Jain Miniature Paintings from Western India c6.133

c6.133

The traces of this Western Indian linear conception are found in the twelfth century wall-paintings from the temples of Paya-thon-zu⁶⁷ (Fig. 11) and Nandamanna⁶⁸ (Fig. 12). In these paintings one may see the Eastern Indian traces of line which could at once model and went into sweeping curves. In the Paya-thon-zu and Nandamanna the modelling capacity of line is lost, though the wide sweep and curves of the Eastern school are yet there. But in spite of all these vestiges of ancient art, the sharp angularity becomes a characteristic feature of this art. The pointed nose, short chin, the farther eye protruding into space, are the common features of this phase of Pagan art and early Western Indian painting, but, as pointed out by Prof. Ray⁶⁹, the linear conception in both schools differs. The line in Western Indian school is pointed with occasional half-hearted efforts at curvature. It lacks the emotional sweep of Pagan painting. Thus the linear conception of Western Indian painting, hard and sensitive, though modifying the character of Pagan painting, was, however, unable to supplant entirely the lyrical sensitiveness of the Eastern school.