Jainism: Illuminated manuscripts and Jain art

Jainism: Illuminated manuscripts and Jain art
The examine, recitation and veneration of sacred scriptures really are a major spiritual target in the Jains. Essential sermons, canonical texts and commentaries were transmitted orally lengthy just before becoming dedicated to writing. Exactly when Jain texts began to be illustrated is unsure; the oldest surviving examples day from round the 10th-11th century, but many state that they had been copied from previously texts that presumably were decaying.

The earliest Jain illuminated manuscripts are inscribed and painted on ready palm-leaves and bound with cords passing by way of holes inside the folios. The folios are encased in wood handles that happen to be typically embellished with spiritual or historical themes. Book addresses continued to be manufactured in later on hundreds of years.

Following the introduction of paper into western India from Iran throughout the 12th century, Jain texts were ever more penned on this new and a lot more adaptable medium. Using paper permitted bigger compositions and a better number of decorative gadgets and borders, whilst the format of the palm-leaf manuscript was retained. From the finish from the 14th century, deluxe manuscripts were made on paper, brilliantly adorned with gold, silver, crimson as well as a loaded ultramarine derived from imported lapis lazuli.


 The most important centres of Jain manuscript creation ended up Ahmedabad and Patan in Gujarat. Other centres provided Jaisalmer, Gwalior and Delhi. The patrons were largely Svetambara Jains, who thought to be the commissioning of illustrated books and their donation to Jain temple libraries (bhandars) to become a crucial merit-making activity.

 Click on on a picture beneath to discover much more about Jain manuscripts.

Jain manuscript address, 19th century. Museum no. IS.50-1983Jain manuscript address depicting the fourteen auspicious desires of Queen Trisala, Mahavira's mom, which heralded his birthWestern India19th centuryPainted woodMuseum no. IS.50-1983
From your earliest Jain illuminated manuscripts, the folios ended up encased in wood addresses which might be often adorned with spiritual or historic themes. These guide covers, this sort of as this 19th-century instance, ongoing to become produced in later centuries.The Beginning of Mahavira, from a Kalpasutra manuscriptPage from a Kalpasutra manuscript demonstrating the birth of MahaviraFrom the Kalpasutra ManuscriptWestern IndiaLate 15th- early sixteenth centuryOpaque watercolour on paperMuseum no. IM.8-1931
The Kalpasutra (The Book of Ritual) has become the two most widely used texts and incorporates biographies from the 4 most significant Jinas, together with Mahavira, along with the Tale of the Instructor Kalaka (Kalakacharyakatha), an influential moralising work generally appended to the Kalpasutra.Web page from a Kalpasutra manuscript, Late 15th - early 16th century. Museum no. IS.46:39-1959Page from a Kalpasutra manuscript showing women of your royal family celebrating the sixth night after the beginning of MahaviraWestern IndiaLate 15th - early 16th centuryOpaque watercolour on paperMuseum no. IS.46:39-1959
The Kalpasutra (The E book of Ritual) has become the two most widely used texts and contains biographies with the 4 most considerable Jinas, which includes Mahavira, plus the Tale on the Teacher Kalaka (Kalakacharyakatha), an influential moralising get the job done commonly appended to your Kalpasutra.Site from an Uttaradhyayanasutra manuscript illustrating the tale of Kesi and Gautama, 15th century. Museum no. IS.2-1972 f.24Page from an Uttaradhyayanasutra manuscript illustrating the tale of Kesi and GautamaGujarat, western India15th centuryOpaque watercolour on paperMuseum no. IS.2-1972 f.24Wantage Bequest
The Uttaradhyayanasutra is a vital text worried together with the policies of monastic conduct. This good 15th-century duplicate of your Uttaradhyayanasutra is a component of your VA's collection.Web page from an Uttaradhyayanasutra manuscript illustrating the causes of carelessness, 15th century. Museum no. IS.2-1972 (f.32/36r)Web page from an Uttaradhyayanasutra manuscript illustrating the causes of carelessnessCambay, Gujarat, western India15th centuryOpaque watercolour on paperMuseum no. IS.2-1972 (f.32/36r)
The Uttaradhyayanasutra is an important text worried using the procedures of monastic behaviour. This fine 15th-century copy of your Uttaradhyayanasutra is a component on the VA's collection.Website page from a Samgrahanisutra manuscript, 1630. Museum no. IS.2-1984Page from a Samgrahanisutra manuscriptWestern India, probably Rajasthan1630Opaque watercolour on paperMuseum No: IS.2-1984
The Samgrahanisutra is?a cosmological text composed in 1136 that includes Jain ideas about the structure in the universe as well as the mapping of space.?This?page shows the influence from the prevalent Mughal style on Jain artwork inside the early 17th century, when the Mughal empire was at? its height. The VA also has an 18th-century edition from the complete manuscript.
The Cosmic and Mortal Realms

While manuscript illustrations are certainly the best-known Jain paintings to audiences outside India, there is also an extensive Jain tradition of bigger paintings, from album-size to monumental paintings on cloth. The most spectacular of these are the cosmological paintings depicting the structure of the Jain universe.

The Jain cosmos is divided into three realms of virtually unfathomable proportions: the upper or celestial world, the middle or mortal world, as well as the lower or infernal world. The three realms are portrayed either collectively or independently in both abstract and personified representations, the latter as the cosmic man (lokapurusha) endowed with a fantastical anatomy hierarchically arranged to symbolise the three realms of creation.

Among the much more abstract representations are maps on the middle world - from where liberation from your cycle of rebirth is possible. They show two-and-a-half continents, arranged concentrically and separated by blue rings that represent oceans. The central continent is called Jambudvipa, the continent in the rose-apple tree. In the south of this continent is India. At the very centre of the map stands Mount Meru, the cosmic axis.

Other large-scale Jain paintings feature esoteric deities or symbols and invocations that aid the practitioner in meditation or in initiation rites, used during the mystical Tantric methods of seeking enlightenment. Another favourite genre comprises monumental paintings of Jain pilgrimage sites, especially Mount Satrunjaya, in Gujarat. Apart from murals and temple banners, these colossal and highly detailed works are some of the largest examples of pictorial artwork ever created in India. These pilgrimage paintings are displayed within Jain temple complexes during a special festival at the end in the rainy season. Devotees who are unable to make the pilgrimages can receive the religious merit of visiting the sites simply by viewing their representations.

Depictions of critical pilgrimage sites these kinds of as Mount Sammeda in Bihar, where 20 Jinas attained moksha or release in the cycle of rebirth, had been also carved in stone. Individual scenes of spiritual instruction, as well as homage on the Jinas and various deities, are also preferred subjects in Jain painting. Pictorial narrations with the lives of the Jinas are used to instruct the faithful by the portrayal of selfless acts.

Non-violence in Jain artwork

Genuine compassion requires imagination, and this is why for the Jains, artwork is central. The seated Tirthankara image (murti) is amongst the most common icons in Jainism. It is at once serene, peaceful and balanced.

Animals and nature play a central role in temple artwork. For Jains, all life is precious and worthy of the highest respect.. Jains believe that there cannot be human peace at the expense of harming nature or animals. A person in the most iconic Jain images is that with the Samavasarana, depicting the sermon given by a Tirthankara immediately after attaining enlightenment. While Mahavira was sharing his knowledge, all kinds of species joined the congregation, and all could clearly see Mahavira and understand the message in their own language. This event is often depicted in Jain painting and  sculpture.

Jain artwork at the VA

The VA has a small but vital collection of Jain artwork. This includes a number of sculptures of very high quality in stone and metal dating with the 7th for the 15th centuries, principally from western and southern India. These range from large-scale images to small metal shrines. Most depict a person or far more on the Jinas. There are also some 19th-century sculptures and surviving architectural fragments from temples at Palitana that were destroyed during the 14th�C15th centuries

The collection includes folios from illustrated manuscripts exemplifying the crucial Jain contribution into the history of Indian painting inside the 15th century, as well as some later works. The VA��s manuscripts have been collected primarily for their artistic interest rather than their textual importance. There are also a very small number of much larger paintings, notably a 15th-century victory banner, and some 19th-century photographs of Jain sites.

A selection of Jain paintings are displayed in Room 41 (The Nehru Gallery of Indian Artwork). As paintings are very sensitive to light, it is not possible to display them permanently along with the selection is changed periodically. The Museum��s large collections of ornamental arts �C especially textiles - also include examples from your regions with substantial Jain populations, this kind of as Gujarat.