About the Book
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 paintings, the aesthetic content and appeal are expressed brilliantly in all 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.
Table of Contents:
Preface vii List of Illustrations xi Map Showing Jaina Sites xxiii 1. Introduction to Indian Culture and Art 1-17 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 Sculpture 29-51 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 chaumukhi or Pratimasarvatobhadrika-83, Jina Chaturvimshatika or Chaturvimshati Jina-patta-85, Table of Jina Iconography-85. 5. Iconography: Yakshas-Yakshis or Shasanadevatas 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, Dik-kumaris-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
About the Author :
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 for three terms under the rotation system. His publications deal extensively with different aspects of Indian art and iconography, specially Jaina art and iconography. He has many books to his credit including: 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 Murtikala (Hindi, joint), Madhya Kalina Bharatiya Pratimalakshana (Hindi, joint). His academic pursuits 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 Bahubali in Jaina Tradition, Art and 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.
