Jaina Art and Architecture Vol 03

Author(s): A Ghosh
Publisher: Bharatiya Gyanpith

Page 95

CHAPTER 31)
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MINIATURE PAINTINGS more than any other community. The Hindus, the Buddhists, the Digambara Jainas, the Muslims-none of them can singly or collectively match the prolific output of the Svetämbaras.
Aside from the divergence in the number of manuscripts commissioned, the Svetambara and Digambata traditions differ a lot in the texts they to illustrate. The lives of the Tirtharkaras is a popular theme with both sects, but in the Svetāmbaras it generally takes the form of the Kalpa-sútra and in the Digambaras that of the Mahd-puräna. Again, the Svetämbaras illustrate the Uttaradhayana-sutra, while the Digambaras select the Yasodhara-carita. Apparently their choice was determined by sectarian values. Also each sect repeatedly illustrated the same texta trait which is shared by other communities as well: for instance, the Hindus preferred the story of the Bala-Gopala-stuti and the Sultanate Muslim tradition illustrated the Sikandar Nama and the Hamzá Näma.
Despite these differences, when it came to choosing a style with which to illustrate their manuscripts both sects depended upon the style that existed in that particular region at that time. Thus, the Digambara manuscript of the Yasodhara-carita of 1494 is indistinguishable from other Svetambara manuscripts of the 'opulent style' from western India. If this Yasodhara-carita of 1494 departs from the other manuscripts of the Yasodhara-carita, it is because they belong to different areas. For it is clear from a study of these Digambara and Svetāmbara manuscripts that during the fifteenth century the west-Indian or Gujarati style had begun to diversify into regional trends. While it retained its essential and distinguishing characteristics, local influences asserted themselves in the depiction of architecture, furniture, chariots, decorative designs on textiles and other objects. And, it was this local style that served as the vehicle of expression for illustrated documents from the region, regardless of whether the text was Islamic, Hindu, Jaina or Buddhist. Therefore, the Hindu Bala-Gopala-stutis are painted in the same style as the Svetämbara Kalpa-sūtras in Gujarat, while in northern India the Digambara manuscripts are stylistically comparable with what has been termed the Sultanate Lodi group.
Together, these Svetambara and Digambara Jaina manuscripts provide valuable clues towards the understanding of the trends that existed in the painting of the pre-Mughal period. They help to project the various developments and ramifications of those trends into a sharper focus and thereby contribute significantly to the history of Indian painting.
KARL KHANDALAVALA
SARYU DOSHI
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