Jain Miniature Paintings from Western India c6.446

c6.446

The pictures in very few cases illustrate the verses, but may be regarded as the pictorial interpretation of the eternal theme of love and spring. This theme does not only confine itself to the tender moments of love, such as love quarrels and reconciliation and the enjoyment of nature by the lovers, but is often frankly sensual. One outstanding feature of the *Vasanta Vilāsa* is, however, the love of nature, hills, trees, flowers and birds. The technical shortcomings, however, stand in the way of coherent representation of the landscape which does not arouse æsthetic admiration. In keeping with the spirit of folk-art, however, the painter has discarded pure realism, and with the utmost economy of lines has tried to paint his trees, birds and animals, often pleasing in their doll-like effect. The art is of pure draughtsmanship in which colours play a secondary part. Though the illustrations deal with the inspiring themes of love, beauty and the spring, in most cases they sadly lack any lyrical quality which permeates later Rājpūt art. While it may be conceded that it is an art of symbols, its technical imperfections, which are many, cannot be excused. One would be sadly disappointed to seek elegance in the pictures, the drawings being rough and certainly not conducive to raise the imagination to lyrical heights. The features of the human figures are drawn after the tradition of the mediæval art and lack individuality; the farther eyes protrude into space. The expression of hand gives sometimes movement to figures. In the words of Mr. N. C. Mehta, "It is a bourgeois art with its emphasis on the ordinary joys of life, sometimes petty and gross even though they may be. Small gardens, flower swings, comfortable beds, gaudy hangings, and above all, the pleasures of the flesh—these are the pre-occupations of the art of the fifteenth century. There is nothing great or gorgeous, for it is the art inspired, or rather maintained by the wealthy bourgeoisie, which does not dream of the adventures of the palaces or soar to the heights of religious ecstasies or ascetic renunciation.¹ All said for and against the technical and æsthetic merits of the *Vasanta Vilāsa* illustrations, their true value lies not so much in the æsthetic field, but as a document which throws light on the parentage of Rājpūt art and also gives the visual representation of the contemporary manners and customs of the Indians in affluent circumstances.