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Shri Mahavir Jain Aradhana Kendra
www.kobatirth.org
Acharya Shri Kailassagarsuri Gyanmandir
81
the one hand and the miniature paintings and calligraphy rendered on narrow palm leaf on the other. This tradition was nurtured by the Jains and the Buddhist alike, for several centuries. The existence of huge Buddhist and Jain repositories in India stand testimony to the above.
Here after, there is a continuous development of miniature painting in the paper period (Ca. 1300 A.D). The Jain style, now identified as the Western India style, continued well up to the Pre-Akbari i.e. Sultanate period (ca. 1425-1625), producing cloth and paper paintings of various categories predominantly in the States of Rajasthan, namely, Mewar, Marwar and Bikaner.
These three states were the strongholds of the Jains where they not only travelled (on foot) as far as Jaisalmer, instituting Jain Bhandaras and monastic establishments but were also responsible for ensuring a constunt supply of Jain. material like, manuscripts, patas (cloth paintings), scrolls and other artifacts required for religious and social purposes. Also, the unending religious support of the shah community of Jains and the Royal patronage proved to be a valuable source of encouragement to such secular activities which fostered the growth of scribes community and painters, simultaneously.
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Rana Mokal (1397-1433) and his successor Rana Kumbha (1433-1468) were the most powerful and cultured rulers of Mewar. Under their tolerant policy towards all religious sects,
