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Jaina Art and Aesthetics
Jaina Art and Aesthetics
Description
From the Jacket

The present book on Jaina Art and Aesthetics is the outcome of long study and research on Jaina art in its totality. The book delves deep into the contributions and landmarks of Jaina art in its multiplicity and in reference to its being the part of the whole of the gamut of Indian art and culture. The rare feature of Jaina art is its consistency in sustaining the manifestation of non-violence, renunciation, austerity and non acquisition all through from 3rd century BC down to the present day in the figural depiction of the vitaragi Jinas (or Tirthankaras) and Bahubali. The Jaina tradition and thereby the art did never compromise with the above basic tenets, the embodiment of which are to be seen in the figures of the 24 Jinas and Bahubali.

The study also reveals that Jaina Art has never been monotonous. The texts speak of the dhyana-murtis of Jinas being beautiful and in their prime youth (taruna, rupavan, manohara and surupa). In sculptural and architectural context, as well as in forms of Jaina art. The intimate relationship between man and nature is also distinct. The social and psychological reflections in different forms of Jaina art have also been brought out lucidly. The book discusses all these aspects for the first time and is a valuable contribution to Indian art in general and Jaina art in particular.

Dr. Maruti Nandan Pd. Tiwari (b. 1949) M.A., Ph.D., is Professor in the Department of History of Art, Banaras Hindu University and has headed the Department of three terms under the rotation system. His publications deal extensively with different aspect of Indian art and iconography. He has many books to his credit including: Jaina Pratimavijnan (Hindi), Elements of Jaina Pratimavijnan (Hindi), Elements of Jaina Iconography, Ambika in Jaina Art and Literature, Khajuraho Ka Jaina Puratattva (Hindi), Jaina Kala Tirtha: Deogarh (Hindi, joint), Madhya Kalina Bharatiya Pratimalakshana (Hindi, joint). His academic puruits and publications have brought several honours and awards to him. He was invited by the President of India to Rashtrapati Bhavan twice. He was awarded Acharya Narendra Deva Puraskar by Hindi Samsthan (U.P.) and Indira Gandhi National Raja Bhasha Award (Delhi). He has been invited for lectures, including Keynote Address at SOAS (London) and at University of Cardiff, UK; Nehru Centre, London and Berlin University (Germany).

Dr. Shanti Swaroop Sinha (b. 1967) M.A., Ph.D., is Asstt. Professor in the Department of History of Visual Arts, Banaras Hindu University. He undertook Post-Doctoral Research of ICHR as Research Fellow on Vaidik Puranic Deities in Jaina Tradition and Art and also worked as UGC Research Associate for Major Research Project on Gommateshvara Literature, under Prof. M.N.P. Tiwari. He has attended several seminars and presented papers, most of which are now published. His publications include a book in Hindi on the Anugraha images of Shiva. His another book in Hindi, Jaina Kala Tirtha: Deogarh is written in joint authorship with Prof. M.N.P. Tiwari.

Preface

History, Culture and Art are inseparable by identity of meaning and purpose because all these are related to the study of mankind in terms of its material, spiritual and artistic expressions and contributions and also its relation to the world of nature - flora and fauna. Because of the visual language, Art has the capacity of direct and forceful transmission. It emanates and develops as integrated and collective experience and wisdom of the society. Indian Art as a whole has been the best example of inherent assimilation, mutuality and commonality of Indian culture which is beyond the barriers of sect, religion and faith. But, somehow, Indian Art for last several decades has been studied mostly in reference to the narrow divisions based on sect, religion and faith.

The present work on Jaina Art and Aesthetics delves deep into the contributions and landmarks of Jaina Art in its full multiplicity and in reference to its being the part of the whole of the gamut of Indian Art and Culture. The rare feature of Jaina Art is its consistency in sustaining the manifestation of non-violence, renunciation, austerity and non-acquisition all through from 3rd century BC down to the present day in the figural depiction of the vitaragi Jinas (or Tirthankaras) and Bahubali. The Jaina tradition, and thereby the Art, did never compromise with the above basic tenets, the embodiment of which are to be seen in the figures of the 24 Jainas and Bahubali.

The study also reveals that Jaina Art has never been monotonous, as observed by many scholars. The texts not only speak of the dhyana-murtis of Jainas being beautiful (Rupavan, Manohara and Surupa) but in sculptural and architectural context, as well as in paintings, the aesthetic content and appeal are expressed brilliantly. The intimate relationship between Man (including Jainas and other divinities) and Nature is prominently emphasized in all forms of Jaina Art.

The Jainas developed close relationship with the divine world of Vaidik-Puranic tradition and, as a consequence, unhesitatingly assimilated Balarama, Vasudeva-Krishna, Rama, Ganesha, Lakshmi, Sarasvati, Navagrahas, Ashtadikpalas, and many more deities directly or indirectly into Jaina pantheon. The visual examples available at different Jaina sites, namely-Mathura, Kumbhariya, Delvada, Khajuraho, Khandagiri, Shravanbelgola distinctly reveal this assimilation done with grace and dignity. On the basis of the injunction of Jaina text, Harivamsha Purana (AD 783), we have explained the occurrence of erotic figures, though meagre in number, on the Jaina temples of both Svetarnbara and Digambara affiliations. Such actuality is suggestive of the broad mindedness of Jaina Acharyas and artists who took holistic approach in perception and artistic renderings.

We hope that the scholars, art lovers and students of Indian Art will alike find this book useful and interesting.

The present book is the outcome of our long study and research on Jaina Art, based on the Jaina antiquities both at different sites and in museums. Some new ideas and interpretations have been proposed in the present book on the basis of the comparative and analytical study of the texts and available art data. The authors are grateful to the University Grants Commission, New Delhi for providing adequate funds and opportunity to facilitate our visit to important Jaina sites in India. The Photo Archives of American Institute of Indian Studies, Gurgaon (earlier based at Varanasi) was like an ocean, the churning of which has yielded vital information for which we are indebted to the Institute. The scholarly advice and corrective comments of Padmabhushan Prof. M.A. Dhaky of the American Institute of Indian Studies were always the guiding force for which we offer obeisance to him. For constant inspirations and encouraging support, we offer our heartfelt gratitude to Dr. N.P. Joshi, Late Shri Krishna Deva, Prof. Anand Krishna and Prof. Kamal Giri.

The blessings of Reverend Upadhyaya Shri Gyan Sagar ji Maharaj and Swasti Shri Bhattarak Charu Kirti ji Maharaj (of Shravanbelgola) have always been strong force towards pursuance of research on Jaina Art, for which we offer Pranam to these Shalakapurushas.

Thanks are due also to all our family members who have always been supportive even at the cost of their inconvenience. The help and support of Dr. Durganandan Tiwari, Dr. Anand Srivastava, Dr. Atma Prakash Singh, Shri Shravan Kumar Chakraverty, Dr. Satya Prakash Tiwari and Shri Ratna Shankar Pandey have also facilitated the completion of this work and hence thanks and blessings to all of them.

The final completion of any work is its publication for which Shri Vikas Arya of M/ s Aryan Books International, New Delhi deserves our applause for accomplishing the work nicely and quickly.

Finally, we end with desire:

Na tvaham Kamaye Rajyam Na Svargam Na Punarbhavam /
Kamaye duhkhataptanam praninamartinashanam //

"I do not aspire for royal realm, heaven or even rebirth but I only aspire that I should be of some use in removing the pangs of sorrow of all the Living Beings"

Contents

Preface vii
List of Illustrations xi
1. Introduction to Indian Culture and Art1-17
Overview of Chronological Sequence-2, Definition and Periodization of Indian Art-3, Dimensions of Indian Art-3, History of Art-5, Survey of Indian Art – Content and Features-6
2. Landmarks of Jaina Art 18-28
Architecture and Sculpture-21, Important Jaina Sites, Their Dates and Affiliation-23, Fine Arts including Paintings and Performing Arts-26.
3. Jaina Architecture and Srchitecture and Sculpture29-51
Jaina Stupa-29, Rock-cut Jaina Caves-30, Temples and Sculptures-31, Osian-33, Deogarh-34, Ellora-37, Khajuraho-39, Kumbhariya-42, Dilwara or Delvada (Mt. Abu)-44, Ranakpur-47, Shravanbelgola-48, Tiruparuttikunram-49.
4. Iconography: Jina or Tirthankara 52-87
Devakula (Pantheon)-52, Jaina Images-53, Jinas or Tirthankaras-56, Dvitirthi and Tritirthi Jina Images- 82, Jina chaumkhi or Pratimasarvatobhadrika-83, Jina Chaturvimshatika or Chaturvimshati Jina-patta-85, Table of Jina Iconography-85.
5. Iconography: Yakshas-Yakshis or Shasanadevates 88-119
Individual Iconography of Yakshas and Yakshis-90, Iconography of Yaksha (Table)- 115, Iconography of Yakshi (Table)-117.
6. Iconography: Mahavidyas or Vidyadevis 120-128
7. Iconography: Other Jaina Divinities (Upadevatas) 129-147
Sarasvati-129, Lakshmi or Shri-devi-134, Ganesha-135, Ashtadikpalas-137, Navagrahas-139, Brahmashanti Yaksha-140, Kaparddi Yaksha-141, Kshetrapala-142, Shanti Devi-143, Harinegameshi or Naigameshi-144, Dikkumaris-144, Jivantasvami Images-145.
8. Iconography: Gommateshvara Bahubali and Bharata Muni 148-153
Bahubali-148, Bharata Muni-152.
9. Jaina Painting (Wall and Manuscript) 154-163
Wall Paintings-156, Sittannavasal-157, Jaina Manuscript Painting-158, Cloth and Paper – Pata-Chitra-161, Tirtha Patas – Pilgrimage Banners – 162.
10. Aesthetics in Reference to Jaina Society and Texts 164-177
Jaina Art and Society-165, Socio-philosophical Value in Jaina Art-167, Texts and Aesthetics – 169, Aesthetic Reflections in Jaina Texts-173.
11. Aesthetic Content: Jaina Sculptures and Temples 178-199
Aesthetic Appreciation-180.
12. Epilogue: Aesthetic and Socio-Religious Features- Mutuality and Commonality 200-207
Man, Society and Art-200, Man, Art, Nature and Mind-201, Art and Religion – 201, Man, Art and Aesthetics-202, Man, Beauty and Aesthetic Experience-203, Canonical Literature of Aesthetics-204, The Jaina View of Aesthetic Experience-205, Ethical Background of Jaina Art-206.
Glossary 209-216
A – Iconographic and Other Important Terms 209
B. Architectural and Art Terms 214
Some Relevant Jaina Texts – Affiliation and Their Dates 217-218
Bibliography 219-226
Index 227-238

Jaina Art and Aesthetics

Item Code:
IHL646
Cover:
Hardcover
Edition:
2011
ISBN:
9788173054051
Size:
11.2 inch X 8.8 inch
Pages:
384 (Illustrated Throughout in Color & B/W)
Other Details:
a56_books
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$125.00   Shipping Free - 4 to 6 days
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From the Jacket

The present book on Jaina Art and Aesthetics is the outcome of long study and research on Jaina art in its totality. The book delves deep into the contributions and landmarks of Jaina art in its multiplicity and in reference to its being the part of the whole of the gamut of Indian art and culture. The rare feature of Jaina art is its consistency in sustaining the manifestation of non-violence, renunciation, austerity and non acquisition all through from 3rd century BC down to the present day in the figural depiction of the vitaragi Jinas (or Tirthankaras) and Bahubali. The Jaina tradition and thereby the art did never compromise with the above basic tenets, the embodiment of which are to be seen in the figures of the 24 Jinas and Bahubali.

The study also reveals that Jaina Art has never been monotonous. The texts speak of the dhyana-murtis of Jinas being beautiful and in their prime youth (taruna, rupavan, manohara and surupa). In sculptural and architectural context, as well as in forms of Jaina art. The intimate relationship between man and nature is also distinct. The social and psychological reflections in different forms of Jaina art have also been brought out lucidly. The book discusses all these aspects for the first time and is a valuable contribution to Indian art in general and Jaina art in particular.

Dr. Maruti Nandan Pd. Tiwari (b. 1949) M.A., Ph.D., is Professor in the Department of History of Art, Banaras Hindu University and has headed the Department of three terms under the rotation system. His publications deal extensively with different aspect of Indian art and iconography. He has many books to his credit including: Jaina Pratimavijnan (Hindi), Elements of Jaina Pratimavijnan (Hindi), Elements of Jaina Iconography, Ambika in Jaina Art and Literature, Khajuraho Ka Jaina Puratattva (Hindi), Jaina Kala Tirtha: Deogarh (Hindi, joint), Madhya Kalina Bharatiya Pratimalakshana (Hindi, joint). His academic puruits and publications have brought several honours and awards to him. He was invited by the President of India to Rashtrapati Bhavan twice. He was awarded Acharya Narendra Deva Puraskar by Hindi Samsthan (U.P.) and Indira Gandhi National Raja Bhasha Award (Delhi). He has been invited for lectures, including Keynote Address at SOAS (London) and at University of Cardiff, UK; Nehru Centre, London and Berlin University (Germany).

Dr. Shanti Swaroop Sinha (b. 1967) M.A., Ph.D., is Asstt. Professor in the Department of History of Visual Arts, Banaras Hindu University. He undertook Post-Doctoral Research of ICHR as Research Fellow on Vaidik Puranic Deities in Jaina Tradition and Art and also worked as UGC Research Associate for Major Research Project on Gommateshvara Literature, under Prof. M.N.P. Tiwari. He has attended several seminars and presented papers, most of which are now published. His publications include a book in Hindi on the Anugraha images of Shiva. His another book in Hindi, Jaina Kala Tirtha: Deogarh is written in joint authorship with Prof. M.N.P. Tiwari.

Preface

History, Culture and Art are inseparable by identity of meaning and purpose because all these are related to the study of mankind in terms of its material, spiritual and artistic expressions and contributions and also its relation to the world of nature - flora and fauna. Because of the visual language, Art has the capacity of direct and forceful transmission. It emanates and develops as integrated and collective experience and wisdom of the society. Indian Art as a whole has been the best example of inherent assimilation, mutuality and commonality of Indian culture which is beyond the barriers of sect, religion and faith. But, somehow, Indian Art for last several decades has been studied mostly in reference to the narrow divisions based on sect, religion and faith.

The present work on Jaina Art and Aesthetics delves deep into the contributions and landmarks of Jaina Art in its full multiplicity and in reference to its being the part of the whole of the gamut of Indian Art and Culture. The rare feature of Jaina Art is its consistency in sustaining the manifestation of non-violence, renunciation, austerity and non-acquisition all through from 3rd century BC down to the present day in the figural depiction of the vitaragi Jinas (or Tirthankaras) and Bahubali. The Jaina tradition, and thereby the Art, did never compromise with the above basic tenets, the embodiment of which are to be seen in the figures of the 24 Jainas and Bahubali.

The study also reveals that Jaina Art has never been monotonous, as observed by many scholars. The texts not only speak of the dhyana-murtis of Jainas being beautiful (Rupavan, Manohara and Surupa) but in sculptural and architectural context, as well as in paintings, the aesthetic content and appeal are expressed brilliantly. The intimate relationship between Man (including Jainas and other divinities) and Nature is prominently emphasized in all forms of Jaina Art.

The Jainas developed close relationship with the divine world of Vaidik-Puranic tradition and, as a consequence, unhesitatingly assimilated Balarama, Vasudeva-Krishna, Rama, Ganesha, Lakshmi, Sarasvati, Navagrahas, Ashtadikpalas, and many more deities directly or indirectly into Jaina pantheon. The visual examples available at different Jaina sites, namely-Mathura, Kumbhariya, Delvada, Khajuraho, Khandagiri, Shravanbelgola distinctly reveal this assimilation done with grace and dignity. On the basis of the injunction of Jaina text, Harivamsha Purana (AD 783), we have explained the occurrence of erotic figures, though meagre in number, on the Jaina temples of both Svetarnbara and Digambara affiliations. Such actuality is suggestive of the broad mindedness of Jaina Acharyas and artists who took holistic approach in perception and artistic renderings.

We hope that the scholars, art lovers and students of Indian Art will alike find this book useful and interesting.

The present book is the outcome of our long study and research on Jaina Art, based on the Jaina antiquities both at different sites and in museums. Some new ideas and interpretations have been proposed in the present book on the basis of the comparative and analytical study of the texts and available art data. The authors are grateful to the University Grants Commission, New Delhi for providing adequate funds and opportunity to facilitate our visit to important Jaina sites in India. The Photo Archives of American Institute of Indian Studies, Gurgaon (earlier based at Varanasi) was like an ocean, the churning of which has yielded vital information for which we are indebted to the Institute. The scholarly advice and corrective comments of Padmabhushan Prof. M.A. Dhaky of the American Institute of Indian Studies were always the guiding force for which we offer obeisance to him. For constant inspirations and encouraging support, we offer our heartfelt gratitude to Dr. N.P. Joshi, Late Shri Krishna Deva, Prof. Anand Krishna and Prof. Kamal Giri.

The blessings of Reverend Upadhyaya Shri Gyan Sagar ji Maharaj and Swasti Shri Bhattarak Charu Kirti ji Maharaj (of Shravanbelgola) have always been strong force towards pursuance of research on Jaina Art, for which we offer Pranam to these Shalakapurushas.

Thanks are due also to all our family members who have always been supportive even at the cost of their inconvenience. The help and support of Dr. Durganandan Tiwari, Dr. Anand Srivastava, Dr. Atma Prakash Singh, Shri Shravan Kumar Chakraverty, Dr. Satya Prakash Tiwari and Shri Ratna Shankar Pandey have also facilitated the completion of this work and hence thanks and blessings to all of them.

The final completion of any work is its publication for which Shri Vikas Arya of M/ s Aryan Books International, New Delhi deserves our applause for accomplishing the work nicely and quickly.

Finally, we end with desire:

Na tvaham Kamaye Rajyam Na Svargam Na Punarbhavam /
Kamaye duhkhataptanam praninamartinashanam //

"I do not aspire for royal realm, heaven or even rebirth but I only aspire that I should be of some use in removing the pangs of sorrow of all the Living Beings"

Contents

Preface vii
List of Illustrations xi
1. Introduction to Indian Culture and Art1-17
Overview of Chronological Sequence-2, Definition and Periodization of Indian Art-3, Dimensions of Indian Art-3, History of Art-5, Survey of Indian Art – Content and Features-6
2. Landmarks of Jaina Art 18-28
Architecture and Sculpture-21, Important Jaina Sites, Their Dates and Affiliation-23, Fine Arts including Paintings and Performing Arts-26.
3. Jaina Architecture and Srchitecture and Sculpture29-51
Jaina Stupa-29, Rock-cut Jaina Caves-30, Temples and Sculptures-31, Osian-33, Deogarh-34, Ellora-37, Khajuraho-39, Kumbhariya-42, Dilwara or Delvada (Mt. Abu)-44, Ranakpur-47, Shravanbelgola-48, Tiruparuttikunram-49.
4. Iconography: Jina or Tirthankara 52-87
Devakula (Pantheon)-52, Jaina Images-53, Jinas or Tirthankaras-56, Dvitirthi and Tritirthi Jina Images- 82, Jina chaumkhi or Pratimasarvatobhadrika-83, Jina Chaturvimshatika or Chaturvimshati Jina-patta-85, Table of Jina Iconography-85.
5. Iconography: Yakshas-Yakshis or Shasanadevates 88-119
Individual Iconography of Yakshas and Yakshis-90, Iconography of Yaksha (Table)- 115, Iconography of Yakshi (Table)-117.
6. Iconography: Mahavidyas or Vidyadevis 120-128
7. Iconography: Other Jaina Divinities (Upadevatas) 129-147
Sarasvati-129, Lakshmi or Shri-devi-134, Ganesha-135, Ashtadikpalas-137, Navagrahas-139, Brahmashanti Yaksha-140, Kaparddi Yaksha-141, Kshetrapala-142, Shanti Devi-143, Harinegameshi or Naigameshi-144, Dikkumaris-144, Jivantasvami Images-145.
8. Iconography: Gommateshvara Bahubali and Bharata Muni 148-153
Bahubali-148, Bharata Muni-152.
9. Jaina Painting (Wall and Manuscript) 154-163
Wall Paintings-156, Sittannavasal-157, Jaina Manuscript Painting-158, Cloth and Paper – Pata-Chitra-161, Tirtha Patas – Pilgrimage Banners – 162.
10. Aesthetics in Reference to Jaina Society and Texts 164-177
Jaina Art and Society-165, Socio-philosophical Value in Jaina Art-167, Texts and Aesthetics – 169, Aesthetic Reflections in Jaina Texts-173.
11. Aesthetic Content: Jaina Sculptures and Temples 178-199
Aesthetic Appreciation-180.
12. Epilogue: Aesthetic and Socio-Religious Features- Mutuality and Commonality 200-207
Man, Society and Art-200, Man, Art, Nature and Mind-201, Art and Religion – 201, Man, Art and Aesthetics-202, Man, Beauty and Aesthetic Experience-203, Canonical Literature of Aesthetics-204, The Jaina View of Aesthetic Experience-205, Ethical Background of Jaina Art-206.
Glossary 209-216
A – Iconographic and Other Important Terms 209
B. Architectural and Art Terms 214
Some Relevant Jaina Texts – Affiliation and Their Dates 217-218
Bibliography 219-226
Index 227-238
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