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CULTURAL CONTRIBUTION OF THE JAINA ART OF M.P.
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life in general was also favourite with the contemporary artists. Natural scenes are also met with here and there.
The profuse plastic art of the period is primarily marked by a sense of iconographic profusion. It is, however, not invariably devoid of the aesthetic sense, which real artists could not miss. Some of the figures of gods and goddesses, apsaras, etc., do indicate a proper sense of anatomy and expression. But the number of such figures is rather limited and, on the whole, the early tradition of aesthetic excellence in plastic art was broken. It was, therefore, not possible to expect the originality, freshness and emotional exuberance of the earlier epoches in the art of the late Medieval period The Hindu rulers of Gwalior, Marwar, Orchha, Rewa and Gondwana and the Sultanas of Mandu patronized fine arts. The numerous monuments preserved in central India eloquently speak of the encouragement given to fine arts during this period.
In the Bundelkhand area black granite was used alongwith the sandstone for construction work. In other parts of central India sandstone of different varieties was utilized for building temples and carving out images.
In the Gwalior area artistic activities continued in the period. The Gwalior fort has preserved some colossal Tirthankara images hewn out of the rock. These are preserved in the Gwalior fort.
The Tomáras of Gwalior and their successors gave a fillip to architecture, sculpture, painting and mustc. The name of Manasimha Tommara is well-known in this respect.
At Narwar (ancient Nalapura), 40 km. north-east of Shivpuri, several Jaina temples and statues were made. The white stone used for temples and images there was polished and gave the appearance of marble. Kings
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