About the book:
Contents: Preface. 1. Introduction to Indian culture and art. 2. Landmarks of Jaina Art. 3. Jaina Architecture and sculpture. 4. Iconography: Jina Tirthankara. 5. Iconography: Yakshas-Yakshis or Shasanadevatas. 6. Iconography: Mahavidyas or Vidyadevis. 7. Econography: other Jaina divinities (Upadevatas). 8. Iconography: Gommateshvara Bahubali and Bharata Muni . 9. Jaina Painting (Wall and manuscript). 10. Aesthetics in reference to Jaina Society and texts. 11. Aesthetic content: Jaina sculptures and temples. 12. Epilogue: aesthetic and socio-religious features-mutuality and commonality. Glossary. Bibliography. Index.The present book on Jaina Art and Aesthetics is the outcome of long study and research on Jaina art in its totality. 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.