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Collections

Unknown
The Adoration of Jina Ajitanathacirca 1675

Not on view
Indian manuscript painting, a golden deity seated cross-legged in a floral arch, surrounded by crowned attendants below and winged celestial figures descending through flowering trees above, on a crimson ground
Indian manuscript painting on paper, four female figures in ornate jewelry and colorful streaming garments against a deep red background, surrounded by stylized round-topped trees in green and purple; two figures above appear to engage with two fallen figures below, rendered in flat planes of vivid color with fine detailing.
Indian manuscript painting, yellow-skinned four-armed deity seated in lotus position within a pink arched niche, adorned with floral garlands, jewelry, and crown, flanked by attendant figures against a red background with flowering trees above

Unknown, The Adoration of Jina Ajitanatha, circa 1675, Los Angeles County Museum of Art, From the Nasli and Alice Heeramaneck Collection, Museum Associates Purchase, photo © Museum Associates/LACMA

Artist or Maker
Unknown
Title
The Adoration of Jina Ajitanatha
Place Made
India, Rajasthan, Marwar
Date Made
circa 1675
Medium
Opaque watercolor and gold on paper
Dimensions
11 x 8 1/2 in. (27.94 x 21.59 cm)
Credit Line
From the Nasli and Alice Heeramaneck Collection, Museum Associates Purchase
Accession Number
M.71.1.21
Classification
Drawings
Collecting Area
South and Southeast Asian Art
Curatorial Notes
Jina Ajitanatha is the second Jain savior (tirthankara) of the present time cycle of Jain cosmology. He is seated in a floral bower with his identifying symbol, an elephant, depicted on the base of his throne pedestal. Ajitanatha is painted a golden color, per the iconographic stipulations of Jain texts. He wears a floral garland and a bejeweled crown and ornaments. Crowned divinities stand beside him waiving honorific flywhisks and making offerings of blossoms and garlands. Celestial females flying overhead shower him with flower petals. The devotional scene is set in the forest amidst a marvelous riot of vegetation. The specific event portrayed may be Ajitanatha receiving homage in heaven from the gods before his descent to mortal existence or the worship of his image as a form of darshana (spiritual viewing) prior to the commencement of the narration of his life during Jain rituals.

Selected Bibliography
  • Rosenfield, John. The Arts of India and Nepal: The Nasli and Alice Heeramaneck Collection. Boston: Museum of Fine Arts, Boston, 1966.
  • Pal, Pratapaditya; S. Andhare; J. Cort; S. Gorakshakar; P. Granoff; J. Guy; G. Larson; Stephen Markel. The Peaceful Liberators: Jain Art from India. Los Angeles: Los Angeles County Museum of Art, 1994.
  • Trabold, J. The Art of India, An Historical Profile. Northridge, CA: California State University Press, 1975.

  • El Universo de la India: Obras Maestras del Museo de Arte del Condado de Los Angeles. Santiago: Centro Cultural Palacio La Moneda, 2012.