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Jain Miniature Paintings from Western India c7.31

Jain Miniature Paintings from Western India c7.31

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c7.31

The obverse of the cover is very much flaked. From the details available, one panel depicts Mahāvīra in the *bhava* of Viśvabhūti, uplifting a cow to the sky (Fig. 205). On the reverse, the following incidents from the life of Mahāvīra are illustrated (Figs. 206-208). (1) Beginning from the right, king Siddhāratha, seated under a pavilion, is shown conversing with queen Triśalā. (2) Outside the pavilion is seen an astrologer interpreting the dreams of the queen. (3) It represents the birth of Mahāvīra. The mother is shown lying on a cot under a pavilion, fondling the child. (4) Outside the pavilion is shown Harinaigamesa carrying the foetus of Devānandā for transferring it to the womb of Triśalā. He is attended by several servants (Fig. 206). (5) Indra is performing the lustration rite of Mahāvīra (Fig. 207); he is represented seated in the middle with the child; two Devas are pouring water. (6) Siddhārtha and Triśalā are shown conversing. (7) the marriage of Mahāvīra; the marriage pavilion has for its post piled up jars; it is also decorated with the plantain trees; in the centre are shown Mahāvīra and his bride; there are also Brahmins participating in the ceremony. (8) It depicts Varshīdāna, *i.e.*, the distribution of daily alms by Mahāvīra for one year before he was initiated (Fig. 208); he is shown seated under a tree offering alms to a Brahmin. (9) Mahāvīra being carried on the palanquin Chandra-sibikā for the initiation ceremony. The palanquin is being carried by two men. (10) Mahāvīra plucking his hair which Indra stands nearby to receive. (11) It represents Mahāvīra offering half of his garment to a Brahmin named Soma; the story goes that the Brahmin, as he had gone out, when Mahāvīra was distributing alms, and, therefore, could receive nothing, approached him when he was renouncing the world, and, as he had nothing else to give, he parted with half of his garment. (12) Mahāvīra practising penance in the kāyotsarga pose (Fig. 208).