Pala School of Painting

 

ashtashahashrika pragyaparamita

The Pala School of Painting refers to the artistic tradition that flourished during the Pala dynasty in eastern India from the 8th to the mid-12th century. This period, from 750 CE to the mid-12th century, is considered the last great phase of Buddhist art in India. The Pala rulers were known for their patronage of Buddhism and the arts, and this era saw the creation of many illustrated manuscripts and bronze images.

2. Manuscript Illustrations:

• Many manuscripts, particularly those from the Pāla period, did not contain illustrations.
• Illustrations were commonly placed at the beginning, middle, or end of the text.

3. Color Palette and Symbolism:

• Pāla manuscript illustrations primarily used six colors: red, yellow, blue, green, black, and white.
• The choice of colors was likely influenced by a developed system of color symbolism rather than purely aesthetic considerations.
• Colors were applied in a flat, unmixed fashion, with occasional suggestions of shading in the skin tones.
• Outlining was a common technique, often done in black or matching the color scheme of the figure or compositional element.

4. Artistic Style:

• Faces in illustrations were typically shown in a three-quarter view, except for Buddha images, which were often depicted frontally.
• The use of an artist's brush, as opposed to a sculptor's chisel, allowed for more lively and animated depictions.
• Despite their miniature format, Pāla manuscript illustrations demonstrated sophisticated coloristic and compositional schemes, showcasing the skilled draftsmanship of the Pāla painters.

Characteristics of Pala Paintings:

1.     Flowing and Sinuous Lines: Unlike the Jain painting tradition, Pala paintings are characterized by flowing and sinuous lines. This style imparts a sense of fluidity and grace to the artwork.

2.     Subdued Color Tones: The color palette of Pala paintings tends to be subdued. The use of soft and muted colors contributes to the overall aesthetic of the artwork.

3.     Similarity with Ajanta: The sculptural styles found in Pala monasteries and the painterly images share a common language with the art of Ajanta. This indicates a continuity and influence of artistic traditions across different periods and regions.

·       Illustrated Manuscripts: The illustrated manuscripts from the Pala period often featured Buddhist themes and images of Vajrayana Buddhist deities. Monasteries such as Nalanda and Vikramsila were significant centers of Buddhist learning, art, and manuscript illustration during this time.

·       Bronze Casting Workshops: In addition to manuscript illustration, Pala centers had workshops for casting bronze images. These bronze images were often of Buddhist deities and played a crucial role in the religious and artistic expression of the time.

·       Dispersal of Pala Art: The influence of Pala art extended beyond the borders of India. Students and pilgrims from South East Asia visited these monasteries for education and religious instruction. They took back examples of Pala Buddhist art in the form of bronze images and illustrated manuscripts. This led to the dispersal of Pala art to regions such as Nepal, Tibet, Burma, Sri Lanka, and Java.

·       The Ashtasahasrika Prajnaparamita, a pivotal scripture in Mahayana Buddhism, holds a revered place in the pursuit of Supreme Knowledge and fullness of enlightenment, as mandated for bodhisattvas and seekers of profound wisdom. This palm-leaf folio, dating back to the 11th century C.E. (12 C.E. according to national museum), is a fragment from a larger manuscript, exemplifying the rich tradition of the Pala script.

·       Measuring 55.0×5.7cms, this exquisite piece unfolds a tapestry of Mahayana rituals, intricately illustrated with vibrant depictions reminiscent of mural paintings. The manuscript features captivating images of Avalokiteshvara, the compassionate Bodhisattva, alongside the graceful green Tara and other minor deities. The composition masterfully weaves together these divine forms, showcasing a stylistic resonance with the artistry found in Central Asian traditions.

·       Lokeshvar, Astasahasrika Prajnaparamita: One notable example of a Pala Buddhist palm leaf manuscript is the "Lokeshvar, Astasahasrika Prajnaparamita," dated to 1050. This masterpiece is housed in the National Museum, New Delhi. This illuminated manuscript, depicting the 'Perfection of Wisdom' in eight thousand lines, showcases the distinctive features of Pala art. Painted at the monastery of Nalanda in the fifteenth year of the reign of the Pala King Ramapala, in the last quarter of the eleventh century, it features six pages of illustrations with wooden covers painted on both sides.

·       End of Pala Art: The decline of the Pala dynasty and the weakening of their rule coincided with the arrival of Muslim invaders in the first half of the 13th century. The Muslim invaders attacked and caused destruction to the monasteries, leading to the end of the Pala School of Painting. This historical context marks a significant transition in the cultural and artistic landscape of the region.