Transcript Sittanavasal

Indian Painting
Sittanavasal- ‘The Lotus Pond’
Jain Temple, Post-Gupta period
wall-painting, Near Madras
Sittanavasal


Introduction:
Although probably at one time the great
temples of the Hindu Renaissance (revival)
were many of them decorated with wall –
paintings both on the interior and exterior of
sacred place sanctuaries and mandaps, the
actual remains of late painting India are
fragmentary indeed.
Sittanavasal



Among the few remnants of post-Gupta wallpaintings are the decorations of Jain temple
at Sittanavasal, in the Pudukottai district near
Madras.
This is also considered to be the earlier
examples of Jain paintings in the south.
The name Sittanavasal literally means the
abode of the Siddhas (Jaina saints who have
won their spiritual freedom).
Sittanavasal



Lotus pond:
The composition represents a celestial region
in the form of a pond in which apsaras,
geese, elephants, etc. are sporting in a
thicket of enormous lotus- blossoms and
fronds.
The style continues the Ajanta wall-paintings
of the late Gupta and early Chalukya types
both in drawing and coloring.
Sittanavasal


As even the line –drawing shows, the fanciful
and complex setting is portrayed with the
greatest clarity and a feeling for the
decorative possibilities of the multiple lotusflowers and buds set off against the
enormous leaves.
The direction of the lines in the composition
certainly suggests a movement across the
panel, as through a wind bending the
heavenly blossoms (flower).
Sittanavasal



The figure of a Gandharva has a quite
austere (strictly moral, having no
pleasure) appearance.
His fish shaped eyes, however, have a
rather softened look.
The face is in three- quarter profile.
Sittanavasal


In one hand he holds a lotus bud while the
other hand assumes the Simhakarna mudra.
The colors are subdued, the contours flowing,
the curves sinuous (having many curves and
twists) and the facial features elegant. All
these characteristics echo the Ajanta
masterpieces.
Sittanavasal


These lotus ponds are thought to be a part of
the ‘Samavasarana’ or a resting place made
by the gods for a Tirathankana after he had
attained salvation.
According to Jain mythology, it was circular in
ground plan and was provided with twenty
thousand steps on four sides, doors, roads
and ponds before each gateway.
Sittanavasal


As mentioned in Jain literature, when the lord
sets out for ‘Samavasarana’ the gods prepare
nine golden lotuses of a thousand petals each
and place them in order in front of the lord.
The second lotus pond which has fish
makara, geese, elephant, bulls and human
figures, has been identified with the
‘Khatikabhumi’ of the ‘Samavasarana’ in
which the bhavyas i.e. the faithful, gather
lotus flowers.