Chitram Vastram: A Journey of Textiles and Sartorial Styles through Jain Manuscript Paintings

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What can we learn about clothes and fashion from ancient Jain manuscript paintings? What can we learn about life from clothes, fashion and sartorial styles? A treasure trove of beauty and cultural in sights is offered up in "Chitram Vastram: A Journey of Textiles and Sartorials Styles through Jain Manuscript Paintings" the National Museum's path-breaking exhibition that draws connections between religion, art and textiles as material culture curated by Dr. Pawan Jain. On view are the rare folios of Jain manuscripts along with a wide range of textiles - both from the museum collection and contributed by award-winning contemporary craftspeople and designers - underlining the remarkable continuity of India's textile traditions.

Dr Pawan Jain is an art historian and textile entrepreneur. She is visiting faculty at the National Museum Institute (NMI), New Delhi, and has also taught at the BL Institute of Indology and National Institute of Fashion Technology (NIFT), New Delhi. She holds a PhD specialising in textiles and sartorial styles in Jain manuscript paintings and is author of the book "Kaivalyam: Jain Manuscript Paintings in the National Museum". She has also published several research papers in the field of art history. She has been working closely with weavers and printers to bring contemporary aesthetics to textiles, ensuring traditional designs are re-interpreted with a fresh perspective while retaining historic sensibilities. She was a Governing Body member for four terms of FICCI FLO, the Federation of Indian Chamber of Commerce & Industry's Ladies Organisation, and headed their initiative Swayam for the promotion of women entrepreneurs.

Jain art has a long and glorious history, but following its own philosophical ethos its main purpose was religious and not aesthetic. Costumes in Jain manuscripts. however, seem to be an exception as they were depicted with vivid colours, prints and designs. These manuscript paintings have emerged as a crucial record of the evolution of costumes, textile technology and trade in Gujarat from the 11th to 18th centuries CE. and the National Museum is proud to present the groundbreaking exhibition "Chitram Vastram: A Journey of Textiles and Sartorials Styles through Jain Manuscript Paintings". This exhibition links the three disciplines of art, religion and material culture to presents insights into the textile traditions, artistic traditions, sartorial tastes, trade and technology of India. They testify to the vital imagery that has adorned Indian art and textiles for over 700 years. On exhibit are costumes, textiles from National Museum collection including richly illustrated folios of Jain manuscripts never publicly seen before. Costumes such as dhoti uttariya, jama pyjamas including sartorial styles of foreigners have been highlighted through these Jain paintings. We also have various textiles such as hand block printing, khari printing, indigo dyeing. dabu, ajrakh, bandhani, patola, ikat, mashru and phulkari, mochi embroidery contributed so generously by practicing and award-winning master craftspeople. designers and artists. The museum collaborated with them for this unique exhibition.

"Chitram Vastram" is a testimony to the continuity and viability of centuries-old textile practices in India that continue to thrive even today. I would like to particularly thank Dr Pawan Jain for conceiving, researching and curating this exhibition. Gunjan Jain has found a resonant design vocabulary to showcase these amazing objects, and thank her. It is especially gratifying that so many craftspeople and artists have supported this exhibition and have so generously agreed to share their materials and objects.

This publication presents all of the vital imagery on show in the exhibition alongside detailed explanations and analysis that will enrich the artistic experience and contribute to the scholarship in the field.

The exhibition, "Chitram Vastram: A Journey of Textiles and Sartorials Styles through Jain Manuscript Paintings", attempts to forge a shared context between three diverse disciplines-religion, art, and material culture. The textiles and sartorial styles depicted in Jain manuscript paintings provide vital insights into India's spectacular textile traditions and technology. They are a testament to the imagery that has embellished Indian art and textiles for over 700 years.

Jainism does not subscribe to the philosophy of art for art's sake. Jain acharyas were primarily preoccupied with the ethical-spiritual development of all humans. Art that happened to accompany Jain manuscripts was considered a means to help people absorb the religion's ideals into the daily rhythms of their life.

Jainism is one of India's more sombre religions. One of the main principles anchoring it is Aparigraha, which means non-materialism. In an ode to Jainism's multi-pronged approach to truth, the principle of Aparigraha has been adopted in various ways. For one, many Jains vow to abstain from at least one of their favourite things during the festival of Paryushana. At the other end of the spectrum are the Digambara monks, who permanently give up shelter and clothing and wander from one place to another.

Interestingly. Jain manuscript paintings and certain texts offer a stark contrast to the simplicity and solemnity of the religion. Jain canons and commentaries are an unlikely yet brilliant source of textile history. Many of these texts are filled with elaborate descriptions of costumes, fabrics, sartorial styles, rules, and trends prevailing at the time of their commissioning. Manuscript art displays bold textile patterns and attractive, intricate detailing in the costumes of all human forms. including monks, gods, goddesses and jinas (Tirthankaras). How do we reconcile these two seeming contradictions? And how did these fascinating textile details find their way into Jain manuscript paintings in the first place? Can these manuscript illustrations give us insights into the life and culture of Indian people at that time, into their sartorial tastes and artistic traditions? Might the presence of textiles indicate the trade and technology developing in the subcontinent during that time? What insights can they offer to textile designers today?

Evolution of textiles