A Note on the Exhibition of Jain Art in Calcutta

Summary

This article describes a 1975 exhibition of Jain art held in Calcutta, organised by local art enthusiasts in collaboration with members of the Jain community. The exhibition presented around forty‑five paintings and drawings depicting Jain legends, with particular emphasis on the 23rd Tīrthaṅkara Pārśvanātha and the 24th Tīrthaṅkara Mahāvīra. The author notes that the show opened with works illustrating the sacred Pareshnath Hill in Bengal, where Pārśvanātha is said to have attained omniscience, thereby underscoring the region’s ancient Jain heritage. Other paintings narrated episodes from Mahāvīra’s life—from Queen Trisala’s dreams foretelling the birth of the Tīrthaṅkara to his renunciation, enlightenment and final nirvāṇa. A series of compositions also portrayed earlier Tīrthaṅkaras such as Ajitanātha and Neminātha, scenes from the lives of Jain monks and nuns, depictions of Samavasaraṇa (the universal preaching hall) and allegorical representations of virtues like non‑violence and equanimity. The article emphasises that these works were executed in a variety of styles: some resembled Rajasthani miniature painting with intricate borders and flat colours, whereas others were influenced by the folkish Kalighat style of Calcutta, characterised by fluid lines and bold shading. Accompanying labels explained Jain concepts to visitors unfamiliar with the tradition, making the exhibition educational as well as aesthetic. The author situates the Calcutta event within a broader movement to showcase Jain art internationally: he recalls that Jain art has been displayed in museums around the world and that a major exhibition took place at the Victoria and Albert Museum in London in 1995‑96, reflecting global interest in this “little known” traditionhttps://jainqq.org/explore/007722/342. At a time when many Jain manuscripts and paintings were still in private hands, the Calcutta show provided rare public access and encouraged collectors to deposit works with museums. The article also reflects on how the exhibition fostered dialogue among Jains from Bengal, Bangladesh (Chittagong) and Assam, illustrating the geographical spread of Jainism in eastern India. In addition to paintings, the show included explanatory lectures and music performances, creating a multi‑sensory experience that drew students, historians and general visitors. Viewers were struck by the subtle yet powerful themes of renunciation, compassion and cosmological vastness; the author suggests that such universal messages transcend sectarian boundaries and could appeal to a cosmopolitan audience. He concludes by urging institutions and artists to collaborate on further exhibitions and to support conservation; without such efforts, fragile paintings may deteriorate and the public may remain ignorant of the richness of Jain artistic heritagehttps://jainqq.org/explore/007722/342.