Jain paintings adopted a simplified and schematic artistic language, utilizing segmented spaces to portray various incidents. Bright colors are favored, showcasing a keen interest in textile patterns. The compositions are characterized by thin, wiry lines, and attempts to create three-dimensionality in facial features include the addition of an extra eye. The architectural elements depicted, such as Sultanate domes and pointed arches, indicate the political influence of Sultans in regions like Gujarat, Mandu, Jaunpur, and Patan. These paintings vividly capture indigenous features and the local cultural lifestyle, portraying textile canopies, wall hangings, furniture, costumes, and utilitarian items. Landscape features are suggestively depicted, typically lacking intricate details. The pinnacle of creativity in Jain paintings is observed during a roughly one-hundred-year period from 1350–1450. This era witnesses a transition from severely iconic representations to the inclusion of captivating elements like landscapes, figures in dance poses, and musicians playing instruments, often painted in the margins surrounding the main episode.

What is the significance of the earliest surviving palm leaf manuscript from the western part of India?

It dates back to the 11th century

Answer: It dates back to the 11th century
The earliest surviving palm leaf manuscript from the western part of India dates back to the eleventh century.

Early Jain paintings were traditionally done on palm leaves before paper was introduced in the fourteenth century and the earliest surviving palm leaf manuscript from the western part of India dates back to the eleventh century. The palm leaves were adequately treated before painting and the writing was etched upon the leaves with a sharp calligraphic device. Owing to the narrow and small space on palm leaves, painting, initially, was largely confined to patlis that were liberally painted in bright colours with images of gods and goddesses, and incidents from the lives of Jain acharyas.