References to Paintings in the Kuvalayamālā
By Ram Vallabh Somani
Summary
Rāmvallabh Somānī’s article ‘References to Paintings in the Kuvalayamālā’ examines how the eighth‑century Jain campū, the Kuvalayamālā, depicts paintings and art. The poem, composed by Uddyotanasūri in 778 A.D. at Jālore, blends narrative and didactic elements and contains rich descriptions of citrapaṭṭas—painted canvases and wall paintings. Somānī notes that Uddyotana portrays a learned monk who is accomplished in painting; the monk displays to the king Kuvalayacandra various painted cloths illustrating religious and secular scenes, demonstrating norms of composition, colour and perspective. The article catalogues the subjects depicted in these paintings: hunting scenes where an equestrian king pursues game while frightened animals run for safety and attendants attempt to divert the quarry; scenes of robbers trembling before a king’s punishment; agricultural episodes showing farmers ploughing fields, carrying yokes on their shoulders and working with oxen; and detailed depictions of death rituals in which a deceased person is enshrouded, mourned, carried to the cremation ground and placed on a pyre. Somānī highlights that each citrapaṭa is divided into several compartments arranged sequentially, allowing the viewer to follow a narrative across the cloth. He also examines other scenes described by Uddyotana, such as amorous encounters between youths and damsels, portrayals of kings travelling to pilgrimage sites, dances by courtesans and displays of battles and natural scenery. The article emphasises that these descriptions mirror real painting techniques: painters were respected and referred to by titles like Cittakālajutta, Citta‑Kāla‑Kusala and Citta‑Varṇo, and their art incorporated concepts such as line (rekhā), colour (varṇa), mood (bhāva) and measurement (māna). Somānī draws attention to the Kuvalayamālā’s use of the word dattanum, implying critical evaluation of the qualities of a painting. By comparing these descriptions with Pratihāra‑period inscriptions, he shows that art flourished under royal patronage and that painters were often compared with divine creators. The article concludes that the Kuvalayamālā provides a rare and detailed account of early Indian painting. Its vivid descriptions of pictorial scrolls reveal both the thematic diversity of Jain art—ranging from everyday life to spiritual narratives—and the sophisticated understanding of artistic principles in eighth‑century Rajasthan.
Conclusion
Somānī’s study shows that the Kuvalayamālā is an important source for the history of Indian art. Its references to citrapaṭṭas illustrate how painted cloths were used to teach religious and moral lessons and to record scenes from daily life. The work also highlights the high status of painters and the existence of technical vocabulary for evaluating paintings. By analysing the poem’s art descriptions, Somānī demonstrates that Jain literature can significantly enrich our understanding of early medieval painting traditions.