Jainism: Illuminated manuscripts and Jain art

The study, recitation and veneration of sacred scriptures are a primary religious focus of the Jains. Important sermons, canonical texts and commentaries were transmitted orally long before being committed to writing. Exactly when Jain texts began to be illustrated is uncertain; the oldest surviving examples date from around the 10th-11th century, but many state that they were copied from earlier texts that presumably were decaying.

The earliest Jain illuminated manuscripts are inscribed and painted on prepared palm-leaves and bound with cords passing through holes in the folios. The folios are encased in wooden covers that are often decorated with religious or historical themes. Book covers continued to be made in later centuries.

After the introduction of paper into western India from Iran around the 12th century, Jain texts were increasingly written on this new and more versatile medium. The use of paper permitted larger compositions and a greater variety of decorative devices and borders, although the format of the palm-leaf manuscript was retained. By the end of the 14th century, deluxe manuscripts were produced on paper, brilliantly adorned with gold, silver, crimson and a rich ultramarine derived from imported lapis lazuli.

The Cosmic and Mortal Realms

While manuscript illustrations are certainly the best-known Jain paintings to audiences outside India, there is also an extensive Jain tradition of larger paintings, from album-size to monumental paintings on cloth. The most spectacular of these are the cosmological paintings depicting the structure of the Jain universe.

The Jain cosmos is divided into three realms of virtually unfathomable proportions: the upper or celestial world, the middle or mortal world, and the lower or infernal world. The three realms are portrayed either collectively or independently in both abstract and personified representations, the latter as the cosmic man (lokapurusha) endowed with a fantastical anatomy hierarchically arranged to symbolise the three realms of creation.

Among the more abstract representations are maps of the middle world - from where liberation from the cycle of rebirth is possible. They show two-and-a-half continents, arranged concentrically and separated by blue rings that represent oceans. The central continent is called Jambudvipa, the continent of the rose-apple tree. In the south of this continent is India. At the very centre of the map stands Mount Meru, the cosmic axis.

Other large-scale Jain paintings feature esoteric deities or symbols and invocations that aid the practitioner in meditation or in initiation rites, used in the mystical Tantric methods of seeking enlightenment. Another favourite genre comprises monumental paintings of Jain pilgrimage sites, especially Mount Satrunjaya, in Gujarat. Apart from murals and temple banners, these colossal and highly detailed works are some of the largest examples of pictorial art ever created in India. These pilgrimage paintings are displayed within Jain temple complexes during a special festival at the end of the rainy season. Devotees who are unable to make the pilgrimages can receive the religious merit of visiting the sites simply by viewing their representations.

Depictions of important pilgrimage sites such as Mount Sammeda in Bihar, where 20 Jinas attained moksha or release from the cycle of rebirth, were also carved in stone. Individual scenes of religious instruction, as well as homage to the Jinas and various deities, are also popular subjects in Jain painting. Pictorial narrations of the lives of the Jinas are used to instruct the faithful through the portrayal of selfless acts.

Non-violence in Jain art

Genuine compassion requires imagination, and this is why for the Jains, art is central. The seated Tirthankara image (murti) is one of the most common icons in Jainism. It is at once serene, peaceful and balanced.

Animals and nature play a central role in temple art. For Jains, all life is precious and worthy of the highest respect.. Jains believe that there cannot be human peace at the expense of harming nature or animals. One of the most iconic Jain images is that of the Samavasarana, depicting the sermon given by a Tirthankara after attaining enlightenment. While Mahavira was sharing his knowledge, all kinds of species joined the congregation, and all could clearly see Mahavira and understand the message in their own language. This event is often depicted in Jain painting and  sculpture.

Jain art at the V&A

The V&A has a small but important collection of Jain art. This includes a number of sculptures of very high quality in stone and metal dating from the 7th to the 15th centuries, principally from western and southern India. These range from large-scale images to small metal shrines. Most depict one or more of the Jinas. There are also some 19th-century sculptures and surviving architectural fragments from temples at Palitana that were destroyed in the 14th–15th centuries

The collection includes folios from illustrated manuscripts exemplifying the important Jain contribution to the history of Indian painting in the 15th century, as well as some later works. The V&A’s manuscripts were collected primarily for their artistic interest rather than their textual importance. There are also a very small number of larger paintings, notably a 15th-century victory banner, and some 19th-century photographs of Jain sites.

A selection of Jain paintings are displayed in Room 41 (The Nehru Gallery of Indian Art). As paintings are very sensitive to light, it is not possible to display them permanently and the selection is changed periodically. The Museum’s large collections of decorative arts – especially textiles - also include examples from the regions with substantial Jain populations, such as Gujarat.