Jaina Bibliography Part 1

SR No.: 016035
Original Sutra Author: N/A
Author: A N Upadhye
Publisher: Veer Seva Mandir Trust
Publication Year: 1982
Total Pages: 1070
Language: English
Classification: Dictionary & Dictionary
File Size: 17 MB

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JAINA BIBLIOGRAPHY
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Karl KHANDALAVALA, Mori CHANDRA, Pramod Chandra. Miniature Painting. New Delhi, 1960.
Pp. 9-10. Miniature paintings of the Jains; they were purely illustrative of the blessed ones, the Tirthankaras; In Gujarat, paper began to supplant the palmleaf medium in the latter half of the 14th century A. D. and not after 1400 A. D. as is commonly supposed. Lay Jains used to present illustrated Mss. to Jaina monks. The Jaina characters and deities never varied, always being depicted with a sharp projecting nose, the farther projecting eye and painted double chin.
P. 15. The Jaina Sangha of Agra commissioned the artist Sālivāhana in the year 1610 A. D. at Agra to paint the Vijñaptipatra (letter of invitation) which this Sangha sent to its religious preceptor Vijaya sen Süri.
Pp. 22-23. Catalogue : 1. Kalpasutra dated v. s. 1438/1381 A. D. Figs. 1-4. 2. Ms. of Divaliparvakalpa, 15th cent, A. D. Figs. 5-6. 3. Pilgrimage of Satruñjaya Fig. 7. 4. Sarasvati-pața, 15th cent. A. D. Figs. 8, 9. 5. Ms. Kalpasutra, 15th cent, A. D. Folios 2. 6. Ms, Kalpasütra Figs. 6, 7. 7. Kalkācharya Katha (swarnākshari Ms.), 15th cent. A. D. Fig. 10. 8. Ms. Kalpasūtra v. s. 1538/1481 A. D. figs. 11-13. 9. Ms. Sangrahani Sūtra, 17th cent. A. D. figs. 18-19. 10. Kulahdar Group : Cosmological chart, 1570-1580 A, D, figs. 14-17.
P. 48.
82.
Illustrated Vijñaplipatra, v. s. 1794/1737 A. D. fig. 64. .:
630
Philip S. Rawson. Indian Painting. Paris. 1961.
P. 13. The Saints of the Jaina faith, carry out an ideal of "ahimsā” to the utter most limit. Ultimately, their death by sheer inanition brings them to the condition of pure non-injury. Jaina art often represents these saints with creepers growing up round their legs and hands, to indicate how rigorously they have kept themselves from moving. But the art made figures show externally no trace of their privations. They do not appear emaciated or worn. They were the ideal, heriocally rounded forms of perfect manhood, which reveal their spiritual, not their physical nature,