Jain Miniature Paintings from Western India c6.92

c6.92

As observed by Mr. Ghose,⁵⁰ "The technique is calligraphic. The draughtsmanship is unusually strong and having regard to the material—fragile and soft palm-leaf on which the drawing is made, the beauty of line and colour cannot but evoke our admiration. The forms are first drawn in outline and then filled in with washes of colours. The outline is then drawn out in red for those figures which are coloured red, yellow or white, but in black for those the colour of which is green. In the drawing of the figures there is no regard of scale. A very noticeable and general characteristic which has been pointed out by Vrendenburg (*Rupam*, 1–2, 1920, p. 10) may be stated here. This is downward pointing angle in the middle of the upper eye-lid of the several of the faces by means of which the down-cast look is emphasised. It is the form distinguished as Padmapalāśa. Decorative settings taken from architecture such as trefoil arch are made use of. The lotus rinceaux in such settings is worthy of mention. Geometric and animal motifs, such as the stag is used as side decoration at the end of the chapters. The costumes and settings of the scene give us an accurate and attractive picture of contemporary life and manners. The execution is as admirable as the draughtsmanship.