Jain Miniature Paintings from Western India c12.11

c12.11

As we have pointed out that the art of the period is religious in the sense that it seeks to glorify religion with its Jinas and the gods and goddesses, all reduced to pictorial formulas, which are repeated ad nauseum with little variation. This religious art imposed limitations on the artist and greatly curbed his originality. In the scenes dealing with purely secular subjects, however, there are no such limitations, and, consequently, his work gains in vivacity and freedom of expression. A twelfth century painted wooden book-cover depicts a free religious discussion between the Śvetāmbara monk Devasūri and his Digambara adversary, Kumuda-candra (Figs. 193—198). The animated gesture of Kumuda-candra, the controlled expression of Jinadatta, and the challenging attitude of the messenger sent by the former to the latter, are very naively stressed. Then follows the march of both teachers to Pāṭaṇ where the discussion was to be held. The joy pervading the party of Devasūri is clearly stressed, and the vigorous movement of the dancers and musicians and the proud gait of the Āchārya and his followers stress the anticipated victory. On the other hand, the slow movement of the followers of Kumuda-candra, and the appearance of a serpent as an ill-omen, show what was in stock for him. The painter actually seems to have taken a malicious delight in the discomfiture of Kumuda-candra whom he represents as being unceremoniously brushed aside by the gate-keeper of the imperial palace at Pāṭaṇ, when Kumuda-candra tries to approach the king's mother for succour. In conformation with the principles of primitive art, the artist is direct in his expression, and no landscape or architectural setting is introduced which is not essentially a part of the story. The artist is bent upon telling a story directly, and he does not want the technical or artistic requirements to divert attention to non-essentials, thus breaking the continuity of the story.