Continuity of Tradition in Medieval Sculpture and Painting in Western India
Summary
Shridhar Andhare argues that medieval sculpture and painting in Western India demonstrate a continuous tradition passed down through a master-to-pupil system, resulting in unified schools and guilds. The author contends that this stylistic continuity is visible when comparing the narrative sculptural reliefs of the Delwara temple at Mt. Abu and the Osian temple near Jodhpur with the excellent painted book-covers of the medieval period. The article emphasizes the linear quality of art, citing the Nagari inscriptions and donor figures on the pillars of the Samiddhesvara temple at Chittor dated A.D. 1227, as well as hero stones, to show the prevalence of etching work among Sutradharas and Gajdhars in Western India. The main argument centers on the interdisciplinary functions of the Sutradharas, Gajdhars, and painters. M.K. Dhavlikar supports the view that Sutradharas were painters, a point clarified by Stella Kramrisch through the *Manusamhitd*, which classifies the architect, surveyor-designer, sculptor, carpenter, and painter. The term Sutradhara, meaning "who holds the threads," eventually substituted for Sutragrdhin and applied to any leading practitioner, particularly painters. The author presents new evidence from a genealogical document discovered during research in Udaipur, revealing that these artists belonged to the Ladani community of carpenters and included architects, engineers, mistries, and Chitaras (painters). The document indicates that these families followed the *Aparajitaprchha*, a working manual from at least the 13th century, with its exact usage observed in the 15th-century gateways of Chittor fort during the reign of Ratia Kumbha (A.D. 1433-68). Names of painters like Bhimaji (Sutar), Jiwanramji, Rupaji, and Nathuji (Sutar) appear on the back of large miniatures of the Mewar School, and grants from the reign of Mahdrana Bhim Singhji of Mewar (A.D. 1778-1828) denote gifts of villages to painters from this family. The author concludes that the institution of Sutradharas did not have watertight compartmentalization of skills but was always an interdisciplinary activity of the family or guild. The article references works by Moti Chandra, Muni Jinavijay, U.P. Shah, S.N. Chakravarti, R.V. Somani, M.K. Dhavlikar, Stella Kramrisch, Ram Vallabh Somani, B. Bhattacharya, M.A. Dhaky, and Andrew Topsfield.
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Conclusion
The study demonstrates a profound continuity of tradition in medieval Western Indian art, evidenced by the consistent stylistic congruity across sculpture, painting, and illustrated manuscripts. Key findings reveal that the Sutradharas and Gajdhars, often identified as interdisciplinary artists, maintained a master-to-pupil transmission of skills. This tradition, active from at least the 15th century in Mewar, utilized texts like the *Aparajitapraccha* as working manuals, guiding the creation of temples, miniatures, and interior decorations. The analysis of genealogies and miniature paintings confirms that painters (Chitras) were integral members of these artisan families, blurring the boundaries between architectural, sculptural, and pictorial roles. This interdisciplinary approach underscores a unified artistic lineage, where the linear conventions and iconographic details of the period were cohesively preserved through generations.