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FARTHER-EYE IN THE EAST INDIAN AND
NEPALESE PAINTINGSI
(Extensions of the so-called Jaina Paintings
in East India and Nepal)
Anand Krishna
A certain class of Mediaeval illustrations appears in the Jaina manuscripts, mainly from W. India on whose basis this style was variously named as Jaina (or Svetāmbara Jaina), Gujarati or W. Indian. My father, Rai Krishnadasa took into consideration the widespread use of a parent style from which the regional styles might have emanated and therefore preferred to call it as the Apabhramśa style (lit., a decadent form of the Classical style at Ajanta and so on). Reference to such a style is found in many other parts of India or even in Greater India and in relation to every possible text, religious or secular and similarly to a variety of themes showing its wide popularity. This paper is devoted to certain unpublished examples of the Apabhramsa style from E. India, to support its national character.
We can recapitulate the characteristics of the tradition by referring to the angular and linear treatments, jerky movements projecting torso, pointed nose or the chin. The dress is emphasized and takes sharp angles. The most outstanding feature is the use of the "farther-eye' or the eye beyond the facial contour of the one and one quarter profile (savā caşma) face, which has been deliberately shown sticking out in the space. As a matter of fact this characteristic of the Apabhramsa painting became a distinguishing feature of the style. I have been able to follow its prevalence in remote corners of India and moreover, in the Greater India, the fact impressive enough to prove 1. This work was done under a Jawaharlal Nehru Fellowship.
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