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Jain Miniature Paintings from Western India c10.s5: Decorative Ornaments

Jain Miniature Paintings from Western India c10.s5

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Decorative Ornaments

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The love of Indians for decorative ornaments in sculpture, architecture, painting and textiles is too well known to need emphasis. Even in the ancient Buddhist Vihāras, in which no human figures could be painted, the painting of such decorative patterns as wreaths, creepers, etc., was allowed to relieve the monotony of the bare walls.⁷⁸ In the bas-reliefs of Bharhut and Sāñchī, the sculptor delighted in pure decorative patterns, framing the reliefs or even sculptured separately. In Ajaṇṭā paintings, we see beautiful decorative panels framing the pictures.⁷⁹ The chief decorative patterns at Ajaṇṭā are lotus rhizomes interspersed with birds and animals and water spirits. At Bāgh as well, decorative bands made up of squares decorated with birds, animals, leaves, fruits, concentric circles and the Chinese frets, serve as ceiling decoration.⁸⁰ At Ellura, in Indra Sabhā cave, fretted decorative panels were occasionally used to separate different compartments.⁸¹ The geometrical patterns again at Indra Sabhā are the best yet seen in Indian painting.⁸²

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⁷⁸ Chullavagga, VI, 3, 2.

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⁷⁹ Herringham, Ajaṇṭā, Pl. XLII, Figs. 56–57.

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⁸⁰ Marshall, Bagh Caves, Pls. XVI–XVIII.

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⁸¹ ARAD., H.E.H. The Nizam's Dominions, 1933–34, Pl. II.

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⁸² Ib., Pl. IV, b.

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In the medieval Indian architecture, specially of Gujarāt, the wealth of decorative details is so overwhelming that it does not hesitate to sacrifice the æsthetic interest of the sculptures. In the medieval Western Indian painting of the palm-leaf period, however, the decorative patterns had to be necessarily restricted owing to the very limited surface of the palm-leaf. In the palm-leaf manuscript of the Nisīthachūrṇi, in the Sanghavinā Pāḍā Jñāna Bhaṇḍār, Pāṭan, written in 1100 A.D., 83 the decorative patterns are used in square panels and represent the pūrṇaghaṭa, rosettes in many combinations, an elephant rider in a roundel, etc., (Figs. 13–14). The lovely lotus rhizome on the wooden panel, depicting the battle between Bharata and Bāhubali (Figs. 201–203), clearly shows that the decorative traditions of Ajaṇṭā were not yet dead.

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In the paper manuscript period of Western Indian painting, the marginal decoration has reached its zenith in some of the best manuscripts of the Kalpasūtra. It is marvellous how the painters, who could never claim to be great artists as far as human figure and landscape were concerned, proved their merit as decorators.

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In the illustrated manuscript of the Kalpasūtra in the collection of Muni Hansavijayjī, written in 1465 A.D., at Jaunpur, there are seventy-six borders (Figs. 93–98). They are all distinguished by careful execution, perfect balance and beautiful colour schemes. The patterns are never repeated. It is remarkable that the painter has adopted many contemporary patterns from the coloured Islamic tiles. Floral meanders, diapers, guilloche, palmates, arabesque, flowers and leaves arranged in cloud pattern, lozenges in combination with sprigs, rosettes, knotted loops in combination with diaper, etc., are come of the motifs which show foreign influence. There are patterns, however, distinctively Indian in form and spirit. The hamsa-heads pecking at floral petals, rows of fish arranged decoratively, browsing does and antelopes, panels divided into compartments showing lions, horses, peacocks and geese, rows of elephants, etc., are good examples of purely Indian decoration.

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Fig. 188

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Fig. 189

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In another manuscript of the *Kalpasūtra* in Muni Hamsavijayā collection, datable to the beginning of the 15th century, there are many beautiful borders (Figs. 142—146), representing diapers, meanders, lozenges, pair of geese under an arcade, geese alternating with flowers, lotus flowers arranged vertically, loops, sprigs, etc.

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The illustrated *Kalpasūtra* in the collection of Muni Dayāvimalajī, is unparalleled on account of its border decorations. Here, in the borders, musical modes and different dance poses are used as decoration (Figs. 106—131). At one place (Fig. 136) battle scenes of Persian origin have been used as decoration.

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In another *Kalpasūtra* manuscript in the collection of Sarabhai Nawab (Figs. 137 and 138), the beautiful arabesques, cones and cartouches are also copied from contemporary tiles and decorative motifs from the mosques and palaces. There are also Persian scenes.

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The following patterns appear in the border decoration:—

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Small flowers (*būṭī*) and large flowers (*būṭā*) serve as important decorative patterns. In the designs the flowers take the form of a diaper. Three and four petalled flowers (*tipaṭiā* and *chaupaṭiā*) are constantly used.

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More elaborate designs, such as flower scrolls (*bel, baradmutān*) and rhizomes (*laṭar*) have been represented, the difference between the two being that in the former the design is oft repeated, while in the latter, curly sprigs spring from the curves of the meander, and the uniformity in the design is not maintained.

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Half-egg (*sahresā*), guilloche (*jōkī*), four petalled flowers connected with stems and leaves, lozenge and circle (*nag-javāhir*), palmate (*pañjak*), lozenges (*sakarpārā*), curled leaves (*mārwārī*), fish scale (*sehrā*) and garland pattern (*gajrekī-bel*) have been constantly used.

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Decorative patterns borrowed from architecture, such as rosette (*phullā*), floral scrolls in circles and ovaloids (*kishtī*), diapers with onion-shaped compartments filled with flowers (*bādrūn*), circles filled with arabesque (*chandā*), bent twigs with curved points (*daṇḍā, murrī*), interlaced flowers, leaves and creepers (*janglā*), etc., have also been used on an extensive scale.

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