Mahavira and his Teaching

Author(s): C C Shah, Rishabhdas Ranka, Dalsukh Malvania
Publisher: Bhagwan Mahavir 2500th Nirvan Mahotsava Samiti

Page 476

FARTHER-EYE IN THE EAST INDIAN AND NEPALESE PAINTINGS 441
appear from the human figures, which in their details suggest an established tradition of the Apabhramša style in E. India. As it has already been confirmed by other illustrated manuscripts known from the Magadh region of later date but in the same style (see below).
The human figures in these sculptured Foot Prints, appear only thrice yet they conform to a definite tradition; we find that all of them appear in the one and one quarter profile (savā-caşma), in the case of the male chowrie bearer, the narrow and sloping forehead can be seen. In all the three cases we find, the "farther-eye" protruding out of the facial contour. The chests of the male figures are rounded and bulging as parallel to the Jaina illustrations from W. India. Attenuated waist may be another point of similarity between the two. In the case of the male chowrie bearer, we can see the broad and fluttering end of his dupațjā, as popularly found in the W. Indian examples. Yet it would be wrong to assume these as copies of W. Indian painting; while conforming to the general characteristics of the national Apabhramsa style, of which the W. Indian formed one of the major and provincial schools, the treatments in the present examples, retain their local character. We find that the male figures are dressed in diaphanous draperies, the rhythmic outlines of which, in the case of the conch-shell blower (text fig. B) is particularly note-worthy. This is echoed in the ends of the sāri of the female chowrie bearer (text fig. F). Similarly the elongated and cylindrical legs of the standing human figures in both the sculptures are typical derivations from the E. Indian sculpture, and may be accepted here as a local expression. Similarly, the human figures, as a whole, are tallish particularly in their lowest portion. Unfortunately due to extreme rarity of the examples, it is not possible to discuss the style in greater details yet these are clear proofs for prevalence of such a tradition. It is more so interesting and important as these instances are from Magadha, a region less known for its painting activities in the early period, except for the illustrated manuscript produced at M.M.-56