tradition. essential message. S2 The figure is dressed in rich material and wears elaborate jewellery: the bed on
Alison Kent is a freelance writer and art which she lies is also highly ornate. The
scholar based in Colchester. She is an art dream appears to take place inside and at
consultant for Jain Spirit. Namita Naren night time judging by the blackness of
recently exhibited her work in Bombay at the sky.
the Taj Hotel As it is traditional, there is no attempt at the perspective. The forms are created by controlled lines and the colour is flat with no attempt at tonal gradation. Within the text there is a depiction of Lord Indra, who holds the baby Mahavir on his lap. His eyelids droop indicating that he is in deep meditation. Within the text there is a deliberate square break, this is a reference to the manner in which manuscript paintings were bound together. A cord would have passed through this point, which indicates the extent to which Namita is faithful to the tradition. The artist has created an intricate
Alison Kent
June - August 2001. Jain Spirit
37
Jain Education Interational 2010_03
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