Jain Miniature Paintings from Western India c14: General Index

Jain Miniature Paintings from Western India c14

Language: English

General Index

c14.1

Abeyadana (Myin Pagan), frescoes from, dated circa 1100 A.D., 19.

c14.2

Abhayadeva, 29 ; portrait from Heeramaneck Collection, 36.

c14.3

*Abhiyogika devas*, a class of gods, 11.

c14.4

Achalabhrāta, a *gaṇadhara* of Mahāvīra, 145.

c14.5

Achchhuptā, description of the goddess, 139.

Aesthetic considerations, 4, 129 ff ; certain distinguishing features of Western Indian art, 129–130 ; visualisation of associations conducive to aesthetic satisfaction, 130 ; aesthetic significance of Western Indian paintings on palm-leaf, 131 ; aesthetic shortcomings of purely religious art, 131–132 ; better aesthetic realisation in purely secular subjects, 132 ; influence of Islam on aesthetic taste, 132–133 ; Coomaraswamy’s views criticised, 133–134 ; opinion of the author, 134 ; *Pādatāḍitakam* makes fun of the Gujarātī artists, 135.

c14.7

Agnibhūti, a *gaṇadhara* of Mahavīra, 145.

c14.8

Ahipur, Jain Bhaṇḍār at, 45.

c14.9

Ahmedābād, 33, 34, 39, 54, 123, 141, 154 ; a manufacturing centre, 73.

c14.10

Ajaṇṭā frescoes, 7, 8, 10, 11, 12, 14, 18, 25 ; survivals of Ajaṇṭan influence in Western Indian painting, 58–59, 63, 66, 81, 82, 83, 88, 94 ; traces of shading in, 97 ; idealised type of human figures in, 100, 101 ; a little protrusion of the farther eye appearing at Caves I and II, 102, 104 ; treatment of animals in, 105 ; treatment of nature in, 107, 108 ; problems of composition in, 110 ; colour harmony in, 111 ; decorative patterns in, 112, 121, 124, 128, 132, 134, 136.

c14.11

Akbar, 44.

c14.12

Akampita, a *gaṇadhara* of Mahāvīra, 145.

c14.13

Ali Efendi, mentions the centres of paper manufacture, 73.

c14.14

Al Qalqshandi, on Muslim costumes of India, 125.

c14.15

*Amalakī Krīḍā*, a kind of sport, 159.

c14.16

Amaravijaya, a *paṭ* from his collection, 52, 164.

c14.17

Ambikā, description of the goddess, 140, 141.

c14.18

Anandaprabha Upādhyāya, an episode from the *Siddha-haima*, 34.

c14.19

Ānandji Mangalji nī Peḍhī nā Jñāna Bhaṇḍār, 33, 35, 82, 88, 142.

c14.20

Animal figures, treatment in Western Indian art, 105 ; animals and the Hindu theory of life, *ib.* ; animal figures in the art of Ajaṇṭā, 105–106 ; ancient Sanskrit texts on animal painting, 106 ; conventional treatment of animals in Western Indian art, 105–107.

c14.21

Apabhraṃśa School; nomenclature for Western Indian School based on its decadent qualities, 22; nomenclature proposed by Rai Kṛṣṇa Dasa, 23-24; his criticism of other nomenclatures, ib.

c14.22

Apsarases, represented at Sittannavāsal, 10.

c14.23

Arabs, paper made by them, 70; their trade with India, 115

c14.24

Art, its origin attributed to Ṛṣabha Deva, 8.

c14.25

Ārya Dharma, 38.

c14.26

Ārya Samiti, 38.

c14.27

Ārya Vajra, representation of his gift, 162; twelve years famine in his time, 162-163.

c14.28

Āśāpallī, 60, 61.

c14.29

Aṣṭasahasrikā Prajñāpāramitā, illustrated manuscript of, from Bengal and Nepāl, 15.

c14.30

Ariṣṭanemi, 40; representation of his prowess, 161-162; his water sport, 162.

c14.31

Asiatic Society of Bengal, a manuscript of Prajñāpāramitā from, 15.

c14.32

Aṣṭāpada, 53.

c14.33

Ātmānand Jain Jñāna Mandir, Bhaṇḍār, 40, 41, 157, 163.

c14.34

Avaśyaka Cūrṇi, 9, 10.

c14.35

Avaśyaka Ṭīkā, 9.

c14.36

**B**

c14.37

Badakshān, source of lapis lazuli, 81.

c14.38

Badāmi, fragmentary wall paintings of the 7th century from, Brahmanical in subject matter, 7, 10, 11.

c14.39

Bāgada, 58.

c14.40

Bāgh, wall-paintings of, 7, 8, 100, 112.

c14.41

Bāhubalī, 38, 53, 122, 126, 132; battle between him and Bharata depicted on a panel, 153.

c14.42

Baladevamuni, his story illustrated in Subāhukathā, 31, 141.

c14.43

Bālagopāla Stuti, 25; its various illustrated versions, 42; illustrations from, 163-164.

c14.44

Baroda, 29, 35, 36, 38, 40, 41, 122, 138, 163.

c14.45

Bengal, illustrated palm-leaf manuscripts from, 14-15; 20, 53, 59; technique followed in surface preparation of cloth painting from, 70, 81, 94, 108.

c14.46

Bhāgavata Daśamaskandha, various illustrated versions of, 41; their characteristic features mostly Western Indian, 42.

c14.47

Bhagavati Ārādhanā, reference to kermes in, 80.

c14.48

Bhairava, a god, 47.

c14.49

Bharata, his fight with Bāhubalī, 38, 53, 122, 126, 132, 153, 165.

c14.50

Bhārat Kalā Bhawan, illustrated manuscript of Mahāmayūrī from, 15; few pages of an illustrated Avadhi poems from, 24, 55.

c14.51

Bhāvadevasūri, mystic diagram of, 46; inscribed Sūrimantrapaṭa of, dated 14th century, 47; subject matter and colours, ib.

c14.52

B—cont.

c14.53

Bhavanapatis, Lords of the quarters, 52. Bhūdevī, a goddess accompanying Viṣṇu, 136. Bilvamaṅgala, the author of the Bālagopāla Stuti, 42. Bimbasāra, a great Indian sculptor mentioned by Tārānātha, 17. Binding media, dhau-gum as an astringent for zinc-white, 77 ; nīm-gum used as a binding medium for red lead, 78 ; historical reference and methods of preparing the size, 90–91 ; various kinds of gums, 91. Bitpālo, a great artist from Varendra mentioned by Tārānātha, 17. Blue pigments, favourite Indian colour, 81 ; indigo and ultra-marine, 81–82. Book-covers (wooden), 57 ff. ; found in Jñāna Bhaṇḍārs, 57 ; wooden panel depicting Jinadatta Sūri from Jaisalmer, 57 ; perhaps depicts the consecration ceremony of the temple at Vikrampur, 58 ; probable date between 1112 and 1154 ib. ; its æsthetic significance, 51–52 ; another wooden panel from Jaisalmer depicting the scene of disputation between Kumuda-candra and Devasūri, 59 ff ; date of the panel probably C. 1130 A.D., 59 ; Sarabhai's opinion about its date, 59 fn. 6 ; description of the panel, 60 ff ; its æsthetic significance, 61–62. A wooden panel depicting the duel between Bharata and Bāhubalī, 62 ff ; Ajantesque decoration on the reverse, 63. Wooden covers of Dharmopadeśamālā illustrating the life of Pārśvanātha, 64 ; wooden cover of Sūtrakṛtāṅga Vṛtti, depicting the life of Mahāvīra born as Viṣvabhūti, 64–65. Border patterns, 39 ; 148 ff. ; 157. Brahmaśānti Yaksha, 29, 30 ; description of, 140. Brāhmī, a sister of Bāhubalī, 63, 153. Bṛhadīśvara temple (Tanjore), wall paintings from, 14. B. hatkalpasūtra Bhāshya, 8. Bṛhat, Kathā-Kośa, 80. Broach, 4, 35, 39, 115, 117. Brushes, different classes of brushes for painting in mediæval India, 92 ; brushes according to the Mānasollāsa, ib. ; description of brushes in the Śilparatna, 92–93 ; brushes used in Mughal period and the materials from which they were made, 93 ; instructions to be followed when wielding a brush, ib. Buddha, his life subject of ancient painting, 8 ; represented in palm-leaf paintings from Bengal and Nepāl, 15 ; 137. Bundelkhaṇḍ, 18.

c14.54

c14.55

Calico-printing; Western Indian paintings and examples obtained from Fustāt, our only source of information about mediæval calico-printing, 114 ; Sindh famous for calico-printing, 115 ; references by the Chinese writers to printed calicoes exported from the coast extending from Calicut to Cambay, 116; Barbosa on Indian calico-printing, 117; Western Indian miniatures as a source of our knowledge of mediaeval calico-printing, 117; printed calico pieces from Gujarāt discovered from Fustāt, 118; patterns appearing on the costumes in Western Indian painting, 118 ff.

c14.56

Calicut, exported cotton cloth, 116.

c14.57

Cambay, 29, 30, 31, 115; principal producer of cotton goods, 116, 117; 141.

c14.58

Cannanore, exported spices and textiles, 116.

c14.59

Carbon, different formulas for its manufacture, 77.

c14.60

Carriers, 66 ff.; difference between the carriers and grounds, 68; palm-leaf as a carrier, 69; cloth as a carrier, 70; paper as a carrier, 70 ff.

c14.61

Chakreśvarī, 29; description of the goddess, 38, 140.

c14.62

Chandrapāla, the Vasanta Vilāsa was illustrated for him, 54.

c14.63

Chandra-śibikā, palanquin used by Mahāvīra, 65.

c14.64

Chao-Ju-Kua, refers to Indian textiles, 115; his description of Gujarātī costumes, 120-121.

c14.65

Charmaranga, the people from, brought Kermes, 80.

c14.66

Chaurī-bearers, 46, 50, 52, 53, 54.

c14.67

Chhānī (Baroda), illustrated manuscript from, 29, 35, 36, 43, 122, 138.

c14.68

China, paper manufactured in, 70, 71, 73; textile trade with India, 115, 117.

c14.69

Chintāmaṇi Yantra, 46, 164.

c14.70

Cinnabar, 28; the methods for obtaining colour from it, 78.

c14.71

Cloth-painting, references to, in ancient literature, 46; no examples available prior to the 14th century, *ib.*; painted mystic diagram of the 14th century, 46 ff. A cloth painting in Dr. Coomaraswamy's collection, assigned to the 16th century, 47; depicts Śatruñjaya, 48. The Pañchatīrthīpaṭa dated 1433, 48 ff; the Samavasaraṇa of Ṛṣhabha-deva, 51-52. Cloth painting depicting Pārśvanātha and its high aesthetic significance 52-53. Jambūdvīpa, 53-54.

c14.72

Cloth, used for painting and writing, 70; methods of preparing the scroll for painting, *ib.*

c14.73

Coiffure, represented in Western Indian painting, 12.

c14.74

Colours, obtained from mineral and other sources, 75; impurities removed by levigation, *ib.*; the process mentioned in the Śilparatna, 76; different colours:—whites; their early sources not ascertained, 76-77; carbon and its sources, 77; reds and their sources, 78 ff.; blue pigments, 81 ff.; yellow pigments, 82-83; green pigments, 83-84; mixed colours, 84 ff; body shade, 85; later lists of mixed colours, 85 ff.; certain instructions regarding their use, 88; gold, 88 ff.; colours as necessary adjuncts to line or composition, 110-111.

c14.75

Conch-shell, white obtained from burnt conch-shell, 76, 77.

c14.76

Coomaraswamy, A. K., 1, 22, 47, 94, 95, 101, 133, 134.

c14.77

C—cont.

c14.78

Costumes, 114 ff. ; historical references to costumes of Western India, 120, 121 ; foreigners describe the costumes of Gujarāt, ib. ; their descriptions fully supported by Western Indian paintings between 1100 and 1300 A.D., 121 ; typical dress of the Gujarātīs in the above period, 121–122 ; costumes between 1300 and 1560, 123 ; Barbosa on Gujarātī costume in C. 1500, 123–124 ; Barbosa’s description supported by Western Indian painting, 124 ; change in female costume, ib. ; costume of dancing girls, 124–125 ; costume of Turkish Sultans in India as described by the Arab writers, 125 ; the exact representation of the Muslim costume in *Kālakāchārya-kathā*, 125–126 ; caps worn by them, 126.

c14.79

Cotton textile, exported from Broach in 1st century, 115 ; in the middle ages Gujarāt one of the principal sources of export, ib. ; Barbosa on Indian textile trade, 116–117.

c14.80

c14.81

Dancers, their figures decorating the *Kalpasūtra* borders, 154 ff.

c14.82

*Daśavaikālika Laghu-Vṛtti* (Śānti Nāth Bhaṇḍār), dated 1143 A.D. with a few illustrations, 29.

c14.83

Dayāvimalaji, his *Kalpasūtra* in Devasānā Pāḍā Bhaṇḍār, Ahmedābād, 39, 113, 154.

c14.84

Delhi, a centre of paper manufacture, 73.

c14.85

Desala and Subhamkara, donors illustrated in the *Jñātāsūtra*, 29.

c14.86

Devabhadra, built a Jain temple at Vikrampur, Mālwa, 58.

c14.87

Devagiri, Jain Bhaṇḍār at, 45.

c14.88

Devānandā, 38, 64, 143, 152.

c14.89

Devārdhi Kṣamā-Śramaṇa, called a council of Jain monks in A.D. 453 or 513, 3 ; writing of Jain books by him, 163.

c14.90

Devasāna Pāḍā Jñāna Bhaṇḍār, Ahmedābād, 39, 154, 156.

c14.91

Devasūri, his disputation with Kumuda-chandra, depicted on a wooden panel from Jaisalmer, 58 ff. ; 121, 132.

c14.92

*Devī Māhātmya*, 25 ; different illustrated manuscripts of, 41.

c14.93

Dharaṇendara, 46, 47, 53, 161.

c14.94

*Dharmavidhiprakaraṇa*, 70.

c14.95

*Dharmopadeśamālā*, two painted wooden covers dated 1368 from, 35 ; depict the life of Pārśvanātha, 64.

c14.96

Dhīmāna, a great painter from Varendra as mentioned by Tārānātha, 17.

c14.97

*Ḍholā Mārwānīnī Kathā*, 54.

c14.98

Dhruva, K. H., 54.

c14.99

Dhruvasena, represented in a painting, 145.

c14.100

*Dhvanyālokalochana*, 72.

c14.101

Digambara monks, represented at Kailāsa (Ellura) 13 ; preaching to a lady (Tirumalai) 14 ; paintings with Digambara subjects also known, 22.

c14.102

D—cont. Draupadī, 49. Duarte Barbosa, on oriental trade, 116, 117; on Gujarāt costumes, 123–124, 126, 128. Durioselle, Abbe Chas, on Pagan paintings, 19. Dūtavākya, 46.

c14.103

c14.104

Eastern Indian School (Nepāl & Bengal) preserve Ajantan traits, 14; illustrated Buddhist manuscripts of 15; characteristics, 15–16; comparison with Western Indian School, 16. Ellura, frescoes from, 11–12; 14, 18, 24, 26, 51, 58, 59, 62, 81; use of terra-verte at, 83; 88, 94, 101, 102; decorative pattern from 112; æsthetic consideration, 129, 130, 131.

c14.105

c14.106

Fan Yu tsa ming, synonyms of paper give by it, 71. Foucher, A., his remarks on Bengal and Nepāl miniatures, 15. Fustāt (near Cairo), Indian printed calico pieces discovered from, 66, 114, 118.

c14.107

c14.108

Gandhār Bandar, a Kalpasūtra from, 39. Gandhārī, description of the goddess, 139. Gandharvas, heavenly musicians, 46. Ganeśa Lena (Ellura), wall paintings from, 11, 102. Gangoly, O.C., 1. Gauda, Venīdāsa, the illustrated Jaunpur manuscript of Kalpasūtra written by him, 24. Gaurī, description of the Goddess, 139. Gautama Svāmī, 47. Ghose, Ajit, 1, 15; his remarks on palm-leaf miniatures from Nepāl and Bengal, 15–16, 20, 76, 101. Ghosundā (Mewār), a centre of paper manufacture, 73. Girnār, the temple of Nemināth as represented in Pañchatīrthī Paṭ, 50. Gītagovinda, various illustrated versions, 43; Mr. N. C. Mehta's view and its criticism, 43–44. Gold, ancient references to gold as colouring material, 88; its excessive use in Jain manuscripts of the paper period, ib.; methods of preparing gold powder, 88–90; method employed by Mughal painters for preparing gold powder, 90. Govinda, painter of the Jodhpur Bhāgavata, 42. Green pigments, a mixed colour; terraverte and malachite, 83–84.

c14.109

G—cont. Gujarāt, references to its calico-printing, 2, 114; 18, 21, 22, 23, 24, 25, 33, 42, 43, 45, 48, 49, 50, 51, 58, 59, 66, 72, 75, 104, 112; from first century one of the main sources of textile export, 115, 116; Barbosa on flourishing textile trade of Gujarāt, 117; printed Gujarātī calico pieces from Fustāt, 118; Gujarātī costume as described by foreigners, 120–121; Gujarātī costumes as depicted in Western Indian paintings between 1100–1300, 121–122; Muslim influence on Gujarātī culture, 123; 124, 125, 126, 127, 129, 132. Gujarāt School, nomenclature for Western Indian School based on geographical boundary, 22; Mr. N. C. Mehta’s views, 23. Guṇachandrāchārya, represented on a wooden panel, 57. Guṇiyaka, a patron of Jainism, 48. Gupta Art, its characteristics, 7.

c14.110

c14.111

Hamsavijayajī, Kalpasūtras in his collection, 35, 38, 40, 42, 112, 113, 148, 150, 151, 152, 153, 154, 157, 159, 163; borders from them, 149 ff., 157–159. Hariṇaigamesha, a patron god of children, 38, 64, 147, 148. Harshacharita, 82, 119. Harshiṇī Śrāvikā, ordered the writing of a Kalpasūtra, 38, 148. Hasurāja, the founder of a new school of painting in Kashmir as mentioned, by Tārānātha, 17. Hemachandra, probably portrayed in the palm-leaf manuscript of the Daśavaikālika Laghuvṛtti, 29; portrayed in Mahāvīracharita, 30; portrayed in Siddha-Haima, 34, 59, 72; his portrait, 140; story of his composing the Siddha-Haima grammar, 145–146; miniatures from the Siddha-Haima depicting Hemachandra and other episodes, 146–147. Hemachandrāchārya Jñāna Bhaṇḍār, Pāṭan, 36. Hemachandra Sūri, Maladhārī, 64. Horsemen, represented at Kailāsanāth, 2, 18. Human figure; treatment of, in Western Indian painting, 99 ff; idealised conception of human body in ancient India, 99–100; origin of conventions, 100; preserve vestiges of idealised types, 101; characteristics of human figures represented in Western Indian art, 101; protuberances of eyes, an outstanding characteristic of Western Indian School, 101; various theories about this characteristics examined, 101–102; a historical retrospective of the appearances of this characteristic, 102–103; author’s view about the subject, 103–104; the treatment of nose and hands, 104; lack of variety in the treatment of human figures, ibid. Huseyn Shah, a Kalpasūtra dated in his reign, 38, 148.

c14.112

c14.113

Ibn Haukal, his description of the costume of Gujarāt, 120; 121, 122. Iḍar, *Kalpasūtra* from, 33, 35, 82, 88, 119, 124, 132, 142, 143, 144, 145. Implements, used by mediaeval painters and scribes, 74; brushes, styles, pencils, etc., 91 ff. India Office (London), *Kalpasūtra* manuscript from 37. Indigo, its antiquity, 81. Indra, possibly represented at Tirumalai, 14; 38, 65; his Sabhā, 142; his prayer to Mahāvīra, 142-143; his order to Hariṇaigameśa to transfer the foetus, 143, 147-148; his prayer, 148; holding umbrella over Āryadharma, 154; 159. Indrabhūti (Gautamasvāmī), a Gaṇadhara of Mahāvīra, 145. Indra-Sabhā (Ellura), Jain wall-paintings from, 11-12.

c14.114

c14.115

Jambūdvīpa, a cloth painting, 53-54; its æsthetic qualities, 54. Jain Granth Bhaṇḍār, Chhaṇī, 29. Jain or Śvetāmbara Jain; nomenclature of Western Indian School on sectarian basis, 22; views of Dr. Coomaraswamy and Professor Norman Brown, ib.; views of Sarabhai Nawab, 23. Jain Tāḍpatrīya Pustak Bhaṇḍār, 48. Jaipur, a source of *peorī*, 83. Jaisalmer Jñāna Bhaṇḍār, 1, 4; illustrated palm-leaf paintings, 45; discovered by Jinavijayaji, 31; wooden panel depicting Jinadatta, 57; another wooden panel depicting disputation between Kumuda-chandra and Devasūri, 59 ff; 72, 121, 164, 165. Jambūsvāmī, 145. Jasavijaya Muni, 47. Jaunpur, an illustrated manuscript from, 24, 38, 148. Jāvalpur, Jain Bhaṇḍār at, 45. Jaya Simha, 28; requesting Hemachandra to write his *Siddha-Haima Vyākaraṇa* 34. Jayasūrīsvaraji, his *Kalpasūtra* manuscript, 38, 148. Jinabhadra Sūri, established many Jain Bhaṇḍārs, 45. Jinachandra Sūri, 37. Jinadatta Sūri, represented on a wooden panel from Jaisalmer, 57; his life, 58; 121, 122. Jinarakshita, represented on a wooden panel, 57. Jinavijayaji, 31, 41, 57, 58, 59, 72. Jineśvara Sūri, illustrated in *Paryuṣaṇā Kalpa*, 31. Jñāna Bhaṇḍārs, their origin and development, 2; their great founders and patrons, 2-3; varied nature of literature kept in the Jñāna Bhaṇḍāras, 3; famous Jñāna Bhaṇḍārs, 3.

c14.116

J—cont.

c14.117

Jñātā Sūtra (Śānti Nāth Bhaṇḍār, Cambay) dated 1127 A.D. with a number of illustrations, 11, 29; placed by Professor Norman Brown under his classification ‘A’, 34; 102, 138.

c14.118

Jūthā, a great Jain banker, 39.

c14.119

c14.120

Kachchūlīrāsā, 70.

c14.121

Kādambarī, 119.

c14.122

Kāghazīpurā (near Daulatābād), a centre of paper manufacture, 73.

c14.123

Kailāsanāth (Ellura), wall-paintings from the temple of 11-12; certain mediæval characteristics, 12; Rāmāyaṇa scene, 12-13; a Jain procession, 13; prolongation of eyes a special characteristic, 101, 102; description of wall-paintings, 136.

c14.124

Kailāsanāth Temple (Conjeevaram), frescoes from, 14.

c14.125

Kākala, a teacher of Siddha-Haima, 146, 147.

c14.126

Kālakāchārya-kathā, with Kalpasūtra manuscripts, dated 1278 in Sanghavīnā Pāḍānā Bhaṇḍār, Pātan, 30; ib., dated 1279; Kalpasūtra from Ānandji Mangaljinā Peḍhīnā Jñāna Bhaṇḍār datable to 14th century, 33 ff.; Kalpasūtra and Kālakāchārya-kathā, Mukti Vijaya Jñāna Bhaṇḍār, 33; Kalpasūtra dated 1279 placed by Professor Norman Brown under classification ‘A. 1’, 34; Kalpasūtra dated 1278 placed under classification, ‘A. 2’, ib.; Ānandji Mangaljī Kalpasūtra placed under sub-variety ‘A. 2’, 35; 37, 41 42, 45, 124 125, 126, 141. See also Kalpasūtra.

c14.127

Kālī, 47; description of the goddess, 139.

c14.128

Kalpasūtra, 1, 23, 24, 30, 33, 34; the earliest manuscript dated 1068; the date probably copied from some early manuscript, 37; B. B. R. A. S., and Ānandji Kalyānjinī Peḍhī nā Jñāna Bhaṇḍār manuscripts dated 1415, ib.; manuscript dated 1427 India Office, ib.; general decoration of the above manuscript, ib.; manuscript from Hemachandrāchārya Jñāna Bhaṇḍār, Pāṭan, 37-38; another manuscript from the same Bhaṇḍār, 38; a manuscript from Muni Jayasūrīśvara collection dated 1432, ib.; manuscript from Narsimhajinī-polnā Jñāna Bhaṇḍār, Baroda, ib.; its beautiful workmanship; written at Jaunpur in 1465; its distinguishing characteristics, 38-39; Devasānā Pāḍā Kalpasūtra with its borders decorated with dancing figures, 39; another manuscript from Hamsavijaya collection, Ātmānand Jain Jñāna Mandir, Baroda, 40; Sohanavijaya Kalpasūtra dated 1466, ib.; Kāntivijaya Kalpasūtra, Ātmānand Jñāna Mandir, Baroda; written at Māṇḍavgarh, ib.; another manuscript from Kāntivijaya collection, 41; Jina Vijaya Kalpasūtra dated 1466, ib; Prince of Wales Museum manuscript dated 1470, ib.; 42, 45, 68, 82, 88, 94, 109, 112, 113, 119, 120, 124, 128, 132, 134, 141, 142, 145, 148, 150, 151, 156, 157, 159, 160, 161, 162, 163.

c14.129

K—cont.

c14.130

Kāma, 35, 44, 164. *Kāmasūtra*, 46. Kamatha, 40, 161. Kāntivijayajī, his *Kalpasūtra*, 40, 41, 160, 161, 162, 163. Kapardi Yaksha, 29 ; description of, 140. Karmana, represented with Ānandaprabha, 147. Kāshgar, sources of zinc white, 77. Kashmīr, centre of paper manufacture, 73, 74. *Kathāratnasāgara* (Pāṭan), dated 1256, contains two miniatures, 30. *Kāvyamīmānsā*, 24. *Kāvya Prakāśa*, 122. Khaṇḍagiri (Orissa), early traces of Jain painting found at, 10. Kermes, reference in ancient literature, 80 ; probably imported from Iran, *ib.* ; its import in India in the 17th century, 80–81 ; the process of obtaining colour from, 81. Kokachaupaī, 54. Kośā dance, 38, 40 ; an episode from the life of Ārya Samita, 153, 162. Kṛishṇa, 41, 42, 161, 162, 163, 164. Kṛishṇadāsa, Rai, 23, 24, 25. *Kshetrasamāsa*, 70. Kubyaukkyi (Myin Pagan), frescoes from, dated C. 1100 A.D., 19. Kumārapāla, a great patron of Jainism, 2 ; probably portrayed in the manuscript of the *Dasvaikālika Laghu-vṛitti*, 29 ; portrayed in *Mahāvīracharita*, 30 ; 58, 72, 75, 121 ; his portrait, 140. *Kumārapāla-prabandha*, 72. Kumuda-chandra, his disputation with Devasūri depicted on a wooden panel from Jaisalmer, 60, 121, 132. Kuntī, 49.

c14.131

c14.132

Lake (red) ; its source and methods of preparation, 79 ; its formula 80. Lakshmī, 30, 37, 136 ; representation of, 147, 160. Lalitasarovara, at Satruñjaya, 49. Landscape, the sympathetic understanding of nature found in Indian literature, 107 ; the treatment of landscape according to the *Vishṇudharmottara*, 107–108 ; place of symbolism in the treatment of landscape, 108 ; treatment of nature in Western Indian painting, 108–109 ; certain conventions in landscape, 109. Laurchandā, an illustrated manuscript from Pañjāb in Western Indian style, 24. Light and shade, 95, 96, 97 ; the idea of light invoked by association, 111.

c14.133

Madanpur, temple frescoes from Choṭā Kachaharī; closely resembling Western Indian painting, 13, 131; description of the frescoes, 136.

c14.134

Madder, used for dying cloth, 115.

c14.135

Madhyadeśa, its schools of painting, 16 ff.

c14.136

Mahavamśa, 46.

c14.137

Mahākālī, description of the goddess, 139.

c14.138

Mahālakshmī, description of the goddess, 140.

c14.139

Mahāmānasī, description of the goddess, 140.

c14.140

Mahāmāyūrī, illustrated manuscript from Bengal and Nepāl, 15.

c14.141

Mahājvālā, description of the goddess, 139.

c14.142

Mahāvīracharita, contains miniature portraits of Hemachandra and Kumārapāla, 30.

c14.143

Mahāvīrasvāmī, illustrated in Jñatāsūtra, 29; various episodes from his life illustrated in the 14th century manuscript of Kalpasūtra in Ānandji Kalyānjinī Peḍhī-nā Jñāna Bhaṇḍār, 34; episodes depicted from his life in a Kalpasūtra manuscript from Hemachandracharya Jñāna Mandir 38; episodes from his life in Jayasurīśvara Kalpasutra, ib.; episodes depicted in Hamsavijaya manuscript, ib.; Chaṇḍakauśika episode depicted in Devasānā Pāḍā manuscript, 39; scenes from Sohanavijaya Kalpasūtra, 40; 138; his descent from heaven, 141–142, 148; his birth, nirvāṇa and samavasaraṇa, 142; appearance of gods at his birth, 143; bathing ceremony and festivities at his birth, ib.; Mahāvīra’s father Siddhārtha; ib.; annual almsgiving, 143–144, 159–160; his initiation ceremony, 144; giving away of his half garment, ib., 61; his nirvāṇa, ib.; his gaṇadharas, 148; his mother with attendant, 148; Devānandā and her fourteen dreams, 152; Sanghas offering prayer at his nirvāṇa, 154; pacification of Chaṇḍakauśika, 156; initiation ceremony, 159; transfer of foetus, 159; Triśalā recounting her dreams to Siddhārtha, 159; Triśalā rejoicing at the movement of the foetus, 159; āmalakikrīḍā, 159; plucking the hair, 161; keeping away on the sixth day of Mahāvīra’s birth, 160; driving stake in his ears, 160–161.

c14.144

Mahendra Varman, great patron of arts, and the author of the Dakshina Chitra, 10.

c14.145

Majumdar, M. R., 1, 42, 43.

c14.146

Malachite green, 83–84.

c14.147

Malladinna, the prince of Mithilā and a patron of painting, 9.

c14.148

Mālwā, 2, 14, 18, 24, 25, 40.

c14.149

Manāqib-i-Hunarwārān, mentions centres of paper manufacture, 73.

c14.150

Mānasollāsa, a mediæval Sanskrit text on painting and other allied subjects, 2, 67; mentions conch-shell lime and nāga, 76–77; mentions preparation of the lamp-black, ib.; red pigments, 78–79; 81; mentions ultramarine azure, 82; refers to orpiment, ib.; list of mixed colours, 84; mentions the method of preparing gold powder, 88–89; formula of making the size, 90; the method of making a style, 91;

c14.151

the method of making a pencil, 92 ; different kinds of brushes, 92 ; various processes involved in painting, 95–96 ; gives elaborate body measurements of a horse, 106 ; male costume, 121 ; female costume, 122. Mānasī, description of the goddess, 139. Mānavī, description of the goddess of, 139. Maṇḍana Mantri, a patron of Jainism, 2. Maṇḍitaputra, a gaṇadhara of Mahāvīra, 145. Māṇḍogarh, 4, 24, 40, 41. Mantrapaṭas, 46. Marco Polo, refers to Indian textiles, 115. Marudevā, 53. Mārwār, Sringadhara founded a school of painting there, 17, 18 ; 24, 58, 74. Mauryaputra, a gaṇadhara of Mahāvīra, 145. Mayaṇallā Devī, mother of Siddharāja, 61. Mehta, N. C., 1, 22, 23, 25, 43, 48, 54, 55–56. Meru, 143, 145. Metārya, a gaṇadhara of Mahāvīra, 145. Mewār, 58. Miniatures on paper, 37 ff. ; Persian influence, 39, 45 ; change in technique and subject-matter, 44–45. Moon God, 37, 147. Mudrita Kumuda-chandra, 59. Mughal painting, influence on Western Indian art, 5, 33, 38, 39, 44, 53, 54 ; whites used in, 76 ; gold employed in, 89, 90 ; gums used in, 91 ; brushes used in, 93 ; 95, 98, 104, 114. Mukti Vijaya Jñāna Bhaṇḍār, Ahamedābād, 33, 34. Museum of Fine Arts, Boston, a manuscript of Prajiñāpāramitā from, 15 ; possesses leaves from the Śrāvaka-prati-kramaṇa chūrṇi, 30, 42. Myebantha (Pagan), frescoes from, dated C. 1100, 19.

c14.152

c14.153

Nagayon (Myin Pagan), frescoes from, dated C 1100 A.D., 19. Nanda, built a picture gallery with the permission of Śreṇika, 9. Nandmanna (Pagan), frescoes datable between 1112–1130 A.D., 19 ; description of a fresco from, 137. Nārī Kuñjara, motif in Western Indian School, 44. Narsimhajīni Polnā Jñāna Bhaṇḍār, Baroda, 38. Nawab, S. M., 1, 5, 23, 29, 30, 33, 35, 39, 47, 48, 49, 51, 52, 53, 54, 62, 64, 68, 87, 113, 141, 157, 164, 165.

c14.154

N—cont.

c14.155

Nāṭyaśāstra, dancing pose from, depicted in a *Kalpasūtra* manuscript, 39. Neminātha, his marriage procession illustrated in *Subāhukathā*, 31, 141; his birth scene, 145; his marriage procession, 160. Neminātha Charita (Śāntināth Bhaṇḍār, Cambay), dated 1241, contains miniatures, 30; placed by Prof. Norman Brown within his classification ‘A’, 34; 119. Nepāl, illustrated palm-leaf manuscript from, 14–15, 25. Nilgiris, gypsum obtained from, 77, 90. Niśītha Chūrṇi, palm-leaf manuscript dated 1100; has a few illustrations, 26; written in the reign of Jayasimha, 28; description of various decorations appearing in the manuscript, 137–138. Norman Brown, W., 22, 23, 24, 26, 27, 34, 35, 36, 42, 64, 67, 82, 88, 97, 101, 103, 109.

c14.156

c14.157

Ogha Niryukti (Jain Grantha Bhaṇḍār, Chhāṇi), dated 1161; has a number of illustrations of the Vidyādevīs and Yakshas, 29–30; 102. Orissa, had distinctive School of painting in which many influences are seen, 19; characteristic mode of representing the nose in Orissa painting, 104. Ornament, worn by the women of Gujarāt as described by Barbosa, 123. Ornaments worn by men and women in Western Indian paintings, 126–127. Orpiment, the method of obtaining colour from, 83.

c14.158

c14.159

Pādataḍitakam, 134, 135. Padmāvatī, the representation of, 46, 47, 53. Pagan, frescoes mainly Buddhist with the admixture of Brahmanical subjects, 19; second group of painting of the 12th century, 19–20; influence of Eastern and Western Indian art traditions on Pagan frescoes, 20; the chief characteristics of Pagan School, 21; 24, 26, 131. Painting, references to in Jain literature, 7 ff.; characteristics of early painting, 8; origin attributed to Ṛṣhabha Deva, 8; certain kind of paintings forbidden to monks, 8; technical process involved in paintings, 9; picture galleries, 9; realism, 9; constituents of painting, 10; various stages in painting, 95. Palm-leaf, miniatures on, different styles, 27; characteristic mode of decorating palm-leaf, *ib.*; divided into two groups, (1) 1100–1350, (ii) 1350–1450, 28 ff.; characteristics of the first group, 31–32; rudimentary landscape in *Subāhukathā*; 32 technical improvement in the second group probably due to Persian influence, 33; Professor Norman Brown’s views on the stylistic variations in palm-leaf miniatures, 34 ff.; criticism of Professor Norman Brown’s views about stylistic variations in palm-leaf paintings, 36.

c14.160

P—cont.

c14.161

Palm-leaf, used for writing and painting, 69 ff.; ousted by paper, 69; the best palm-leaf known as *Śrītaḍ* came from Madras and elsewhere, *ib.*; adverse effect of inks on palm-leaf, 69–70.

c14.162

Patterns, 111 ff.; early literary references, 112; their use restricted in early palm-leaf paintings, 112; beautiful border decorations of the *Kalpasūtra* on paper, *ib.*; varieties of the patterns used, 112–113; textile patterns appearing in Western Indian painting; 118-ff.; geese pattern, 119.

c14.163

*Pañcharakshā*, illustrated manuscript from Bengal and Nepāl, 15.

c14.164

*Pañchatīrthi-paṭa*, cloth painting dated 1433, 48 ff.; the scroll depicts five Jain *tīrthas*, 48–51; painted by the order of Vāghāka and Guṇiyaka, 48; aesthetic achievements, 51.

c14.165

Pāṇḍavas, 48, 49, 53.

c14.166

Paper, earliest paper manuscript of *Dhvanyāloka* dated C. 1160, 37; popularity of paper for writing Jain manuscripts, 45; early history of paper making, 70–72; references to early use of paper in Jain literature, 72; centres of paper manufacture during the Muslim period, 72–73; various centres of paper manufacture in 19th century, 73; materials used for paper manufacture, 73–74.

c14.167

*Pārśvanātha Charita*, 47.

c14.168

Pārśvanātha, illustrated in *Kathā Ratnasāgara*, 30; procession of Siddha-Haima to Pārśvanātha temple, 34, 147; his life depicted on two painted wooden covers from the *Dharmopadesamala*, 35, 64; portrait on a palm-leaf in Heeramaneck collection, 36; represented in the *Pañchatīrthipaṭa*, 48; his *samavasaraṇa* scene shown during Jain festivals, 49; a *paṭ* representing Pārśvanātha, 52; its high aesthetic value, 53; his birth scene, 144; his renunciation, 144–45; his *nirvāṇa*, 160.