Jain Miniature Paintings from Western India c7.2

c7.2

IN ancient India, wooden panels were used for painting, though, unfortunately, no such example has survived the ravages of time. In the middle ages, however, painted wooden covers were used for palm-leaf manuscripts, several of which have survived and are stowed away carefully in the Jain Jñāna Bhaṇḍārs of Gujarāt and Rājputānā. The oldest of such painted wooden book-cover was discovered by Śrī Muni Jinavijayajī in the famous Jñāna Bhaṇḍār at Jaisalmer. The cover measures 26 or 27 inches in length and 3 inches in breadth.¹ The painting is done in unwashable colours, though, unfortunately, some details are worn out from one corner of this wooden book-cover. In the centre of the cover is represented the inside of a Jain temple with a Jain image in the central square and an attendant on each side. In the compartment on the right are two worshippers standing with folded hands, two drummers furiously playing, and two female dancers contorting their bodies in various attitudes; at the top is a *kinnarī* flying in the sky. In the left compartment may be seen three worshippers standing with folded hands, and a *kinnara* flying in the sky at the top (Figs. 190—192). On the left and right of this central scene, separated by compartments containing rosettes framed on both sides by decorative floral bands, are represented the scenes of the Discussion Hall (*Vyākhyāna Sabhā*) of Śrī Jinadatta Sūri. On the left side may be seen Āchārya Jinadatta, clad in white, seated on a high-backed seat. His identity is revealed by a Sanskrit inscription in front of his face. Before him is seated a Jain monk whom a Sanskrit inscription at his head calls Paṇḍita Jinarakshita; two laymen are seated on the cushions laid on the floor hearing to the discourse of the Āchārya. Behind Jinadatta are seen a layman and two women, perhaps his wives, seated on the floor holding some round objects, may be fruits, in their hands. In front cf the Muni is kept a *sthāpanāchārya* inscribed with the word Mahāvīra. In the Discussion Hall seen on the right the Āchārya is seen in the same pose discussing with Śrī Guṇachandrāchārya. Behind him are seated a Jain monk and a layman. At the back of Āchārya Jinadatta are seated two laymen. The *sthāpanāchārya*, placed in between the munis, is inscribed with the name of Mahāvīra. The borders of the panel are decorated with the leaf design known as *mārwārī*.