Jain Illustrated Manuscripts

Jain illustrated manuscripts, originally painted on palm leaf, were characterized by sharp outlines and depictions of Jain saviors.

Learning Objective

Discuss the characteristics of illustrated manuscripts produced by the Jain

Key Points

Jain illustrated manuscripts were painted on palm leaf and relied on sharp outlines for effect, becoming progressively more angular and wiry until barely a trace of naturalism was left.
The figures are shown in profile, as the full-face view was reserved for the Jain Tirthankaras. Only a few colors are used, including yellow, green, blue, black, and red.
Common themes in Jain painting and sculpture are the Tirthankaras, or saviors; the yakshas and yakshinis, or supernatural guardian deities, and symbols such as the lotus and the swastika, which represent peace and well-being.
The earliest illustrations were simple icons in small panels, but they gradually became more elaborate, depicting scenes from the lives of various Tirthankaras in detail.
From the 14th century onward, the increased availability of paper allowed the production of larger and more elaborate Jain illustrated manuscripts.

Terms

Tirthankara
A Jain term for a person who achieves enlightenment through asceticism and who then becomes a role model teacher for those seeking spiritual guidance.
palm leaf
A material used for writing and the creation of manuscripts in South Asia and Southeast Asia dating back to the 5th century BCE, and possibly much earlier.

Full Text

Illustrated Manuscripts in the Jain Tradition

A large number of illustrated manuscripts commissioned by members of the Jain community have survived from between the 1oth and 14th centuries, representing the Western Indian style of art. Painted on palm leaf, these illustrations relied on sharp outlines for effect, becoming progressively more angular and wiry until barely a trace of naturalism is left. The figures are shown in profile, as the full-face view was reserved for the Jain Tirthankaras. A common feature of this style is the projection of an eye beyond the face shown in profile, meant to indicate the second eye, which would not be visible in this position. Only a few colors are used, including yellow, green, blue, black, and red. The earliest illustrations were simple icons in small panels, but they gradually became more elaborate, depicting scenes from the lives of various Tirthankaras in detail.

Common themes in Jain painting and illustrated manuscript, similar to other forms of Jain art, include the Tirthankaras (Jain saviors, or human beings who achieved the ultimate spiritual salvation and served as role models for society), yakshas and yakshinis (supernatural male and female guardian deities), and holy symbols such as the lotus and the swastika, which symbolized peace and well-being.

The Tirthankaras

Most of the Jain paintings and illustrations depict historical events, known as Panch Kalyanaka, from the life of the Tirthankaras. Rishabha, the first Tirthankara, is usually depicted in either the lotus position or kayotsarga, the standing position. He is distinguished from other Tirthankara by the long locks of hair falling to his shoulders. Incidents of his life, such as his marriage and Indra marking his forehead, are often depicted in paintings; other paintings show him presenting a pottery bowl to his followers, painting a house, weaving, and being visited by his mother Marudevi. Each of the 24 Tirthankara is associated with distinctive emblems, which are listed in texts such as Tiloyapannati, Kahavaali, and Pravacanasaarodhara.

Advances Over Time

The increased availability of paper from the late 14th century enabled artists to paint more elaborate illustrations. A 15th century manuscript of Kalpasutra, a Jain text containing the biographies of the Tirthankaras, is particularly opulent. The text is written in gold and the margins are illuminated with figural patterns. Paintings in lavish blue, gold, and red, testifying to the wealth of the patron, often take up an entire page.

Jain Kalpasutra manuscript

This illustration is from a Jain Kalpasutra manuscript, 1470—1500 CE. It uses opaque watercolor and gold on paper.

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