Studies in Jaina Art

Author(s): Umakant P Shah
Publisher: Parshwanath Vidyapith

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STUDIES IN JAINA ART
Moti Chandra in his " Jaina Miniature Paintings from Western India."
As already remarked, these Ajanță paintings of the Gupta and post-Gupta periods disclose a continuity of art traditions of Western India, of course with. a definite local colour in proportions of human forms reflecting the general features of the contemporary population around Ajanță or in Maharastra. This fact of Western Influence further obtains support from the account of HiuenTsang about the Ajanță caves. Speaking about a convent built by Arhat Achara, he says that, "This Arhat was a man of Western India". He built this Samgharama for the spiritual benefit of his mother who was reborn in this country. Hiuen-Tsang notes: "On the four sides of the Vihara, on the stone walls, are painted different scenes from the Tathagat's preparatory life as a Bodhisattva... .....On the outside of the gate of the Samghäräma, on he north and south side.....there is a stone elephant." As noted by Beal "This seems to refer to two elephants in alto-relievo sculptures on the rock in front of Cave XV, but which are now scarcely recognisable." In support of this tradition of Arhat Achara, Beal has added in a footnote to his translation (Vol. II, p. 257, note, 46): "In the inscription. on the Caitya cave No. XXVI at Ajanță, we read that The ascetic Sthavira Achala, who glorified the faith and was grateful, caused to be built a mountain. dwelling for the Teacher, though his desires were fulfilled. "a
Hiuen-Tsang's account of the vihara is exaggerated and he speaks of a stone figure of Buddha, 70 feet high, placed in the middle of this convent 100 feet in height. Beal suggests cave XIX as the possible cave referred to by Hiuen-Tsang. He also says that the report is only an exaggerated account of the rock-cut Chaityas and that Hiuen-Tsang does not appear to have visited them personally. "
The continuity of art traditions visible in the later paintings at Ajanță and Ellură, and their gradual development into what we call Western Indian Miniature Painting is already acknowledged by experts on the subject. Giving the chief characteristics of Western Indian Miniature Painting, Moti Chandra "These conventions are still in embryonic stages in the later cave paintings of Ajanța." For the present we can say that at least some of the 5th-7th century paintings at Ajanță seem to be products of the Old Western School.
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P. 135.
Beal, Buddhist Records of the Western World, Vol. II, pp. 257-259.
Also see, Cave Temples of India, p. 306.
Also see, Archaolegical Survey of Western India, Reports, Vol. IV,
Beal, op. cit., Vol. II, p. 258, ft. note 48.