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Life in Ancient India as Depicted in the Jain Canons, with Commentaries: An Administrative, Economic, Social and Geographical Survey c13.s6: (6) Painting

Life in Ancient India as Depicted in the Jain Canons, with Commentaries: An Administrative, Economic, Social and Geographical Survey c13.s6

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English

(6) Painting

c13.s6.1

The art of painting was considerably developed in ancient India 97 The painters are mentioned along with brushes (tūliyāo) and colours (vannaya), first they divided the wall surface (bhūmibhāga) and then prepared the surface (bhumim sajjei). There were painters who were adepts in their profession. One painter is mentioned who, could portray the complete figure of bipeds (duvaya), quadrupeds (cauppaya) and things without foot (apaya) even if he saw a part of their body.⁹⁸

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⁹⁸ Nāyā 8, p 106 f, also cf Uttarā 35 4.

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Trees, mountains, rivers, seas, houses, creepers, full vessel and sovatthiya etc 99 were painted.

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Pictures were drawn on walls as well as on panels or boards (phalaka) A courtesan, who got painted the characteristics of different castes, different phases of the art of love depicting the reconciliation of lovers, has been already referred to 100 Paintings on panels were a very helpful medium in encouraging love affairs We are told that a panuṇāya painted the portrait of the princess Sujetthā on a board and showed it to king Seniya,¹⁰¹ who fell in love with her Similarly, prince Sāgaracanda became enamoured of Kamalāmelā when her portrait was shown to him 102

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¹⁰¹ Ava cū 11, p 165

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Picture-galleries (cittasabhā) are mentioned which were a matter of great pride for the kings in ancient India These galleries were constructed on many hundred pillars. One such picture-gallery was built by a banker of Rāyagaha in the adjoining forest of the city which was decorated with wooden (katthakamma), earthen (potthakamma)¹⁰³ and plaster decoration (leppa), wreaths (ganthima), images (vedhima), and dolls (punna)

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⁹⁵ Uttarā Ti 13, 196, 18,240

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⁹⁷ Citta or painting is mentioned in the Kuṭṭanīmata (vs 124, 236) among various arts to be studied by a courtesan The following six great requisites of painting are mentioned knowledge of appearances, correct perception, measure and structure of forms, action of feelings on forms infusion of grace or artistic representation, similitude and artistic manner of using brush and colours (P B I, p 316), see also A K Coomaraswamy's Mediaeval Sinhalese Art pp 164 ff

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⁹⁹ Brh Bhā 1 2429

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¹⁰⁰ Supra, p 275

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¹⁰² Brh Bhā Pi, 172

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¹⁰³ See also Kuṭṭanīmata (vs. 124).

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which were stuffed and made of cloth (sanghāim).¹⁰⁴ We are told that in the picture-gallery of prince Malladinna the pictures were imbued with coquettish sentiments and feelings (hā abhāva), the play of the eyes (vilāsa) and amorous gestures (hibboya).¹⁰⁵ Jiyasattu is mentioned as another king who owned a picture-gallery. We are told that, when the construction of this gallery was in progress, a painter's daughter formed the design of a peacock feather in the mosaic floor (kottimatalā). The king under the false impression of its being natural was tempted to pick it, but in his attempt the nails of his fingers struck against the floor and he hurt his hand.¹⁰⁶

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¹⁰⁴ Nāyā 13, p 142.

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¹⁰⁵ Ibid 8, p 106 ff.

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¹⁰⁶ Uttarā Tī 9, p 111 a.

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Dummuha is mentioned as still another king to have a picture-gallery. When this pinnacled gallery was ready he entered it with great ceremony.¹⁰⁷

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¹⁰⁷ Ibid, p 135. Dhanapāla has mentioned three types of hasatā; see Art notes from Dhanapāla's Tilakamanjari by C. Sivaramamurti, Indian culture, Vol II, pp 199-210, also The Indian Painter and his art in the Cultural Heritage of India, Vol III p 555 ff by the same author.

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