Jain Miniature Paintings from Western India c13: Part III: Descriptions of the Plates

Jain Miniature Paintings from Western India c13

Language: English

Part III: Descriptions of the Plates

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1. Lotus panel depicting a lotus lake with two *haṃsās* (geese) and a man disporting in the lake holding a half-blown lotus flower. Wall-painting; Sittanavāsal, early 7th century A.D.

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2. Continuation of the same panel. Animals, such as a bull and an elephant and aquatic birds wading through the lake; one man is plucking lotus flowers, while his companion holds them in a hamper.

3. A group of gods flying in the air with their consorts. The most prominent of the gods is riding an *yāli* (a fabulous animal). The figures show lack of modelling, though traces of the Ajantaesque treatment of the human figure remain. Kailāsanāth Temple, Ellura, 8th century A.D.

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4. Viṣṇu flying in the air riding a winged *garuḍa* with an extraordinarily long nose. Viṣṇu wears a high crown, earrings, necklaces, armlets, bangles, anklets, a *dhotī* and a zone. On either side of the god, there is a female figure representing Lakshmī and Bhūdevī riding on Gandharvīs with the bodies of a horse. There are some other figures which are partially damaged. Kailāsanāth Temple, Ellura, middle layer.

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5. Śiva riding on a bull followed by a number of *gaṇas*. Notice the angularity in drawing, the pointed nose and chin. Kailāsanāth Temple, Ellura, middle layer.

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6. Cavalry on the march, followed by infantry with drawn up swords. The riders wear half sleeved tunics and shorts and riding boots, and are equipped with armours. The foot-soldiers wear short loin-cloth. Their hair is tied at the top of the head in the shape of a bun secured tight with the ribbons. They all wear moustaches and close cropped beards. Kailāsanāth temple, Ellura, top layer. 11th century A.D.

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7. A Digambara monk in procession. On the left, womenfolk are carrying the auspicious symbols, such as pitchers, an image, etc., accompanied by foot-soldiers equipped with lances and round shields. These women and soldiers are apparently welcoming a Jain monk being carried on a palanquin followed by the soldiers. The women wear short *sārīs* and transverse scarves worn across their chests covering their breasts. The soldiers wear shorts. Kailāsanāth temple, Ellura, top layer, 11th century A.D.

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8. Flying Vidyādharas. They wear three pointed *mukuṭas*, shorts, *kamarbands* and ornaments. Notice the close cropped beards, the pointed nose and the farther eyes protruding into space. Viṣṇu temple, Madanpur, 12th century.

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Fig. 221

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9. The Devatās and the Kimpuruṣas flying in the air. A part from the Lakshmīśvara maṇḍapa panel, Tirumalai. In the right lower corner, a winged bird and beaked Devatās (of the Vyantara class) with the drum and extended arms floating in the clouds. 12th century A.D.

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10. The death of the Buddha. From a palm-leaf manuscript of the Prajñāpāramitā from Bengal, 12th century A.D. The Buddha is lying on a couch well decorated with a green bedspread. In the background may be seen a stūpa painted in white, with an attendant sheltering it with an umbrella. In the foreground are two disciples. Colours : red, yellow, white, green and blue.

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11. Vāmāchārī gods. Wall-painting from Payathon-zu temple. Pagan. Burma, 12th century. On the left, the god standing with his legs crossed is embracing his consort; a lady of dwarfish size stands on his right. On the left, another god is shown embracing two women. The angularity of the nose and the chin is emphasised.

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12. A royal procession. Wall-painting from Nandamañña, Pagan, Burma, 12th century A.D. A king wearing a flowered tunic mounted on a white horse is shown. In front of him is a woman holding a floral spray; behind him are three women attendants, one holding an umbrella, and the other, two floral sprays.

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13. Decorative patterns at the end of the various chapters in the palm-leaf manuscript of the Nisīthachūrṇi, Sanghavinā Pādānā Jñāna Bhaṇḍār, Pāṭan, dated Sam. 1157 v.s. (1100 A.D.). On the left beginning from the top, (1) two concentric circles, the inner circle is dented and has a rosette inside; (2) scalloped circle decorated with flowers; (3) three concentric circles, the inner circle is decorated with a rosette, the second circle, with the inverted T pattern, and the third with the chevron; (4) rimmed circle decorated with a flower; (5) two concentric circles, the inside of the first is decorated with a central flower and stylised plants, its rim is decorated with denticles. On the right, beginning from the top; (1) an elephant within a roundel; (2) scalloped ovaloid filled with flower, its rims are dented; (3) two concentric circles, the first circle decorated with a scalloped roundel filled with a stylised plant arranged round a central flower; (4) three concentric circles within a square; they are decorated with the chess board pattern and denticles; (5) two concentric circles decorated with stylised plants, denticles, etc.; (6) four circles with rosettes arranged on the four corners of a central circle within a diamond-shaped compartment; (7) three concentric circles decorated with a flower in the innermost circle and denticles.

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14. Decorative patterns from the Nisīthachūrṇi. On the left, beginning from the top; (1) on the lower margin, two floating female figures holding garlands; (2) in the centre of the leaf, a sunflower within a roundel; on the right hand margin, a thumbnail sketch of an elephant uprooting a tree; (3) in the centre of the leaf, three concentric circles decorated with a rosette and denticles; (4) two roundels decorated with denticles and flower, and a scalloped ovaloid decorated with flowers. On the right, from top to bottom : (1) *Pūrṇaghaṭa*, a sacred religious symbol; (2) two concentric circles, within the first circle an elephant; they are decorated with denticles; (3) an open sunflower within a rimmed circle.

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15. Śrī Mahāvīra seated on a throne in *padmāsana*. This miniature is from a palm-leaf manuscript of the *Jñātāsūtra* and three other *Aṅgasūtras* in the Śāntināth Bhaṇḍār, Cambay. The manuscript is dated v.s. 1184 (1127 A.D.).

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He does not wear any ornament; on either side, a Deva with a *chaurī*; their outspread chests, stiff legs and angular noses may be noticed.

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16. Devī Sarasvatī. From the same manuscripts as No. 15. Sarasvatī is four-handed holding lotus flowers into the two upper hands; in the lower hands, she holds a rosary and a book. In front of the Devī may be seen the *haṃsa*. On the right is shown Subhankara, and on the left, Desala, offering prayers to the goddess with folded hands. Red background; yellow used to represent the goddess and her worshippers; lake green and blue used to depict costumes.

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17–42. These miniatures are taken from a palm-leaf manuscript containing the *Oghaniryukti*, etc., in the collection of Upādhyāyaji Śrī Viravijayaji Śāstrasamgraha, Chhāṇī, Baroda State. Its Cat. No. is 1155. It has 227 folios and is dated in v.s. 1218 (1161 A.D.).

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17. Rohiṇī. Fol. 2. Size 2" × 2⅜". Red background; four hands; in the upper right hand, an arrow and in the upper left, a bow; the lower right hand is in *varadā-mudrā* and in the left she holds conchshell; cow vehicle; golden body colour; yellow *mukuṭa*, blue bodice; blue and red *uttarīya*.

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18. Prajñapti. Fol. 2. Size 2⅜" × 2⅜". Red background; four hands; the upper hands holding the *śakti*; the lower hands in *varadā-mudrā*; seated in *bhadrāsana* on a peacock; golden body colour; white bodice; white *uttarīya* with decoration in black and yellow.

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19. Vajraśṛṅkhalā. Fol. 82. Size 1⅝" × 2⅜". Red background; four hands; in the upper hands, golden chain; the lower right hand in *varadā-mudrā*; in the lower left hand, an yellow fruit; the yellow *mukuṭa* and body colour; parrot green bodice; seated in *bhadrāsana* on a full blown lotus.

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20. Vajrāṅkuśī. Fol. 82. Size 1¾" × 2⅜". Deep red background; four hands; the upper hands holding goads (*aṅkuśa*); the lower right hand in *varadā-mudrā* and the left hand holds *bijorā* fruit; golden body colour; blue bodice; red *uttarīya* dotted with white; seated on an elephant vehicle in *bhadrāsana*.

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21. Chakreśvarī. Fol. 83. Size 1¾" × 2⅜". Deep red background; four hands holding discs (*chakras*); golden body; golden *mukuṭa*; blue bodice; white *uttarīya* with black borders; seated on Garuḍa in *bhadrāsana*.

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22. Puruṣadattā. The giver of boons to men. Fol. 83. Size 1⅞" × 2⅜". Dark red back-ground; four hands; in the upper right hand, a sword, and in the left hand, a shield; the lower right hand in *varadā-mudrā* and in the left hand, a *bijorā* fruit; golden body colour and *mukuṭa*; blue bodice; red *uttarīya* dotted with white; mounted on a she-buffalo in *bhadrāsana*.

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23. Kālī. Terrible as death to enemies. Fol. 84. Size 1⅞" × 2⅜". Red background; in the upper right hand a *śaṅku*, and in the lower left hand, an *aṅkuśa*: the lower right hand in *varadā-mudrā* and the left hand in *abhayā-mudrā*; golden body colour and *mukuṭa*; the *sārī* decorated with flowers; white bodice; blue *uttarīya* decorated with white flowers; seated on a lotus seat in *bhadrāsana*.

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24. Mahākālī. Fol. 84. Size 2" × 2⅜". Red background; four hands; the upper right hand holds an *aṅkuśa* and the left hand, a bell; the lower right hand is in *varadā-mudrā* and the left hand holds a *bijorā* fruit; black body colour; golden *mukuṭa*; carmine bodice; red *sārī* decorated with rosettes; seated on the *puruṣa* in *bhadrāsana*.

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25. Gaurī. Fol. 85. Size 2" × 2⅜". Red background; four hands; in the upper right hand, a pestle (*muśala*), and in the left, lotus flowers; the lower hands are in *varadā-mudrā*; golden body colour and *mukuṭa*; blue bodice; red *sārī*; seated on a lizard (*godha*) in *bhadrāsana*.

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26. Gāndhārī. Fol. 85. Size 2" × 2⅜". Red background; four hands; the upper right hand holding a pestle (*muśala*) and the left hand, an *aṅkuśa*; the lower hands in *varadā-mudrā*; blue body colour; rosy bodice; necklace; the red *sārī* decorated with four petalled flowers; seated on a lotus in *bhadrāsana*.

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27. Mahājvālā. Her weapons emit flames. Fol. 131. Size 2" × 2⅜". Red background; four hands; in the upper right hand, an *aṅkuśa*, and in the left hand, lotus flowers; the lower right hand in *varadā-mudrā* and the left hand holding a *bijorā*; blue bodice; the yellow *sārī* decorated with red flowers; mounted on a lion.

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28. Mānavī. The mother of all mankind. Fol. 131. Size 2" × 2⅜". Red background; four hands; lotus flowers in the upper hands; the lower right hand in *varadā-mudrā* and the left hand holds a rosary (*akṣasūtra*); black body colour; golden *mukuṭa*; white bodice; ruby necklace; red *sārī* decorated with rosettes; seated on a lotus seat in *bhadrāsana*.

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29. Vairoṭyā. She pacifies enmity, and is one of the eight chief queens of Dharaṇendra. Fol. 132. Size 2" × 2⅜". Red background; four hands; holding snake in the upper right hand and a shield in the left; in the lower right hand a sword, and in the left hand, a snake; black body colour; golden *mukuṭa*; yellow *sārī*; mounted on a python.

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30. Achchhuptā. Untouched by sin. Fol. 133. Size 2" × 2⅜". Deep blue background; four hands; the upper right hand holding a bow, and the left hand, an arrow; red body colour; golden *mukuṭa*; white bodice; yellow *sārī*; mounted on horse in *bhadrāsana*.

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31. Mānasī. Makes appearance when meditated upon. Fol. 172. Red background; four hands; *aṅkuśa* in the upper right hand and a full blown lotus in the left; the lower right hand is in *varadā-mudrā* and the left hand holds a rosary (akshasūtra); fair body colour; golden mukuṭa; blue bodice; red sārī; mounted on a hamsa.

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32. Mahāmānasi. Fol. 173. Size 2⅜" × 2⅜". Red background; four hands; in the upper right hand a sword and in the left a shield; the lower right hand in varadā-mudrā and the left hand holding a bijorā fruit; white body colour; golden mukuṭa; white bodice; ruby necklace; mounted on a lion.

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33. Brahmasānti Yaksha. Fol. 227. Size 2⅛" × 2⅜". Red background; four hands; the upper right hand holding an umbrella (chhatra) and the left hand a staff (daṇḍa); the lower right hand holding a book and the left hand is in varadā-mudrā; yellow body colour; seated on a hamsa.

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34. Kapardī Yaksha. Fol. 226. Size 2" × 2⅜". Red backgound; four hands; the upper right hand holding an ankuśa and in the left hand is a noose (pāśa); the lower hands in varadā-mudrā; blue jacket; red shorts.

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35. Sarasvatī. Fol. 1. Size 2" × 2⅜". Red background; four hands; a lotus in the upper right hand and the vīṇā in the upper left hand and the lower right hand; a book in the lower left hand; white body colour; yellow mukuṭa; red bodice. The image of Sarasvatī seems to have been very popular with the Jains and the goddess has been painted and sculptured with varying cognizances.

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36. Ambikā. Fol. 227. In her right hand she holds a baby and in the left a bunch of mango fruits; golden mukuṭa; bodice; sārī decorated with rosette; seated on a cushion.

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37. Mahālakshmī. Fol. 1. Size 2" × 2⅜". Red background; four hands; in the upper hands holding open lotus flowers with an elephant on either side ready to sprinkle on the goddess; in the lower right hand a rosary and in the left hand a golden pitcher (pūrṇakumbha); yellow body colour; golden mukuṭa; black sārī; seated on lotus seat.

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38. Sarasvatī. Coloured reproduction. For description see Fig. 35.

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39. Chakresvarī. Coloured reproduction. For description see Fig. 21.

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40. Purushadattā. Coloured reproduction. For description see Fig. 22.

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41. Brahmasānti Yaksha. Coloured reproduction. For description see Fig. 33.

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42. Ambikā. Coloured reproduction. For description see Fig. 36.

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43–45. These pictures are reproduced from the palm-leaf manuscript of the Mahāvīracharita, dated v.s. 1294 (1237 A.D.), in the Sanghavinā Pāḍānā Bhaṇḍār, Pāṭan.

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43. Hemachandra Sūri (?). In the miniature, Śrī Hemachandra is shown seated on a throne. Behind him stands a disciple with a piece of cloth in his hand waiting upon his teacher; in front of the Achārya, a disciple holding a book in his hand is receiving his lessons.

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44. Kumārapāla (?). From the same manuscript. He is seated facing the left; the hands holding the ends of a scarf; the right leg lying on the ground and the left raised up; blue shorts and jackets worked with golden designs.

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45. Śrāvikā-devi. From the same manuscript. She is seated with folded hands, facing to the left; her head is bare; parrot green bodice; yellow body colour.

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46. Devī Ambikā. From the palm-leaf manuscript of the Śāntinātha-charita, dated 1298 (1241 A.D.), in the Śāntināth Bhaṇḍār, Cambay. The goddess is seated on a cushion marked with the figure of a lion; four hands; in the upper hands lotus flowers; in the lower right hand a child, and a mango fruit in the left.

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47. A layman. From the same manuscript. Red background; seated on a *chaukī* with folded hands facing to the right; wears *dupaṭṭa* and shorts; a small boy seated on the left in worshipping attitude.

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48. Jain nuns. From the illustrated palm-leaf manuscript of the *Kalpasūtra* and the *Kālakāchārya-kathā*, dated 1335 v. s. (1278 A.D.) in the Saṅghvinā Pādā Jñāna Bhaṇḍār, Pāṭan; their bodies are completely covered with what appears to be *chādars* and *sārīs*; their heads are bare.

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49. Jain laywomen. From the same manuscript. The women are seated with folded hands facing to the left; the ends of the scarves held in their hands; elaborate ornaments consisting of necklaces, bangles, earrings, armlets, etc.

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50. The marriage procession of Neminātha. From the palm-leaf manuscript of the *Subāhukathā*, together with other *Kathās*, dated 1345 v. s. (1288 A. D.), in the Saṅghvinā Pādā, Jñāna Bhaṇḍār, Pāṭan.

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Red background; Neminātha, riding on an elephant followed by a soldier, is being received by a man; on the top left, the bride may be seen in the marriage pavilion.

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51. Baladevamuni and the forest animals. From the same manuscript as No. 50. On the left, the Muni is seated on a rock under a tree; on the right, a deer and a doe; a few trees indicate the forest.

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52. The deer, Baladevamuni and the *Rathakāraka*. From the same manuscript as No. 50. On the right, under a tree, Baladevamuni extending his hands is receiving food from the *Rathakāraka*. On his right stands the deer. On the left is seen the *Rathakāraka* offering food to Baladevamuni. On his left is seen a cart filled with chopped wood and two bullocks. The presence of the aerial car in the sky shows that, after the death of Baladevamuni, *Rathakāraka* and the deer, occasioned by the falling of the tree, went to heaven.

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53. Sarasvatī. From the *Siddha-Haima*. Sarabhai Nawab collection.

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Red background; the four-handed goddess seated in *padmāsana* is playing the *vīṇā* with the upper left and the lower right hand; in two other hands she holds lotus flower and a book. The drawing is full of vigour.

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54—58. From the illustrated palm-leaf manuscript of the *Kalpasūtra* and the *Kālakāchārya Kathā*, dated 1427 v. s. (1310 A.D.), Ujjamphoi nī Dharmasālā nā Jñāna Bhaṇḍār, Ahmedabad.

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54. Mahāvīra’s descent from the heaven. Śrī Mahāvīra is seated on a very elaborately decorated throne in *padmāsana*. He wears *mukuṭa*, necklaces, armlets, earrings, bangles, etc. The miniature seems to be a copy of some contemporary image.

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55. An Āchārya imparting lessons to a disciple. On the left is seated the Āchārya clad in white with an attendant holding a piece of cloth in his hand, the pupil is seated on the right with a scroll between the teacher and the pupil lies the sthāpanāchārya.

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56. The birth of Mahāvīra. Triśalā is represented lying on a golden cot equipped with a flowered bedsheet and a cushion. She holds Mahāvīra in her right hand. She wears a sārī decorated with geese pattern, a scarf covering her coiffure and wrapped round the waist and ornaments.

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57. The Nirvāṇa of Mahāvīra. Mahāvīra wearing all sorts of ornaments is seated on a throne. The Siddhaśilā is represented in the shape of a crescent flanked with a tree on either side. The fine treatment of the trees reminds one of similar trees in Sidi Sayyid’s mosque at Ahmedābād. The background is red and the Siddhaśilā is white. The foliage is represented blue.

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58. The samavasaraṇa of Mahāvīra. This is a round samavasaraṇa. In the centre is Mahāvīra; on the four sides are forts entered by gates; outside are tanks, one in each corner.

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59—78. These miniatures are taken from the undated palm-leaf manuscript of the Kalpasūtra in the collection of Sheth Ānandjī Mangaljīnī Pedhī nā Jñāna Bhaṇḍār, Īdar. In all the miniatures of the Īdar Kalpasūtra, the background is red. Gold has been used profusely for the first time in the miniatures on palm-leaf. Besides gold, vermilion, rose, crimson, yellow, ultramarine, silver grey, purple, white, black, indigo and orange have also been used. The men usually wear beards whose hair strands are represented with fine brush strokes. The manuscript has thirty-three miniatures.

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59. The Birth of Mahāvīra. Īdar manuscript Fol. 35. Rosy background; the room hangings are in yellow and red; Triśalā lying on a cot holding Mahāvīra with the right hand and offering some gift to the maid-servant on the right; on the floor may be seen a brazier, footstool and fruit trays. Triśalā who is painted yellow wears a sārī, red dotted bodice and a scarf edged with ultramarine.

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60. Indra-sabhā. Īdar manuscript, Fol. 7. Size 2½" × 2¼".

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Indra seated in the sabhā on a throne; four hands; in the upper right hand the thunderbolt (vajra) and in the left hand an aṅkuśa; with the lower right hand he seems to be giving some order; the object in the left hand cannot be distinguished; Indra’s uttarīya is chequered. On the right is seen a god with folded hands. He is equipped with ornaments, and an umbrella shelters his head. His forehead is marked with the U-shaped tilaka.

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61. Prayer of Indra. Īdar manuscript, Fol. 9. Size 2½" × 2¼". The miniature depicts Indra offering prayer to Mahāvīra after his birth. On the right side Indra bending his both legs on the ground and with folded hands and bending head is offering his respects. One of his hands holds a *vajra*. Behind him stands an umbrella-bearer. Three other gods, on the right, with bended knees are likewise offering prayers. Different patterns in rose, green and ultramarine are represented on the costumes of the figures.

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Fig. 250

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62. Śakra’s order. Īdar manuscript, Fol. 12. Size 2⅛" × 2⅛".

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The order refers to the wish of Indra to transfer the foetus of Devānandā to the womb of Triśalā. In the centre of the miniature the four-handed Indra is seated on the throne. In the upper right hand he holds the thunderbolt; with the lower right hand he seems to be taking something from the *chaurī*-bearer; both the left hands are free. On the right stands Harinaigamesha with folded hands. The patterns on the costumes of the three figures are different.

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63. The appearance of the gods at the time of the birth of Mahāvīra. Īdar manuscript, Fol. 35.

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On the right is shown Triśalā lying on a cot holding Mahāvīra in her left arm. Two maids are seen entering the room from the top right; one of them holds a *chaurī* and the other a golden pitcher with which perhaps she intends to bathe Triśalā. On the extreme right corner is seen a maid-servant.

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64. The bathing ceremony of Mahāvīra on the Mount Meru. Īdar manuscript, Fol. 30.

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The miniature depicts an incident after the birth of Mahāvīra. It is related that Indra took the child Mahāvīra on Meru and there he was bathed by him and the other gods. So enthusiastic was Indra that he assumed the form of four bulls, and the streams emanating from their eight horns sprinkled the child. In the centre is seated Indra wearing ornaments, *dhotī* and *uttarīya* with the child Mahāvīra seated on his lap; a Deva on either side with pitchers; at the top two spirited bulls.

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65. Festivities at the birth of Mahāvīra. Īdar manuscript, Fol. 39. Size 2¾" × 2⅛".

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In the centre Prince Siddhārtha is seated on a throne holding a naked sword in his left hand, giving some orders to the household officers. Behind the throne, there is a female *chaurī*-bearer. On the right, there are two officers standing with folded hands. Room hangings and the royal umbrella are also represented.

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66. Relatives and Rājā Siddhārtha. Īdar manuscript, Fol. 40. Size 3" × 3½".

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Siddhārtha is seated on the left holding a naked sword in the right hand. He wears *mukuṭa*, necklace, *dhotī* and *uttarīya* decorated with the chess board pattern. In the background, at the top, is a lady, probably Triśalā. On the right, there are eight relatives.

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67. Varshidāna. Īdar manuscript, Fol. 44. Size 2¾" × 2⅛".

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This is an incident from the life of Mahāvīra in which he began distributing alms from the morning till night, a year before the renunciation. Mahāvīra is seated on a throne in the canopied hall on the left, distributing alms. Here, he is represented with a beard and moustaches. Nearby may be seen a teapoy with a tray full of gold coins. Behind Mahāvīra stands a female *chaurī*-bearer. On the right, there are five beggars receiving alms.

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68. The initiation ceremony of Mahāvīra. Idar manuscript, Fol. 46. Size 2¾" × 2½".

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In the centre of the miniature, Mahāvīra, wearing luxurious dress and ornaments, is seated on a palanquin carried by four bearers. On his either side is a female *chaurī*-bearer. In front of the palanquin walk three musicians playing on trumpets and the drum, and behind it walk two drummers.

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69. Giving away of half the garment and plucking the hair. Idar manuscript, Fol. 50. Size 3" × 2½".

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In the lower panel of the miniature, Mahāvīra is shown plucking his hair with one hand; on the right is shown Indra holding the *vajra* and showing his eagerness to receive the plucked hair. In the upper panel is shown the giving away of half of his garment by Mahāvīra. The episode refer to an incident in the life of Mahāvīra, who, after giving away all his possessions before the renunciation, was approached by the Brahmin Soma and was presented with half of his garment. On the right hand of the panel, Mahāvīra is shown offering half of his garment to the Brahmin. On the left, a further incident from the episode is depicted. It is said that Soma offered this half garment to a merchant who promised to pay him hundred thousand golden coins, provided that the remaining half of the garment could be procured. The Brahmin approached Mahāvīra but could not dare ask for the other half of his garment, though he followed him from place to place. After more than one year, while walking on the banks on river Rijuālukā, the other half of the garment on the person of Mahāvīra got stuck in a thorny bush and he abandoned it. Now getting his chance, the Brahmin Soma took the garment and bolted. In the panel, Mahāvīra is shown going away and the Brahmin is seen picking up the abandoned garment.

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70. The *Nirvāṇa* of Mahāvīra. Idar manuscript, Fol. 52.

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In the miniature, Mahāvīra, wearing ornaments and *dhotī*, is shown seated on a throne in *padmāsana*, attended by a god on either side holding a pitcher. The Siddhaśilā is crescent-shaped and is flanked with a decorative tree on either side.

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71. The birth of Pārśvanātha. Idar manuscript, Fol. 58. Size 2¾" × 2½".

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The miniature is painted in gold. On a golden cot decorated with flowered bed-spread, Vāmādevī is reclining, and beholding the child held in her right arm. She wears *mukuṭa*, a dotted bodice, a flowered scarf, and a tie-dyed and striped *dhotī* and ornaments. A *chaurī*-bearer stands on the right. The ceiling of the room is covered with a canopy; on the floor may be seen pitchers, a flower pot and a brazier.

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72. Plucking of his hair by Pārśvanātha. Idar manuscript, Fol. 60. Size 2½" × 2½".

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On the left, under a decoratively treated *Aśoka* tree, Pārśvanātha is seated on a rock holding the lock of his hair with the right hand. On the right, behind another decorative tree, is shown, the four handed Indra holding the vajra in one of his upper hands, ready to receive the plucked hair.

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Fig. 259

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Fig. 260

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Fig. 261

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Fig. 262

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73. The birth of Neminātha and his bathing ceremony on the Mount Meru. Iḍar manuscript, Fol. 64. Size 3" × 2½".

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In the lower panel is shown Neminātha’s mother reclining on a cot, beholding the child held in her right arm; on the right may be seen two female attendants. In the upper panel is represented Indra holding the baby in his lap with a god on either side holding a pitcher.

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74. The Nirvāṇa of Adīśvara. Iḍar manuscript, Fol. 78. Size 2¾" × 2½".

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In this miniature, Ṛṣhabha Deva wearing ornaments is seated in padmāsana on the Siddhaśilā attended by a god standing underneath a tree on either side.

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75. The eleven Gaṇadharas of Mahāvīra. Iḍar manuscript Fol. 80.

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The entire miniature is painted in gold. The eleven Gaṇadharas are: 1. Indrabhūti (Gautamasvāmī), 2. Agnibhūti, 3. Vāyubhūti, 4. Vyakta, 5. Sudharmāsvāmī, 6. Maṇḍitaputra, 7. Mauryaputra, 8. Akampita, 9. Achalabhrātā, 10. Metārya and 11. Prabhāsa. They are shown seated in padmāsana within an arcade.

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76. Dhruvasena and the Guru Mahārāja. Iḍar manuscript, Fol. 108.

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It is related that, in Vīra Samvat 980 or 993, the Kalpasūtra was, for the first time, recited in the assembly of the monks held at Ānandapura (modern Vadnagar), when Dhruvasena was ruling. It is said that the recitation was made to allay the grief of the king at the death of his son.

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On the left, a Jain monk is seated on a stool, clad in white and holding a piece of cloth in his right hand. Behind him stands a boy fanning the teacher with an unfurled piece of cloth. On the right, the king wearing mukuṭa, ornaments, dhotī and scarf, is seated with folded hands hearing to the discourse of the teacher. Between the king and the teacher lies his sthāpanāchārya.

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77. Gaṇadhara Sudharmāsvāmī. Iḍar manuscript, Fol. 109. Size 2" × 1¾". The entire miniature is painted in gold.

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Sudharmāsvāmī, clad in white garments, is seated in the centre in padmāsana; a golden lotus in full blossom is spread before him. On the left stands Jambūsvāmī with folded hands, and on the right stands probably Indra holding the ends of his scarf in the folded hands.

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78. Colour reproduction of No. 72.

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79–84. Miniatures from the illustrated palm-leaf manuscript of the Siddha-Haima in the Tapā Bhaṇḍār, Pāṭan. It bears the Catalogue No. 19 and has 350 folios. There is no colophon and no date.

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It is related in the Prabhāvaka-charita (Hemachandra Prabandha, ss. 74–81), that once, while looking at the collection of books in the Avantī Bhaṇḍār, Siddharāja was shown a work on grammar which was explained by Hemachandra to be the work of Bhoja, and contained chapters on grammar, poetics, medicine, architecture, arithmetic, omens, dreams, astrology, etc. Hearing this, Jayasimha requested Hemachandra to write a similar treatise.

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In the miniatures, colours, such as white, red, black, yellow, blue and rose, have been used.

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79. Fol. 2. The miniature is divided into two panels. In the top panel, on the left, is seen Śrī Hemachandra holding *muhapaṭṭi* in the right hand and the left hand is in *varada-mudrā*; near him the *sthāpanāchārya* is lying. By his side lies an *oghā* (woollen paraphernalia of a monk). In front of him, on the left, stands a disciple holding a palm-leaf in his hands, on which the first *sūtra* of the Siddhahaima ‘*Om Arham-namaḥ*’ is clearly visible. Behind the disciple are seated two royal persons with folded hands, the top one, as the inscription says, is Jayasimha, and the bottom one Kumārapāla. The top of the panel bears the following Sanskrit inscription: *Śrī Hemachandrasūri Śrī-Jayasimhadevarājñābhyarthayā Siddhahemachandra-vyākaraṇa-nirmāpayati* ‘Śrī Hemachandra at the request of king Jayasimha is composing Siddha Hemachandra Vyākaraṇa.’

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In the bottom panel, the method adopted for the publicity of the grammar is represented. It is mentioned in the *Prabhāvakacharita* (Hemachandra-sūri-prabandha, ss. 112—115), that a Kāyastha named Kākala, who was well adept in the eight systems of grammar, was appointed a teacher by Hemachandra. On every fifth day of the bright half of the month, he used to ask questions on the *Siddha-Haima* to the students of grammar and award them bangles on behalf of the king. The students who had acquired proficiency in this system of grammar were presented with silken garments, gold ornaments, furniture and umbrellas.

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In the top of the panel, the inscription *paṇḍitachchhātṛān vyākaraṇam pāthyati*, ‘the teacher imparts lessons in grammar to students,’ is clearly visible. On the left, the teacher, holding a stick in his right hand and threatening the students with his left hand, is seated on a high backed stool. He wears the sacred thread. On the left, between the teacher and the *sthāpanāchārya* on which is lying the manuscript of the *Siddha-Haima*, there are four students, each holding the first page of the grammar.

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80. The *Siddha-Haima* carried in procession on an elephant’s back, Fol. 2.

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In this miniature, two incidents are depicted. In the top panel, on the left, is shown a Jina temple, probably Rāyavihāra built by Jayasimha (Ib., s. 226), with the king standing in the *maṇḍapa* with folded hands. On the right is shown a procession which probably Jayasimhadeva is shown, mounted on an elephant, holding a naked sword in the left hand and the copy of the *Siddha-Haima* in the right. At his back is a female *chaurī*-bearer. A drummer playing on the *ḍhol* is seen with the procession.

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This incident is described by Merutuṅgāchārya in the *Prabandhachintāmaṇi* (III, pp. 60—62, ed. by Jinavijayaji). It is said here that, after Hemachandra had written the grammar involving one and quarter lacs of *ślokas* in one year and had named it in such a way as to commemorate himself and the king, the book was brought to the king's court on the back of an elephant, sheltered with an umbrella and attended by two female *chaurī*-bearers. Thereafter, it was recited in the presence of the *Paṇḍits* of the court, and, after being duly worshipped, deposited in the State Library.

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In the bottom panel, the prize distribution to the students is depicted. On the left, a state officer, named Vira-Kumara, is shown seated on a stool. In his right hand, he holds a sword and with the left he seems to be giving prize to a student seated in front of him with folded hands. Behind the student stands Kākala Kāyastha, wearing the sacred thread and holding a staff in his left hand. He seems to be supporting the claim of the student for a prize.

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81. The temple of Pārśvanātha with Sā Vikrama, Rājasimha and Karmana and Śravikā Hīrāde, Fol. 296. Size 2-11/16" × 2-9/16".

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On the left is the temple of Pārśvanātha in which may be seen the blue image of Pārśvanātha with a canopy of seven-hooded cobra; on the right, in the *sabhāmaṇḍapa*, stand the merchants and a woman, perhaps belonging to the same family. Monkeys are seen gambolling over the *sabhāmaṇḍapa*.

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82. Upādhyāya Ānandaprabha being requested by the minister Karmana to order the copying of the *Siddha-haima*. Fol. 297. Size 2½" × 2-9/16".

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Two incidents are depicted in the miniature. In the top panel, on the left, is seen Ānandaprabha Upādhyāya seated on a high-backed seat, attended by a boy disciple standing behind; he is giving lessons to a disciple named Kīrtitilaka Muni seated on the floor; behind him are seated Sā Karmana and Vikrama with folded hands. In the bottom panel, on the left, are two Jain nuns, named as Śrīpadmakāntigaṇinī and Śrī-suvrataprabhāmahatṭaramukhyā; on the right are seated two women devotees with folded hands. One of them is Hīrādevī. It is apparent that the miniature depicts the congregation hearing to the religious discourses of Ānandaprabha.

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83-84. The coloured reproductions of Nos. 79 and 80.

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85. Goddess Lakshmī. From the *Kalpasūtra* in the Hemachandrāchārya Jñāna Mandir, Pāṭan. Red background; the goddess seated under a *toraṇa*; four handed, the upper hands holding lotus flowers with elephants resting on them; the lower right hand in *varadā-mudrā*; the lower left hand holding a coconut (?); wears green bodice and blue *sārī* decorated with the geese pattern.

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86. Moon-God. From the same manuscript as No. 85. Red background; the god seated on a round cushion facing to the left; holding the *pūrṇa kalaśa* in the right hand and a lotus flower in the left; wears *mukuṭa*, an yellow criss-crossed *dupaṭṭā* and a rose coloured chequered *dhotī*.

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87. Indra giving order to Hariṇaigemesha. *Kalpasūtra* manuscript, Hemachandrāchārya Jñāna Bhaṇḍār, Pāṭan. Red background with a part of the sky depicted in ultramarine; Indra is seated on a beautifully worked *simhāsana*, facing to the right, in his upper right hand he holds a goad and in the left, a noose, in the lower right hand, a naked sword, and in the left, a *bijorā* fruit; he wears a *mukuṭa*, a light scarf and a blue *dhotī* worked with the geese pattern, and ornaments. On the right stands Hariṇaigameṣa with folded hands.

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88. Triśalā with her attendants. From the same manuscript as No. 87. Red background; in the upper panel Triśalā is seated on a cushion on the left, wearing turquoise blue light scarf, *sārī* worked with the geese pattern, *mukuṭa* and ornaments; a *chaurī*-bearer in full-sleeved bodice stands behind; on the right, two attendants, one holding a tray of ornaments and the other a parrot. In the lower panel, Triśalā seated on the left is looking at her face in a mirror; on the right, two ladies one of whom holds a parrot.

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The picture is very carefully drawn, and the decorative design on the costumes very carefully filled in.

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89. The prayer of Indra. From the *Kalpasūtra* manuscript on paper in the collection of Srī Jayasuri, dated v. s. 1498 (A.D. 1432). Fol. 69. Size 3" × 4½". For ref. see Fig. 61.

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In the centre of the miniature, there is a beautifully carved *simhāsana* overlaid with a carpet worked with the geese pattern. On this is seated the four-handed Indra facing to the right; his elephant vehicle may also be seen near his foot.

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90. The distribution of alms throughout the year (*varṣidāna*) From the same manuscript as No. 89. For description see No. 67.

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Mahāvīra is seated on a throne wearing the *dhotī*, *chādar*, *mukuṭa* and ornaments distributing alms to three Brahmins on the right; a wooden balcony at the top.

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91-92. The first and last pages of the manuscript of the *Kalpasūtra* in the Hamsavijaya collection.

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91. The descent of Mahāvīra. Mahāvīra seated is attended by the Devas.

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92. The colophon says that in Vikrama Samvat 1522 (A.D. 1465), on Friday, the second day of the bright half of the month of Bhādra, when Huseyn Shāh was ruling over Yavanapur (modern Jaunpur, U.P.), Harsiṇī Srāvikā, the daughter of the Sādhu Sahasarāja and the wife of Sanghavī Kālidāsa, of Srīmālī community, along with her son Dharmadāsa, got this manuscript of the *Kalpasūtra* written, and it was revised by Kamalasamyama Upādhyāya, by the order of Jinachandra Sūri, the Paṭṭadhara of Jinabhadra Sūri, the head of Kharataragachchha.

Linked texts (15)

Uttarajjhayaṇa — Ardhamāgadhī Prakrit
Nāyādhammakahāo — Sudharman, Ardhamāgadhī Prakrit
Aṃga — Sudharman, Ardhamāgadhī Prakrit
Kalpasūtra — Bhadrabāhu, Ardhamāgadhī Prakrit
Prabhāvakacarita — Prabhācandra (Prabhāvakacarita), Sanskrit
Prajñāpāramitā — Sanskrit
Ohanijjutti — Bhadrabāhu & Bhadrabāhu II, Māhārāṣṭrī Prakrit
Kathā
Vadnagar
Ajanta
Kailasanatha Temple
Śāntināthacarita (Munibhadra) — Munibhadra, Sanskrit
Mahāvīracarita — Bhavabhūti, Sanskrit
Ratirahasya — Kokkoka, Sanskrit
Prabandhacintāmaṇi — Merutuṅga, Sanskrit