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Jain manuscripts have a rich history of artistic embellishment. Interestingly, some of the earliest instances of Indian miniature paintings can be traced back to illustrated Jain manuscripts. We explore the stylistic roots of Jain manuscript paintings along with the role of patronage in the production of these manuscripts. In this scholarly exploration, we delve into the stylistic journey of these paintings, focusing specifically on the widely illustrated Kalpasutra until the 16th century. The earliest Jain manuscripts were meticulously crafted on palm leaves and encased within painted wooden covers. These early works featured sparse illustrations, often centered around decorative borders and single figures. However, with the adoption of paper, the painting style underwent significant transformation. It became more detailed and ornate, while still adhering to hieratic conventions. Noteworthy features of this style include the use of bright primary colors, precise lines, formal composition, and stylized figures with sharply defined gestures and prominent eyes. As we approach the late 15th to early 16th centuries, Jain manuscript paintings began to draw inspiration from external artistic traditions. Influences from Mamluk Egypt and Timurid Persia shaped the visual language of these illustrations. During this period, the palette shifted, with hues of blue and gold dominating the compositions, signaling a move toward a more opulent aesthetic. Production centers such as Patan, Mandu, and Jaunpur contributed distinct regional stylistic idioms to the world of Jain manuscript art. In fine, it can be said that these manuscripts serve as a testament to the intersection of spirituality, creativity, and patronage within the vibrant realm of Jain culture and art.
Supriya Lahoti (Wed,) studied this question.