Jain Miniature Paintings from Western India c6.372

c6.372

There is another manuscript of the Gītagovinda in the collection of Mr. N. C. Mehta.⁶⁰ The illustrations framed by the borders of red lines cover the entire page with the relevant Sanskrit text inscribed at the top. “In style and in the quality of the pictures, the manuscript is remarkable. The drawing is swift, precise and vital, and the artist moves from one incident to another with a sense of confidence and sure improvisation. The figures are more alive than in any of the known examples of Gujarāt painting. The colouring is brilliant, warm and striking, though the palette is limited chiefly to the use of reds, blues, whites and greens. There is no attempt at subtle combinations or producing an impression of impeccable or ingenious craftsmanship. The pictures have an atmosphere of intimacy and studied simplicity both of line and colour would appear to be understood equally well by the artist and his audience. Almost every picture would have made a magnificent mural. It was as if the art of fresco had been abridged into the folios of the manuscript.”⁶¹ Mr. N. C. Mehta, on various considerations, prefers to date the miniatures to the latter part of the 15th or the early years of the 16th century.⁶² I, for myself, are unable to subscribe to this view. The miniatures have none of the distinguishing features of Western Indian school such as farther eyes protruding into space, extreme angularity of drawing, etc. There could be little doubt that the miniatures belong to that transitional phase of Western Indian art, when the early Mughal art was deeply influencing the indigenous conventions. Even the male costume is typically of Akbar period, including the *chākdār jāmah*, trousers and the *atpati* turban. There is nothing to prove that such typical late 16th century costume existed before the Mughal period in Gujarāt. I would prefer to date the manuscript to circa 1575 A.D., or even a little later.