Jain Miniature Paintings from Western India c5.27

c5.27

In the understanding of a particular school of painting historical data is incidental, its chief appeal lying in its æsthetic appeal. Unfortunately, there are divergent views about the æsthetic appeal of Western Indian school. One view praises its primitive vigour, strong draughtsmanship and pristine colours, while others see in them signs of decadence. The true æsthetic appreciation of this school, however, lies somewhere midway between these two extreme views. There is little doubt that the early palm-leaf illustrations are imbued with a sense of direct expression which is a characteristic of the primitives. In the course of time, however, the early formulas are hardened into conventions which are repeated with such mechanical precision that the paintings loose much of their æsthetic significance. Some of the sixteenth century manuscripts are, however, distinguished by their beautiful border decorations. The patterns are drawn from the rich repertoire of temple decoration and the painters have not neglected the contemporary decorative motifs from Islamic architecture and book-painting. The treatment of dancing girls framed against floral background is very pleasing. The figure composition in the carefully executed manuscripts are well balanced, but the inordinate use of gold mars the harmony of colours. In the ordinary illustrated manuscripts, however, the conventions are followed with such rigidity that the manuscripts appear to be the printed copies of the original. These copies must have been turned out to meet the popular demand which wanted to gain religious merit without being out of pocket by large sums.