What shift is observed in Jain paintings during the creative phase from 1350–1450?

From iconic representations to inclusion of attractive depictions of landscape and figures

Answer: From iconic representations to inclusion of attractive depictions of landscape and figures.

There is a shift in Jain paintings from severely iconic representations to the inclusion of attractively depicted aspects of landscape, figures, dance poses, and musicians during this creative phase.

Jain paintings developed a schematic and simplified language for painting, often dividing the space into sections to accommodate different incidents. One observes a penchant for bright colours and deep interest in depiction of textile patterns. Thin, wiry lines predominate the composition and three-dimensionality of the face is attempted with an addition of a further eye. Architectural elements, revealing the Sultanate domes and pointed arches, indicate the political presence of Sultans in the regions of Gujarat, Mandu, Jaunpur and Patan, among others, where these paintings were done. Several indigenous features and local cultural lifestyle is visible through textile canopies and wall hangings, furniture, costumes, utilitarian things, etc. Features of the landscape are only suggestive, and usually, not detailed. A period of roughly hundred years from about 1350–1450 appears to be the most creative phase for Jain paintings. One observes a shift from severely iconic representations to inclusion of attractively depicted aspects of landscape, figures in dance poses, musicians playing instruments, which are painted in the margins of the folio around the main episode. These paintings were lavishly painted with profuse use of gold and lapis lazuli, indicating the wealth and social status of their patrons