________________
688
590
Journal of the Indian Society of Oriental Art, Vol. I, 1933.
P. 52. (The Ktistambha of Rana Kumbha by D. R. BHANDARKAR) mention of Jaina Tower on the eastern crest of Citorgarh.
P. 64. (An illustrated Sälibhadra ms.-by P. Nahar).
Mention of the composition of a 'Chaupai' by Matishra a disciple of Jina-simha Süri in accordance with the wishes of Sri Jinaraja Süri. Jinarāja Suri II-pontifical head of the Kharataragaccha (1618-1642) A. D. and was the 63rd in descent counting from Lord Mahavira Mention of Salivahana as an artist (citrakara) of a Jain pictorial roll-his greetings to Acarya Vijayasena Suri mentioned.
temple.
P. 73. (Cola Painting-S.K. Govindaswami) Buddhism and Jainism taking strong foothold in South India at the time of the Sangam literature of the Tamils (Ist-5th century A.D.).
Plate XXI (1) Tirthankara Dharmanatha outside shrine of Parsvanatha
JAINA BIBLIOGRAPHY
(2) Converse between two Acaryas, Santinätha temple.
P. 142. (Nepalese Paintings-St. Kramrisch). Mention of the presence of Samavasarana in many Jaina temples-fully described.
Journal of the Indian Society of the Oriental Art. Vol. II, 1934.
Nothing.
591
Jain Education International
M. R. MAJUMDAR. Gujarat School of Paintings-(A. I. O. C., Session VII; 1933). P. 830. Jain Manuscripts paintings etc.-discussed.
592
COOMARASWAMY, A. K. The Transformation of Nature in Art Massachusatta, 1934.
P. 102. From a monastic point of view; usually but not exclusively Buddhist or Jaina, the art are rejected altogether as merely a source of pleasant sensations.
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