Grid systems and universality in Indian graphic design: a study of Jain manuscripts

Think of any aspect of the modern life aesthetic – the floor plan of your house, the newspaper you read this morning or Facebook, graphic design is probably instrumental in defining and distinguishing its content. Look more carefully and you will see basic grids providing the framework to organize space and manage the flow of information.Currently, the Western aesthetic dictates grids, but the fact is that Ancient Indian art abounds in their innovative use. From the organic-spiritual connect of temple plans to the fluidity of design in auspicious symbology, endless examples of the creative uses of the grid shine through. Unfortunately, we suffer from inadequate knowledge of this rich legacy, owing largely to the accent on Western pedagogy, so strongly laid in design education. With an aim to garner sensitivity to the fact that grids can also be dynamic and free flowing as illustrated by our ancestors, one also hopes to bridge the gap between modern design and traditional art to explore the possibility of creating an Indian design language. The aim of the article is to underline a substantial link between Graphic Design and Indian Design definition, to highlight the possibility of evolving a design vocabulary unique to India, keeping ancient grid structures as the focal point of construction. This research is an analytical study of the grid system and its philosophy in the cultural and historical context. The focus is on Jain manuscripts of Rajasthan and Gujarat origin, and on an in-depth study of their various types to analyze whether there is a clear pattern that can be co-opted into a cohesive design philosophy.