________________
S. ANDHARE
SAMBODHI
Similarly, the sequence of incidents depicted on the Vijñaptipatras given by Muni Jinavijayji from the Vijñaptitriveņi is helpful in many ways. Thus, to conclude, that this effort to deal with Vijñaptipatras in general and the Sālivāhana scroll in particular has added considerable information to the existing published material and helped us to certain extent in correcting certain understandings prevailing earlier. This research would surely go a long way in the history of painting and social history.
REFERENCES : 1. U. P. Shah, Treasures of Jain Bhandaras, L. D. Series 69, Ahmedabad 1978, Figs.
134-141; 143-148.
2. Muni Jinavijayaji - Sāhitya Samsodhaka, vol.
3. N. C. Mehta, Studies in Indian Painting, Bombay, 1926, p. 70-71.
4. Hiranand Shastri, Ancient Vijñaptipatras, Baroda, 1942, p. 20-21.
5. Pramod Chandra, Ustad sālivāhana and the Development of Popular Mughal Art,
Lalit Kala, No. 8, Bombay, 1980.
Shridhar Andhare, An Early Rajasthani Ragamala from the Kankroli collection, Bulletin of the Prince of Wales Museum, Bombay, No. 12, 1973. Also see Anarta, Painting activity in and around Ahmedabad, North Gujarat University, Patan, 1990.
7.
Ibid.
8. Tuzuki-Jahangiri, Eng. Vol. I.
