Jaina Patta

Summary

The plate titled “Jaina Patta” reproduces a detailed painted cloth (paṭa) used for devotional worship. Jain paṭas typically depict the twenty‑four Tīrthankaras in a grid formation surrounded by auspicious symbols. In this illustration, the artist has arranged the Jinas in vertical rows within ornate arches; each figure stands or sits on a lotus pedestal under a canopy. They are distinguished by their lanchanas (emblems) such as the bull for Ṛṣabhanātha, the elephant for Ajitanātha and the lion for Mahāvīra. The halos behind their heads are adorned with floral and geometric patterns, signifying spiritual radiance. Between the rows, slender columns decorated with scrollwork support the architraves. Above and below the main register, subsidiary panels depict attendant deities, celestial musicians and floral motifs. The artist uses a restrained palette of earthy reds, greens and golds, balancing the rich detail with clarity. The meticulous ornamentation of crowns, earrings and garlands reflects the high level of craftsmanship in Jain miniature painting. The composition may follow conventions established by medieval Western Indian paṭa painters, where the hierarchy of figures communicates theological importance: the central Tīrthankara occupies a slightly larger space, while peripheral figures emphasise the cosmological order. The plate also includes an inscription attributing the painting to J. S. Bothra and notes that it is a typical example of Jain devotional art. Paṭas like this one serve as portable shrines for household or monastic worship and are often used during festivals such as Paryushan when devotees perform svastikāraṇā (drawing auspicious symbols) and recite the names of the Tīrthankaras. In art-historical terms, the paṭa illustrates the continuity of iconographic conventions: the Jinas are portrayed with ajānu‑bāhu proportions, meaning their arms extend to their knees, a characteristic of divine beings and Tirthankarashttps://en.wikipedia.org/wiki/Ajanubahu#:~:text=%C4%80j%C4%81nub%C4%81hu%20is%20a%20Sanskrit%20word,2. The symmetrical arrangement and decorative borders demonstrate the fusion of religious meaning and aesthetic harmony. By reproducing this plate, the journal provides readers with insight into the visual culture of Jainism and highlights the role of painted cloths in devotional practice. Such images not only aid meditation but also educate devotees about the sequence and attributes of the twenty‑four enlightened teachers.