Jainkamal NAMOARIHANTANAM by Jain Kamal

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:Cecees: An Unseen Quest of Crores of Mntras on Canvases

A pilgrim yatra through eyes of an artist

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CeceesDeefjnbleeCeb N

P A I N T I N G S

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J A I N K A M A L

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Copyright © 2010 Jainkamal All ar tworks copyright 2010 Jain kamal. All rights are reserved under copyright onventions. No par t of the catalogue is to be reproduced or utilized in any form without prior permission in writing from the ar tist. Concept JAIN KAMAL Foreword Mentor of jito / JIO Param Pujya Ganivarya Naypadmasagarji Maharaj Saheb Design Shivani Associates Cover Namo Arihantanam in Brahmi Lippi(Font Design) Print & Production Vardhan Bora, Lokmat Permanent Address Jain Kamal Ar t Editor’ Editor’s Colony H-18, 201, Press Enclave, Anmol C.H.Society, Pratiksha Nagar Sion East, Mumbai- 400 022, Maharastra, Bharat Mobile + 91 98211 39310 + 91 83699 94118 www.jainkamal.com jainkamalji@gmail.com

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SPECIAL V IJAY D ARDA

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THANKS

Member of Parliment, Publisher & Group Editor Lokmat Group

A.B. Ravi

Geeta Jain

Sanjay Pawar

Achutyanand Mishra

Gorge Vargheese

Sankar Kejriwal

Ajay Rohilla

Gopal Biyani

Santosh Jain patna

Anuradha Prasad

Hansh Raj Patil

Santosh Jain, JITO

Anand Bharati

Hement Shah Akurati

Shatrughan Prasad

Anand Gandhi

Indra Kumar Jain

Shailaja Kumari Shyamsukha

Awanindra Ashutosh

Jain Karan

Shivani Jain

Bela Gopal Joshi

Jayant Mishra

Shivang Jain

Bela Jain

Kamal Duggar

Sushma Tiwari

Bimal k Jain

Lalit Patodia

Suresh Chandra Sharma

Bimal ji Nahata

Nirmal Jain

Tansukh Baid

Bimal Maheshwari

Manoj Sinha

Udhav Thackery

Bijay Jain

P. N. Sah

Ujjawal Jain

Chandan Mitra

Pt. Anupam Rai

Virendra Shah JITO

Charan & Nimisha Sharma

Pawan Jain, AAshika

Vijay Verma

Chetan Dalvi

RatanSaha

Vivek Gupt

Devendra Darda

Ram Badhur Rai

Devendra Patni

Rajiv Shukla

Desi Dramebaaz

Ravi Shankar Prasad

Dr Vinay jain

Rohan Joshi

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PAINTINGS BY JAINKAMAL

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v¡$hp„iy v¡$kpC (dy„bC)

bC_u S>Nrh¿eps apCh õV$pf lp¡V¡$gdp„ \p¡X$p„ hfk `l¡gp„ A¡L$ L$gpL$pf DOpX$p `N¡ âh¡ihp Nep Ðepf¡ A¡d_¡ AV$L$phhpdp„ Apìep lsp A_¡ A¡_p¡ rhhpv$ \ep¡ lsp¡. spS> lp¡e L¡$ AÞe apCh õV$pf lp¡V¡$g, Aphu lp¡V¡$gdp„ S>_pfp dp¡V$p cpN¡ b|V$-k|V$ L¡$ A`-Vy$-X¡$V$ \C_¡ S>sp lp¡e R>¡. Å¡ L¡$ A¡ qv$hk¡ A¡V$g¡ L¡$ spS>¡sfdp„ qv$hpmu_p v$k¡L$ qv$hk `l¡gp„ spS> lp¡V¡$gdp„ S>_pfp b|V$ L¡$ `NfMp„ `l¡fu_¡ S>sp lsp, `Z spS>dp„ `l¡gp dpm¡ Aph¡gu ApV®$ N¸gfudp„ âh¡isp„ `l¡gp„ b^p `p¡s`p¡sp_p„ `NfMp„ blpf õV¸$ÞX$dp„ d|L$u_¡ âh¡isp lsp. spS> ApV®$ N¸gfudp„ ÅZusp Anfrië`u L$dg S>¥__p„ _hL$pf dlpd„Ó `f Ap^pqfs-Anf `f Ap^pqfs `¡[ÞV„$Ák_y„ âv$i®_ ep¡Åey„ ls„y. k„`|Z®`Z¡ ApÝep[ÐdL$ cph kp\¡ N¸gfudp„ âh¡isp gp¡L$p¡

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Anf S> b°û R>¡... N°pqa¼k A_¡ qX$rS>V$g V¡$¼_p¡gp¸Æ_p¡ D`ep¡N L$fu_¡ AMbpfu S>Ns_p ÅZusp ApV®$ qX$f¡¼V$f L$dg S>¥_ Anf s¡d S> _hL$pf d„Ó_¡ ApNhu fus¡ `¡[ÞV„$Ákdp„ fS|> L$f¡ R>¡...

A¡V$g¡ S> `NfMp„ blpf d|L$u_¡ Anf A_¡ _hL$pf d„Ó Ap^pqfs `¡[ÞV„$Ák_„y âv$i®_ Å¡hp Aphu füp lsp. S>¡d A„sf dp`hp IQ, k¡[ÞV$duV$f, a|V$ L¡$ NS> lp¡e A¡ fus¡ b¡ Anf hÃQ¡_p A„sf_¡ `pCL$p L$l¡ R>¡. A¡ rhi¡ L$dgcpCA¡ OZp âep¡N L$ep® R>¡ A¡V$g¡ ÅZusp„ A„NÆ ¡° AMbpf-d¸Nr¡ T_dp„ ApV®$ qX$f¼¡ V$f sfuL¡$ hfkp¡ ky^u kamsp`|h®L$ L$pd L$f_pfp L$dg S>¥__¡ A„N°¡Æ AMbpf `pCL$p bp¸e sfuL¡$ `Z Ap¡mM¡ R>¡.

Anfp¡_u M|bu kp\¡ õL|$gÆh_\u gNph ^fphsp L$dg S>¥_ rQÓg¡Mp_¡ L$l¡ R>¡ L¡$ AMbpfS>Nsdp„ i¡fua A_¡ k¡_i¡fua Ap b¡ âL$pf\u Anf gMpsp-R>`psp lp¡e R>¡. A¡_¡ Ýep_dp„ fpMu_¡ d_¡ rhQpf Apìep¡ L¡$ Ap bÞ_¡ âL$pf A¡V$g¡ ÅZ¡ _f-dpv$p, qv$hk-fps, rih-`ph®su R>¡. Ap`Z¡ S>¡_¡ Cðf, Aëgpl, Cky, S>¡ `Z L$luA¡ A¡ Mf¡Mf sp¡ Anf R>¡. Anf S> b°û R>¡. b¡ Anf A_¡ b¡ gpC_ hÃQ¡ L¡$V$gu S>Áep 6 _h¡çbf, 2017

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_p¡My„-A_p¡My„ lp¡hu Å¡CA¡ A¡_p¡ kss Aæepk L$fu_¡ ApV®$ qX$f¡¼V$f sfuL¡$ AMbpfu S>Nsdp„ A_p¡My„ âv$p_ L$f_pfp L$dg S>¥_ L$l¡ R>¡ L¡$ dpfp qfkQ® v$frdep_ rhrh^ ^d®-`„\_p Nyfy-k„sp¡_¡ ly„ dþep¡. ApÝep[ÐdL$sp sfa TyL$ph hÝep¡. NpeÓu d„Ó, l_ydp_ Qpgukp, _hL$pf d„Ó_p¡ drl_pAp¡ ky^u Aæepk L$ep£. A¡ v$frdep_ Å¡e„y L¡$ Mf¡Mf sp¡ S>¡ khp£ÃQ i[¼s_u Ap`Z¡ hps L$fuA¡ A¡ Mf¡Mf Anf S> cNhp_ R>¡. dykgdp_p¡ `Z Anf_u `|Å L$f¡ A_¡ õ\p_L$hpku S>¥_ s\p s¡fp`„\u S>¥_ d|rs®`|S>L$ _\u, `Z Anf_u `|Å L$f¡ R>¡. Anf S> k„`|Z®`Z¡ `rhÓ R>¡. `qfZpd¡ S>¥_p¡_p _hL$pf

Ap ipL$cpÆ, A_pS> DNpX$_pfp cNhp__y„ apd® lpDk L¡$hy„ li¡ A¡_u L$ë`_p L$fu_¡ sfydp„\u L$mpÐdL$ Anfp¡_„y r_dp®Z L$fu_¡ `¡[ÞV„$N b_pìep„. L$íduf_u Aip„rs_¡ gC_¡ L$íduf rhi¡ `Z rQÓ s¥epf L$ey¯. L$dg S>¥_ `p¡sp_p A_ych A_¡ V¡$¼_p¡gp¸Æ_u dv$v$\u _hL$pf d„Ó_p¡ D`ep¡N L$fu_¡ ëeyd¡_¡qV$L$ rkõV$d\u S>¥_ Nyfy dlpâoÆ_p¡ \°u-X$u Ql¡fp¡ b_pìep¡. 180 qX$N°u\u L$p¡C `Z A¡ÞNg\u rQÓ Sy>hp¡ sp¡ `¡[ÞV„$Ndp„ fl¡gp¡ Ql¡fp¡ rQÓ_¡ Å¡_pfp_u sfa Å¡sp¡ lp¡e A¡hu Ca¡¼V$-A¡hp¡ cpk E`S>¡. âv$i®__p„ dp¡V$p cpN_p„ `¡[ÞV„$N khp gpM,

L$çàeyV$f_p L$u bp¡X®$ Üpfp b°pûu rgr`_p ap¡ÞV$ s\p Anf_y„ r_dp®Z L$fu_¡ _hL$pf d„Ó_p„ _h `v$_¡ `¡[ÞV„$Ákdp„ Y$pmu S>¥_ qagp¡kp¡au kdÅhhp_p¡ _hp¡ Apepd... d„Ó_p„ A¡ _h `v$-hp¼e `f S> qfkQ® iê$ L$ey¯. kp\¡ kp\¡ lÅfp¡ hfk S|>_u b°pûu rgr` `f L$pd iê$ L$e.¯y ÅZusp S>¥_pQpe® ky_ug kpNfÆ `pk¡\u b°pûu rgr` rhi¡ iu¿ep¡. A„s¡ _hL$pf d„Ó_p„ _h `v$_¡ L$u bp¡X$® Üpfp b°pûu rgr`dp„ dpfu fus¡ sbv$ug L$ep¯. ap¡ÞV$ b_pìep. _hp S> âL$pf_p Anf_y„ r_dp®Z L$ey¯ A_¡ `R>u A¡_p Ap^pf¡ AgN AgN `¡[ÞV„$N b_pìep„. A¡ S> âdpZ¡ Qp¡dpkpdp„ M¡sfdp„ hphZu \pe. M¡sfdp„ sfy fp¡`hpdp„ Aph¡. Ap sfy_¡ Ýep_dp„ fpMu_¡ Anf_„y L$mpÐdL$ r_dp®Z L$ey¯. L$dg S>¥_ L$l¡ R>¡ L¡$ Ap`Z¡ M¡sfdp„ buS> L¡$ sfy hphuA¡ A_¡ L$fp¡X$p¡ V$_ ipL$cpÆ, A_pS> DNpX$uA¡.

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b¡ gpM L¡$ `p„Q gpM _hL$pf d„Ó \L$u b_phhpdp„ Apìep„ R>¡. ApS>L$pg ^d®_¡ AgN AgN dpÝed\u Å¡hp-kdS>hpdp„ Aph¡ R>¡. ApS>¡ S>¥_ ^d®_u qagp¡kp¡au_p¡ Ap¸qX$ep¡, rhqX$ep¡, qX$rS>V$g hT®Þk, dp¡bpCg qf„NV$p¡_ L¡$ L$p¸gfV$éyÞk \L$u âQpf-âkpf \pe R>¡. gp¡L$p¡ kdS>¡-ÅZ¡ R>¡, `Z L$dg S>¥_¡ Ap S>¥_ ^d®_u qagp¡kp¡au_¡ N°pqaL$g `¡[ÞV„$Ák Üpfp _hy„ ê$` Apàe„y R>¡. S>¥_ qagp¡kp¡au_¡ N°pqa¼k `¡[ÞV„$Ákdp„ Dspfhp_y„ L$pd gNcN ApW$-_h hfk `l¡gp„ iê$ L$ey¯ ls„y. L$dg S>¥_ L$l¡ R>¡ L¡$ ly„ `p¡s¡ qv$N„bf S>¥_ Ry>„. _p_`Zdp„ S>¥_ d„qv$f¡ S>sp¡. hfkp¡ ky^u Anfp¡

kp\¡ `_pfp¡ `X$ép¡ Ðepf¡ \ey„ L¡$ S>¥_ ^d®_u qagp¡kp¡au_¡ L¡$hu fus¡ Ap Anfp¡ \L$u `¡[ÞV„$Ákdp„ Dspfu_¡ _hp¡ Apepd kÆ® iLy„$? bk, Ðepf\u Ap _hu epÓp iê$ \C. S>¡ `rhÓ-L$fyZpcph S>¥_ d„qv$fdp„ S>C_¡ \pe A¡ S> cph Ap `¡[ÞV„$Ák_¡ Å¡C_¡ âNV¡$ R>¡. L$dg_p A¡L$ `¡[ÞV„$Ndp„ cNhp_ dlphuf_p A„N|W$p_u r_ip_u R>¡. L$dg L$l¡ R>¡ L¡$ ly„ OZp„ su\®õ\p_p¡dp„ aep£. dp¡V$p cpN_p„ d„qv$fp¡dp„ cNhp__p„ QfZr_ip_ rhrh^ õhê$`¡ Å¡hp dþep„, `f„sy A¡d_p A„NW| $p L¡$ lp\_p„ r_ip__u hps ¼ep„e L$p¡CA¡ hp„Qu-ÅZu _\u Ðepf¡ d_¡ \ey„ L¡$ Ap`Zu S>¡d cNhp__p A„N|W$p_u r_ip_u L¡$hu lp¡C iL¡$? bk, dpÓ Ap L$ë`_p_¡ Ap^pf¡ _hL$pf d„Ó_u klpe\u A„N|W$p_u râÞV$ v$ip®hs„y `¡[ÞV„$N b_pìey„ R>¡. Å¡_pfp_¡ A¡dp„ `Z `rhÓsp_p„ v$i®_ \i¡. AÐepf ky^u ÓZ hMs grgsL$mp AL$pv$du dpV¡$ _¸i_g A¡hp¸X®$ Æsu Q|L¡$gp L$dg S>¥_¡ rhrh^ A„N°¡Æ-tlv$u AMbpfp¡ D`fp„s C[ÞX$ep Vy$X¡$ A_¡ X¡$bp¡_¡f S>¡hp„ d¸N¡rT__p„ `p_p„_u kÅhV$ `Z L$fu R>¡. A¡ L$l¡ R>¡ L¡$ S>¡d qaëddp„ rhÈeyAg_u L$dpg lp¡e R>¡ A¡d AMbpf lp¡e L¡$ d¸N¡rT_, râÞV$_u vy$r_epdp„ Anfp¡_u L$dpg lp¡e R>¡. A„N°¡Æ D`fp„s rhrh^ cpjp_p ap¡ÞV$ L$dg S>¥_¡ `p¡sp_u L$ë`_p A_¡ A_ych_¡ Ap^pf¡ s¥epf L$ep® R>¡. ApS>¡ hpQL$p¡_¡ OZp„ AMbpf L¡$ d¸N¡rT_ hp„Qhpdp„ M|b kfmsp `X¡$ L¡$ Ap_„v$ Aph¡ A¡ Anfp¡_p ap¡ÞV$_u L$dpg R>¡. Ap n¡Ó¡ L$dg S>¥__„y _p¢^_ue ep¡Nv$p_ R>¡. lh¡ _hL$pf d„Ó_p„ _h `v$_¡ gC_¡ A¡dZ¡ ÅsÅs_u L$ë`_p \L$u `¡[ÞV„$Ák b_pìep„ R>¡. Anfp¡_u dv$v$\u, d„Óp¡_u klpe\u s¥epf \e¡gp„ rhrh^ âL$pf_p„ `¡[ÞV„$Ák_„y âv$i®_ lp¡e A¡hp¡ `Z L$v$pQ Ap â\d âk„N li¡. L$dg S>¥_ L$l¡ R>¡ L¡$ ApMf¡ sp¡ Anf S> b°û R>¡. d_¡ kss A¡h„y \pe R>¡ L¡$ `¡[ÞV„$Ndp„ fl¡gp L$fp¡X$p¡ _hL$pf d„Ó_y„ ÅZ¡ Al] A¡[¼Trbi_dp„ kss fV$Z \C füy„ R>¡. Anfp¡ \L$u d¢ L$mp-AÝepÐd_p Å¡X$pZ_„y L$pd L$ey¯, `Z lh¡ L$v$fv$p_p¡ Äepf¡ Ap `¡[ÞV„$Ák_u L$v$f L$fi¡ Ðepf¡ D d_¡ gpNi¡ L¡$ dpfu dl¡_s amu. D skhufp¡: âL$pi kfdmL$f feedback2devanshu@chitralekha.com

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09 OCTOBR 2017

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PAINTINGS BY

P A I N T I N G S

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J A I N K A M A L

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P A I N T I N G S

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J A I N K A M A L

09 OCTOBR 2017

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P A I N T I N G S

B Y

J A I N K A M A L

keÀuee Òeo&Meveer

:Cecees : DeefjnbleeCeb HeefjJeÊe&ve ÒeYeeJevee ceb$eesb keÀer... pewve keÀceue

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PAINTINGS BY JAINKAMAL

ceeb yeeyee JeÀs ®ejCees ces mecee|Hele

I dedicate these paintings to my parents.

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PULAK NAMO

Where the sea of bliss meets the horizon of spiritual awakening. peneb Hejceevebo JeÀe mecegê DeeO³eeeflceJeÀ peeiejCe JeÀs eq#eeflepe Hej efceuelee nw..

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P A I N T I N G S

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keÀuee Òeo&Meveer

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PAINTINGS BY JAINKAMAL

heguekeÀ vecees PULAK...NAMO...JAINKAMAL M IX M EDIA O N C ANVAS 121.92 CMS X 121.92 CMS 48’’ X 48’’

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GYA N N A M O

A Global voice and inspiration to millions whose life and teachings is a reflection of the pious and ancient bhakatmabar shotra. efJeéeJeeCeer SJeb JeÀjesæ[eW JeÀs ÒesjCeeñeesle, efpeveJeÀe peerJeve Deewj %eeve Òeefleefyeefcyele JeÀjlee nw Òee®eervelee SJeb HeefJe$elee JeÀes..

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P A I N T I N G S

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J A I N K A M A L

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PAINTINGS BY JAINKAMAL

%eeve vecees GYAN..NAMO...JAINKAMAL M IX M EDIA O N C ANVAS 121.92 CMS X 121.92 CMS 48’’ X 48’’

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PRESERVATION

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THORVAN

MANTRAS

Mantra is nature. Nature is Mantra. The preservation of nature would begin with something as simple as recital of mantra.

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P A I N T I N G S

B Y

J A I N K A M A L

keÀuee Òeo&Meveer

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PAINTINGS BY JAINKAMAL

me=peve vecees

SRIJAN..NAMO...JAINKAMAL M IX M EDIA O N C ANVAS 121.92 CMS X 121.92 CMS 48’’ X 48’’

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pewve Dee®ee³e& Þeer ceneÒe%e keÀe keÀnvee nw efkeÀ pewve oMe&ve J³eeqkeÌle HejkeÀ oMe&ve veneR nw~ Hetje ceb$e iegCeelcekeÀ nw~ Deefjnble, efme× Dee®ee³e&, GHeeO³ee³e Deewj meeOeg-vecemkeÀej ceneceb$e kesÀ ³es Heeb®e Heo nQ, efpeme efkeÀmeer Yeer J³eeqkeÌle ceW Heeb®e HeoeW kesÀ iegCe neW, Jen Jeboveer³e nes peelee nw~ SkeÀ mece³e Lee peye efkeÀmeer yeele keÀes keÀnves kesÀ efueS MueeskeÀeW, keÀefJeleeDeeW, ®eewHeeF³eeW, ªyeeF³eeW, MesjeW leLee ceb$eeW keÀe meneje uesvee Heæ[lee Lee~ efHeÀj GmekeÀer J³eeK³ee keÀer peeleer Leer, GmekesÀ DeveskeÀ DeLe& efvekeÀeues peeles Les~ Deepe ceb$e kesÀ meeLe leb$e (ceMeerve) Yeer ®eue jns nQ FmeefueS Jew%eeefvekeÀlee keÀe ÒeYeeJe cepeyetle nes jne nw~ -Dee®ee³e& Þeer ceneÒe%e

MANTRA NUCLEUS

Mantra is as small as a nucleus, to as big as this very universe. efyebog-efyebog ceW / keÀCe-keÀCe ceW CeceeskeÀej ceb$e keÀer ietbpe ef®eef$ele keÀer ieF& nw Deewj ye´ïeeb[ keÀes Yeer ®eewkeÀesj SJeb ieesueekeÀej keÀe ªHe oefMe&le nw~ ‡‡‡

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P A I N T I N G S

B Y

J A I N K A M A L

keÀuee Òeo&Meveer

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PAINTINGS BY JAINKAMAL

DeCeg vecees AANU..NAMO...JAINKAMAL M IX M EDIA O N A RCHIVAL PAPER 36’’ X 46’’

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|| OM ARHAM ||

efJeÕeMebeefle keâs efueS veceeskeâejceneceb$e . . .

::Den&ced::

pewve keÀceue kesÀ efueS nceejer DeeO³eeeflcekeÀ cebbieuekeÀecevee nw~

11pegæsueeF& 2015 HeÀjefyemeiebbpe, efyenej

-Dee®ee³e& Þeer ceneÞeceCe ON

P A I N T I N G S

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J A I N K A M A L

THE DIVINE LIGHT

He's the light at the end of the tunnel. He's the one you are seeking & he can manifest his energy to you through Mantra.

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P A I N T I N G S

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J A I N K A M A L

keÀuee Òeo&Meveer

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PAINTINGS BY JAINKAMAL

ÞeceCe vecees SHARNMAN...NAMO...JAINKAMAL M IX M EDIA O N C ANVAS 121.92 CMS X 121.92 CMS 48’’ X 48’’

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D I V YA D R I S H T I

Divya drishti stands the test of space, time and death. Itâ&#x20AC;&#x2122;s omnidirectional & omnipresent.

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P A I N T I N G S

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keÀuee Òeo&Meveer

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PAINTINGS BY JAINKAMAL

¢efä

DIVYA DISTRI..NAMO...JAINKAMAL M IX M EDIA O N C ANVAS 121.92 CMS X 121.92 CMS 48’’ X 48’’

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PRASSAN UTSAV

Deepe GvneR De#ejeW keÀes CeceeskeÀej ceneceb$e keÀe DeeOeej yeveekeÀj keÀueeke=Àefle keÀe ªHe os jns nQ~ FvekeÀer ke=Àefle keÀes osKekeÀj Deblece&vee cegefve Þeer ÒemeVe meeiej peer ves FvnW De#ej mece´eì keÀer GHeeefOe oer~ ÒemeVe meeiej ves keÀne efkeÀ ye´ïeeb[ ceW De#ejeW keÀer ueæ[eF& ®eue jner nw~ Meyo ner leesæ[les nQ Deewj peesæ[les nQ~ DeYeer lekeÀ nceves Meyoelcee keÀes ner HekeÀæ[e nw, efve:Meyo keÀer ueæ[eF& mes Jebef®ele nes ieS~ pewve keÀer HeWefìbime efve:Meyo keÀj osvesJeeueer nQ~ pewve keÀceue ves ¢æ{lee kesÀ meeLe keÀne efkeÀ Jes pewve Oece& keÀes Hetjs efJeée ceW Hengb®eevee ®eenles nQ, Jen Yeer keÀueelcekeÀ ªHe ceW~ ³en ceb$e efJeée Meebefle ceW ceooieej yeveves keÀer Hetjer #ecelee jKelee nw~ ieebOeerpeer ves Deefnbmee ÒemeVe GlmeJe keÀe Heeþ pewve Oece& mes ner ûenCe efkeÀ³ee Lee FmeefueS pewve keÀceue Gme Oece& kesÀ ñeesle keÀes meeceves ueevee ®eenles nQ~ CeceeskeÀej ceb$e ceW efkeÀmeer J³eeqkeÌle ³ee Oece& ieg© ³ee efkeÀmeer YeieJeeve keÀe veece veneR nw~ pewve ceb$e ceW Dejnbles MejCeb ie®íeefce keÀne ie³ee nw~ ³eeveer oMe&ve, %eeve Deewj ®eeefj$³e mebHeVe keÀes Jebove efkeÀ³ee peelee nw~ -Deblece&vee cegefve Þeer ÒemeVe meeiej ‡‡‡

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PAINTINGS BY JAINKAMAL

ÒemeVe GlmeJe

PRASSAN UTSAV .N AMO ...J AIN KAMAL M IX M EDIA O N C ANVAS 121.92 CMS X 121.92 CMS 48’’ X 48’’

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VIBRATIONS

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ARAHAM

It’s in the flowing of water. it’s in the flipping of the wings. it’s the sound of universe.

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P A I N T I N G S

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keÀuee Òeo&Meveer

:Cecees : DeefjnbleeCeb HeefjJeÊe&ve ÒeYeeJevee ceb$eesb keÀer... pewve keÀceue

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PAINTINGS BY JAINKAMAL

Den&ced vecees ARAHAM..NAMO...JAINKAMAL M IX M EDIA O N C ANVAS 121.92 CMS X 121.92 CMS 48’’ X 48’’

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::Den&ced::

The akshar yatra by Shri Acharya Mahapragyaji gave a direction different to literature. I have tried to portray this on canvas. ‡‡‡

Dee®ee³e& ceneÒe%e peer keÀer De#ej ³ee$ee ceW efpeme oMe&ve keÀes Dee®ee³e&Þeer ves efJeée meeefnl³e keÀes pees efoMee Òeoeve keÀer, Gmeer ³ee$ee keÀes ceQ Den&ced kesÀ ªHe ceW 7 years mes kewÀveJeeme Hej jKeves keÀer keÀesefMeMe keÀj jne ntb~ ‡‡‡

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PAINTINGS BY JAINKAMAL

Devevle vecees

ANANT...NAMO...JAINKAMAL M IX M EDIA O N C ANVAS 121.92 CMS X 121.92 CMS 48’’ X 48’’

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CIVILIZATION

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MANTRAS

The emergence of a new consciousness & a new set of beliefs on the foundation of Mantras. meY³elee ceb$eeW JeÀer- SJeÀ veF& ®eslevee Deewj SJeÀ veF& DeemLee JeÀer veeRJe ceb$eeW Hej..meY³elee

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PAINTINGS BY JAINKAMAL

vecees SHIDDHA..NAMO...JAINKAMAL M IX M EDIA O N A RCHIVALPAPER 36’’ X 48’’

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AHIMSA & BEYOND

Non-voilence is a paradigm of Ahimsa, but Ahimsa goes way beyond just external conflicts. HeÀJeÀerj ieebOeer -

DeeEnmee Deewj Gmemes Hejs- DeeEnmee efmeHe&À yeenjer ³egà JeÀs yeejs ceW veneR nw, Jen DeebleefjJeÀ ³egà Yeer nw..

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P A I N T I N G S

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PAINTINGS BY JAINKAMAL

HeÀkeÀerj vecees FAKIR GANDHI...NAMO...JAINKAMAL M IX M EDIA O N PAPER 38’’ X 48’’

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UNIVERSE & ARIHANT

The whole universe is embedded by the echo of Namokar & digembar. The universe consist of Arihant only, we normal human cannot even enter. We are like comma, semicolon, hanging outside we should have the pride that land belongs to us, this things belong to us it is belong only & only to Arihant.

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P A I N T I N G S

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PAINTINGS BY JAINKAMAL

Deefjnble vecees ARIHANT...NAMO...JAINKAMAL M IX M EDIA O N C ANVAS 121.92 CMS X 121.92 CMS 48’’ X 48’’

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A SLATE

Self expression of time through strokes. mece³e JeÀe efMeueeuesKe-

mece³e mes mJe³eb JeÀer DeefYeJ³eefJeÌle ueJeÀerjeW mes.. JeJeÌle DeHeves DeeHeJeÀes Deiej Deelce DeefYeJ³eefJeÌle JeÀjlee lees kegÀí Ssmee ner neslee ueJeÀerjeW mes..

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P A I N T I N G S

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PAINTINGS BY JAINKAMAL

%eeve vecees GYAN..NAMO...JAINKAMAL M IX M EDIA O N PAPER 36’ X 48’’

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UNIVERSSAL CAP

Mantra beholds the power to protect the realm and your very existence from the unknown. efJeHeoe cegefJeÌle DeeJejCe / JeweféeJeÀ DeeJejCe

ceb$eeW mes Hetjer me=efä Deewj DeeHeJeÀes Devemegves-DeveosKes efJeHeoe mes mebj#eCe neslee nw..

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P A I N T I N G S

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PAINTINGS BY JAINKAMAL

mebvecees j#ekeÀ

SANRAKSHA NAMO...JAINKAMAL M IX M EDIA O N A RCHIVAL PAPAER 36’’ X 48’’

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Beloved Brother Shri JainKamalin whose eyes is like dream of a New India And India of the strength and freedom alongwith love and blessings. — DADA JASHAN PAHLAJRAI VASWAANI Sadhu Vaswani Mission Modern day spiritual master preaching the philosophy of acceptance and the cultivation of the soul

. . .

efØeÙee YeeF& pewve keâceue FmeceW ceQves osKee nw Deehekeâer Yeefòeâ keâer Meefòeâ ~ Ùen efvecee&Ce lees Fme pevce mes keâce veneR ueielee cegPes ~ pees keâeÙe& efkeâmeer $e+ef<e cegefveÙeeW ves DeOetje ÚesÌ[e Lee, ueielee nw Deeheves hetje efkeâÙee~ OevÙe nes ieÙee peerJeve Deehekeâe ~ nce meyekeâe keäÙee nesiee? kewâmes nesiee? — efJepeÙe o[e& Member of Parliment, Publisher & Group Editor Lokmat Group . . . ueKe ueKe yeOeeF&Ùeeb.... Flevee DeodYegle DekeâuheveerÙe keâece efoKee... Flevee Yeer meesÛee Deewj Glevee Gkesâje pee mekeâlee nw~ Ùen Deye lekeâ cesjer mecePe mes hejs Lee~ ceQ ØeoMe&veer osKekeâj YeeJeerefJeYetle ntb~ YeieJeeve efce$e Deewj Gvekesâ keâeÙe& keâes ÙeesiÙe ceevÙelee Deewj Øeefle‰e os~ Ùen ØeeLe&vee Yeer keâjlee ntb~ — ieesefJeboeÛeeÙe& Patron and founder of " Bharat Vikas Sangam " . . . ³en SJeÀ cenlJeHetCe& Mees nesiee, DeHeveer lejn mes Deueie efcepeepe JeÀe Deewj JeÀuee ceW ve³ee ceeHeob[ mLeeefHele JeÀjvesJeeueejekesÀMe Þeerceeue, Jeefj÷ he$ekeÀej

. . .

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PAINTINGS BY JAINKAMAL

JeweféeJeÀ DeeJejCe vecees

PULAK...NAMO...JAINKAMAL M IX M EDIA O N A RCHIVAL PAPAER 36’’ X 48’’

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TRANQUIL VALLEY

the sun rises over the darkened valleys of India. JeÀMceerj Meeble Ieeìer

meeueeW meeue kesÀ DebOesjsHeve JeÀer meceeefHle ceb$eeW mes..

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Meeefvle vecees SHANTI...NAMO...JAINKAMAL M IX M EDIA O N C ANVAS 48’’ X 60’’

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MANTRAS

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BOOTS

Modernism is under rated but it paves the path for wider acceptance & eventually new energies.

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P A I N T I N G S

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PAINTINGS BY JAINKAMAL

DeeOeg efvekeÀ vecees

ADHUNIK...NAMO...JAINKAMAL M IX M EDIA O N C ANVAS 121.92 CMS X 121.92 CMS 48’’ X 48’’

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NEW BRAHMI FONT FOR CONPUTER BY JAINKAMAL '' B R A H A M I J A I N K A M A L F O N T ' ' A NEW FONT FOR COMPUTER BY JAINKAMAL: '' B R A H A M I J A I N K A M A L ' ' FONT SPECIALLY DESIGNED FOR COMPUTER. IT TAKEN 3 YEARS TO DRAW FIVE LINES OF MANTRAS. TO COMPLETE IT WILL TAKE 4-5 YEARS TO DEVELOP NEW FONT FOR WORLD . Brahmi is the modern name given to one of the oldest writing systems used in the Indian subcontinent and in Central Asia during the final centuries BCE and the early centuries CE. Like its contemporary, Kharohi, which was used in what is now Afghanistan and Western Pakistan, Brahmi (native to north and central India) was an abugida. The best-known Brahmi inscriptions are the rock-cut edicts of Ashoka in north-central India, dated to 250–232 BCE. The script was deciphered in 1837 by James Prinsep, an archaeologist, philologist, and official of the East India Company. The origin of the script is still much debated, with current Western academic opinion generally agreeing (with some exceptions) that Brahmi was derived from or at least influenced by one or more contemporary Semitic scripts, but a current of opinion in India favors the idea that it is conected to the much older and as-yet undeciphered Indus script. The Gupta script of the 5th century is sometimes called "Late Brahmi". The Brahmi script diversified into numerous local variants, classified together as the Brahmic scripts. Dozens of modern scripts used across South Asia have descended from Brahmi, making it one of the world's most influential writting traditions. ‡‡‡ .

Deefjnble Cecees

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PAINTINGS BY JAINKAMAL

Deefjnble Cecees

ARIHANT...NAMO...JAINKAMAL M IX M EDIA O N A RCHIVAL PAPER 36” X 44”

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“Cecees yebOeerS efueefHeS’ yeéïeer efueefHe YeejleJe<e& keÀer Òee®eervelece efueefHe nw~ efueefHe kesÀ Fefleneme%eeW ves yeéïeer efueefHe kesÀ efJekeÀeme keÀer Keespe keÀjles ngS Gmes JewefokeÀ osJelee ye´ïee kesÀ Üeje ÒeeogYet&le ceevee nw~ efkeÀvleg DeefOekeÀebMe efueefHe-efJeMes<e%e Fme yeele mes mencele nQ efkeÀ ÞeceCeOeeje kesÀ ÒeJele&keÀ Deeefo osJe $eÝ<eYeosJe keÀer efJeot<eer Heg$eer yeéïeer efueefHe kesÀ ªHe ceW Òeefme× ngF&~ yeéïeer efueefHe $eÝef<e ³egie ceW Yeer Òe®eefuele Leer~ keÀeue¬eÀceevegmeej FmekesÀ mJeªHe ceW HeefjJele&ve Yeer neslee jne~ HeefjCeeceleë osMe keÀeue keÀer ¢efä mes FmekesÀ De<ìeoMe Yeso ÒeeHle nesles nQ~ yeéïeer efueefHe meeJe&Yeewce nw~ FmekesÀ DeeOeej Hej ner Yeejle keÀer ÒecegKe efueefHe³eeW keÀe efJekeÀeme ngDee nw, Ssmee ceevee peelee nw efkeÀ Fme efueefHe keÀe DeY³eeme keÀjves mes Yeejle keÀer DeefOekeÀebMe efueefHe³eeW keÀe %eeve ÒeeHle eqkeÀ³ee pee mekeÀlee nw~ yeéïeer SkeÀ Jew%eeefvekeÀ efueefHe nw~ FmekeÀe JeCe& OJev³eelcekeÀ nw~ FmekeÀes efueKeves Deewj yeesueves ceW SkeÀªHelee nw~ yeéïeer kesÀ DeveskeÀ veece Òe®eefuele nQ- Yeejleer, Yee<ee, efieje, JeekedÀ, JeeCeer, mejmJeleer Deeefo; efkeÀvleg efueefHe kesÀ DeLe& ceW yeéïeer Meyo DeefOekeÀ Òe®eefuele nw~ ‡‡‡

cesjs DeVevele Øesce, pewve keâceue peer keâes MegYeeMeerJee&o pewve keâceue ves pevelee keâes Ùen efJeÕeeme efoueeÙee nw efkeâ ceneceb$e Ceceeskeâej peerJeve keâe Skeâ Ssmee ceb$e nw efpemes nj DeJemLee ceW, nj mLeeve hej, nj heefjefmLeefle ceW, peve-ceeveme peye heeheeW mes cegòeâ nes mekeâlee nw, Ssmee ceb$e pees ceb$e veneR ceneceb$e nw, Dehejeefpele nw, DeveeefOe efveOeve nw, Ssmes ceb$e kesâ meeLe ßeer pewve keâceue ves Deheveer keâuece keâer letefuekeâe Ûeueeles ngS Deheves peerJeve keâes Ceceeskeâej keâe heÙee&Ùe yeveeÙee nw~ cesjs Deveble MegYeeMeea<e kesâ meeLe Ùen heefJe$e heeJeve ceb$e pewve keâceue kesâ peerJeve keâes DeefleMeÙe ceefnceeYeeJeve yeveeS Deewj Gvekesâ peerJeve keâe ces®ob[ yeves~ Deehe meYeer keâes Ùen ceb$e Gpee&Jeeve yeveeS~

meÆeJe . . .

efmeà Cecees

Deblece&vee cegefveßeer 108 ØemevvemeeiejpeÌer

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keÀuee Òeo&Meveer

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PAINTINGS BY JAINKAMAL

efmeà Cecees

SADDHA..NAMO...JAINKAMAL M IX M EDIA O N A RCHIVAL PAPER 36” X 44”

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''I have seen Jain Kamal's work for many years now as a designer, typographer, as a painter and indeed as a thinker. I have rarely seen such accomplished work. I can only compare his genius in space to two of my closest friends, Satyajit Ray and R.K. Joshi... Satyajit Ray was not a professional typographer but was a very remarkable philosopher on typefaces and R.K. Joshi spent the whole life teaching typography. Jain Kamal has vision. He has imagination, he has wisdom, and has an artistic insight which goes beyond the canvas which you see out here. And I think it is truly great Indian modern art., which encapsulates our history, our values and with these words I would like to request you all to see it, share it experience it and support it.'' â&#x20AC;&#x201D; P R I T I S H N A N D Y Is a poet, painter, journalist, politician, television Personality, animal activist and film producer. He was member of RajyaSabha.

. . .

DeeÂłe& Cecees

JAINKAMAL PRITISH NANDY CAN BE SEEN ON YOUTUBE

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Dee³e& Cecees

ARIYA .N AMO ...J AIN KAMAL M IX M EDIA O N A RCHIVAL PAPER 36” X 44”

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cebefoj ceW oerhekeâ peueeves mes pÙeeoe pe®jer nw DebOesjs IejeW ceW oerhekeâ peueevee,leeefkeâ peerJeve jesMeve nes, Deueewefkeâkeâ nes,pe®jer nw efkeâ Oece&, cebefoj Deewj cemeefpeoeW mes efvekeâuekeâj Iej-Iej lekeâ hengbÛes. — DeeÛeeÙe& ßeer Ûebovee ßeer peer

Seva, Siksha and Sadhna.

The Spirit behind 'Veerayatan' in the field of

. . .

KAMAL HAS MADE IMMPOSSIBLE POSSIBLE. NEVER SEEN ANY PAINTINGS LIKE THESE ON JAINISAM. HIS MIND AND SOUL HAS EXPRESSED HIS FEELINGS BRAVO-KEEP UP THE SPIRIT.

— P R A F F U L A D H A N U K A R Abstract landscape painter

. . .

If Excellence is to be explained without words, a single picture painted by you of Namokar is manytimes significant to say it. Your collections of these Marvellous painting is anything beyond parexcellence. — H E M A N T M . S H A H Executive Chairman, Ackruti City Ltd

. . .

GJep³ee³e Cecees

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P A I N T I N G S

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keÀuee Òeo&Meveer

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PAINTINGS BY JAINKAMAL

GJep³ee³e Cecees

UBJHIYA NAMO...JAINKAMAL M IX M EDIA O N A RCHIVAL PAPER 36” X 44”

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They say thought would have been impossible without words. Kamal feels that " The God created man and man created words to communicate with the God ".

— A . B . R a v i Editor-Special Projects CNBC TV18

. . .

In today's world, life has become a garbage bay. But after seeing the painting of Kamalji you will definitely change your mind. Artist Kamalji as I know him for a long period as a great human being, he only speaks about the Art & Soul of paintings and photographs. He has graphically depicted the universal prayer of the Jains "The Namokar Mantra" in canvas. For instance the art of Thumb Impression is out of the world. No artist has ever thought on these lines. I really wish I could write more but you need to see it to believe it. After viewing the painting all your stress just seems to vanish and soon you will be at peace. GOD BLESS YOU!!

—Jagdish Mali

.A Well-known . . Fashion Photographer, ad films and music video maker.

meJ³emeeng vecees

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PAINTINGS BY JAINKAMAL

meJ³emeeng vecees

SABYA NAMO...JAINKAMAL M IX M EDIA O N A RCHIVAL PAPER 36” X 44”

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PEEPING BRAHMI

We are being Watched, every moment. They are the guardians of our society. Whenever, we stand at a dillusioned path, they will help us gain more clarity. peye Yeer nce oesjens Hej KeĂŚ[s nesles nQ lees ceb$e DeHeves DeeHe nceW mener jemlee efoKee oslee nw...

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P A I N T I N G S

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PAINTINGS BY JAINKAMAL

De#ej vecees

AKSHARA..NAMO...JAINKAMAL M IX M EDIA O N A RCHIVAL PAPER 36” X 44”

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MANTRAS

Ever wondered what if all the knowledge of the mantras, was documented from eternity? ie´bLe Cecees / JeÀesMe Cecees JeÀe

DevebleJeÀeue mes ceb$eeW JeÀe SJeÀ ÒeeceeefCeJeÀ omleeJespe..

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keÀuee Òeo&Meveer

:Cecees : DeefjnbleeCeb HeefjJeÊe&ve ÒeYeeJevee ceb$eesb keÀer... pewve keÀceue

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PAINTINGS BY JAINKAMAL

ieb´Le vecees

GRANTH..NAMO...JAINKAMAL M IX M EDIA O N A RCHIVAL PAPER 36” X 44”

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THE GATEKEEPERS

NAMO N

Education & literature are the gatekeepers of civilisation & visually deciphering it is an inherent character of humans. mebj#eJeÀ ojyeeve / meY³elee Üej

%eeve Deewj meeefnl³e nceejer meY³elee JeÀs mebj#eJeÀ nQ.. GveceW nce ceveg<³e JeÀs Deblee|veefnle ®eefj$e JeÀes osKe meJeÀles nQ..

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: :Cecees DeefjnbleeCeb HeefjJeÊe&ve ÒeYeeJevee ceb$eesb keÀer... pewve keÀceue

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PAINTINGS BY JAINKAMAL

mebj#ekeÀ vecees SANRAKSHA..NAMO...JAINKAMAL M IX M EDIA O N A RCHIVAL PAPER 36” X 44”

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DIVERSITY

What’s make us unique is not our ability to self-exist, but our perseverance to grow together. efJeefJeOe vecees

nceejer Kego JeÀes peerves JeÀer ³eesi³elee nceW DeveesKee veneR yeveeleer nw, yeefuJeÀ meyeeW JeÀes meeLe uesJeÀj ®eueves JeÀer ¢æ{lee nceW DeveesKee yeveeleer nw..

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:Cecees : DeefjnbleeCeb HeefjJeÊe&ve ÒeYeeJevee ceb$eesb keÀer... pewve keÀceue

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PAINTINGS BY JAINKAMAL

efJeefJeOe vecees VIVIDH...NAMO...JAINKAMAL M IX M EDIA O N C ANVAS 121.92 CMS X 121.92 CMS 48’’ X 48’’

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TIME TRAVELLING OF MANTRAS.

ceb$eeW JeÀer mece³e ³ee$ee

ceb$eeW JeÀe yeerpeejesHeCe DeveeefoJeÀeue ceW ngDee.. mece³e kesÀ meeLe ceveg<³e JeÀer meY³elee SJeb mebmJe=Àefle ves ³ee$ee JeÀer.. meeLe-meeLe ceb$eeW ves Yeer ³ee$ee JeÀer.. ceb$e Deepe Yeer ÒeYeeJeer nQ..

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keÀuee Òeo&Meveer

:Cecees : DeefjnbleeCeb HeefjJeÊe&ve ÒeYeeJevee ceb$eesb keÀer... pewve keÀceue

. . .

PAINTINGS BY JAINKAMAL

vecees SIDDHA .N AMO ...J AIN KAMAL M IX M EDIA O N A RCHIVAL PAPER 121.92 CMS X 121.92 CMS 36’’ X 46’’

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REINCARNATION MANTRAS.

Mantra has reincarnated itself in various eras under various regimes & in various languages. ceb$eesb JeÀe ªHeeblejCe

ceb$eesb JeÀe ³egie- ³egieeblej cesb , efJeefYeVe Meemeve JeÀeueesb cesb Deewj efJeefYeVe Yee<eeDeesB cesb ªHeeblejCe nesles jns nwb.

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PAINTINGS BY JAINKAMAL

Yee<ee Cecees BHASHA .N AMO ...J AIN KAMAL M IX M EDIA O N A RCHIVAL PAPER 121.92 CMS X 121.92 CMS 36’’ X 46’’

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ALL LIVES MAT TER

A religion so profound where the whole belief system is based around

“Live &let Live” meYeer JeÀe peerJeve cenÊJeHetCe& nw -

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eeÙ

P A I N T I N G S

P e Jep pP es G GJe eJce e ees ees CG pP Cec Ceecb ~ GJe b ~ eb ~ÙeeC ees eCe Cec ÙeeÙCeefj ÙeefjDee Dee ees ees Ce c

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e Ce

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J A I N K A M A L

Cecees

keÀuee Òeo&Meveer

:Cecees : DeefjnbleeCeb HeefjJeÊe&ve ÒeYeeJevee ceb$eesb keÀer...

PAINTINGS BY JAINKAMAL

pewve keÀceue

. . .

b k M efjnb n m e f jn b m kM s F p Mc ees DDee efjF pnMc n h N MZv v Ceccees b s DN MeZ s v v s 1 v v Ce efjn ecv vese1 h nm v v C eC s De pMc kM e ZsF nm ecee kM eeÙ pMc h NM vvC pP cnm ZsF vvs1 F pM ZsF Na h NM GJe s 1 NM NMZs h NM vvs1 e y 1 bC h e 1 s e 1 J vv e j vvs bC Cec ee ee Ù V v b nb efjÙ tCebe eefjenb ~ eb ~ es D ef j n e e f j eeC eeÙe een ees ÙDeeC ece s De es D efjÙ ~C m ees D kkem CeÙceefj ecee ece eeÙe N MN a Cec me v v ee m Ceb vvC vvC 1 NM y1 N b ~ S es D M c n ee s D C æe J1 y jJ1 eCe s uese Cece NMZsF p Cec efme b~ Vvj Vv b~ ees fmeæ ecee b ~ vvs 1 h eC e eCe Cec ees e eb ~ C æeCe eæ Cec e eb ~ s efm efmeæ eb ~ eeÙeeC cees efm ecee bleeC cees C e n e P C j ~ f e eb Jep b ~ C eb ~ s De bleeC ees G eCe ecee efjn Cec nble vvC s De b ~ eefj ecee eCe es D vvC fjÙe ece eÙee v v C

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V I D YA B H A R AT

A land of mystics, ascetic, ethereal consciousness & Bhaktambar -BHARAT. 'Yeejle'

SJeÀ Oejleer peneB meeOeg , cenelcee, leHemJeer , ceneve ®eslevee Deewj YeJeÌleecej JeÀe meceeJesMe nw~

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P A I N T I N G S

B Y

J A I N K A M A L

Yeejle vecees VIDYA..NAMO...JAINKAMAL M IX M EDIA O N A RCHIVAL PAPER 36’’ X 46”

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V I D YA S A G A R

YeieJeeve JeÀer The efoJ³e God’s ¢efä eye

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P A I N T I N G S

B Y

J A I N K A M A L

efJeÐee vecees VIDYA..NAMO...JAINKAMAL M IX M EDIA O N A RCHIVAL PAPER 36’’ X 46”

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AERIAL VIEW

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MANTRAS

The concept of me, mine & belongings are exit when we actually Google our earth it’s nothing but be belonging to the almighty “Arihant.” meJe&J³eeHeer Cecees

DeHeveer Oejesnj JeÀes nce Deiej ietieue cesb {tb{les nwb ³en iegceeve neslee nw efJeÀ ³en cesje nw, Jen cesje nw me®e lees ³en nw efJeÀ meyeJeÀgí 'Deefjnble' nw.

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P A I N T I N G S

B Y

J A I N K A M A L

vecees

SARVAPI .N AMO ...J AIN KAMAL M IX M EDIA O N A RCHIVAL PAPER 36’’ X 46” ’

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THE

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LIVING

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FOSSIL

Ever wondered what if all the knowledge of the mantras, was documented from eternity? peerJeble Cecees

Hetje ye´ïeeC[ metjpe JeÀer efJeÀjCeesb JeÀs JeÀCe JeÀCe mes DeCeg- HejceeCeg JeÀer lejn Tpee& JeÀe meb®eej JeÀj jne nw...

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P A I N T I N G S

B Y

J A I N K A M A L

peerJeble vecees JIVAN...NAMO...JAINKAMAL M IX M EDIA O N C ANVAS 121.92 CMS X 121.92 CMS 48’’ X 48’’

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POLLINATION

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MANTRAS

Genatic transfer of mantras from a generation to a new one. ceb$eesb JeÀe ÒeJeen -

Heer{]er oj Heer{]er ëceb$eesb JeÀe ÒeJeen

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P A I N T I N G S

B Y

J A I N K A M A L

hejeieCe vecees PARAGAN..NAMO...JAINKAMAL M IX M EDIA O N C ANVAS 121.92 CMS X 121.92 CMS 48’’ X 48’’

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CHILDHOOD

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MANTRS.

A child is closest to the paramatma because of his unparalleded purity & unadulterated curosity MewMeJe Cecees -

MewMeJe Hejceelcee JeÀs meyemes efveJeÀì neslee nw, DeHeveer efvece&uelee SJeb HeefJe$elee JeÀs JeÀejCe ..

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P A I N T I N G S

B Y

J A I N K A M A L

Mewvecees MeJe SHAISHWA...NAMO...JAINKAMAL M IX M EDIA O N C ANVAS 121.92 CMS X 121.92 CMS 48’’ X 48’’

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COSMOCENTRIC MANTRA

Milkyway of mantra DeekeÀeMe ieæ b i eæ e ceneceb$e keÀer

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P A I N T I N G S

B Y

J A I N K A M A L

Devevle vecees ANANT...NAMO...JAINKAMAL M IX M EDIA O N C ANVAS 121.92 CMS X 121.92 CMS 48’’ X 48’’

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ONE WITH THE MANTRA

Let it flow. Dive, swim, merge, blend with mantra. That's when you would know what illusion & what reality is.When you merge completley within the mantras, you would be a enlightened. ceb$eesb cesb efJeueerve nesvee

DeHeves JeÀes yenves oes ceb$eesb cesb, leye legce ³en peeveesies efJeÀ efceL³ee Deewj mel³e JeÌ³ee nw .. peye legce ceb$eesb cesb HetCe&le: efJeueerve nes peeDeesies, lees legce ÒeYeglJe nes peeDeesies

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P A I N T I N G S

B Y

J A I N K A M A L

SkeÀce vecees EKAM...NAMO...JAINKAMAL M IX M EDIA O N C ANVAS 121.92 CMS X 121.92 CMS 48’’ X 48’’

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PROCREATION

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MANTRAS.

N A M O N

a r i h a n t a n a m A

Neither their was anything, nor will be. All is just mantras. We just need to sow the mantras. It would find its course on its own. ceb$eesb JeÀe yeerpeejesHeCe

ve JeÀYeer JeÀgí Lee Deewj ve JeÀYeer JeÀgí nesiee , meye ceb$e nw~ ncesb yeme cev$eesb JeÀs yeerpe DeHeves peerJeve cesb yeesvee nw Deewj nceejs J³eefJeÌlelJe JeÀe Keefueneve Kego ye Kego KegMeneue pee³esiee ..

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P A I N T I N G S

B Y

J A I N K A M A L

Oeeve vecees PULAK...NAMO...JAINKAMAL M IX M EDIA O N C ANVAS 121.92 CMS X 121.92 CMS 48’’ X 48’’

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SERIF & SANS

mesefjHeÀ Deewj meWmesefjHeÀ peye ceQ Òeke=Àefle keÀes ef®eef$ele keÀjves keÀer keÀesefMeMe keÀjlee ntb lees efove Deewj jele keÀer lejn mesefjHeÀ Deewj meWmesefjHeÀ (De#ejeW keÀer lejn) vekeÀejelcekeÀ SJeb mekeÀejelcekeÀ keÀer lejn yuewkeÀ Sb[ JneFì keÀer lejn ye´ïeeb[ keÀer j®evee keÀer ieF&~ pees De#ejeW kesÀ efvecee&Ce keÀer ceb$eeW keÀer DevegYetefle keÀes oMee&³ee ie³ee nw~

‡‡‡

S E R I F.

When I think portraying nature then I find to be created them like black & white, night & day, negative & positive, serif & sans serif. The same sensation is reflected here through mantra.

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P A I N T I N G S

B Y

J A I N K A M A L

vecees PRATYAKSH...NAMO...JAINKAMAL M IX M EDIA O N A RCHIVAL PAPER 96 CMS X 96 CMS 38”

38”

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E N E R G Y & S P I R I T U A L I T Y.

It was a challenge in the world of graphics, to bring positive energy, positive inner strength through Namokar on canvas. I have used special fonts & without use of brush, colour to present a different work in the field of art & spirituality. ûeeefHeÀkeÀ keÀer ogefve³ee ceW ³en SkeÀ yeæ[er ®egveewleer Yeje keÀece Lee~ CeceeskeÀej ceb$e keÀes kewÀveJeeme Hej jKekeÀj mekeÀejelcekeÀ Tpee&,mekeÀejelcekeÀ DeeeflcekeÀ MeeqkeÌle keÀe meb®eej nesvee~ FmekesÀ efueS ceQves SkeÀ efJeMes<e ûeeefHeÀkeÀ ceeO³ece keÀe GHe³eesie keÀj efyevee ye´Me,efyevee jbie,efyevee mìQ[ kesÀ SkeÀ keÀuee kesÀ #es$e ceW DeeO³eeeflcekeÀ Tpee& keÀes mLeeefHele keÀjves keÀe pegvetve efoKee³ee ie³ee nw~ ‡‡‡

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P A I N T I N G S

B Y

J A I N K A M A L

Tpee& vecees URAJA...NAMO...JAINKAMAL M IX M EDIA O N A RCHIVAL PAPER 96 CMS X 96 CMS 38”

38”

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S U R YA S E E K S B L E S S I N G S

On his journey to lighten up the world, he seeks his blessings met³e& Yeer DeeMeerJee&o ®eenlee nw

³en cesje ceevevee nw efJeÀ met³e&, pees ogefve³ee JeÀes jesMeve JeÀjlee nw , DeHeveer ³en ³ee$ee Jen jespeevee cev$eesb JeÀs DeeMeerJee&o mes Megª JeÀjlee nw. cewb ceb$eesb JeÀs ceeO³ece mes met³e& JeÀes Megà JeÀjvee ®eenlee ntB~

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P A I N T I N G S

B Y

J A I N K A M A L

vecees SURYA..NAMO...JAINKAMAL M IX M EDIA O N A RCHIVAL PAPER 96 CMS X 96 CMS 38”

38”

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efÛe$ekeâej ßeer pewve keâceue, pewve DeeOÙeeeflcekeâ efJe<eÙe hej Gvekesâ mepe&ve keâes osKekeâj ceW keâeHeâer cegiOe ngDee ntb~ pewve Oece& ogefveÙee keâe ßes‰ Oece& nw~ veJekeâej ceneceb$e pewveesb keâe ceneceb$e nw Deewj Fme ceb$e ceW efJeÕe kesâ eYeer iegCeer peveeW keâes veceve efkeâÙee ieÙee nw~ pewve keâceue ves veJekeâej ceb$e keâer Fmeer Meefòeâ keâes OÙeeve ceW jKeles ngS efJeMes<e Øekeâej kesâ efÛe$eeW keâe mepe&ve efkeâÙee nw~8meeue keâer Gvekeâer cesnvele keâe GösMÙe veJekeâej ceb$e kesâ ceeOÙece mes efJeÕe ceW Meebefle ØemLeeefhele keâjvee nw~ pewve keâceue kesâ De#ej Jeeues ceeOÙece veS mepe&ve DemeeOeejCe nQ ~ Fmes Skeâ GheueefyOe keâne pee mekeâlee nw~ Fvekeâe Ùen keâece Gvekeâes Yeejle kesâ GÛÛe keâesšer kesâ efÛe$ekeâejeW keâer ßesCeer ceW uee osiee Ssmee cesje ceevevee nw~ Gvekesâ Fve mepe&veeW keâe DeeOÙeeeflcekeâ cetuÙe nw, pees Iej kesâ JeeleeJejCe keâes cebefoj pewmee yevee mekeâlee nw~ YeieJeeve ceneJeerj kesâ Debiet"s kesâ efveMeeve keâes ueskeâj GvneWves pees efÛe$e keâe mepe&ve efkeâÙee nw Ssmee efÛe$e keâe mepe&ve ceQves Deepe lekeâ veneR osKee~ JeemleJe ceW cesjer Âef° mes Ùen Skeâ efJeefMe° mepe&ve keâer ßesCeer ceW nw~ Fme efÛe$eeW kesâ ceeOÙece mes efJeÕe keâes hejce Meebefle efceues Ssmeer pewve keâceue keâer FÛÚe HeâueerYetle nes Ssmee cesje DeeMeerJee&o nw~ pewve cegefve -peerlees/peerJees Øesjkeâ ieefCeßeer veÙehe©emeeiejpeer cenejepe meensye MENTOR OF JITO [JAIN INTERNATIONAL TRADE ORGANISATION] JIO [JAIN INTERNATIONAL ORGANISATION] GANI SHRI NAYPADAM SAGARJI MAHARAJ SAHEB

‡‡‡

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P A I N T I N G S

B Y

J A I N K A M A L

ceneJeerj vecees MAHAVIRA..NAMO...JAINKAMAL M IX M EDIA O N C ANVAS 72.2 CMS X 96.52 CMS 30”

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THAMB

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PRINT OF

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ENLIGHTENED SOUL

Blessed are we where our day’s are embraced by Mahavira The Sun’ & the night by Chandra prabhu [Moon].

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P A I N T I N G S

B Y

J A I N K A M A L

®evo´ vecees CHANDRA..NAMO...JAINKAMAL M IX M EDIA O N C ANVAS 72.2 CMS X 96.52 CMS 30”

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NAMOKAR MANTRA is the eternal [swaswat]daily prayer of Jains and has a very important place in its spiritual tradition. It has always inspired my life, career and work as an artist and an individual. I have been diligently working on them since a decade. It is an outcome of years of studying Jain spiritual literature, visits to the places of Jain worship and pilgrimage, and deep research of ancient relics, sculpture and motifs to develop a deeper understanding of what Jainism stands for. ‡‡‡

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P A I N T I N G S

B Y

J A I N K A M A L

vecees

LOVE HATE...NAMO...JAINKAMAL M IX M EDIA O N A RICHIVAL PAPER 30’’ X 40’’

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CREATION& COMMUNICATION

They say thought would have been impossible without words. I feels that the “God created man and man created words to communicate with the God.” So in this painting titled Circle Of Life, I have weaved Namokar Mantra in a circle of colors green, blue with ‘“Om’’ in white to connote ultimate peace. ‡‡‡

‡‡‡

ceQ Ssmee ceevelee ntb efkeÀ YeieJeeve ves nceW yevee³ee nw Deewj ceeveJe ves De#ejeW keÀe efvecee&Ce efkeÀ³ee nw~ efvecee&Ce ceW ye´ïeeb[, DeekeÀeMe ceb$eeW mes DeefYeceb[ue ceW GHeefmLele nw Deewj MJesle ::ß:: keÀer OJeefve mes iegbpee³eceeve nw~ ‡‡‡

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P A I N T I N G S

B Y

J A I N K A M A L

me=peve vecees SRIJAN..NAMO...JAINKAMAL M IX M EDIA O N A RCHIVAL PAPER 111.76 CMS X 137

CMS

44”

54”

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PRAMID

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SPRITUAL

The triangles represents the two lifes of us spiritual and professional. The epitome of success could be attained through mantras and the same is denoted here with the stroke towards the sky. ‡‡‡

Fme HeWeEìie ceW oes ef$eYegpeeW keÀes oMee&³ee ie³ee nw~ efpemeceW SkeÀ DeeO³eeeflcekeÀ nw Deewj SkeÀ J³eeJemeeef³ekeÀ nw~ ³es ef$eYegpe íesìs ceb$e mes yeæ[s ceb$eeW keÀer lejHeÀ, keÀce Dee³e mes DeefOekeÀlece Dee³e keÀer Deesj peeves keÀer Òef]¬eÀ³ee keÀes efoKee³ee ie³ee nw~ FmekeÀer He=ÿYetefce ceW kewÀefueûee@HeÀer Üeje ceb$eeW keÀes Heg<HeeW keÀer lejn mepee³ee ie³ee nw~ ‡‡‡

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P A I N T I N G S

B Y

J A I N K A M A L

ef$ekeÀesCe vecees TRIKON...NAMO...JAINKAMAL M IX M EDIA O N C ANVAS 121.92 CMS X 121.92 CMS 48’’ X 48’’

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ENERGY & UNIVERSE

Like the fire ball sun, the ball here is filled with Namokar mantra, which through its energy will fill the whole universe & you. ‡‡‡

Tpee& Deewj efJeée

ceb$eesb cesb Jen MeefJeÌle nesleer nw, pees Tpee& mes Hetjs efJeée JeÀes peeie=le JeÀj osieer ...

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P A I N T I N G S

B Y

J A I N K A M A L

Tpee& vecees URJA .N AMO ...J AIN KAMAL M IX M EDIA O N A RCHIVAL 36’’ X 36’’

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FROM B.C.

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A.D.

Words have power. It’s is pillar of made of human development. Brahmilipi to Devnagri has given shape to developed human intelligence for more than over 3000 years. ‡‡‡

HeewjeefCeJeÀ Cecees

ye´eïeer mes osJeveeiejer JeÀer otjer Deeefo DeveeefoJeÀeue mes Deepe leJeÀ MeesOe, pees ceveg<³e JeÀer efJeJeÀemeieeLee nw ... ‡‡‡

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P A I N T I N G S

B Y

J A I N K A M A L

heewjeef&CekeÀ vecees PAURANIK..NAMO...JAINKAMAL M IX M EDIA O N A RCHIVAL 121.92 CMS X 121.92 CMS 48’’ X 48’’

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WEAVED MANTRAS/ 84 LAKHS YONIS

Another outstanding piece of work is a painting showing 84 lakhs Yonis symbolised by the 84 triangles that depecits birth of a life as human. The whole background is constructed using an old script of Indian calligraphy. And this script was made even before Guttenberg designed Fonts for the Holy Bible. To a layman this painting will seem like geometric triangles with rice grains strewn between them like the morning rangoli. In fact, it is the Namokar Mantra prayer around 84 triangles with “Om” in between. ‡‡‡

³es HeWefìbie 84 ueeKe ³eesefve Üeje ceveg<³e peerJeve keÀes ÒeleerkeÀelcekeÀ ªHe ceW oMee&leer nw~ ef®e$eeW keÀe Heeée& Yeeie Yeejleer³e kewÀefueûee@HeÀer mes DeefYecebef$ele nw~ iegìsveyeie& kesÀ,nesueer-yeeF&yeue kesÀ HeÀe@vì mes Henues ³es kewÀefueûee@HeÀer Òe®eefuele Leer~ meeOeejCe ueesieeW kesÀ efueS ®eeJeueeW keÀer jbieesueer kesÀ ªHe ceW iegpejeleer De#ejeW keÀes ef®eef$ele efkeÀ³ee ie³ee nw, iegpejeleer De#ejeW keÀe efvecee&Ce ®eeJeue keÀer lejn keÀjves ceW {eF& meeue ueies, pees CeceeskeÀej ceb$e kesÀ 84 ef$eYegpe 'ß' kesÀ meeLe Meebefle keÀer keÀecevee keÀjles nw~ ‡‡‡

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P A I N T I N G S

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J A I N K A M A L

ef$eYegpe ³eesefve vecees TRIVUJYONI NAMO...JAINKAMAL M IX M EDIA O N A RCHIVAL 121.92 CMS X 121.92 CMS 48’’ X 48’’

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SPIRITUAL NAMO

Colors have their own spirituality, Namokar Mantra is a way to cleans your soul through which I can relate the simplicity of the colors within. I see the whole universe glorified with indefinite number of colors and i hope even our life is brightened and beautified by them. ‡‡‡

jbieeW keÀe DeHevee DeO³eelce nw, CeceeskeÀej ceb$e YeeJe- Megef× keÀe SkeÀ megboj meeOeve nw efpemes ceQ DeHeves Debleme ceW efJejeì jbieeW keÀer menpelee mes pegæ[e Heelee ntb~ Hetje ye´ïeeb[ DejyeeW-KejyeeW jbieeW mes Yeje-Hetje osKelee ntb Deewj nce ueesieeW keÀer efpeboieer Yeer Gleveer ner Ketyemetjle Deewj peieceieeleer nes~ ‡‡‡

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P A I N T I N G S

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B Y

J A I N K A M A L

DeO³eelce vecees ADHAYATAMA...NAMO...JAINKAMAL M IX M EDIA O N PAPER 121.92 CMS X 121.92 CMS 48’’ X 48’’

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GLOBAL

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WARMING

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NAMO

Global warming is affecting many places around the world. It is accelerating the melting of ice sheets, permafrost and glaciers which is causing average sea levels to rise. It is also changing precipitation and weather patterns in many different places, making some places dryer, with more intense periods of drought and at the same time making other places wetter, with stronger storms and increased flooding. These changes have affected both nature as well as human society and will continue to have increasingly worse effects grow at the same pace as today. Protect this pure nature from devilish deeds of humans. ‡‡‡

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P A I N T I N G S

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B Y

J A I N K A M A L

keÀuee Òeo&Meveer

:Cecees : DeefjnbleeCeb HeefjJeÊe&ve ÒeYeeJevee ceb$eesb keÀer... pewve keÀceue

. . .

PAINTINGS BY JAINKAMAL

vecees PRAYARAVARAN .N AMO ...J AIN KAMAL M IX M EDIA O N A RCHIVAL PAPER 48’’ X 48’’

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N E W S PA P E R

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NOT FOR

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READING

Readability, legibility and breathing space are three important pillars of storytelling and I feel they are hugely missing in today's newspapers. ‡‡‡

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:Cecees : DeefjnbleeCeb HeefjJeÊe&ve ÒeYeeJevee ceb$eesb keÀer... pewve keÀceue

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PAINTINGS BY JAINKAMAL

mejmJeleer vecees SARSAWATI..NAMO...JAINKAMAL M IX M EDIA O N A RCHIVAL PAPER 38’’ X 48’’

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veJeervelee keÀer Keespe ceb$eeW ceW

pewve keÀceue ves Fve Deeiece ûebLeeW mes Kego keÀes mebJeejves keÀer F®íe efoKeeF& nw~ Jes CeceeskeÀej ceb$e keÀer J³eeK³ee keÀe Yeer DeO³e³eve keÀj jns nQ~ Jes ®eenles nQ efkeÀ efJeÜeveeW Deewj Dee®ee³ees¥ keÀer J³eeK³ee keÀes HeWeEìie ceW Gleej oW~ neueebefkeÀ Jes ceeveles nQ efkeÀ peerJeve keÀer lejn ner ceb$eeW kesÀ meJeeue Yeer Ssmes nesles nQ efpevekeÀe peJeeye osvee peªjer neslee nw~ Jen ®eens DeelcemebIe<e& mes nes ³ee efHeÀj DeelcecebLeve mes~ uesefkeÀve Jes Fme yeele kesÀ efueS ®eewkeÀme nQ efkeÀ veJeervelee keÀer Keespe ceW Òee®eerve cetu³eeW keÀes ®eesì ve Hengb®es~ -Deevebo Yeejleer, cegbyeF& Jeefjÿ He$ekeÀej, [ekeÌ³egceWìjer efHeÀuce eqvecee&lee ‡‡‡

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PAINTINGS BY JAINKAMAL

vecees ACHYUT .N AMO ...J AIN KAMAL M IX M EDIA O N A RCHIVAL PAPER 46’’ X 46’’

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MANTRAS

Where realism meets abstraction. ‡‡‡

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PAINTINGS BY JAINKAMAL

ye´ïe vecees BRAHAM .N AMO ...J AIN KAMAL M IX M EDIA O N A RCHIVAL PAPER 46’’ X 46

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LIFETIME MANTRAS

These 6 paintings here together portray a lifetime with mantra. The more your soul feels Mantra the more you divert yourself to peace, sanity,in the process. It is a process of acknowledging once identity. ‡‡‡

Fme ín Þe=bKeuee keÀer HeWefìbie ceW SkeÀ Hetjs peerJeve keÀes ceb$eeW kesÀ Üeje oMee&³ee ie³ee nw~ pewmespewmes DeeHekeÀe efoue ceb$e keÀer DeejeOevee kesÀ meeLe yeæ{lee peeSiee DeeHe Meg×lee keÀer lejHeÀ, efvece&uelee keÀer lejHeÀ, Meebefle keÀer DevegYetefle keÀer lejHeÀ peeves keÀer Òeef¬eÀ³ee nesieer~ DeefmlelJe mes SkeÀekeÀej nesves keÀer Òeef¬eÀ³ee keÀes oMee&³ee ie³ee nw~ ‡‡‡ pewve keÀceue ceb$e ceW efkeÀmeer ®ecelkeÀej keÀes mLeeefHele veneR keÀj jns nQ yeefukeÀ GmekesÀ jbieeW, Tpee& Deewj ®ewlev³e keWÀêeW keÀes JeemleefJekeÀ ªHeekeÀej os jns nQ~ CeceeskeÀej ceb$e ÒeejbYe neslee nw Cecees mes~ Cecees ojDemeue DenbkeÀej keÀe efJemepe&ve nw pees meeOevee kesÀ #es$e ceW cenlJeHetCe& opee& jKelee nw Deewj SkeÀ efJeMes<e ªHe keÀer Tpee& keÀe meb®eej keÀjlee nw~

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yeerpeejesheCe vecees BIJAROPAN..NAMO...JAINKAMAL M IX M EDIA O N A RCHIVAL PAPER 24’’ X 24”

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cesSkeÀjkeÀueekeÀej er YeeJevee kesÀ leewj Hej ceQ efJeiele 40 Je<eeX mes ³ee$eejle ntB~ De#ej, Meyo, efueefHe,

ef®e$e, jbie, kewÀveJeeme, keÀeiepe, ketbÀ®eer, keÀuece Deeefo ner ncemeHeÀj jns nQ~ Heæ{eF&-efueKeeF&, ³ee³eeJejer Yeer ®eueleer jner~CeceeskeÀej ceb$e kesÀ meeLe Yeer cesje efjMlee ye®eHeve keÀe jne nw~ keÀesF& 35 Je<e& Henues ceQves SkeÀ ef®e$e GkesÀjer Leer~ keÀHeæ[s Hej CeceeskeÀej ceb$e keÀes YeieJeeve ceneJeerj keÀer Deeefle oer Leer~ Jen ef®e$e mejmJeleer YeJeve, ueeue cebefoj, jepeieerj ceW Deepe Yeer ìbiee nw~ peeves-Devepeeves GkesÀjer ieF& Jen ke=Àefle Deepe ietieue Hej meyemes DeefOekeÀ osKee peevesJeeuee jsKeebkeÀve nw~ 40 Je<eeX keÀer ³ee$ee ceW Fbef[³ee ìg[s, Fbef[³eve SkeÌmeÒesme, ueeskeÀmeÊee, vecemkeÀej, ueeskeÀcele, YeemkeÀj mes ueskeÀj [syeesves³ej lekeÀ keÀes mepee³ee-mebJeeje~ [syeesves³ej iuewcej keÀer HejekeÀeÿe Leer~ Gme HejekeÀeÿe Hej Hengb®ekeÀj Fme keÀueekeÀej kesÀ ceve ceW ³en ÒeMve Gþe efkeÀ nce DeHeveer ³egJee Heeræ{er keÀes keÌ³ee Hejesme jns nQ... Ieesj iuewcej~ keÌ³ee Fmeer mes cebieue nesiee FvekeÀe? Lees nce keÌ³ee oW GvnW? ceve-ceefmle<keÀ..meeB-Òeéeeme, yes®ewveer..yeskeÀjejer... cesjs meeceves Deeles jns-leceece DeKeyeej, Heef$ekeÀeSb, HegmlekeWÀ, [e³eefj³eeB, kewÀueW[j Deeefo-Deeefo~ ueeKeeW-keÀjesæ[eW keÀer Heefj³eespeveeSb~ keÀYeer jewMeveer, keÀYeer IegHHe DeBOesje..keÀYeer Ieveer OegbOe~yes®ewveer... yeskeÀjejer efkeÀ keÀuee keÀe ³en vee®eerpe meeOekeÀ keÀjs lees keÌ³ee keÀjs..leYeer ceOegj Dece=le OJeefve GYejer- Cecees DeefjnbleeCeb.. OegbOe íbì ieS.. ketbÀ®eer cesjs neLeeW ceW Leer Deewj kewÀveJeeme Hej CeceeskeÀej~ yeme efHeÀj keÌ³ee Lee... ³ee$ee Megª nes ieF&... cegPes ueiee efkeÀ ³egJee Heeræ{er keÀes DeHeveer meyemes keÀerceleer Oejesnj... Oeeefce&keÀ-DeeO³eeeflcekeÀ Oejesnj osves mes yesnlej Deewj keÌ³ee nes mekeÀlee nw~ cesjer Debleje&lcee ves keÀne efkeÀ ³egJee ner keÌ³eeW, osMe Deewj efJeée keÀes meejer mecem³eeDeeW mes..oo& mes keÀjenleer ceveg<³elee keÀes Fvemes Gyeejves keÀe SkeÀ ner ceeie& nw, Jen nw cebieue keÀe ceeie&, pees OJeefve ceW efJemleeefjle nw, peerJe-peerJe ceW meceeefnle nw, jesce-jesce keÀes Oev³e keÀj oslee nw,Jen nw CeceeskeÀej~ CeceeskeÀej ceb$e peerJeve peerves keÀer SkeÀ efJeMeg× ÒeefkeÀ³ee nw~ Deiej Fmes mejue ceve mes mecePee pee³es lees DeeeflcekeÀ Meebefle keÀe DevegYeJe nes mekeÀlee nw - yeme Fmes Deelcemeele keÀjves keÀer DeeJeM³ekeÀlee nw~

. . .

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VALUES

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MANTRAS

Motherhood is one of the most beautiful and important human roles. It involves nurturing, feeding and inculcating right set of values and mantras. ‡‡‡

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PAINTINGS BY JAINKAMAL

ceeB vecees MAA ..N AMO ...J AIN KAMAL M IX M EDIA O N A RCHIVAL PAPER 38’’ X 38”

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A S Y M M E T R I C PAT T E R N S

Nature is characterised by patterns from fruits to even mountains. It's astonishing how patterns are repeated all across the universe while it is asymmetric and all of it is unique in it's own way. ‡‡‡

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PAINTINGS BY JAINKAMAL

$e+<eYe vecees RISHAV...NAMO...JAINKAMAL M IX M EDIA O N C ANVAS 121.92 CMS X 121.92 CMS 48’’ X 48’’

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JEHANGIR SABAVALA

Where meets abstraction.

My one of the fabourate artist. Sabavala did not allow archives of his 12 scrapbooks on materials from the early 1940s to the 2000 online. Arun Khopkar's film on Sabavala's life and art, Colours of Absence, won the National Award in 1994. another film about his life was made, The Inheritance of Light: Jehangir Sabavala. His last solo exhibition, 'Ricorso', was held at the Sakshi Gallery, Mumbai, in 2008. In 2010, one of his serene landscapes called Casuarina Line a great work of art. one of his paintings titled Vespers t a Bonhams in London.

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PAINTINGS BY JAINKAMAL

heodcvecees e PADMA..NAMO...JAINKAMAL M IX M EDIA O N C ANVAS 121.92 CMS X 121.92 CMS 48’’ X 48’’

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FIELDS

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MANTRAS

“Bindu is a source of energy, source of life. Life begins with Bindu.”

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PAINTINGS BY JAINKAMAL

mebkeÀuhe vecees SANKALPI...NAMO...JAINKAMAL M IX M EDIA O N PAPER 38’’ X 38’’

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OMNAMO

Om is a sacred sound and a spiritual icon in Hindu religion. It is also a mantra in Hinduism, Buddhism, Jainism, and Sikhism. The sound appears to have first cropped up in the Upanishads, a collection of sacred texts that inform Hinduism. The Mandukya Upanishad, which is entirely devoted to om, begins like this: â&#x20AC;&#x153;Om is the imperishable word. Om is the universe, and this is the exposition of om.

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PAINTINGS BY JAINKAMAL

efveJee&Ce vecees

NIRVANA..NAMO...JAINKAMAL M IX M EDIA O N A RCHIVALPAPER 44’’ X 44’’

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PAINTINGS BY JAINKAMAL

BY B EHRAM C ONTRACTOR

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J A I N K A M A L B EHRAM CONTRACTOR S UNDAY A FTERNOON C ONTRACTOR , ALSO KNOWN AS B USYBEE , WAS A FIGURE IN I NDIAN JOUR NALISM . H E WORKED AT T HE F REE P RESS J OURNAL , T IMES OF I NDIA , AND M ID D AY BEFORE FOUNDING HIS OWN NEWSPAPER T HE A FTERNOON D ESPATCH AND C OURIER IN 1985.

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BUSYBEE

My friend Jain Kamal is one of the most genuine and dedicated Professionals who designs fonts, typefaces for newspapers and magazines. In Indian Express 2000, he has overlapped fonts shown them huddled together, arm on another’s shoulder and shows a futuristic approach to typography. The cove is impressive. For the first time in a newspaper, the mast head has been cut in half and the picture represents all the senses—eyes, ear, lips, brain. Each magazine has its own There are different types of glamour, business and children magazines. The book is lovely to look at, to glance through, digest and keep for the next millennium. BY B EHRAM C ONTRACTOR

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PAINTINGS BY JAINKAMAL

BY N ICOLE D ASTUR

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PAINTINGS BY JAINKAMAL

BY B ONSY D ESAI

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PAINTINGS BY JAINKAMAL

BY A S R P M UKESH

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BY C HETRALEKHA B ASU

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BY A DITI M ISHR

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BY S UHANI YAGNIK

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BY B AL C HANDRA J ANI

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PAINTINGS BY JAINKAMAL

BY N ARESSE C OLTIORO

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BY S UNIL B AGLE

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P A I N T I N G S

BY S HAHID L ATIF

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P A I N T I N G S

BY A CHUYTA N AND M ISHRA

BY B HUVENDRA T YAGI

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BY N ITIN KUMAR

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BY D EVESH V ERMA

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BY S ANTOSH A GARWAL

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J A I N K A M A L

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J A I N K A M A L

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DesDeshwar

BY M ANMOHAN S ARAL

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DesDeshwar

BY M ANMOHAN S ARAL

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NavBhrat BY A NAND B HARTI

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PAINTINGS BY JAINKAMAL

BY PALLAVI A RYAI

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ceve JeÀes ceesnvesJeeues JeÀueeJeÀej DeO³eelce JeÀer efoMee cesb ceg[æ

pewve JeÀceue SJeÀ ueepeJeeye, yegefàceeve Deewj HeeþJeÀesb JeÀs ceve JeÀes ceesnvesJeeues JeÀueeJeÀej Je ef[peeFvej nwb. GveJeÀer Je=Àefle³eesb cesb iuewcej Deewj DeeJeÀ<e&Ce JeÀe yeesueyeeuee jne nw. Mee³eo ner JeÀesF& Devegceeve ueiee meJeÀlee nes efJeÀ FveJeÀs Deboj meble leÊJe þeþsb ceej jne nes. iuewcej JeÀer ogefve³eeJeeues pewve JeÀceue Oece& -DeO³eelce JeÀer efoMee cesb ceg[æ peeSbies. Deepe Jes me®eceg®e Hetjer ogefve³ee JeÀes CeceesJeÀej ceb$e JeÀer MeefJeÌle yelee jns nwb. ceb$eesb Hej efpeme efMeÎle mes JeÀece JeÀj jns nwb, GmeJeÀe ÒeYeeJe otj Je osj leJeÀ jniee. Fme efveefcele JeÀceuepeer SJeÀ ÒeoMe&veer JeÀe Dee³eespeve JeÀj jns nwb. DeeHe DeHeves GÎsM³e cesb meHeÀue nesb, ³ener JeÀecevee nw.MegYeJeÀeceveeSb. - Me$egIve Òemeeo, mebHeeoJeÀ mee#eer oMe&ve jeä´er³e He$eJeÀej cees®ee& SJece FbmeeHeÀ HeÀeGb[sMeve JeÀs jeä´er³e DeO³e#e. efmevescee, meeefnl³e, meceepe mesJee SJeb ìerJeer JeÀs #es$e cesb ueieeleej meef¬eÀ³e. He$eJeÀeefjlee SJeb meeceeefpeJeÀ JeÀe³eesb& JeÀs efueS mecceeefvele

‡‡‡

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A Visionary Artist, Publication Designer, Educator & a Design thinker you tube jainkamal pritish nandy | jainkamal lemon tv | Shabdon Ke Shahenshan Jain Kamal on Lemon jainkamal amitabh bachahan / jainkamal govindacharya Exclusive Interview with Mr. Jain Kamal | Henry Ford of Fonts | Revolutionary Behind Fonts in India Face Book jainkamal |Namoarihantanam-Jiankamal | namokar namtra for world peace | Jain Kamal Typography Digital India Part 2 cell +91 96196 44779 / +91 98211 39310 Email jainkamalji@gmail.com

Copyright ÂŠ 2010 JainKama All Paintings are copyright 2010 JainKamal. All rights are reserved under copyright conventions, goverment of India No part of this painting is to be reproduced or utilized in any form without prior permission in writing from the artist.

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ABOUT THE ARTIST

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K A M A L

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in 1959, Mihijam-Chitranjan, West Bengal. 1981 Bachelor in Applied Arts, B.F.A. Banaras Hindu University, Varanasi, U P 1983 Master In Applied Arts, M.F.A, Maharaja Shivajirao University, Baroda, Gujarat 1980 Started his Professional Career as Graphics Designer. Conceptualized and Designed Magazines (India Today, Bombay, Debonair,USP Age), Newspapers (Sunday Observer, Indian Express, Sunday Afternoon, Express Newsline, Loksatta, Lokmat, Dainik Bhaskar, Prabhat), In-Flight Magazines (Namaskar, 24 K, British Airway Free & Easy) 2004-2008 Jury Member Of The Censor Board Of Film Certification 1979 Art exhibition of painting, graphics, sculpture, Benaras Hindu University. Annual art exhibition Faculty of Visual art, B.H.U. 1979 1979 Mysore University of Photography Club 1979-81 Photo Art Group, New Delhi 1981.Annual exhibition of UP Lalit Kala Academy 1980 Modex 80, All India Institute Of Technology, Banaras Hindu University, Varanasi 1980 All India Exhibition Of Arts 1978-1981,1983 Birla Academy of Art and Culture, Kolkata 1981 Painting Exhibitions, Chandigarh Sansakar Bharti UP Kalakar Sangam, Lucknow 1982 Rashtriya Gaurav Puraskar by Shanti Vallbah Times 2005 Bachchan On Fonts. A Tribute To The Legend On Amitabh Bachchan 1981 Painting Exhibition, Sansakar Bharti, Lucknow 1981 Atul All India Exhibition Of Art Drawing & Graphics, Ahmedabad 1981 Indian Academy Of Fine Arts, Amritsar 1979-1983 National Exhibition, Ravindra Bhavan, New Delhi Graphics Exhibition at Shantiniketan 2010 Group exhibition at Ravindra natya 1983 1982- 2008 Bombay Art Society, Jehangir Art Gallery. Mandir,Prabha Devi. Solo exhibition at Museum Art Gallery, Mumbai. 1981 Won The All India Lalit Kala Academy Award, Lucknow, UP 1981 Save The World from Air Pollution, IIT on Science & Technology on Environment, Organizing Committee 68th session of Indian Science Congress , B.H.U. 1983 Won The Lalit Kala Academy Award, Ahmedabad. Invited for presentation and dimension to All India Council for Technical Education quality improvement programme, Sir J J School of Applied Arts, Mumbai IIT — Powai, Mumbai Abhinav Collage of Arts, Commerce & Science Bal vidya Mandir K.C. College, Mumbai Sophia Shree B.K. Somani Memorial Polytechnic, Mumbai Harkishan Mehta Foundation Institute of Journalism & Mass Communication Guide to National Institute O f Design, Ahmedabad Manipal Institute of Technology, Manipal, Karnataka is an accomplished graphic designer. Over the last three decades Jain has designed over 50 magazines, in-flight journals and daily newspapers in the country. What sets Jain apart is his passion to understand the latest development in the world of designing as well as printing. To keep pace with the West, Jain has invested heavily in software, hardware and latest books on design, art and technology. His quest for newer and newer medium to express his feelings, passion and message saw Jain Kamal delving into Jain philosophy in a big way. He felt that Jainism is the most simple and easy religion in the world; so he has contributed to Jainism via the medium of art. After eight years of long research Kamal has managed to capture the essence of Jainism with his theme Namokar Mantra. It is graphical paintings, using different types of Fonts instead of the conventional brush and paint. He is one of the first artists to primarily use graphics and fonts through mix media on canvas. Besides, Jain has done some path breaking work. His portrait of Amitabh Bachchan using Fonts is very unique and unusual. This piece of work has quite impressed Mr Bachchan. He is currently consultaing to various news papers and working on subjects like fonts, erotica, and unreadable newspapers.

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JAINKAMAL SR. ART EDITOR, EDITOR’S COLONY, PRESS ENCLAVE, H 18/ 201, PRATIKSHA NAGAR,SION EAST MUMBAI -400 022. MAHARASTRA , INDIA.

Email: jainkamalji@gmail.com Face Book jainkamal/ namokar namtra for world peace

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cell +91 96196 44779 / +91 98211 39310 Email jainkamalji@gmail.com

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