Differentiate beteen pala style of miniature painting and jain style of miniature painting in points?
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The growing prosperity of the Jain community in western India, engaged principally as merchants and bankers, allowed the commissioning of significant quantities of high-quality metal icons. As the custom of building large temple complexes became more widespread, so did the production of images and other objects associated with ritual and worship. One tradition that must be of great antiquity, but for which evidence survives only from around the tenth to eleventh century, is the production of palm-leaf manuscript editions of Jain scriptures, with painted illustrations on both the folios and the wooden cover (patli). The worship of the books of wisdom (jnanapuja) was a central activity in temple ritual. Even today the recitation and worship of the Kalpasutra manuscript forms an important part of the annual Paryushana festival celebrated by the Svetambara (“white-clad”) Jains during the monsoon season.
The kings of the Chaulukya (Solanki) dynasty, who ruled Gujarat and much of Rajasthan and Malwa from the tenth to the late thirteenth century, were energetic patrons of the Jain faith, building numerous temples and libraries in its honor. The twelfth-century king Kumarapala is recorded as commissioning and distributing hundreds of copies of the Kalpasutra to assist in propagating the virtues of Jainism, and was instrumental in the founding of twenty-one monastic libraries (bhandars) in Patan, his capital. In later centuries, the colophon evidence indicates a preponderance of lay middle-class patronage, principally by merchants and traders.
The earliest painted palm-leaf manuscript known to date is an edition of the Oghaniryukti, dated 1060 (Vikrama era 1117) and preserved in the Jaisalmer bhandar (Doshi 1985). This and other contemporary works already represent a stylistic phase beyond that seen in the manuscript covers just discussed. Dated evidence for the stylistic evolution of western Indian manuscript painting through the twelfth and thirteenth centuries is somewhat sporadic, and it is not until the later fourteenth century that we witness a maturation of this style, stimulated by a combination of internal and external forces (Guy 1995). Its significance for the development of later medieval Indian painting was to be profound.
The scene of King Siddhartha listening to the court astrologer interpreting his dream continues the depiction of dynamic dialogue and engagement seen in the twelfth-century book-cover paintings (1997.133). Masterful control of form-defining line and sensitive use of gesture animate this painting. The two figures are given further fidelity through the finely hatched beards and animated styling and patterning of the textiles. The use of the saturated red ground projects the figures into the foreground, a pictorial device already employed in the earlier book covers. The Lustration of the Infant Jina Mahavira (2005.35) typifies the apogee of this style. The red ground persists, as does the confident use of linear silhouetting of the figures. The radiance of the gods, so evident here in the image of Shakra enthroned on Mount Meru, is a means by which the artist invoked their divine nature. In this painting, the radiance of the immortals is suggested by the use of yellow, but comparison with a superb late eleventh-century copper alloy sculpture makes clear that it is a “golden image” that is intended (1992.124.1). The ability to radiate light has long been seen as an indicator of divinity in Indian religions.
Pala Painting The earliest examples of Bengal painting are the twelve extant miniatures delineated on the palm-leaves of a manuscript of the Buddhist text, Astasahasrika-prajnaparamita, dated in the sixth regnal year of the Pala king mahipala i (c 983 AD). This rare manuscript is now in the possession of The asiatic society, Calcutta. There are two more painted manuscripts which belong to Mahipala I's reign, but they are later in date. Many more manuscripts with paintings, belonging to the following two centuries, have come to light. Since they were painted in a period when the kings of the Pala dynasty were ruling the region, they are also known as Pala-miniatures. Technically, these miniatures are so well done that it is impossible to believe that they are the earliest expression of the art in Bengal. They represent a mature style that could only have evolved through generations. But, lamentably, since painting is a very fragile medium, no extant specimen of it ascribable to a date earlier than that of the Palas has so far been discovered in Eastern India.
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