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8
THE ORIENT
and content of this literature. In a separate article on the position of women (pp. 40-45) as described in Jaina narrative literature, Dr. Gopani describes the position and role assigned to women by the Jaina society of olden times.
The teachings of Mahavira also made an impact on the ancient Tamil land-Tamilakan. Shri John Esklel Chalil gives glimpses of Southern Jainism in his short and lively study. Jainism was widely prevalent in Karnataka and Tamil Nadu and also spread to Andhra and Kerala. The influences of Jainism on the South can be gauged from the fact that most Kannada writers till the 12th century were Jainas and the Tamil Sangham classics 'Silappadikaram', and 'Jivika Chintamami' were written by Jainas. Quite some scholars are of the view that the author of the 'Timkkural' now translated into several Indian and foreign languages was also a Jaina monk.
The Jainas were great builders in stone and marble and fine painters as well. The earliest known image of the Jaina is that of a nude Tirthankara discovered at the Mauryan site of Lohanipur, near Patna. Down South there are a number of sites in the Tamil region of rock-cut caves carrying descriptions both in Brahmi and Tamil and some fine mural paintings in the Jaina cave at Sittanavasal. Jaina paintings also decorate the ceilings of four caves at Ellora. Dr. Umakant P. Shah (pp. 95-105) highlights the distinct traits and features of Jaina art through its long period of artistic creativity and effusion. In his article, 'The Great Renunciation' Dr. H. D. Sankalia (pp. 93-94) aptly observes that the scene depicting the renunciation of Neminatha beautifully carved out in marble in the Tejahpala temple of Mt. Abu is most poignant of its type. The great masters of sculpture have put life into stone.
Shri Sadashiv Gorakshkar (pp. 101-107) avers that the term Jaina art or Buddhist art is "somewhat misleading in the context of Indian art in general". The fusion of art styles in India makes it probably difficult to isolate any particular style and call it distinctly Hindu or Buddhist or Jaina, Early Jaina art is characterized by simple figures and images but the use of marble in later times gave rise to a new tradition worked by decorative art and sculpture. Brahmanic influences in the later years made Jaina images "more complex in form”.
It is a noteworthy fact, even as a cursory glance of the art plates would indicate, that style of the images was influenced by the different regions to where Jainism spread.
The remaining articles throw light on other dimensions of Jainism. Kaka Saheb Kalelkar (p. 9) describes Jainism as a familyhood of all religions. Dr. M. D. David traces the origin of Jainism from the Adi Tirthankara Risabhadeva to the twenty-fourth Tirthankara, Mahavira. Mr. C. C. Shah emphasizes the role of Jainism in the modern world.
Dr. Vishwanath Pandey
