Jaina Archaeological Heritage of Tamilnadu

Author(s): A Ekambarnathan
Publisher: Bharat Varshiya Digambar Jain Mahasabha

Page 84

JAINA PAINTINGS
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intersected by squares. All this is executed on a tel background, which has circles drawn in white; the square borders are in black with yellow colour inside.
The early paintings which occur in the Sangita mandapa are of a completely different genre, when compared with the later examples. They exemplify the dexterity of the painter. There is economy, fluidity and firmness in their mode of execution. These paintings are done on a plain background and the subject is restricted only to the main events and characters involved.
Not many colours were used by the artist, but the colours used are all rich and striking. Red was used as the background, white and yellow were used to colour the bodies of various figures and the outlines were executed in black. It is also worthy of note that the faces have arched eye brows, wide eyes and nose extending in line with the eyebrow; none of these paintings have projecting eyes, a feature common to Jain manuscripts and wall paintings of a later period in Tamil Nadu.
Various emotions which form part of the events depicted are also easily captured, like the eagerness of Priyakarani to unveil the message of her dreams, her discomfiture as she is in labour, the happiness of the celestials as they perform the janmabhisheka and the innate strength of the Lord as he subdues Sangama. These perhaps represent a transitional phase of painting from Cola to the Vijayanagar period.
Paintings of a later date belonging to the 17th century A.D are also found in the same mandapa. The life of Rsabhanatha is depicted in them. They are painted from the northern end of the first aisle to the major portion of the second, in a series of thirty seven
panels. Of these, sixteen portray his earlier births and