Gujarati School and Jaina Manuscript Paintings : N.C. Mehta Collection: Vol. I

Contents: Author’s acknowledgements. Foreword by Smt. Kapila Vatsyayan. 1. N.C. Mehta: the making of an art Connoisseur. 2. The indigenous Jaina style paintings from Gujarat. 3. Patronage: Ministers, intellectuals, businessmen and Jaina Acharyas. 4. Kalpasutra as universal history, Patan Pictorial styles. 5. The archetypal life of Mahavira and other Tirthankaras. 6. Kalakacharya Katha: narratives of the life of Kalakacharya. 7. Cosmological illustrations of Sangrahani Sutra. 8. Balagopala Stuti Paintings. 9. Unfolding the meaning of Gita Govinda Paintings, Early Gita Govinda of N.C. Mehta Collection. 10. Srngara paintings based on Chaurapanchasika verses. Epilogue. Bibliography. Appendices: i. The Gujarati School of painting and some newly discovered Vaisnava Miniatures by Manjulal R. Majmudar. ii. List of Jaina illustrated manuscripts inscribed in Patan, Gujarat. iii. Accession checklist.

The world famous collection of Indian miniature paintings assembled by Nanalal Chamanlal Mehta represents most of the schools and wide range of themes from 16th to 19th centuries. It is housed in the Lalbhai Dalpatbhai Museum in Ahmedabad since 1993. In the present volume the author has covered illustrated Jaina Manuscript paintings which are published for the first time along with the early Gita Govinda illustrated folios. The Chaurapanchasika paintings based on the 11th century poet, Bilhana’s 50 verses, are the piece de resistance. It is the contention of the author that all these exquisite sets of paintings were painted in Gujarat, therefore, they represent the Gujarati School of Painting. Hence, the title of the book is Gujarati School and Jaina Manuscript Paintings. The present author has propounded the theory that the so-called Western Indian style of Jaina paintings was essentially the contribution of Gujarat with epicenter at Patan. To support this view point the author has put together elaborate documentation concerning the extensive manuscript writing patronized by the inspiring Jaina acharyas and the munificent businessmen community. Significantly the names of a few painters have also been discovered. A whole chapter is devoted to the Kalpasutra paintings which include Panchakalyanakas, five essential episodes of Tirthankara, followed by chapters on Kalaka Katha and Sangrahani Sutra illustrations. The author has analyzed how the paintings of Vais anava themes and Srngara subject matter have emerged out of the Jaina style of Gujarat. The profusely illustrated early Gita Govinda is extensively published for the first time which establishes that the Gujarati artists initiated the pictorialization of poetic themes of divine and human love culminating with the most creative Chaurapanchasika paintings. Their poetic content has been quite eloquently interpreted by the author. In conclusion the author points out the unique nature of the language of Indian pictorial art and how Gujarati artists immensely contributed towards giving it a character. The highly respected eminent art historian, Smt. Kapila Vatsyayan, has written an appreciative foreword endorsing many of the author’s ideas and methodology.