A Jina is encircled by a giant halo of ref, green, blue, gold, and white. Within the halo are different creatures, including a tiger, bird, naga, and devotees. The Jina sits nude on a throne with his legs crossed and hands together. Above him are clouds in the sky, and below a monk and devotees.
Subject Matter
This is an illustration in a Digambara Jain manuscript of verse 34 of the Bhaktamara Stotra.
This verse praises the glorious halo that surrounds the Jina on his Enlightenment. The presence of the halo is one of the eight pr?tih?rya or so-called miraculous manifestations that accompany the Jina after his Enlightenment. Here the verse describes how the Jina’s halo of light puts to shame all the heavenly bodies. Greater than a multitude of suns, it is also gentler than the moon at night. The poet means to say that the light of the Jina’s halo is comforting not burning, something that is said in Sanskrit poetry of the light of the moon. At the same time, the light of the Jina is as brilliant as the light of countless suns. And by this seeming paradox the poet tells us that the light of the Jina’s halo is not of this world. The halo with its concentric circles also suggests the miraculous preaching assembly, which in turn alerts us to the marvelous appearance of the halo. Like the preaching assembly it is filled with beings of different realms of rebirth: humans, animals, and gods. The small crowned figure at the bottom worshipping the Jina is probably the god Indra.
Label Copy
Gallery Rotation Spring/Summer 2011
Jina venerated by a monk, layman, and
cobras from a Digambara Jain manuscript
India, Rajasthan, Sirohi School
18th century
Ink, opaque watercolor, and gold on paper
Gift of Dr. and Mrs. Leo S. Figiel and Dr. and Mrs. Steven J. Figiel, 1975/2.171
Jina venerated by a monk, men and women, a naga, and animals from a Digambara Jain manuscript
India, Rajasthan, Sirohi School
18th century
Ink, opaque watercolor, and gold on paper
Gift of Dr. and Mrs. Leo S. Figiel and Dr. and Mrs. Steven J. Figiel, 1975/2.170
In the Jain religion, book production reflects the integral relationship among the laity, monastic community, and the Jina, or enlightened Jain teacher. The dedication of sacred books for shrines is required of devotees, and while commissioning a book fulfills the lay obligation of charity, beholding a book helps the individual achieve the proper mental state for spiritual guidance. It was customary for a lay donor to commission a copy of a text for presentation to his spiritual teacher and ultimately to the temple library.
In these colorful pages, both the golden-hued Jina seated on a simple throne and the monk who venerates him are naked, identifying them as Digambara (sky-clad) Jina. On one page, the Jina is surrounded by Jain devotees: a naga (half human, half serpent), animals, royalty, and lay people. In the lower register the monk leads two men in prayer. On another page, another sky-clad (nude) monk prays to a Jina elevated slightly above him. Below them a lay person in a lotus pond holds prayer beads and looks toward the monk as if for guidance. Cobras often appear in Jain texts and imagery as an obstacle to overcome, and in this image two cobras rise ferociously before the devotee.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
A Jina is encircled by a giant halo of ref, green, blue, gold, and white. Within the halo are different creatures, including a tiger, bird, naga, and devotees. The Jina sits nude on a throne with his legs crossed and hands together. Above him are clouds in the sky, and below a monk and devotees.
Subject Matter
This is an illustration in a Digambara Jain manuscript of verse 34 of the Bhaktamara Stotra.
This verse praises the glorious halo that surrounds the Jina on his Enlightenment. The presence of the halo is one of the eight pr?tih?rya or so-called miraculous manifestations that accompany the Jina after his Enlightenment. Here the verse describes how the Jina’s halo of light puts to shame all the heavenly bodies. Greater than a multitude of suns, it is also gentler than the moon at night. The poet means to say that the light of the Jina’s halo is comforting not burning, something that is said in Sanskrit poetry of the light of the moon. At the same time, the light of the Jina is as brilliant as the light of countless suns. And by this seeming paradox the poet tells us that the light of the Jina’s halo is not of this world. The halo with its concentric circles also suggests the miraculous preaching assembly, which in turn alerts us to the marvelous appearance of the halo. Like the preaching assembly it is filled with beings of different realms of rebirth: humans, animals, and gods. The small crowned figure at the bottom worshipping the Jina is probably the god Indra.
Label Copy
Gallery Rotation Spring/Summer 2011
Jina venerated by a monk, layman, and
cobras from a Digambara Jain manuscript
India, Rajasthan, Sirohi School
18th century
Ink, opaque watercolor, and gold on paper
Gift of Dr. and Mrs. Leo S. Figiel and Dr. and Mrs. Steven J. Figiel, 1975/2.171
Jina venerated by a monk, men and women, a naga, and animals from a Digambara Jain manuscript
India, Rajasthan, Sirohi School
18th century
Ink, opaque watercolor, and gold on paper
Gift of Dr. and Mrs. Leo S. Figiel and Dr. and Mrs. Steven J. Figiel, 1975/2.170
In the Jain religion, book production reflects the integral relationship among the laity, monastic community, and the Jina, or enlightened Jain teacher. The dedication of sacred books for shrines is required of devotees, and while commissioning a book fulfills the lay obligation of charity, beholding a book helps the individual achieve the proper mental state for spiritual guidance. It was customary for a lay donor to commission a copy of a text for presentation to his spiritual teacher and ultimately to the temple library.
In these colorful pages, both the golden-hued Jina seated on a simple throne and the monk who venerates him are naked, identifying them as Digambara (sky-clad) Jina. On one page, the Jina is surrounded by Jain devotees: a naga (half human, half serpent), animals, royalty, and lay people. In the lower register the monk leads two men in prayer. On another page, another sky-clad (nude) monk prays to a Jina elevated slightly above him. Below them a lay person in a lotus pond holds prayer beads and looks toward the monk as if for guidance. Cobras often appear in Jain texts and imagery as an obstacle to overcome, and in this image two cobras rise ferociously before the devotee.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Eight worshippers sit to the right of a sky-clad (nude) Jina and monk. They each raise beads in their hands. Below them a struggle is depicted. Two men in shorts wrestle, while a snake, tiger, and elephant rera up beside a fire.
Subject Matter
In the Jain religion, book production reflects the integral relationship among the laity, monastic community, and the Jina, or enlightened Jain teacher. The dedication of sacred books for shrines is required of devotees, and while commissioning a book fulfills the lay obligation of charity, beholding a book helps the individual achieve the proper mental state for spiritual guidance. It was customary for a lay donor to commission a copy of a text for presentation to his spiritual teacher and ultimately to the temple library.
Label Copy
In the Jain religion, book production reflects the integral relationship among the laity, monastic community, and the Jina, or enlightened Jain teacher. The dedication of sacred books for shrines is required of devotees, and while commissioning a book fulfills the lay obligation of charity, beholding a book helps the individual achieve the proper mental state for spiritual guidance. It was customary for a lay donor to commission a copy of a text for presentation to his spiritual teacher and ultimately to the temple library. Over the centuries, monastic libraries received great quantities of texts, which were employed in the instruction of monks and nuns, who were themselves discouraged from practicing the art of painting: one text expressly warns of the power of painting to arouse sensual feelings.
In these colorful pages, both the golden-hued Jina seated on a simple throne and the monk who venerates him are naked, identifying them as Digambara (sky-clad) Jina. On one page, they are shown receiving veneration from the laity (including princes), animals, plants, and even fire and water. On another, a prince is venerating the Jina in the midst of a battle.
Winter 2011 Gallery Rotation
Jina and battle scene from a Digambara Jain manuscript
India, Rajasthan, Sirohi
18th century
Ink, opaque watercolor, and gold on paper
Gift of Dr. and Mrs. Leo S. Figiel and Dr. and Mrs. Steven J. Figiel, 1975/2.168
Jina and battle scene from a Digambara Jain manuscript
India, Rajasthan, Sirohi
18th century
Ink, opaque watercolor, and gold on paper
Gift of Dr. and Mrs. Leo S. Figiel and Dr. and Mrs. Steven J. Figiel, 1975/2.169
In the Jain religion, book production reflects the integral relationship among the laity, monastic community, and the Jina, or enlightened Jain teacher. The dedication of sacred books for shrines is required of devotees, and while commissioning a book fulfills the lay obligation of charity, beholding a book helps the individual achieve the proper mental state for spiritual guidance. It was customary for a lay donor to commission a copy of a text for presentation to his spiritual teacher and ultimately to the temple library. Over the centuries, monastic libraries received great quantities of texts, which were employed in the instruction of monks and nuns, who were themselves discouraged from practicing the art of painting: one text expressly warns of the power of painting to arouse sensual feelings.
In these colorful pages, both the golden-hued Jina seated on a simple throne and the monk who venerates him are naked, identifying them as Digambara (sky-clad) Jina. On one page, they are shown receiving veneration from the laity (including princes), animals, plants, and even fire and water. On another, a prince is venerating the Jina in the midst of a battle.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
This watercolor depicts a group of three children, three adult females, two adult males, and one small dog. An adult male plays a string instrument on the far left side, and an adult female sits on the lower right side; the rest stand. All the figures wear vividly colored clothes.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Vintage gelatin silver contact print. Black and white image of a nun stitching a hole in linens, with figures of saints looking down from the tabletop.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
This drawing depicts a fresco executed by Giovanni Battista Pozzo (c. 1563-1591) for the Peretti Chapel, Santa Susanna, Rome. The scene is the conversion of St. Genesius, a third-century actor who was about to perform a play ridiculing the rite of baptism. He saw a vision during his performance of angels holding a book with his sins and Genesius converted on the spot.
It has been suggested by Szilvia Bodnár that this drawing, and another drawing showing this composition in the collection of the Albertina, predate the final fresco, which is in a horizontal format while the two drawings are portrait format.
Inscription
Inscribed, l.r. in brown ink in an old hand: Ventura Salmunbin On verso, l.r.: Falchenbusch
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
A nude monk on the top left sits before a Jina at top right. Three Hindu gods, Harihara, Garuda, and Nandi venerate the Jina in the bottom registers.
Subject Matter
A book like this would have been comissioned by a lay devotee to illustrate canonical Jain texts as well as demonstrate peity. Texts like these would have been used for meditation and monastic education.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
A wild-eyed demon warrior, armed with bow and sword, kneels to offer homage to Devi, the Goddess. She sits regally in carved marble shrine, holding a trident in one of her four arms. This scene is from a manuscript of the Devimahatmya, a text of praise to the goddess in many forms.
Sirohi, where this painting was executed, was quite far from the center of imperial Mughal power, and so the painting style practiced there retained many features of pre-Mughal art. The palette is bright and the drawing bold.
Exhibited in "Divine Encounters, Earthly Pleasures: Twenty Centuries of Indian Art" at UMMA, 12/12/03–2/22/04.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Hindola means swing, so a swing is usually the dominant motif in paintings of the Hindola Raga. Here the artist has depicted the raga as none other than Krishna (an incarnation of the Hindu god Vishnu) on the swing with his beloved. A young woman pulls on a cord from below to rock the swing, while female musicians set the tempo. The scene is neatly framed by a stormy sky above, stylized trees with resident peacocks on either side, and a lotus pond below. The cool colors and water motifs suggest the rainy season, traditionally the time of year for swinging. This setting is appropriate for a raga meant to be sung on a spring morning. Paintings from this ragamala set are inscribed with two poems, one long and one short, on their respective themes.
Exhibited in "Divine Encounters, Earthly Pleasures: Twenty Centuries of Indian Art," 12/12/03-2/22/04.
Inscription
Text in "Malwi" language and "Devangari" character on the top of the illustration: "Hindola Raga" 13" Doha" "Madhumadhau Gadhar milih Todi aur Deshashi"
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
