Life of Lord Mahavira

Author(s): Sarabhai Manilal Nawab
Publisher: Sarabhai Manilal Nawab
Catalog link: https://jainqq.org/explore/006718/1

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THE LIFE OF LORD SHRI MAHAVIRA As Represented in the KALPASUTRA PAINTINGS zrIka9pasUtranAM varNana ane citrAnusAra prabhu zrI mahAvIra Queen Trishala Rejoicing Edited and Compiled by Sarabhai Manilal Nawab CHHIPAMAVJINI POLE - MANDVINI POLE - AHMEDABAD-380 001

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SHREE JAIN KALA-SAHITYA SAMSHODHAN SERIES 18 zrI jaina kalA-sAhitya saMzodhana pu5 18muM THE LIFE OF LORD SHRI MAHAVIRA As Represented in the KALPASUTRA PAINTINGS 168 Paintings with their significance and description in Gujarati and English -: Publisher and Bookseller :MESSRS SARABHAI MANILAL NAWAB AHMEDABAD-380 001 zrIkalpasUtranAM varNana ane citrAnusAra prabhu zrI mahAvIra 168 sonerI, rUperI raMgIna ane ekaraMgI citra ane tenAM vivecana sahita - saMpAdaka tathA saMzodhaka - sArAbhAI maNilAla navAba vi. saM. 2034] [A.D. 1978 Jain Education Intemational

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Publisher MESSRS SARABHAI MANILAL NAWAB Mandvini Pole, Chhipa Mavjini Pole, Ahmedabad-380001 First Edition One Thousand Copies COPY RIGHT RESERVED Price Rupees One Hundred Twenty Five only Printed by Kiritkumar Jayantilal Ravat Deepak Printery. 2776|1, Near Raipur Darwaja, Ahmedabad-380 001 PRINTED IN INDIA Dang -: prakAzaka : mesarsa sArAbhAi maNilAla navAba mAMDavInI poLamAM, chIpA mAvajInI poLa, amadAvAda-380001 prathama saMskaraNa prati 1000-sarvAdhikAra surakSita mUlya ekaso pacIsa rUpiyA mudraka : kirITakumAra jayaMtilAla rAvata, dIpaka prinTarI, 2776/1, rAyapura daravAjA pAse, amadAvAda-1

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Publisher's Note BARSASUTRA (KALPASUTRA) based on age-old illustrated palm-leaf and paper manuscripts bearing artistic letters in gold preserved in Jnana Bhandaras of Jira (Punjab), Jaisalmer (Rajasthan), Ahmedabad, Idar, Baroda and other Jnana Bhandaras of Gujarat was published in Shri Jain Kala Sahitya Samshodhana Series 16 in 1976 (Price Rs. 145). In a brief elucidatory note as a publisher, I gave an indication of a subsequent publication SADAVASYAKA BALAVABODHA (Shri Jain Kala Sahitya Samshodhana Series No. 17) containing 147 multicoloured illustrations. This gave a pointed to my conception of another publication entitled The life of Lord Sri Mahavira with 168 illustrations with distinctive description of the life of Sramana Bhagawan Mahavira. My well-conceived ideas of marshalling important pictorial material took shape in a differnt form in the momentous year of the celebrations of the Nirvana of Bhagawan Mahavira by the publication of 'Tirthankara Bhagawan Mahavira' containing thirty five ornate paintings on the life and mission of Bhagawan Mahavira drawn by the well-known artist Sri Gokuldas Kapadia, an artist of great insight and inspiration, edited by Muni Sri Yashovijayji Maharaj and published by Jain Chitrakala Nidarshan Samiti, Bombay. This publication prompted me to search for original manuscripts of bold draftsmanship and refined treatment as to the best illustrated manuscipts of the Kalpasutra of different Bhandaras, which are not only repositories of knowledge but provide numerous links in the history not only of Jaina painting of indigenous traditions but also the rich traditions evolving out of different schools of Indian painting. Before I could give shape to this much thought out ambitious project, I had a strange inspiration from a dream, which visualized at about 5. 15 a. m. two years before, providing me as it were a mandate, which dictated as to 'why don't you write and provide significant rich illustrations of the captivating life of Bhagawan Mahavira, whose life and teachings have provided joy, inspiration and new life to the people all over the world'. This gingered up my mind. This has been the keynote of this publication depicting important events based on sumptuous illustrated old manuscripts detailing religious and ritualistic details of great importants to the mission of the world renowned benevolent Bhagawan Mahavira and thus providing a background to the glorious heritage of Jainas, thus unfolding the rich culture and religious knowledge of India. This all-important pious publication has been the result of the cooperation of erudite Jaina saints, everhelpful cooperation of the administrators of Jnana Bhandaras and Sri Jain Sangha. In a way, this provided a pointer that centuries old Jnana Bhandaras have been preserved and handed over to the posterity to carry the spiritual communion and the artisitic heritage of the past. The success of this endeavour is destined on the active support and encouragement I receive from revered Jaina saints, art lovers and the public. My experience of the past has always been fruitful and my endeavours have always been appreciated Jain Education Intemational For Private & Personal use only

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by scholars and art lovers in India and abroad. This publication providing an important link detailing the life and mission of the world's greatest spirtual personage will have a warm response and encouragement from all quarters. My hearty thanks are due to Sri Kantilal D. Kora, M. A., Registrar, Sri Mahavira Jaina Vidyalaya, Bombay; always who has been helpful in the English versions of my publications. Also my hearty thanks are due to Sri jayantilal Ravat and Sri Kirit Ravat Propritor and Manager of Deepak Printery, Ahmedabad who have been helpful in publishing such a beautiful and artistic work in the classical way. The illustrations detailed in this publication have been taken from the following manuscripts : The manuscripts from which I have drawn my illustrations are 25 in number of palm-leaf and paper, of which the oldest is of Idar. From some I have selected many paintings, from others only a few. The manuscripts are listed below : AMI-Sheth Anandaji Mangalaji Pedhi's collection Idar. The palm-leaf manuscript of the Kalpasutra contains 109 leaves with 32 miniatures.. Figures 7 and 8. DUA 1-Dehelano Upasraya, Ahmedabad. Paper MS. of the Kalpasutra, Text written in Gold ink. 121 folios with 23 miniatures. Dated Samvat 1516. A. D. 1459 Figures 20, 121 and 122. DUA 2-Chanchala Bai Bhandar, Dehelano Upasraya, Ahmedabad. Paper MS. of the Kalpasutra. Text written in Gold ink. 102 folios, with 17 miniatures. Dated Samvat 1516 A. D. 1459, Figure 132. DV; DVS-Dayavimalji Sastra Sangraha, Devsano Pado, Ahmedabad. Paper MS. of the Kalpasutra and Kalakacharya Katha. Text written in Gold Ink. 201 folios, with 136 miniatures. Not dated, probably circa 1475 A. D. Figures 4, 32, 33, 34, 36, 39, 41, 42, 48, 55, 65, to 80, 81 to 89, 90 to 97, 98 to 101, 102 to 105, 106 to 111; 112 to 117, 118 to 120, 134, 145, 146 to 148, 151, 153, 154 and 157. HGP 1-Hemachandracharya Gyan Mandir, Patana (N. Gujarat). No. 378. Paper MS. of the Kalpasutra. 126 folios, with 38 miniatures. Not dated. Probably fifteenth century. Figures 35, 37, 38, 40 and 43. HGP 2-Hemachandracharya Gyan Mandir. Patana (N. Gujarat). No. 758. Paper MS. of the Kalpasutra. 72 folios, with 31 miniatures. Not dated. Probably fifteenth century. Figures 16, 22, 25, 58, 61, 123, 135, 138, 140 and 160. HGP 3-Hemachandracharya Gyan Mandir Patana (N, Gujarat). No. 15069 Paper manuscript of the Suparsvanatha Charitra. Dated V. S. 1480 A. D. 1423 folios 447 with 37 miniatures. Figures 62, 126, 129, 130, 133, 166 to 168. HVB 1- Hamsavijayaji collection, Atmanand Jain Gyan Mandir, Baroda No. 1402 Paper MS. of the Kalpasutra. Text written in Gold ink. 139 folios, with 34 miniatures, and 278 borders. Not dated, probably fifteenth century. Figures 28, 49, 57, 128 and 141. Jain Education Intemational

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JNV-Jinavijayji collection, Ahmedabad. Paper MS. of the Mahaviracharitra. Text written in Gold ink. 3 folios, with 3 miniatures. Dated Samvat 1511 A, D. 1454. Figure 159. JRP-Atmanand Jain Gyan Mandir, Jira (Punjab). Paper MS. of the Kalpasutra. 111 folios, with 36 miniatures. Dated Samvat 1473 A. D. 1416, written at Anhillapur, Pattana. Figures 14, 136 and 137. JSM-Sri Jaisalmera Gnana Bhandar, Jaisalmera (Rajasthan). Probably end of the fourteenth century. Figures 15, 21, 27, 29, 46, 127, 142, 143 and 162. JSR-Jayasimhasuriji collection; Indore (C. I.) Paper MS of the Kalpasutra. 69 folios with 21 miniatures. Dated Samvat 1489-A. D. 1432. Figures 54, 144 and 155. KSM-Sri Kusumachandra Siriji's collection in Atamananda Gnana Mandir, Baroda. Gold written paper mannscript of the Kalpasutra. Probably of the fifteenth Century. Figures 5, 51, 60 and 131. KVB1-Pravartak Sri Kantivijayaji collection in Atmanand Jain Gnana Mandir, Baroda Paper manuscript of the Kalpasutra. Gold letters. Fifteenth century, written at Mandu (Mandvagarh ). Figures 31 and 52. SINOR-Sinor Jaina Sangha Bhandar, Sinor. Paper manuscript of Sangrahani Sutra, Seventeenth Century. Figure 19 only. SMNI-Sarabhai Manilal Nawab, Ahmedabad. Paper manuscript of the Kalpasutra, written at Kakarechi (Gujarat), Dated V. S. 1468, A. D. 1411, Figures 6, 9, 10, 17, 23, 30, 59, 124, 139, 156, 158, 161, 164 and 165. SMN2-Sarabhai Manilal Nawab, Ahmedabad. Paper manuscript of the Kalpasutra, written in Gold letters. Probably of fifteenth century. Figure 18 only. SMN3-Sarabhai Manilal Nawab, Ahmedabad. Paper manuscript of the Kalpasutra, probably of Sixteenth century. Figure 47 only. SMN4-Sarabhai Manilal Nawab, Ahmedabad. Paper manuscript of the Kalpsutra, Probably of Sixteenth century. Figures 26, 44, 45, 50 and 125. SMN5-Sarabhai Manilal Nawab, Ahmedabad. Paper manuscript of the Kalpasutra, Probably of fifteenth century. Figure 53 only. SMN6-Sarabhai manilal Nawab, Ahmedabad. Paper manuscript of the Kalpasutra. Probably of Sixteenth century. Figure 147 only. SMN7-Sarabhai Manilal Nawab, Ahmedabad. Paper manuscript of the Kalpasutra. Probably of fifteenth century. Figure 152 only. SMN8-Sarabhai Manilal Nawab, Ahmedabad. A loose painting of Sri Parsvanathaji and eight auspicious symbols. Figure 11 only. SMP-Sri Bhratrichandra Suriji gnana Mandir, Sri Paravachandra Jain upasraya Samalani Pole, Ahmedabad. Paper manuscript of the Kalpasutra and Kalakacharyakatha, written in Gold letters dated V. S. 1516 (A. D. 1459) written, at Patana. Figures 1, 2, 3, 12, 13, 63 and 64. SOH-Upadhyaya Sri Sohanavijayaji Collection. Paper manustript of the Kalpasutra of the fifteenth century. Contains 77 folios, with 40 beautiful miniatures Figures 24 and 56 Jain Education Intemational

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prakAzakanuM nivedana mArA taraphathI I. sa. 1932thI zarU karavAmAM Avela zrI jaina-kalA sAhitya saMzAdhana graMthamAlAnA graMthAMka 16 tarIke prakAzita bArasAsUtra (kalpasUtra)nA akSarazaH gujarAtI bhASAMtara nAmanA prakAzanamAM bhAratabharanA jainagraMthabhaMDArA jevA ke jIrA (paMjAba), jesalamera (rAjasthAna), pATaNa, amadAvAda, IDara, vaDAdarA tathA sUrata vagere sthaLeAmAM AvelA jainagraMthabhaMDAromAM surakSita kalpasUtranI suvarNAkSarI tathA kALI zAhIthI lakhAelI kalAsamRddhithI bharapUra ane amUlya hastapratAmAMthI cUMTI kADhelA 168 senerI, rUperI, raMgIna tathA e ra'gI citrA ane amadAvAdanA jagavikhyAta devasAnA pADAnA bhaMDAranI kalAsamRddhithI bharapUra suvarNAkSarI kalpasUtranI hastapratamAMthI dareka pAne pAne saMgIta ane nATyazAstranA vividha jAtinAM 336 rUpA sAthe eka advitIya kalAsamRddha prakAzana meM I. sa, 1976mAM mArI graMthAvalimAM prasiddha karyuM hatuM (mUlya pratAkAre ekase. pAMtrIsa rUpiyA ane pustakAkAre ekaseA pIsatAlIsa rUpiyA). jemAM mArA nivedanamAM meM mArA taraphathI prakAzita thanAra zrI SaDAvazyaka bAlAvabAdha nAmanA 147 citrA sAthenA prakAzananA (mUlya rUpiyA ekAvana) ane carama tIrthaMkara zrImahAvIra prabhunA jIvanacaritrane prakAzita karavAnA ullekha karelA hatA. A e prakAzanA paikI zrISaDAvazyaka AlavamedhanuM prakAzana mArI jaina-kalA-sAhityasaMzAdhana sirIjhanA 17mA puSpa tarIke i. sa. 1977mAM prakAzita thaI cUkela che ane jaina-kalA-sAhitya saMzAdhana sirIjhanA 18mA puSpa tarIke prastuta prakAzana prabhu mahAvIranuM jIvanacaritra (prAcIna kalpasUtranI amUlya hastapratAmAM ApavAmAM AvelA citraprasa`gAnA AdhAre) rajU karavA huM ughukta thayA chuM. bhagavAna mahAvIranA nirvANunA 2500mA varSa prasaMge jainakalA nidarzana samiti taraphathI prakAzita thaela ane jainakalAnA jANakAra tathA mArI sAhityapravRttinA samarthaka pUjya muni mahArAja zrIyazeAvijayajI dvArA saMpAdita ane jIvanabhara athAga prayatna karIne bhagavAna mahAvIranA jIvanane lagatAM 35 pAMtrIsa citranA citrasaMpuTa kalAmarmajJa zrIgAkuladAsa kApaDIyA dvArA citrita joyA pachI mArA manamAM prAcIna jainakalAsamRddhithI sabhara evuM eka AMtararASTrIya prakAzana prakAzita karavAnA vicAra sphuryAM hatA. A vicAra thatAMnI sAthe ja suMdara akSarothI lakhAela ane citrakalAnI dRSTie uttamAttama kalpasUtranI hastapratA ke je bhAratanA jUdA jUdA zaherAnA jaina graMthabhaMDArAmAM sagrahAelI che, temAMthI prabhu zrImahAvIranA jIvanane lagatAM tADapatranI tathA kAgaLanI chavIza hastapratAmAMthI cUMTI kADhelA 168 ekasAne aDasaTha citrA, te dareke dareka citranAM vivecana tathA zrutakevali zrIbhadrakhAhusvAmIe kalpasUtramAM varNavelA prabhu zrImahAvIranA jIvanaprasaMgAnA varNana sAthe prastuta prakAzanamAM prakAzita karI rahyo chuM ane AzA rAkhuM chuM ke A citro jagatanA kalApremIone bhAratIya citrakalAnA itihAsamAM khUTatI kaDIe pUrI pADavAmAM ane sekaDA varSothI karADA rUpiyAnA kharce taiyAra karAelI ane prANathI paNa adhika rIte jaina zramaNA tathA zrImAnA dvArA sacavAelI jainAzrita citrakalAnuM adhyayana karavAnI preraNA Apaze teA mArA A prayatna huM sArthaka mAnIza. vaLI, mArA mAnasapaTa para uparokta vicAra cAlu rahyo hatA, tevAmAM lagabhaga be varasa upara pIDhIye 5-15 savA pAMca vAge mane ardhajAgRtAvasthAmAM eka gebI avAja Avye ke :- 'bhagavAna mahAvIrane lagatAM prAcIna citrA parathI tuM eka suMdara prakAzana, kema taiyAra nathI karatA ? ke jenAthI jagatanA prANImAtrane zAMti ane ahiMsAnA sadeze| paheAMcADI zakAya. A avAjathI prerita thaine A prakAzana jagata samakSa mUkavA prerAyA ane AzA rAkhuM chuM ke, mArA A prayatna prabhu mahAvIranA jIvana ane kavananA pracAramAM jarUra madadakartA thaze. prabhu mahAvIranA apratima sa`cama, tyAga ane ahiMsAnA jagatabharamAM phelAvA karavAmAM amUlya phALA Apaze. 6

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mArA AjasudhInA prakAzanomAM jainAcAryo, jainamunio, jainasAdhvIo, jenazreSTio tathA jaina graMthabhaMDAranA vahIvaTadAro tathA jana lAyabrerIonA saMcAlako ane caturvidha jainasaMghae jevI rIte udArabhAve sahakAra Apyo che, tevI rIte sahakAra ApavAnuM cAlu rAkhaze tevI AzA rAkhuM chuM. jainasamAja uparAMta jagatabharanA saMgrahasthAna, lAyabrerIo, tathA kalAmarmajJo ane kalArasiko taraphathI mane je sahakAra AjasudhI maLato rahyo che, ane tethI ja A pravRtti huM cAlu rAkhI zakyo chuM. mArA taraphathI have pachI taiyAra thanAra amUlya prakAzano jevAM ke, sarvArthasiddhidAyini bhagavatI padmAvatI upAsanA ane kalikAla kalpataru "purisAdANIya zrI pArzvanAthajInAM maMtraka, maMtro tathA yaMtrone saMgraha" nAmanA be mahAmatya prakAzana tarapha vAcakanuM lakSa kheMcavAnuM yogya mAnuM chuM, varasamAM prasiddha karavAnI koziSa karavAmAM Avaze ane A AmnAya kRtione nAza na thaI jAya te pahelAM A dareka graMthanI agAuthI noMdhAyela grAhaka saMkhyA pramANe maryAdita nakalo chApavAnI hovAthI ane darekanI kiMmata doDha-doDha rUpiyA rAkhavAmAM AvanAra che, te tarapha vAcakonuM dhyAna kheMcavAnuM yogya mAnuM chuM; ane grAhaka tarIke mArA amadAvAdanA saranAme nakala dITha doDhaso rUpiyA agAuthI manIorDarathI athavA rokaDA mokalI nAma noMdhAvavA vinaMti karuM chuM ke jethI karIne nakalo chapAvavAnI samajaNa paDe. baMne graMtha taiyAra thayethI grAhakone amArA kharace pahoMcADavAmAM Avaze. A graMthamAM meM bhAratabharanA judA judA jainabhaMDAromAMthI ane mArA pitAnA saMgrahamAMthI 26 che .sa sacitra pratAne upayoga karelo che. jemAM sauthI prAcIna IDaranA zeTha ANaMdajI maMgalajInA bhaMDAranI kalpasUtranI tADapatra para lakhAelI 34 citrovALI prata caudamA saikAnA aMta samayanI che. keTalIka hastapratomAMthI meM vadhAre citra pasaMda karyA che ane keTalIka pratomAMthI thoDAM citro ApelAM che, jenI yAdI A pramANe che. IDaranI prata - zeTha ANaMdajI maMgalajInI peDhI, iDaranA bhaMDAranI kalpasUtranI tADapatranI, caudamA saikAnI sacitra hastapratanA 34 citromAMthI citra naMbara 7, 8 - kAMtIvi. 1 - pravakajI zrI kAMtIvijayajInA saMgrahanI, zrI AtmAnaMda jaina jJAnamaMdira, vaDodarAnA saMgrahanI naMbara 2188 nI senAnI zAhIthI lakhAelI kalpasUtranI kAgaLa para lakhAelI hastapratamAMthI citra naMbara 31, 52 kasama - zrIkusumacaMdrasurIzvarajInA saMgrahanI, zrIAtmAnaMda jaina jJAnamaMdira, vaDodarAnA saMgrahanI, senAnI zAhIthI lakhAelI kalpasUtranI kAgaLa para lakhAelI sacitra hastapratamAMthI citra naMbara 5, 51, 60, 131 jayasa - jaina tiSa tathA zilpazAstra vizArada svargastha gurudeva zrIjayasiMhasUrIzvarajInA saMgrahanI kalapasUtranI saMvata 1489mAM lakhAelI sacitra hastapratamAMthI citra naMbara 54, 144, ane 155 jinavijayajI - purAtattvavettA svargastha zrIjinavijayajInA saMgrahanI suvarNAkSarI mahAvIra caritranI saMvata 1511mAM lakhAelI sacitra hastapratamAMthI citra naMbara 159 jIrAnI prata - zrIAtmAnaMda jainabhavana, jIrA (paMjAba)nA saMgrahanI saMvata 1473mAM pATaNamAM lakhAelI kalpasUtranI sacitra hastapratamAMthI citra naMbara 14, 136 ane 137 DahelA 1 - DahelA upAzraya, amadAvAdanA bhaMDAranI vi. saM. 1516mAM aMdhArAmAM lakhAelI kalpasUtranI suvarNAkSarI sacitra hastapratamAMthI citra naMbara 20, 121 ane 122 DahelA 2 caMcalabAIne bhaMDAra, DahelA upAzraya, amadAvAdanA bhaMDAranI vi. saM. 1516mAM gaMdhAramAM ja lakhAelI kalpasUtranI suvarNa-raukhAkSarI sacitra hastapratamAMthI citra naMbara 132 jaisalameranI prata - jaisalameranA kharataragacchanA zrI bRha graMthabhaMDAranI kalpasUtra ane kAlakakathAnI caudamA saikAnA aMtasamayanI sacitra hastapratamAMthI citra naMbara 15, 21, 27, 29, 46, 127, 142, ane 162 Jain Education Intemational Jain Education Intemational

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dayAvi - zrIdayAvimalajI zAstrasaMgraha, vimalagarachane upAzraya, devasAna pADI, amadAvAdanA saMgrahanI sarvottama citrakalAvALI, kalpasUtra ane kAlakakathAnI senAnI zAhIthI lakhAelI saciva hastapratamAMthI citra naMbara 4, 32 thI 34, 36, 39, 41, 42, 47, 55, 65 thI 80, 81 thI 89, 90 thI 97, 98 thI 101, 102 thI 105, 106 thI 111, 112 thI 117, 118, 120, 134 145, 146, 148 thI 151, 153, 164 ane 157 navAba 1 - sArAbhAi maNilAla navAba, amadAvAdanA saMgrahamAMnI kalpasUtranI saMvata 1468 kAkarecImAM pATaNanI najIka lakhAelI sacitra kalpasUtranI hastapratamAMthI citra naMbara 6, 9, 10, 17, 23, 30, 59, 124, 139, 156, 158, 161, 163, 164, ane 165 navAba 2 - sArAbhAI navAbanA saMgrahanI lagabhaga paMdaramA saikAnI kalpasUtranI suvarNAkSarI sacitra hastapratamAMthI citra naMbara 18 navAba 3 - sArAbhAI navAbanA saMgrahanI kalpasUtranI sacitra hastapratamAMthI citra naMbara 47. navAba 4 - sArAbhAI navAbanA saMgrahanI lagabhaga selamA saikAnI vAdaLI raMganI pRSThabhUmivALI kalpasUtranI sacitra hastapratamAMthI citra naMbara 26, 44, 45, 50 ane 125 navAba 5 - sArAbhAI navAbanA saMgrahanI kalpasUtranI sacitra hastapratamAMthI citra naMbara 53 navAba 6 - sArAbhAI navAbanA saMgrahanI kalpasUtranI sacitra hastapratamAMthI citra naMbara 147 navAba 7 - sArAbhAi navAbanA saMgrahanI kalpasUtranI sacitra hastapratamAMthI citra naMbara 152 navAba 8 - sArAbhAI navAbanA saMgrahanI aDhAramA saikAnA zrIparvanAthaprabhu tathA aSTamaMgalanA chUTA citramAMthI citra naMbara 11 pATaNa 1 - zrI hemacaMdrAcArya jJAnamaMdira, pATaNanA saMgrahanI paMdaramA saikAnI kalpasUtranI sacitra hastapratamAMthI citra naMbara 21, 35, 37, 38, 40 ane 43 pATaNa 2 - zrIhemacaMdrAcArya jJAnamaMdiranA saMgrahanI paMdaramA saikAnI kalpasUtranI sacitra hastapratamAMthI citra naMbara 16, 22, 25, 58, 61, 123, 135, 138, 140 ane 160 pATaNa 3 - zrIhemacaMdrAcArya jJAnamaMdiranA saMgrahanI saMvata 1479 mAM lakhAelI zrIsupArzvanAtha caritranI sacitra hastapratamAMthI citra naMbara 62, 126, 129, 130, 133, 166 thI 168 sAmaLAnI prata - zrIbhrAtRcaMdrasUrIzvarajI jJAnamaMdiramI, pArvacaMdra gachane jaina upAzraya, sAmaLAnI pALa, amadAvAdanA saMgrahanI vi. saM. 1516mAM pATaNamAM lakhAelI kalpasUtra ane kAlakakathAnI suvarNAkSarI hastapratamAMthI citra naMbara 1, 2, 3, 12, 13, 63 ane 64 sinora - sinera jainasaMghanA bhaMDAranI sattaramA saikAnI "saMgrahaNIsUtranI sacitra hastapratamAMthI citra naMbara 19 sohana - upAdhyAyajI zrI hanavijayajInA saMgrahanI vikrama saMvata 1523 mAM lakhAelI kalpasatranI suMdara citrAvALI sacitra hastapratamAMthI citra naMbara 24 ane 56 hasavi. - zrIhaMsavijayajI zAstrasaMgraha, zrIAtmAnaMda jJAnamaMdira, vaDodarA lisTa naMbara 1400nI caudamA saikAnA aMtasamayanI suvarNAkSarI kalpasUtranI hastapratamAMthI citra naMbara 28, 49, 57, 128 ane 141 A pustakamAM chApavAmAM Avela amUlya hastapratonI noMdha upara ApavAmAM AvelI che, te te graMthabhaMDAronA vahIvaTadArono tathA mArA prakAzananA grAhaka thaIne mArI sAhitya pravRttine uttejana ApanArA muni mahArAje tathA jainazrImAne ane kalArasikono AbhAra mAnavAnI A taka lauM chuM, sAthe sAthe guNavAna ane vidvAna vAcakone vinaMtI karuM chuM ke mArI daSTideSathI athavA presaSathI je kAMI kSatio rahI javA pAmI hoya te mane sUcavavA maherabAnI karaze to huM teone upakAra mAnIza. vaLI, A graMthamAM je koI AgamavAkyathI tathA jena paraMparAthI viruddha ajANapaNe mArAthI lakhAI gayuM hoya te mATe mithyAduSkata dauM chuM. A pustakane sarvAga suMdara athathI iti sudhI chApI ApavAnuM ane tene lagatA sucane vakhatovakhata karavA mATe "dIpaka prinTarInA mAlika zrIyuta jayaMtIlAla rAvata tathA chApakAmamAM koI paNa bhUla rahI na jAya te mATe kALajI rAkhavA mATe zrIkirITabhAI rAvatane paNa atre AbhAra mAnuM chuM. vikrama saMvata 2074 sArAbhAI maNilAla navAba vaizAkha vadI chaThTha zanivAra padmAvatI esTeTa, dariyA mahela tA. 2-5-78 myunisipala korporezana sAme, surata-395003 Jain Education Intemational Education Intemational

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citrAnukramaNikA 27-28 37 caMdramA (svapna 6) 38 sUrya (svapna 7) 39 dhvajA (svapna 8) 40 pUrNakalaza (svapna 9) 41 padmasarovara (svAna 10) 42 kSIrasamudra svapna 11) 43 devavimAna (svapna 12) 44 ratnane Dhagale (svapna 13) 5 nidhUma agni (svapna 14) 46 siddhArtha ane trizalA 9 thI 11 48 devasAnA pADAnI kalpasUtranI hastapratanuM suzobhanavALuM pAnuM 35-36 49 siddhArtharAjA kauTuMbikone AjJA kare che 37-38 50 trizalAne AnaMda 51 prabhAtanuM dRzya 38-39 para siddhArtha vyAyAmazALAmAM 15 38 39 1 padmAsananI beThake beThelA zramaNa bhagavAna mahAvIra 2 bhagavAna mahAvIra zamaNAvasthAmAM aSTamaMgala sahita 3 prabhu zrImahAvIranA cyavana kalyANakanuM varNana 4 prabhu zrImahAvIra " puSpanara vimAna 6 prabhu zrImahAvIra 7 prabhu zrImahAvIranuM janmakalyANaka 8 prabhu zrImahAvIranuM dIkSAkalyANaka 9 prabhu zrImahAvIranuM kaivalyajJAna kalyANaka 10 prabhu zrImahAvIranuM nirvANa kalyANaka 11 aSTamaMgala ( 12 prabhu zrImahAvIranAM yavana kalyANakanuM varNana 13 devAnaMdAnAM cauda uttama svapna 14 devAnaMdA RSabhadattAne potAne AvelA svapnA kahe che 15 RSabhadatta devAnaMdAne svapnanuM phaLa kahe che 16 saudharmAsabhAmAM beThelA zakrendra 17 zake 18 sudharmAsabhAnI madayamAM birAjamAna thayelA zarkara 19 devenuM sainya 20 zakastava 21 zakastava 22 zakAttA 23 zakrAjJA 24 hariauMgamepina 25 zayanamaMdiramAM devAnaMdA 26 garbhApahAra 27 garbhasaMkramaNa 28 devAnaMdAne AvelAM cauda uttama svapna 29 trizalAnA cauda ravapna 30 trizalAe uttama cauda svapna joyAM 31 uttama cauda svapna 32 hAthI (svapna 1) 33 vRSabha (svapna 2) 34 kezarIsiMha (svapna 3) 35 lakSmIdevI (svapna 4). 36 phUlanI mALA (svapna 5) 16-17 17-18 18-19 21 22. 54 siddhArtharAjA snAnagRhamAM 55 siddhArtharAjAnA vastro ane AbhUSaNonuM varNana 41-42 56 siddhArtha ane trizalA 42-43 57 siddhArtha ane trizalA tathA kauTuMbika puro 43 58 svapnalakSaNapAThako 43 59 siddhArtha svapnalakSaNapAThako pAsethI svapnanuM phala sAMbhaLe che 44 60 navanidhAna 61 trizalAne zoka ane harSa 44-45 62 trizalA mAtAnA garbha pharakavAthI AnaMda 45 63 prabhu zrImahAvIranA pUrvanA 23 bhavo 46-47-50 64 prabhu zrImahAvIranA covIzathI chavIza sudhInA pUrvabhavo ane janma 51 65 thI 72 prabhu mahAvIranA janma samaye chappana dika kumArInuM Agamana 53 73 thI 80 dika kumArInuM Agamana 53 81 thI 89 53-54 90 thI 97 , , 54 98 thI 101 54 22-23 23 23-24 24 25-26 Jain Education Intemational

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70-71 102 thI 105 55 106 thI 111 112 thI 113 55 114 thI 117 118 thI 120 55-6 121 mahAvIra janma ane chappana dikakumArI taraphathI karavAmAM Avate janma mahotsava 56-57 122 janmAbhiSeka ane IndranuM paMcarUpe prabhune meru upara laIne javuM 123 prabhu zrImahAvIrasvAmIno meru parvata para janmAbhiSeka 124 prabhu zrImahAvIrasvAmIne janmAbhiSeka 125 siddhArtharAjAnA bhavanamAM hiraNyano varasAda varasAvatA deve 59 126 prabhu zrImahAvIrasvAmInA janma prasaMge AnaMda karatA deva 59 127 paMcarUpe IMdra ane mahAvIra janma 128 prabhu zrImahAvIrane janma ane pachI jAgaraNa 129 bALamahAvI-- janmanA divase rAMdranuM darzana karAve che 130 bALamahAvIrane janmanA divase sUryanuM darzana karAve che 131 AmalakI kIDA karatA zrIvardhamAnakumAra 62-63 132 AmalakI kIDA ane nizAla gaNaNuM 63-64 133 zrIvardhamAnakumAranuM pANigrahaNa 134 zrIvardhamAnakumAranuM pANigrahaNa 135 siddhArtharAjA nagaranA rakhevALAne prabhune janma mahotsava ujavavA AjJA pharamAve che 136 zrIvardhamAnakumArane janma mahotsava ujavatA siddhArtharAjA 66-67 137 lekAMtika devenI prArthanA ane varSIdAna 67-68 138 saMvatsarIdAna ApatA zrIvardhamAnakumAra 139 prabhu zrImahAvIra caMdralekhA pAlakhImAM dIkSA levA jatAM 68-70 140 prabhu zrImahAvIra rAMdralekhA pAlakhImAM dIjJA levA jatAM 70 141 prabhu zrImahAvIrane paMcamuSTi loca ane dIkSA levA jatAM 70 142 ) 143 prabhu zrImahApaMrane paMcamuSTi leca 144 145 zrI mahAvIra prabhu ardhavastra dAnamAM Ape che 146 zrI mahAvIra prabhune grevAlane upasarga 147 zrI mahAvIra prabhune zUlapANiyakSane upasarga 148 zrImahAvIprabhune sudaMSTra nAgane upasarga 149 prabhu mahAvIrane rAMDakauzikane pratibodha 77-79 150 prabhu mahAvIrane vinaMtI karato pradezI rAjA 151 prabhu zrImahAvIrane kaTapUtanAne upasarga 152 prabhu zrImahAvIrane saMgamane upasa 82-83 153 camarendrane utpAta 154 prabhu zrImahAvIrane bAkaLA vahorAvatI caMdanabALA 85-86 155 prabhu zrImahAvIranA kAnamAM khIlA ThokavAne upasarga 156 prabhu mahAvIranuM samavasaraNa 90-91 157 yajJa karatAM IMdrabhUti vagere brAhmaNa paMDita 158 mahAvIra nirvANa 92-93 59 93-94 94-95 160 zrIgautamasvAmIne kevalajJAna 161 AryasudharmAsvAmI 162 prabhu zrI mahAvIra sAmAcArIne upadeza ApatA 163 164 165 166 prabhu zrI mahAvIra kAusaggadhyAnamAM 167 prabhu zrImahAvIranuM mRtaka vimAna upADatA devo 168 prabhu zrImahAvIrane agnisaMskAra 95-96 95-96 Jain Education Intemational

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The List of Illustrations 1 Sramana Bhagavan Mahavira Seated in padmasana posture 1-2 2 Sramana Bhagavan Mahavira as a monk and the eight auspicious symbols 2-3 3. The description of Sri Mahavira's descending on the earth 4 Bhagavan Sri Mahavira 5-6 5 The Puspottara celestial palace. 6 Bhagavan Sri Mahavira 7 Sri Mahavira's birth 8 Sri Mahavira plucks out his hair 9 Sri Mahavira's Samavasarana 10 Sri Mahavira as a Siddha 11 The eight auspicious symbols 12 Description of Sri Mahavira's descending . 13 Brahmani Devananda and the fourteen lucky dreams 14 Devananda relates her dreams to Rsabhadatta 15 Rsabhadatta and Devananda 16 Sakrendra seated on throne in Saudharmasabha 17 Sakrendra 18 Sakra on throne 19 Five armies, out of seven of the gods 17 20 Sakra reveres Mahavira's embryo 34 The lion 35 The Goddess Sri 36 The garland of flowers 37 The moon 38 The sun 39 The banner 40 A Vase 41 The lotus lake 42 The ocean of Milk 43 The celestial palace 44 The heap of jewels 45 The smokeless fire 46 Siddhartha and Trisala 47 King Siddhartha tells Trisala the meaning of the dreams 34-35 48 A page from DVS. KS. Siddhartha tells Trisala the meaning of thedreams 36-37 49 Siddhartha commands his officers 50 Queen Trisala's joy 51 Early morning 52 Siddhartha at his gymnastic exercise 39-40 53 King Siddhartha at his gymnastic exercise 40 54 Siddhartha's toilet 40 55 A Page contains the description of Siddhartha's costumes and ornaments 41-42 56 Siddhartha and Trisala listen to the expounding of the dreams 57 Siddartha, Trisala and the family servants 58 The Interpreters of the dreams 59 Siddhartha listens to the expounding of the dreams 60 NAVANIDHANA 61 Two Scenes in onn : (a) Sadness in the palace (b) Trisala's joy 45 62 Trisala rejoicing at the movement of the foetus 45-46 63 Symbolic incidents from the first to twenty-third previous Bhavas, of Sri Mahavira 47-51 64 The incidents of the twenty-fourth to twenty-sixth previous Bhavas and the birth of Sri Mahavira 18 18 22 Sakra commands Harinaigamesin 19-20 Se 23 24 Harinaigamesin carrying the embryo 25 The Devananda on her couch 26 Harinaigamesin remove the embryo from the Devananda's womb 21-22 27 Harinaigamesin brings the embryo to Queen Trisala 22 28 Devananda and the fourteen lucky dreams 22 29 Trisala and the fourteen lucky dreams 23 30 Trisala saw the fourteen lucky dreams 31 The fourteen lucky dreams 32 The elephant 33 The bull 11 Jain Education Intemational

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53 74 65-72 The dikkumaris arrive 73-80 81-89 , 90-97 98 101 102-105 106-111 112-113, 114-117., 118-120 121 Two scenes in one (a) Mahavira's birth, (b) Goddesses arrive 122 Two scenes in one (a) Mahavira's Justration and bath at birth, (b) Sakra in fivefold rupas 123 Mahavira's lustration and bath at birth 124 125 The Servants of Kuber a rain shower of silver, gold etc. on the king Siddhartha's palace 126 At the birth of Bhagvan Sri Mahavira gods in gaiety 127 Sakra in fivefold and Mahavira's birth 61-62 128 Sri Mahavira's birth and vigil on the sixth night 129 Showing the moon to babe Mahavira on the third day 130 Showing the sun to babe Maha vira on the third day 131 The youthful Mahavira and jealous god 132 Two scenes in one : (a) The youthful Mahavira and the jealous god; (b) Mahavira is going to school 63-64 133 Vardhamana's marriage 134 135 Siddhartha commands his officers to anounce a festival 136 Siddhartha celebrating the festival of Mahavira's birth 67 137 Two scenes in one : (a) The Laukan. tika gods cames to awaken Mahavira to his mission; (b) Mahavira gives away his possessions 68 138 Mahavira gives away his possessions 68 139 Mahavira in the initiation palanquin 71-72 140 Mahavira in the initiation palanquin 71-72 141-142 , 71-73 143 Sri Mahavira plucks out his hair 144 73 145 Sri Mahavira gives away half his garment 146 Mahavira's austerities : An assault of the cowherd 74-75 147 Salpani's attack Mahavira 75-76 148 Naga Sudanstra's attaek Mahavira 76-77 149-150 The former lives of Chanda kausika and his attack on Mahavira 79.81 151 Kataputana's attack on Mahavira 81-82 152 Mahavira's austerities 83-84 153 The fight between Camarendra and Sakra 84-85 154 Candanabala gives alms to Mahavira 86-89 155 The cowherd drove strikes in Mahavira's ears [56 Mahavira's Samavasarana 157 Two Brahmans sacrificing yajna 158 Mahavira as a siddha 159 160 Indrabhuti Gautama's omnisciene 161 Ganadhara Sri Arya Sudharma 162 Mahavira preaching Samachari 163 Tirthankara Sri Mahavira 164 Part of Sri Mahavira's audience 165 , 166 Lord Mahavira in meditation 167 Gods carry the body of Lord Mahavira 168 The funeral ceremony of Lord Mahavira 62 63 66 Testival 01 Jain Education Intemational

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@nisod euedzeshped u p@je@s eleche ielezechIa eiesheIS I 21-191 lblolo falt inte helt 1-212115h vare & PersonalUse Only TOT 19 mili vi ji m PAT ECOSIREADH Bule DST BERBEDA VALER SLIPPEREMEE RERRRRREM B EN GO

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vAsAhariNAvArAlA para nAyaDalavApArA G arpakasiNezAsAlAnA ROMyAkSaNakAla 2 bhagavAna mahAvIra zramaNAvasthAmAM aSTamaMgala sahita 2 Sramana Bhagavan Mahavira as a monk and the eight auspicious symbols

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upAsamANa tAvama banA pANDa prAsAdasudvAtaratra paJcAsAda6 narapakSarakhaMDarIyAdamA vimApa 50. sadasrUNNA va kApa dAtAradavA mAmIsiyasa Ni zkhatamAe samAeva iktApAsa usamApatramA enajavazkatA pAtha sAgANAndrAmA hAmagaraka sataha divaM sapAna dA di ama nAnImasAgArAcamahizyAcA pravaraka tara niyaMtrakA/ idavare haTidA tadanunAda 200 eDasama surumA samApana chApA sama' samAesamA ekatA 51 paMcada pavArAdizamaniya 3 prabhu zrImahAvIranA cyavana kalyANakanuM varNana 3 The Description of Sri Mahavira's descending on the earth

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ASEBE behin ARIANOS em|2IPERILIDBE) CIXIXIXIXIDGIXIR XIXISTICIXICIDG BSEHEZEA 4 prabhu zrImahAvIra 4 Bhagavan Sri Mahavira

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The Life of Lord Shri Mahavira 1. padmAsanastha zramaNa bhagavAna mahAvIra. amadAvAdamAM sAmaLAnI piALamAM AvelA zrIpArdhacaMdragacchanA upAzrayamAM AvelI zrIkalpasUtra ane kAlakathAnI suvarNAkSarI hastapratanA pAnA 1 uparathI. citramAM pabAsana upara prabhu zrImahAvIranI mUrti birAjamAna che. Aje jevI rIte jinamaMdiramAM mUrtine AbhUSaNothI zaNagAravAmAM Ave che tevI ja rIte citramAM paNa mUrtinA mastake mukaTa, baMne kAnamAM kuMDala, gaLAmAM kaMThe, hadaya upara matIne hAra, baMne bAjuo para bAjubaMdha, baMne kAMDA upara kaDAM, baMne bhegI karelI hatheLIo upara senAnuM zrIphaLa mUkeluM che. mUrtinI AjubAju parikara che. DAbI bAjunA hAMsiyAmAM uparanA bhAgamAM mukhathI vAjiMtra vagADatI eka kinarI UbhelI che. madhyabhAgamAM eka hAthIsavAra baMne hAthamAM kalaza laIne prabhu sanmukha ja dekhAya che. nIcenA bhAgamAM eka gRhastha yugala prabhunI bhakita karavAnI utsukatAmAM beTheluM che. madhyanA hAMsiyAnA uparanA bhAgamAM baMne hastanI aMjali joDIne Ubhele gRhastha prabhunI stuti kare che. nIcenA bhAgamAM potAnA uMcA karelA jamaNA hAthathI cAmara vIMjhatI zrAvikA prabhunI bhakita kare che. jamaNI bAjunA hAMsiyAnA uparanA bhAgamAM baMne hAthathI pakaDelI vAMsaLI vagADato eka kinara Ubhelo. che. madhyabhAgamAM eka hAthIsavAra baMne hAthamAM kalaza laIne prabhu sanmukha jAya che. nIcenA bhAgamAM prabhunI bhakita karatAM zrAvako ane zrAvikA UbhelA che. pAnAnI upara ane nIcenI kinAremAM suMdara velabuTTAnI AkRtio che. A pAnAnI aMdara sonerI akSaramAM namaskAra mahAmaMtra ane te kAle ane te samayane viSe zramaNa bhagavAna mahAvIranA pitAnA jIvananA banAvamAM pAMcavAra hastottarA nakSatra Avela hatuM (hastattarA eTale uttarAphAgunI nakSatra) te jemake lakheluM che. Fig. 1. SMP, 1. Sramana Bhagavan Mahavira seated in Padmasana. On a Simhasana sits Mahavira, crowned and fully ornamented. He is in the cross-leged Padmasana posture, the hand lying one upon the other with palms upward. Above the picture is a flight of swans (hamsas) bounded by an arch, The left hand side margin is painted in three rows. Kinnari blowing a pipe is standing in the first row. In the second row an elephant rider is going to revere Mahavira. In the third row a male and female are seated in chearfull mood. The middle margin is painted in two registers. A layman is standing and seems to revere Mahavira in the upper register. A laywoman is standing with fly-whisk and seems to revere Mahavira in the second register. Jain Education Intemational www.janello

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The Life of Sri Mahavira The right hand margin is also painted in three rows. Kinnara with flute is standing in the first row. In the second row an elephant rider is going to revere Mahavira. In the third raw a layman and a laywoman are standing with Kalasha and fly-whisk to revere Mahavira. At the top and the bottom of the page, beautiful designs are represented. In the text written by gold letterings is : "Adoration to the removers of all sins. Adoration to those who have attained perfection. Adoration to those who regulate religious services. Adoration to the spiritual instructors. Adoration to the sages in every part of the world. Such is the fivefold adoration, the destroyer of all sins and bringers of all good fortune, the most fortunate. The venerable ascetic Mahavira, in the age and time of which we speak, met with five propitious conjunctions (Hathuttarai) uttara phalguni, which were as follows." 2. bhagavAna mahAvIra zramaNavasthAmAM, aSTamaMgala sahita. sAmaLAnI. pratanA pAnA 2 nA prathama bhAga uparathI. citramAM prabhu zrI mahAvIra sAdhunAM kapaDAM paherI jamaNe hAtha pravacana mudrAmAM rAkhIne upadeza ApatA hoya tevI rIte suMdara sonAnA siMhAsana upara derImAM beThelA che. prabhunI baMne bAjue baMne hastanI aMjali joDIne, prabhunA dharmopadezanuM zravaNa karatAM ekeka sAdhu UbhelA che. derInI uparanI baMne bAjue ekeka mora che. derInI Toce tathA nIce aSTamAMgalikanI rajUAta citrakAre karelI che. DAbI bAjunA hAMsiyAnA uparanA bhAgamAM eka gRhastha ane madhyabhAgamAM eka strI prabhu tarapha daSTi rAkhIne beThelAM che ane nIcenA bhAgamAM baMne hastamAM phelanI mALA pakaDIne, prabhu tarapha daSTi rAkhIne eka strI UbhelI che. madhyanA hAMsiyAmAM suMdara bhaumitika AkRtio cItarelI che. jamaNI bAjunA hAMsiyAnA uparanA bhAgamAM eka strI pitAnA jamaNA hAthamAM teNInA mAthAnA vALanI laTa pakaDIne UbhelI che. teNInA vALanI laTamAMthI TapakatuM pANI nIce UbhelA haMsanA mukhamAM paDe che. madhyabhAgamAM be puruSe UbhelA che. nIcenA bhAgamAM tophAna karatA ghoDAne derIne laI jato eka puruSa che. uparanI kinAramAM anakame nRtya karatI traNa strIo ane judAMjudAM vAdyo vagADatAM traNa puruSo dekhAya che; ane be puruSe beThelA che. nIcenI kinAramAM anukrame be ghaDA, be hAthI ane be puruSa beThelA che. A pAnAnI aMdara sonerI akSaromAM bhagavAna mahAvIranA pAMce kalyANaka uttarAphAgunI nakSatramAM thayA hatA tenuM varNana ApeluM che. Fig. 2. SMP. 2r. Sramana Bhagvan Mahavira as a monk and the eight auspicious symbols. In a spired throne viewed from the front sits a Tirthankara, right hand upheld in a gesture of lecturing (pravachanamudra ), under the right arm the monk's (rajoharana ), on the right shoulder the mouth-cloth (muhapatti). On each side of the Tirthankara stands a disciple, with hands joined in adoration. Above the Tirthankara are four of the eight Jain Education Intemational

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As Represented in the Kalpasutra Paintings [3 auspicious symbols, below him the remaing four. These eight objects, starting with our upper left hand corner, are mirror ( dappana, darpana ), throne of distinction (bhaddasana, bhadrasana ), powder-vase (vaddhamanaka, vardhamanaka ), pair of fish (matsyayugma ), full water vessel ( kalasa, kalasha ), the sirivaccha (srivatsa ), the satthiya (svastika ) and the nandiyavarta (nandyavarta ) symbol. The left hand side margin is painted in three rows. A layman in the first row, and a laywoman are seated in the second row, while in the third row a laywoman is standing with garland of flowers in her both hands. All are seeing towards Mahavira. The middle margin is painted with the beautiful geomatrical designs. The right hand margin is also painted in three rows. A lady seeing towards Mahavira is standing in the first row. In the second row two gents standing, seeing each other. In the third row a man carrying horse. At the top of the page, three dancing ladies and three singers and two gents are painted seeing each other. At the bottom of the page, two horses, two elephants and two gents are painted, seeing each other. In the text written by gold ink is : In Uttaraphalguni he descended and having descended, entered the womb 1. In Uttaraphalguni he was transferred 2. In Uttaraphalguni he was born 3. In Uttaraphalguni, tearing away the hair, he left his house and became an ascetic 4. In Uttaraphalguni he acquired the most excellent kevalajnana and kevaladarsana-perfect knowledge perfect Intuition-which is infinite, supreme, unobstructed, uncovered, complete, and perfect 5. Venerable Saint acquired final Libration in Svati. In the age and time. 3. prabhu zrI mahAvIranA vana kalyANakanuM varNana sAmaLAnI. pratanA pAnA 2 uparathI. DAbI bAjunA hAMsiyAnI uparanA bhAgamAM cAra hAthavALA dharaNendra beThelA che. madhyabhAgamAM cAra hAthavALI padmAvatIdevI beThelI che ane nIcenA bhAgamAM cAra hAthavALI sarasvatIdevI beThelI che. madhyanA hAMsiyAnA uparanA bhAgamAM cAra hAthavALI cakezvarIdevI beThelI che. madhyabhAgamAM cAra hAthavALe kapardiyakSa ane nIcenA bhAgamAM bramazAMti yakSa beThele che. jamaNI bAjunA hAMsiyAnA uparanA bhAgamAM cAra hAthavALI zAsanadevI aMbikA che. madhyabhAgamAM cAra hAthavALA kendra che ane nIcenA bhAgamAM gomedha nAmane yakSa che. uparanI kinAranI DAbI bAju suMdara citrAkRtio che ane pAMca puruSa zrIphaLa laIne beThelA che ane chelle aMbikAdevInI bhakti karate eka bhakta Ubhele che. nIce kinAranI DAbI bAju suMdara citrAkRtio ane anukrame pAMca puruSe tathA eka strI potAnA uMcA karelA hAthamAM pUjananI jUdI jUdI vastuo pakaDIne beThelA che. Jain Education Intemational

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4]. The Life of Sri Mahavira A pAnAnI aMdara sonerI akSaramAM prabhu zrI mahAvIranA cyavana kalyANakanuM akSarazaH varNana ApeluM che. Fig. 3 SMP 2. The description of Sri Mahavira's descending on earth. The left hand side margin is painted in three rows. God Dharanendra is seated with four hands in the first row. In the second row Goddess Padmavati is seated. In the third row Goddess Sarasvati is seated. The middle margin is painted in three rows. Chakresvari is seated with four hands in the first row. In the second row is seated Kapardiyaksa. In the third row is seated Brahmasantiyaksa. The right hand side margin is painted in three rows. Ambika is seated with four hands in the first row. In the second row Saudharmendra is seated with four hands. In the third row Gomedha Yaksa is seated with four hands. At the top of the page there are beautiful designs and five laymen are seated with a Srifala (cocoanut ) is represented. At the bottom of the page there are also painted same designs and four laymen, one laywoman and another layman are seated with varieties of worshipping articles keeping in their hands. In the text written by gold letterings is : Sramana Bhagvan Mahavira having descended on the sixth night of the fourth month of and eighth fortnight of summer, on the sixth day of the bright half of the month Asadha, from the most excellent Vimana, the all victorious and eminently beautiful Puspottara Vimana, without an interval, on the termination of his allotted period of twenty sagaropamas of residence there, of his divine body, and of his existence as a god here, into this Bharatavarsa in Jambudvipa, into the southern half of Bharatavarsa, when, of the present Avasarpini era, the first Susam-susama age, the second Susama age, the third Susama--duhsama age and a greater portion of the fourth Duhasama-susama age had elapsed and only seventyfive years and eight and a half. 4. prabhu zrImahAvIra. dayAvi. patra. 1 puSpottara vimAnamAMthI vIsa sAgaropamanuM AyuSya pUrNa karI gyavyA. cyavIne prabhu mahAvIra brAhmaNa kuMDagrAma nAmanA nagaramAM, keDAlagotrI RSabhadatta brAhmaNanI strI devAnaMdA je jAlaMdhara gotrI che, tenI kukSimAM garbharUpe utpanna thayA. ASADha sudi 6nA divasanI madhyarAtrInA samaye ane uttarAphALunI nakSatrane caMdrane yoga prApta thayo hato te vakhate prabhu divya AhAra, divya bhava ane divya zarIrane tyAga karIne garbhamAM AvyA. citramAM pabAsana upara prabhu mahAvIranI mUrti birAjamAna karelI che. hAlamAM jevI rIte jinamaMdiramAM mUtine AbhUSaNothI zaNagAravAmAM Ave che tevI ja rIte citramAM paNa mastake mugaTa, baMne kAnamAM kuMDala, garadanamAM kaTho, hadaya para ratnajaDita hAra, baMne hAthanI koNInA uparanA bhAgamAM bAjubaMdha, baMne kAMDA para be kaDAM vagere cItaravAmAM AvyAM che. mUrti padmAsananI beThake beThelI che, ane mUrtinI baMne bAju parikara che. parikaranI baMne bAjue ekeka puruSa stuti karato Ubhelo che. vaLI pabAsananI nIce madhyamAM dharmacakra, dharmacakranI baMne bAjue ekeka hAthI ane ekeka siMha tathA baMne cheDe eka vyakita prabhututi karatI beThelI che. Jain Education Intemational

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5 puSettara vimAna 5 The Puspottara celestial palace 6 prabhu zrImahAvIra 6 Bhagavan Sri Mahavira

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MMMMIIMME TET 1) : T||R ! So (@TI (CTET he che 7 prabhu zrI mahAvIranuM janmakalyANaka 7 Sri Mahavira's birth 8 prabhu zrImahAvIranuM dIkSA kalyANuka 8 Sri Mahavira plucks out his hair

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( ) 9 prabhu zrImahAvIranuM kevalyajJAna kalyANaka 9 Sri Mahavira's Samavasarana 10 prabhu zrImahAvIranuM nirvANa kalyANaka 10 Sri Mahavira as a Siddha

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11 aSTamaMgala 11 The eight auspicious symbols

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As Represented in the Kalpasutra Paintings [5 citramAMnI prabhumUrtinI jamaNI bAjue ane pAnAnI barAbara madhyamAM graMthisthAne hastiskaMdha upara baMne hAthe kalaza pakaDIne prabhu sanmukha Avato saudharmendra raju karela che. pAnAnI upara ane nIce prabhune janmakalyANaka mahotsava UjavavA AvatAM devadevIo judIjudI pUjana sAmagrIo laIne gIta gAtAMgAtAM ane nRtya karatAM karatAM AvatAM dekhAya che. citramAM pAnAnI jamaNI bAjunA hAMsiyAmAM anukrame traNa prasaMge rajU karelA che. prathama lAlavarNa vALI cAra hAthavALI padmAvatI devInuM citra rajU kareluM che. devInA cAra hAtho paikI uparanA jamaNA hAthamAM aMkuza tathA DAbA hAthamAM pAza che; ane nIceno jamaNo hAtha varadamudrAe tathA DAbA hAthamAM kamaLanuM phUla che. devInI nIce prasaMga bIjAmAM ne hAMsiyAnI madhyamAM be strIo nRtya karatI prabhunI sanmukha jenI rajU karelI che. A be strIo paikI ekano jamaNo hAtha mastaka upara che tathA DAbA hAthamAM phUlanI mALA pakaDelI che; ane bIjI strInA hAthamAM phala jevI mAMgalika vastu pakaDelI che. trIjA prasaMgamAM cAra hAthavALI ane pILA varNavALI lakSamIdevInuM citra che. devInA uparanA baMne hAthamAM dAMDI sahitanuM vikasita kamalanuM ekeka phala che, ane nIcenA baMne hAtha varadamudrAo che. pAnAnI DAbI bAjunA hAMsiyAmAM paNa traNa prasaMgo rajU karelA che. prathama dheLA varNavALI sarasvatI devInuM cAra hAtha sahitanuM citra che. devInA jamaNA hAthamAM pustaka, ane DAbA hAthamAM kamaLanuM phUla che, tathA nIcenA baMne hAtha varadamudrAe che devInI nIce prasaMga bIjAmAM ne hAMsiyAnI madhyamAM saudharmendra hastiskaMdha para besIne hAthamAM kalaza pakaDIne prabhu sanmukha jato hoya ema dekhAya che. trIjA prasaMgamAM tapAvelA suvarNa jevA varNavALI cAra hAthavALI devInuM citra che. devInA uparanA jamaNA hAthamAM cakra ane DAbA hAthamAM ja che. tathA nIcenA baMne hAtha varadamudrAe che. pAnAnI upara ane nIce tathA baMne bAjunA hAMsiyAnA prasaMge citraprasaMgane anulakSIne rajU karavAmAM nathI AvyA, paraMtu A pratanA dareke dareka pAnAmAM AvI ja rIte judAMjudAM suzobhane cItarIne A saMpUrNa pratane zaNagAravAmAM AvI che. AvAM suMdara suzobhanavALI bIjI hastaprata bhAratabharanA jainabhaMDAromAM bahu ja parimita saMkhyAmAM che. A AkhI ye prata sonAnI zAhIthI lakhelI che. Fig. 4. DV, 1. Bhagwan Sri Mahavira. Before descending to the earth for his final existence in the round of birth (samsara), Mahavira had dwelt in the Puspottara heaven for 20 Sagaropamas (an incalculable period of time). He descended in the middle of the night, on the sixth day of the light fortnight of the month Asadha, to take the form of an embryo in the womb of Brahmani Devananda, in the town of Kundagrama. On a lion-throne sits Mahavira clad only in a loincloth, but crowned and fully ornamented. He is in the cross-legged padmasana posture, called by the Jains paryanka, the hands lying one upon the other with palms upward. Above Mahavira is an honorific parasol. On each side on a level with Mahavira's head in small architecturel units, are seated two heavenly musicians (gandharvas), dressed in lower garment (dhoti) and scarf. Below these, on a level with Mahavira's body under pointed arches. stand two worshippers with hands upraised. In the bottom corners are seated two other attendants with hands upraised. Above the picture is a flight of swans (hamsas) bounded by an arch. Jain Education Intemational

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The Life of Lord Sri Mahavira The left hand side margin is painted in three rows. The goddess Padmavati Portrayed in red is seated in the first row. She has seated on a canspired throne of honour, and is looking Straight ahead. She has four arms. In the upper right hand she holds Ankusha, while in the upper left hand she has Pasa. Both lower hands are in varadmudra. In the second row are two ladies dancing and offering garland of flowers and Srifal (cocoanut) to Mahavira. In the third row is seated the goddess Laxmi (Sri), painted in a yellow. She too has four hands. In the upper two hands she carries lotus, and the two lower hands are in varadmudra. The right hand margin is also painted in three rows. In first row the goddess Sarasvati is shown seated portrayed in white. She also has for arms. In the upper right hand she holds a book and in the upper left she has a lotus. The lower two hands are in varadmudra. In the second row Indra is going on his elephant to revere Mahavira's embryo. In his right hand he has an ankusha and in left hand which is raised he has Kalasa. In the third row is the goddess Padmavati, golden yellow in colour. She has four arms. She holds an Ankusha in the upper right hand and Vajra in upper left hand; the lower two hands are in varadmudra. She is dressed in a bodice, lower garment and scarf, wears full ornaments and carries the usual spot (tilak) on her forehead. At the top and the bottom of the page, there are five dancing girls, while in the middle of the page (granthecsthane), Indra is shown seated on his elephant going to revere the Venerable Mahavira. This is a unique picture published for the first time in five colours and reproduced from the well known Illuminated Kalpasutra Manuscript in Dayavimalaji Shastra Sangraha in Vimalagachha Upasraya. Devsano Pado, Ahmedabad. 5. puttara vimAnamAM mahAvIra. kusuma. uparathI. prabhu mahAvIre manuSyalakamAM janma lIdhA pahelAM puSpottara vimAnamAMthI devalokanA bhavanuM vIsa sAgaropamanuM AyuSya pUrNa karyuM hatuM. 5. KSM. Mahavira in the Puspottara Vimana. Before being born, Mahavira, the twenty-fourth Tirthankara, had lived for twenty Sagaropamas in the Puspottara Vimana. * The painting shows the celestial palaee with a four handed god and goddess. On the sides of the spire peacocks are seated. In the lower right hand corner flows the river. Water is indicated by many frequently crossed lines, fish are also represented here. 6. prabhu zrImahAvIra. navAba 1. pAnAM 5 uparathI. varNana mATe juo citra 1nuM A prasaMgane lagatuM varNana. Fig 6. SMN. 1, 5 Bhagwan Sri Mahavira. The treatment is essentially similar to that our figure 1. citra che. prabhu zrI mahAvIrane janma IDaranI pratamAMthI. je vakhate graha ucca sthAnamAM vartatA hatA, caMdrane uttama yoga prApta thayo hato, sarvatra saumyabhAva, zAMti ane prakAza khIlI rahyAM hatAM, dizAomAM aMdhakAranuM nAmanizAna paNa na hatuM, ulkApAta, rajovRSTi, dharatIkaMpa ke Jain Education Intemational

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As Represented in the Kalpasutra Paintings digadAha jevA upadravane cheka abhAva vartato hato, dizAonA aMta paryaMta vizuddhi ane nirmaLatA patharAyelI hatI, je vakhate sarva pakSIo potAnA kalarava vaDe jayajaya zabdo uccAra karI rahyAM hatAM. dakSiNa dizAne sugaMdhI zItaLa pavana pRthvIne maMdamaMdapaNe sparza karate vizvanAM prANIone sukha-zAMti upajAvI rahyo hato, pRthvI paNa sarva prakAranAM dhAnyAdithI ubharAI rahI hatI ane je vakhate sukALa, Arogya vagere anukuLa saMgethI dezavAsI lokonAM haiyAM harSanA hiMDoLe jhulI rahyAM hatAM, temaja vasaMtotsavAdinI krIDA dezabharamAM cAlI rahI hatI, tene vakhate, madhyarAtrine viSe, uttarAphAlyunI nakSatra sAthe caMdrano yoga prApta thatAM ArogyavALI trizalA kSatriyANIe bAdhArahita paNe ArogyavAna putrane janma Apyo. citramAM suvarNanA palaMga upara bichAvelI vividha jAtinAM phalothI AcchAdita karelI sugaMdhIdAra zamyA upara trizalA kSatriyANa sUtAM che. jamaNe hAthe prabhu mahAvIrane bALakarUpe pakaDIne paricArika sanmukha jaI rahyAM che. temanA jamaNA hAtha nIce takIo che. temanuM sAruM ye zarIra vastrAbhUSaNathI susajijata che. temanA uttarIya vastra-sADImAM kalanI aMdara bhAta cItarelI che. temane pozAka caudamA saikAnA zrImaMta-vaibhavazALI kuTuMbanI strIonA paheravezano suMdara khyAla Ape che. palaMganI nIce pANInI jhArI tathA palaMgamAMthI UtaratI vakhate paga mUkavA mATe pAdapITha-paga mUkavAno bAjoTha-paNu cItarelAM che. uparanA bhAganI chatamAM caMdaravo paNa bAMdhelo che. Fig. 7. 5, AMI. Mahavira's birth, On the thirteenth day of the light fortnight, while the moon was in conjunction with the asterism Uttaraphalguni, in the month Chaitra, the first month of Summer, In the middle of the night, Trisala gave birth to Mahavira. Trisala is represented lying on a golden couch furnished with a flower, bedsheet and a cushion. The babe Mahavira is supported on her right arm. Her sari is decorated with a flower pattern (hamsvastra), a scarf covering her coiffure is wrapped round her waist and she wears ornaments. citra 8 prabhu zrImahAvIrane paMcamuSTi loca. iDaranI pratanA pAnA 60 uparathI. azokavRkSanI heThaLa AvI prabhu nIce utaryA ane pitAnI meLe ja eka muSTi vaDe dADhImUchano ane cAra muSTi vaDe mastakanA kezane evI maSTi lonca karyo. e vakhate prabhune nirjaLa chaDrano tapa hato ja. uttarAphAgunI nakSatrane yoga thayo tyAre InDe DAbA khabhA upara sthApana kareluM devaSya vastra grahaNa karIne, ekalA eTale rAgadveSa rahitapaNe kezano loca karavArUpa dravyathI ane krodhAdikane dUra karavArUpa bhAvathI muMDa thaIne, grahavAsano tyAga karIne sAdhupaNAne pAmyA. citramAM zramaNa bhagavAna mahAvIranA DAbA khabhA upara devadUSya vastra nathI, paraMtu azokavRkSanI nIce pitAnA DAbA hAthe mastakanA vALane leca karavAne bhAva darzAvatA, IndranI sanmukha jatA bhagavAna mahAvIra ane be hAtha prasArIne prabhue leca karelA vALane grahaNa karavAnI utsukatA batAvate indra dekhAya che. Fig. 8 AMI. 60. Sri Mahavira plucks out his hair. Desending from the palanquin, Mahavira divested himself of all his fine clothes and ornaments, fasted a Six-meal fast, put on a divine robe, and when quite alone, tore out his hair by five handfuls. In the lower portion at the left Mahavira is dressed only in a lower garment (dhoti). As he plucks out his hair, Sakra catches it. At the right Sakra is four-armed and carries the vajra as an attribute. Like Mahavira he is seated. Below are mountain peaks, in exaggerated conformity with the AS. statement that the palanquin stopped on slightly elevated ground. Jain Education Intemational For Private & Personal use only

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The Life of Lord Sri Mahavira citra 9. prabhu zrImahAvIranuM samavasaraNa. navAba 1, pAnuM 59 tIrthakarane kevalyajJAnanI prApti thayA pachI deve samavasaraNanI racanA kare che. A samavasaraNanI be jAtanI racanAo ApaNane prAcIna citromAM maLI Ave che. eka jAtanI racanA goLAkRtimAM hoya che ane bIjI jAtanI catuSkoNa-cAra khUNAvALI-kheDI hoya che. A citra goLAkRti vALA samavasaraNanuM che. samavasaraNanI madhyamAM mahAvIranI mUrti tathA AjubAju pharatA traNa gaDha che. mastakanI pAchaLanA bhAgamAM azokavRkSane badale be bAju laTakatAM kamala jevI Akati cItarelI che. gaDhanI cAre dizAe ekeka daravAjo tathA gaDhanI bahAra cAre khUNAmAM ekeka vApikA-vAva-cItarelI che. prasaMge pAta samavasaraNanuM TUMka varNana atre ApavuM mane lAgya lAge che. prathama vAyukumAra deva jana pramANu pRthvI uparathI kacare, ghAsa vagere dUra karIne te zuddha kare che. pachIthI meghakumAra de sugaMdhI jaLanI vRSTi karI e pRthvInuM siMcana kare che. tIrthaMkaranAM caraNone potA caDAvanAra A pRthvInI jANe pUjA karatA hoya tema bRtAro chae RtunA pacaraMgI, sugaMdhI, adhomukha DIMTavALAM puSponI jAnu paryata vRSTi kare che. tyAra bAda vANuvyaMtara de suvarNa maNi ane mANeka vaDe pRthvItala bAMdhe che; arthAta eka yojana parvatanI A pRthvI upara pIThabaMdha kare che. cAre dizAomAM teo manahara toraNo bAMdhe che. vizeSamAM bhavyajanone dezanA sAMbhaLavA mATe bolAvatA hoya tema teraNAnI upara rahelI davAno samUha racIne teo samavasaraNane suzobhita kare che. toraNAnI nIce pRthvIpITha upara AlekhAelAM ATha maMgaLa maMgaLatAmAM umero kare che. vaijJAnika de aMdarane, tibbo maLe ane bhavanapati bahArano gaDha banAve che. maNinA kAMgarAvALo ane ratnane banAvele aMdarano gaDha jANe sAkSAt "haNagiri hoya tema zobhe che. ratnanA kAMgarAvALo ane sonAno banAvelo madhya gaDha dvIpamAMthI AvelA sUryanI zreNi jevo jhaLakI rahe che. sauthI bahArano gaDha senAnA kAMgarAvALA ane rUpAna banela hovAthI tIrthakarane vaMdana karavA mATe jANe sAkSAt vaitADhaya parvata AvyA hoya ema bhAse che. A pratimAMnA citraprasaMgo judI judI pratomAM AlekhAelA hovA chatAM A citro AlekhanamAM vadhu sukomaLatAvALA temaja kAMIka vadhAre rasikatAthI AlekhAyelAM hoya ema lAge che. Fig. 9. SMN. 1. 59. Mahavira's Samavasarana. When a Jina obtains perfect knowledge, the gods prepare his Samavasarana. The earth is cleansed for a space a Yojana in redius and is scented and adorned. Three walls are erected, the innermost of jewels, the middle of gold, and the outermost of silver. There are four jewelled gates to each wall. In the centre is a tree on a pedestal and under the tree are four lion thrones. The throne on the east is occupied by the Jina; the three others by reproductions of him. There he preaches to gods, men and animals. The Samavasarana may be either round, as here or square. In the painting Mahavira sits within the Samavasarana. He is not in monks garb, but is in the ornamented array common to perfected being. citra 10 prabhu mahAvIranuM nirvANa. navAba 1, pAnuM 66 Jain Education Intemational

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TivANA Senneisblamees davAedA gyaviNAsamatAvAmadAtrI DmAhAkAladharasayAnAgAjA RepliedenmenLEEDIE dAsayapiDariyAkAgArAcA emei2l2H!S N gAlasatirIpatramAvAsamiNa mplehAtaGadagiyaravasana 13 zrIdevAnaMdAnAM cauda uttama svapna 13 Sri Devananda and the fourteen lucky dreams

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spye mAsAdAsAsa (hAsAta saraNAnadinAdina narimana vIDiya karADa la Icustom RE da yA kAgada kA gata mahAvIrAna vijayara samrapAna hilAya sama NAmanayAmarAsadA vAdApamA e. paMjAla tA rASTraki kA pakSAta 12 prabhu zrImahAvIranA cyavana kalyANakanuM varNana 12 Description of Sri Mahavira's descending gahanA ma 10

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14 devAnaMdA RSabhadattane potAne AvelA svapnA kahe che : 14 Devananda relates her dreams to Rsabhadatta 15 RSabhadatta devAnaMdAne svapnanuM phala kahe che 15 Rsabhadatta tells Devananda the meaning of the dreams

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16 saudharmAsabhAmAM beThelA zakrendra 16 Sakrendra seated on throne, in Saudharmasabha 17 zakendra, 17 Sakrendra

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As Represented in the Kalpasutra Paintings zramaNa bhagavAna mahAvIre je varSAkALamAM madhyama apApApurIne viSe hastipAla rAjAnA kArakunanI sabhAmAM chelluM comAsuM varSARtumAM rahevA mATe karyuM, te comAsAno cothe mahine, varSAkALanuM sAtamuM pakhavADiyuM eTale, ke kArtika mAsanuM (gujarAtI A mAsanuM) kRSNa pakhavADiyuM, te kArtika mAsanA kRSNa pakhavADiyAnA paMdarame divase (gujarAtI Aso mAsanI amAse) pAchalI rAtrie kALadharma pAmyA, teo siddha thayA, buddha thayA. prabhu mahAvIranI mUrti je pramANe citra naM. 1mAM varNavI gayA te pramANenAM AbhUSaNo sahita cItarelI che. nirvANu-kalyANakano prasaMga darzAvavA khAtara siddhazilAnI AkRti ane baMne bAju ekeka dhaLI goLAkRti vadhArAmAM cItarelI che. je nirmaLatAnI dyotaka che. A citranI pRSThabhUmi rAtA raMganI che. Fig. 10. SMN. 1. 66. Mahavira as a siddha. At death a liberated soul goes to Siddasila, which is at the top of the universe, and is shown upon on open white parasol made of pure white gold, measuring 4,500,000 Yojanas long and as many wide, eight Yojanas thick at the middle but tapering off till all the edges it is thinner than a fly's wing. All varieties of Siddhas (perfected beings) go there after death; of these Tirthankaras are the foremost. There the released souls dwell in omnipotence and omniscience, and perfect blissful. Mahavira fully adorned as in figure 1, sits on a throne. The Siddhasila is represented in the shape of a crescent. with a white round design on either sides which depicts perfectness and pureness, of perfected beings. 11. aSTamaMgala. navAba 8 uparathI. aSTamAMgalikanI mAnyatA jainomAM bahu prAcIna samayathI pracalita che. je vAtane mathurAnA kaMkAlI TIlAmAMthI nIkaLelA pASANanA prAcIna AyAgapaTa puSTi Ape che. prAcIna samayamAM prabhunI sanmukha jaina gRhastha aSTamAMgalikane akSatathI AlekhatA hatA. hAlamAM te rivAja lagabhaga nAza pAmyo che, te paNa pratiSThA, zAMtisnAtra, aSTottarI snAtra vagere moTA mahotsava samaye lAkaDAmAM kotarelA aSTamAMgalikano Aje paNa upayoga karavAmAM Ave che ane dareke dareka jinamaMdiramAM aSTamAMgalikanI dhAtunI pATalIo hajAronI saMkhyAmAM vidyamAna che, jenI pUjA caMdana-kesara vagerethI karavAmAM Ave che. tenI mAnyatA A rIte Aje paNa pracalita hovA chatAM paNa aSTamAMgalikanAM pUrepUrAM nAma jANanAra varga paNa saMkaDe eka Tako bhAgye ja haze, to pachI te AlekhavAnA hetuo-uddeza-ne dhyAnamAM rAkhIne teno upayoga karanAranI to vAta ja zI ? koI virala vyakitao haze paNa kharI, chatAM paNa aSTamAMgalikane AlekhavAnA uddezane lagatI kalpanA 'zrIAcAradinakara nAmanA graMthamAM zrIvardhamAnasUrie karelI che, te ati mahattavanI hoI tenA bhAvArtha sAthe TUMkamAM atre ApavI yogya dhArI che. 2 AtmAlokavidhau jano'pi sakalastInaM tapo duzcara dAnaM brahmaparopakAdakaraNaM kurvanparisphUrjati / so'yaM yatra sukhena rAjati sa vai tIrthAdhipasyAgrato nirmayaH paramArthavRttividurai sajJAnibhirdarpaNam // 1 // bhAvArtha : AtmAnuM jJAna meLavavAne-eALakhavAne mATe dareka manuSya tIvra ane duzcara evuM tapa, dAna, brahmacarya, paropakAra e badhAne karato zobhe che; te manuSya jyAM sukhapUrvaka zubhe-pitAnuM darzana karI zake-evuM darpaNa paramArthane samajanAra sadajJAnIoe tIrthaMkara devanA AgaLa AlekhavuM. 1. The Jaina Stupa and other Antiqities of Mathura Plate No. VII & IX by V. A. Smith. 2. AcAradinakara patra 197-198 tucation Intermational

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10] The Life of Lord Sri Mahavira jinendrapAdaH paripUjyapRSTaratiprabhAvarapi saMnikRSTham / bhadrAsanaM bhadrakaraM jinendra puro likhenmaGgalasatprayogam // 2 // bhAvArtha : atyaMta prabhAvazALI, pUjanIya che taLiyAM jemanAM, evA jinezvaranAM caraNo vaDe sannikRSTa-yukta ane kalyANakArI tema ja maMgaLanA zreSTha prayAgarUpa evuM bhadrAsana jinezvara bhagavAnanA AgaLa AlekhavuM. puNyaM yajJa samudayaH prabhutA mahatvaM saubhAgyadhIvinayazarmamanorathAzca / vardhanta eva jinanAyaka te prasAdAta tadvardhamAnayugasaMpuTamAdadhAnaH // 3 // bhAvArtha : he jinezvara deva ! ApanI kRpAthI puNya, yaza, udaya, prabhutA ane mahattva tathA saubhAgya, buddhi, vinaya ane kalyANanI kAmanAo vadhe che; mATe vardhamAna saMpuTakane AlekhuM chuM. vizvatraye ca svakule jinezo vyAkhyAyate zrIkalazAyamAnaH / atI'vapUrNa kalazaM likhitvA jinAcanAkarma kRtArthayAmaH // 4 // bhAvArtha : traNa jagatamAM tema ja pitAnA vaMzamAM bhagavAna kalazasamAna che, mATe pUrNakalazane AlekhIne jinezvaranI pUjAne saphaLa karIe chIe. antaH paramajJAnaM yadabhAti jinAdhinAthahRdayasya / tacchIvatsavyAjAtprakaTIbhUtaM bahirvande // 5 // bhAvArtha : zrIvatsanA bahAnAthI pragaTa thaela, jinezvara devanA hRdayamAM je paramajJAna zobhe che tene vaMdana karuM chuM. tvadvandhyapaJcazaraketanabhAvaklapta kartu mudhA bhuvananAtha nijAparAdham / sebAM tanoti puratastava mInayugmaM zrAdvaiH puro vilikhitorunijAGgayuktyA // 6 // bhAvArtha : he jagataprabhu ! zrAvakee potAnA aMganI-aMgulinI yutithI Alekhela mInayugala, ApanAthI niSphaLa thayelA kAmadevanA vajarUpe kapAela hoI potAnA aparAdhane phokaTa karavA mATe ApanI sevA kare che. svasti bhUgagananAgaviSTapeSUditaM jinavarodaye kSaNAt / svastikaM tadanumAnalo jinasyAgrato budhajanairvilikhyate // 7 // bhAvArtha - jinezvara devanA janma samaye eka kSaNavAramAM maryaloka, svargaloka ane pAtAlalekamAM svasti zAMti-sukha utpana thayuM hatuM. e mATe jJAnI manuSya jinezvara bhagavAnanI AgaLa svastikane Alekhe che. tvatsevakAnAM jinanAtha dikSu sarvAsu sarve nidhayaH sphuranti / atazcaturdhA navakoNanandyAvartaH satAM vartayatAM sukhAni // 8 // bhAvArtha : he jinezvara ! tArA sevakone save dizAomAM nidhie phrAyamAna thAya che-prApta thAya che; tethI karIne cAre bAju nava khUNAvALo nandAvarta sajajanone sukha kare. upara pramANenA varNanavALA aSTamAMgalika, mahA mAMgalika ane kalyANanI paraMparAnA hetubhUta hovAthI jinamaMdiromAM pASANa upara karelA, lAkaDAnA pATalAomAM kotarelA, sukhaDanI peTIo upara kotarelA, zra kAo jinamaMdire laI javA mATe akSata ane badAma jemAM mUke che te cAMdInI DAbaDIo upara, sAdhuone pustakonI nIce rAkhavAnI pATalIo upara cItarelA tathA rezamanI ane koI kAI dAkhalAomAM vaLI sAcA motIthI paNa bharelA maLI Ave che. A pratanAM citramAM rekhAo vadhu bArIka thAya che. paraMparAnI jADI vegavAna lITIonuM sAmarthya temAM nathI, paNa citrakAra jhINavaTano lAbha levA utsuka hovAthI vigate vadhAre cItaravA maLyo hoya ema lAge che. Jain Education Intemational For Private & Personal use only

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As Represented in the Kalpasutra Paintings [11] raMga paNa jAmatA Ave che. A citranuM raMgavidhAna samagra citramALAmAM navIna bhAta pADe che. vividhatA sAcavatAM e citrakAra pAtrAmAM navA abhinayA bahu caturAIthI utArI zako che ane prasaMganI jamAvaTa karavAmAM vAtAvaraNa, prANIonA upayAga vagere Adhunika citrakAra jeTaluM zakaca mAne te badhuM kauzala temAM lAvI zakayo che. saMvidhAnanuM rekhAmaMDaLa ghaNuM rasamaya che. A citramAM sapheda, lAla, pILA, kALA, vAdaLI, gulAbI, lIlA vagere raMgAnA upayAga karavAmAM AvelA che. Fig. 11. SMN. 8. The eight auspicious symbols. The eight auspicious objects (astamangala) which are regularly associated with the Tirthankaras, are : (Starting with our upper left corner) 1 Powder vase (Vaddhamanaga, Vardhamanaga) 2 the nandiyavatta (nandyavarta), 3 mirror (dappana, darpana), 4 full water vessel (kalasha, kalasa), pair of fish (matsyayugma) 6 the sothiya (svastika) symbol, 7 the (sirivachchha srivatsa) symbol, and 8 throne of distinction (bhaddasana, bhadrasana) symbol. citra 12 prabhu zrImahAvIranA cyavana kalyANakanuM varNana. sAmaLAnI. pratanA pAnA 3nA prathama bhAga uparathI. DAbI bAjunA hAMsiyAnA uparanA bhAgamAM prabhu mahAvIra devalAkamAMthI cyavIne garbhamAM AvelA hAvAthI, citrakAre devimAnanI AkRti dorelI che. madhyabhAgamAM RSabhadatta brAhmaNu ane devAnaMdA brAhmaNI vAtacIta karatAM beThelAM che. nIcenA bhAgamAM makAnanI nIsaraNI uparathI utarIne, makAnanI bahAra jatI kAi srI paricArikA UbhelI che. madhyanA hAMsiyAnA uparanA bhAgamAM senAnA siMhAsana upara siddhArtha kSatriya beThelA che. siddhArthanA mastakanI pAchaLa chatra paNa che. nIcenA bhAgamAM hAthamAM darpaNa pakaDIne, temAM mukha jotAM prabhu mahAvIranI mAtA trizalA eThelAM che. trizalAnI sanmukha eka paricArikA UbhelI che. jamaNI bAjunA hAMsiyAnA uparanA bhAgamAM sthApanAcArya ane siddhArtha kSatriya, bIjA bhAgamAM sthApanAcArya ane RSabhadatta brAhmaNa; trIjA bhAgamAM siddhArtha ane trizalA tathA cAthA bhAgamAM RSabhadatta ane devAnaMdA vAtacIta karatAM beThelAM che. uparanI kinAramAM anukrame eka mayUrapakSI, maMgalasUcaka che jaLa bharelAM kuMbhA, khabhe gaMgAjala bhareluM pAtra laIne jatA eka mANasa, madhyabhAganA hAMsiyAmAM sAnAnA siMhAsana para beThela siddhArtha kSatriyanI pAchaLanA bhAge be cAmara dharanArA tathA siddhArtha kSatriyanI sanmukha nRtya karatI traNa nartakIo tathA zrRdAM jUdAM vAdyo vagADIne AnaMda darzAvatI traNa strIo cItarelI che. nIcenI kinAramAM anukrame e gheADA, traNa hAthI, pAtAnA uMcA karelA jamaNA hAthamAM mAMgalika sAmagrI laine beThelA traNa puruSA ane DhAla tathA talavAra hAthamAM pakaDIne cAlatA e sainikA ane aMtabhAgamAM uttama evA haMsapakSInI rajUAta citrakAre karelI che. A citrAvalInA prasaMgeA prabhu zrImahAvIranA cyavana kalyANaka samaye kuMDagrAma nagaranA leAkeAe ujavelA AnaMda darzAve che, ane te vakhate kuMDagrAma nagaramAM gaNanAyaka tarIke siddhArtha kSatriya hovAthI, ahIM siddhArtha kSatriya ane trizalA kSatriyANInI rajUAta citrakAre karelI hoya ema lAge che. A pAnAnI aMdara sonerI akSaromAM prabhu zrImahAvIranA cyavana kalyANakanuM varNana A pramANe che: "[sADA ATha] mAsa bAkI rahyA hatA; bhagavAna garbharUpe AvyA pahelAM ikSvAkukulamAM janama pAmelA ane kAzyapa

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12] The Life of Lord Sri Mahavira gotravALA ekavIza tIrthakaro kame kame thaI cUkyA hatA, harivaMzakalamAM janama pAmelA ane gautamagAvavALA bIjA be tIrthaMkaro thaI cUkyA hatA, e rIte kUla tevIza tIrthaMkara thaI cUkyA hatA te vakhate bhagavAna garbharUpe AvyA hatA, vaLI AgaLanA tIrthakaree 'have pachI zramaNa bhagavAna mahAvIra chelA tIrthaMkara thaze e pramANe bhagavAna mahAvIra vize nirdeza karela hato. A rIte upara kahyA pramANe zramaNa bhagavAna mahAvIra AgalI rAtanI chevaTamAM ane pAchalI rAtanI zarUAtamAM eTale barAbara madharAtane samaye hastattarA-uttarAphAgunI-nakSatrane vega thatAM ja devAnaMdAnI kukhamAM garbharUpe utpanna thayA. vaLI, bhagavAna jyAre kUkhamAM garbharUpe AvyA tyAre temano AgalA devabhavane yogya AhAra, devabhavanI hayAtI ane devabhavanuM zarIra chUTI gayAM hatAM ane vartamAna mAnavabhavane yogya AhAra, mAnavabhavanI hayAtI ane mAnavabhavanuM zarIra temane sAMpaDI gayAM hatAM." zramaNa bhagavAna mahAvIra traNa jJAnathI yukta paNa hatA-have devabhavamAMthI huM cavIza" ema teo jANe che. Fig 12. SMP. 3r. Description of Sri Mahavira's descending. The left hand side margin is painted in three rows. A Vimana (celestial-palace) is depicted here, because, before entering in the womb of Devananda, he was living in the Puspottara Vimana. Rsabhadatta Brahmana and Devananda Brahmani seems discussing. In the third row a maid is standing near the stair and seems going outside. In the middle margin Ksatriya Siddhartha seated on simhasana, behind him is an open royalumbrella is depicted in the upper part. Ksatriyani Trisala seeing her face in mirror carried in her right hand. A maid is standing near her. The right hand margin is also painted in four rows. A sthapanacharya and Siddhartha Ksatriya is depicted in the fist row. A sthapanacharya and Rsabhadatta Brahmana is depicted in the second row. In the third row, Siddhartha and Trisala seems talking; and in the fourth last row, Rsabhadatta and Devananda seems also talking on some topic. At the top of the page is a peacock, two vessels full of water and a man carrying a pure water of river ganges and two chowri-bearers standing behind Ksatriya Siddhartha. In the front of Siddhartha, three dancing ladies and three singing ladies are depicted in joyful manner. At the bottom of the page are two horses, three elephants, three men with auspicious things carrying in their upraised right hands, two soldiers and a hams (swan) at the end of the page are depicted to show the joyful manner at the time of descending Sri Mahavira. In the text written by gold ink is : After twenty-one Tirthankaras of Iksvaku race and Kasyapa Gotra and two Tirthankaras of Harivamsa and Goutama Gotra, on the whole twenty-three Tirthankaras had preceded-Sramana Bhagavan Mahavira, the last Tirthankara of the present series-whose advent had been foretold by previous Tirthankaras took the form of a foetus in the womb of Brahmani Devananda of Jalandhara gotra, the Jain Education Intemational

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13 GIOCHISCE y Kq Supunouins suos uo JES 81 316 plek ] kat RR 2 CantineCISCREDIDELIS 3913015015011Denesse SOIRES RECIPE INCIDADEIRICROCHIPEDIONADO 3 bites

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19 devenuM sainya 19 The army of Gods

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20 zakastava 20 Sakra reverences Mahavira's embryo 11 H FERRE 21 zakrastava 21 Sakra reverences Mahavira's embryo 15

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E R3 213 23 Sakra commands Harinaigamesin 22215131 22:Sakra commands Harinaigamesin

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U3 As Represented in the Kalpasutra Paintings wife of Brahmana Rsabhadatta of Kodala gotra, in the Brahmanical part of the town Kundagrama during the middle of the night, when the moon was in the conjunction with the constellation uttaraphalguni-the constellation whose next is 'Hasta-after leaving of divine existence, and divine body. Sramana Bhagavan Mahavira possessed three kind of knowledge. He knew that he would descend." citra 13. devAnaMdAnAM cauda uttama sva. sAmaLA.nI pratanA pAnA 3 uparathI. ApaNe upara citra 12nA "mahAvIra-cyavanane lagatA prasaMganA varNanamAM jaNAvI gayA chIe ke amathuM bhagavAna mahAvIra devalokamAMthI cyavIne devAnaMdA brAhmaNanI kukSimAM garbha tarIke AvyA. te rAtrIe devAnaMdA brAhmaNI bhara UMghamAM na hatI, tema pUrI jAgRta paNa na hatI. eTale ke prabhu garbhamAM AvyA eTale teNIe atiudAra, kalyANamaya, upadrava haranAra, maMgaLamaya ane suMdara cauda mahAsvama joyAM. te A pramANe : 1 gaja, 2 vRSabha, 3 siMha, 4 lakSmI (abhiSeka), 5 puSpamALA, 6 caMdra, 7 sUrya, 8 dhvaja, 9 pUrNakuMbhakalaza, 10 padmavara, 11 kSIrasamudra, 12 devavimAna, 13 ratnane Dhagale, ane 14 nidhUma agni." citramAM devAnaMdAe coLI, uttarIya vastra-sADI, uttarAsaMga vagere vastro paridhAna karelAM che. zayyAmAM sugaMdhIdAra phale bichAvelAM che. teNI takIAne aDhelIne-Teko daIne ardha jAgRta ane ardha nidrAvasthAmAM sUtelI dekhAya che. teNIe DAbo paga jamaNu paganA DhIMcaNa upara rAkhela che. teNInA mAthe mugaTa, kAnamAM kuMDala, mAthAmAM AbhUSaNa tathA tenA mAthAnI veNI chUTI che ane tene cheDo TheTha palaMganI nIce laTakato dekhAya che. palaMganI nIce najIkamAM pANInI jhArI tathA pAdapITha mUkelAM che. teNIno palaMga suvarNana che. DAbI bAjunA hAMsiyAnA uparanA bhAgamAM DAbA hAthamAM cAmara pakaDIne UbhelI eka stro che. nIcenA bhAgamAM jamaNA hAthamAM vINA pakaDIne UbhelI eka strI potAnA DAbA hAthathI najIkamAM UbhelA haraNane ghAsa khavaDAvatI dekhAya che. madhyanA hAMsiyAmAM suMdara phUlono choDa cItarele che. jamaNI bAjunA hAMsiyAnA uparanA bhAgamAM paNa potAnA jamaNA hAthamAM cAmara pakaDIne UbhelI eka strI che. nIcenA bhAgamAM jamaNA hAthamAM phUla tathA DAbA hAthamAM vINuM pakaDIne ubhelI strI, devAnaMdA tarapha dRSTi rAkhIne UbhelI che. hAMsiyAnA uparanA bhAgamAM levAvA lakheluM che. uparanI kinAramAM haMsapakSInI suMdara goThavaNI karelI che. nIcenI kinAramAM anukrame traNa haraNIyAo, maMjIrA vagADato eka puruSa, baMsarI bajAvato eka puruSa ane eka haMsayugala cItarelAM che. A pAnAnI aMdara sonerI akSaromAM brAhmaNI devAnaMdAe prabhu mahAvIra je rAtrIe teNInI kukSimAM garbharUpe AvyA, te rAtrIe teNIe uttama cauda mahAsvapna joyAM. jevAM ke : 1 gaja, 2 vRSabha, 3 siMha vagerenuM varNana ApeluM che. Jain Education Intemational

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The Life of Lord Sri Mahavira Fig. 13. SMP. 3. Brahmani Devananda and the fourteen lucky dreams. On the night when Mahavira descended from the Puspottara heaven to take the form of an embryo in the womb of Brahmani Devananda, she had the fourteen important auspicious dreams; namely (1) an elephant, (2) a bull, (3) a lion, (4) the anointing of the goddess Srl, (5) a garland, (6) the moon, (7) the sun, (8) a banner, (9) a full jar, (10) a lotus lake, (11) an ocean of milk, (12) a celestial palace, (13) a heap of jewels, (14) a brilliant smokeless fire. 14] In the foreground of the scene Devananda lies on her couch, dressed almost as in our figure 14 with bodice, scarf and ornaments and her lips are painted red. A maid is in attendance. Above Devananda the fourteen dreams appear in three panels. Under a canopy spread with a coverlet decorated with arabesque. The left hand margin is painted in two registers. A maid Chawri-bearer is standing. in the upper register. A maid holding a vina in her right hand and feeding grass by her left hand to an antelope is standing in the lower register. In the middle margin is painted the beautiful flower-plant. The right hand margin is also painted in two registers. In the upper register, another maid chawri-bearer is standing. In the lower register, another maid holding a vina in her right hand is standing. At the top of the page is the beautiful arrangement of hamsa is depicted. At the bottom of the page are three antelopes, two singers and a couple of hamsa is depicted.. In the text written in gold ink is "He did not know that he was descending; and that he knew that he had descended. During that night, in which Sramana Bhagavan Mahavira took the form of a foetus. in the womb of Brahmani Devananda of Jalandhara gotra, Brahmani Devananda was on bed couch, in a condition between sleeping and waking-taking fits of sleep-and having seen the following noble, prosperous, happy, fortunate, auspicious and beautiful fourteen great dreams she woke up. The objects were as follows: (1) An elephant, (2) a bull, (3) a lion" citra 14. devAnaMdA dattane potAne AvelA svapnA kahe che. jIrAnI pratanA mAnA 3 uparathI. citranA varNana mATe bhAgamAM DAbI bAjue beThelA e citra 13nuM A prasaMgane lagatuM ja varNana, citramAM vadhArAmAM TheTha uparanA RSabhadattane devAnaMdA pAnAne AvelA svapnA kahI saMbhaLAve che. Fig. 14. Devananda relates her dreams to Rsabhadatta. The treatment is essentially the same as that in figure 13. In this painting, at the left hand top corner Brahmana Rsabhadatta and Brahmapi Devananda are also seated.

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As Represented in the Kalpasutra Paintings [15 15. RSabhadatta devAnaMdAne svapnanuM phaLa kahe che. jaisalameranA bhaMDAranI ka9pasUtranI hastapratanAM pAnA 2 uparathI A prakAranAM udAra cauda mahAsvapna joIne devAnaMdAnA harSa, saMtoSa ane vimayano pAra na rahyo. cittamAM AnaMda, hadayamAM prIti ane manamAM paramatuSTine anubhava thayo, A mahAsvapna joIne teNIne eTale badhe harSa thayo ke varasAdanA pANIthI poSAeluM kadaMbanuM phUla jevI rIte praphulla thAya tevI rIte teNInA romeroma vikasvara thayA. te pachI teNI AvelA svapnanuM eka pachI eka samaraNa karavA lAgI, ane potAnI pathArImAMthI uThIne ghaNI ja dhIraja zAMti, sthiratA ane gaMbhIratApUrvaka, rAjahaMsanA jevI gati vaDe potAnA pati RSabhadatta brAhmaNa jyAM hatA tyAM AvI. AvIne RSabhadatta brAhmaNane jaya tathA vijayathI vadhAvyA. A rIte vadhAvIne bhadrAsana pAse gaI. tyAM zramane pariharI, kSobhane dUra karI, sukhapUrvaka Asana para beThI. pachI baMne hAthanA daza nakha bhegA karI, mastake aMjali karIne devAnaMdA A pramANe belI :- "he devAnupriya! Aje zayyAmAM huM thoDI thoDI uMghatI hatI te vakhate meM AvA udAra ane lakSamIne ApavAvALA gaja, vRSabha vagere 14 mahAsvapno, A pramANe joyAM ane te joIne huM jAgI uThI. he devAnupriya! A cauda mahAsvapnonuM kevuM kalyANakArI phala malaze tene mane vicAra Ave che." pachI RSabhadatta devAnaMdA pAsethI svapnane lagate saghaLe vRttAMta sAMbhaLIne rAjI tha, saMtoSa pAye, ane tenA romeroma vikasvara thaI gayAM. pachI teNe pitAnA manamAM e svapnonA arthono ukela karIne, pitAnI sAme ja beThelI devAnaMdAne A pramANe kahevA mAMDayuM. citramAM bhadrAsana upara beThele RSabhadatta pitAno DAbo hAtha uMcA karIne, sAme ja bhadrAsana upara beThelI devAnaMdAne svapnanuM phala kahete spaSTa rIte rajU karela che, RSabhadattanI tathA devAnaMdAnI vezabhUSA citrakAranA samayanA puruSa-strIonI vezabhUSAne uttamattama pUrA che. RSabhadattanI dADhInA ekaeka vALa gaNI zakAya tevI rIte cItarIne A citra cItaranAra citrakAre potAnI citrakaLAnI siddhahastatAne pUrA rajU karela che. kalpasUtranI seMkaDo sacitra hastapratomAM A hastapratanAM citro jeTalAM kalApUrNa citro mArAM jovAmAM AvyAM nathI. baMnenAM vastro paranI citrAkRtio ApaNane te samayanAM rezamI paToLAMnAM suMdara namUnAo pUrA pADe che. A citramAM gulAbI, kesarI, rAta, kALa, vAdaLI, pILo, rUperI tathA sonerI raMgono citrakAre upayoga kare che. Fig. 15 Rsabhadatta and Devanada. JSM. Fol. 2 size 29" x 3". When Maha vira descended from Puspottara heaven in the womb of Devananda, she saw fourteen blessed dreams representing all forms of prosperity and good luck in a semi-conscious stage. This awakened her and her joy was boundless. She experienced a wonderful stage of blissful mind, love in her heart and unique satisfaction of mind. Devananda gave a graphic description of all fourteen dreams. Rsabhadatta expounded the mysteries of her dreams, which signified the birth of a son who would either a world emperor or saviour. Brahmana Rsabhadatta is seen seated at the left on the seat of honour with beautiful canopy above him, and handkerchief in his right hand. Devananda faces him, seated on Jain Education Intemational

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16] The Life of Lord Sri Mahavira Bhadrasana (seat of honour) mentioned in KS text. The dress of the couple represents beautiful patola design. citra 16. saudharmAsabhAmAM beThele zakrendra, pATaNa ranA pAnA 4 uparathI. te kALa ane te samaye saudharmendra pitAnI sudharmA sabhAmAM beThelo che. te saudharmendra kevo che? zaka nAmanA siMhAsana para besanAre, dene svAmI, zarIra paranI kAMti vagerethI devomAM adhika zobhate, hAthamAM vajIne dhAraNa karanAro, daityonA nagarane toDanAro, zrAvakanI pAMcamI paDimAM so vakhata vahana karanAra ane jeNe pitAnA kArtika zeThanA bhavamAM e vakhata zrAvakanI DimAM vahana karI hatI. citramAM suvarNanA sAdA siMhAsana para cAra hAthavALe zakendra vastrAbhUSaNothI susajita thaIne beThelo che. tenA cAra hAtha paikI uparanA jamaNA hAthamAM aMkuza tathA DAbA hAthamAM vA che ane nIcenA jamaNA hAthamAM phala che tathA DAbA hAthathI kaIne AjJA pharamAvato hoya tevI rIte beThele che. Fig. 16. Sakrendra seated on throne in Saudharmasabha. HGP. 1, 4. During that age, at that time, Sakra the lord of the gods, more shining than other deities by his luster and having Vajra-thunderbolt-in his hand, the destroyer of strong-holds of demons, Satakratu as he observed the fifth religious vow of a Sravaka-layman, known as Sraddhapratima, one hundred times during his previous birth as Kartika Seth Sakra is seated on a cushion, bearing in three of his four hands an elephant-goad, thunderbolt, and a bijora fruit. His scarf and dhoti are elaborately patterned. citra 17. zakrendra. navAba 1nA pAnA 8 uparathI. varNana mATe juo uparanA citra 16nuM varNana. Fig. 17. Sakrendra. SMN. 1, 8. The treatment is essentially the same as that in our figure 16. citra 18 sudhamasabhAnI madhyamAM birAjamAna thayelA kendra, navAba nA pAnA 10 uparathI. saudharmendra IndrasabhAmAM beThe che. te saudharmendra ke che ? je batrIsa lAkha vimAnane adhipati che, je rajarahita AkAza jevAM svaccha vastro dhAraNa kare che, jeNe mALA ane mukuTa yathAsthAne paherelAM che, navIna suvarNanAM manohara Azcaryane karanArAM AjubAju kaMpAyamAna thatAM evAM be kuMDaLe jeNe dhAraNa karyA che, chatrAdi rAjacihano jenI mahAddhine sUcavI rahyAM che, zarIra ane AbhUSaNathI atyaMta dIpato, mahAbaLavALo, moTA yaza tathA mAhAmyavALa, dedIpyamAna zarIravALA, paMcavaNI pupanI banAvelI ane cheka paga sudhI lAMbI mAlAne dhAraNa karanAro. saudharma nAme devalokane viSe saudharmAvalaMsaka nAmanA vimAnamAM, sudharmA nAmanI sabhAmAM zaka nAmanA siMhAsana upara birAjela che. citranI barAbara madhyamAM cAra hAthavALA idra saudharma sabhAmAM beThelA che. iMdranA uparanA jamaNA hAthamAM aMkuza tathA DAbA hAthamAM pAza che. nIcenA jamaNA hAthamAM mALA che ane te hAtha varada mudrAe rAkhelo che tathA DAbo hAtha keIne AjJA karato hoya tevI rIte rAkhela che. A citrakArano Azaya drisabhAmAM thatA batrIzabaddha nATakanI rajuAta karavAnuM hoya ema lAge che ane te mATe citranA baMne hAMsiyAmAM nRtya karatI be be strIo, citranA traNa vibhAge paikI uparanA vibhAgamAM, judAMjudAM vAdyo laIne nRtya karatI 11strIo, Jain Education Intemational

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24 rigregameSit 24 Harinaigamesin 25 zayanamaMdiramAM devAnaMdA 25 The Devananda on her couch ng

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26 garbhApahAra 26 Harinaigamesin removes the embryo from Devananda's womb We 27 garbhasaMkramaNa 27 Harinaigamesin brings the embryo to Queen Trisala 18

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28 devAnaMdAnAM uttama cauda svapna 28 Devananda and the fourteen lucky dreams 29 trizalAnAM uttama cauda svapna 29 Trisala's fourteen lucky dreams 19

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30 trizalAe uttama cauda svapnA joyAM 30 Trisala saw the fourteen lucky dreams 65309 unA ka i 31 uttama cauda svapnA 31 The fourteen lucky dreams 20

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17 As Represented in the Kalpasutra Paintings madhya vibhAgamAM birAjamAna thaelA iMdranI baMne bAjue malIne traNa traNa nRtya karatI strIo ane sauthI nIcenA vibhAgamAM bIjI agiyAra strIo malIne kula 32 strIo judIjudI jAtanAM nRtya karatI cItarelI che. Fig. 18. Sakra on throne, surrouding by heavenly dancers. SMN 2, 10. Sakra the chief of the gods the lord of thirty-two hundred thousand Vimans, who puts on garments as clean as the sky without dust, who has put on garlands and crown in their proper places, whose two cheeks are stroked by charming, embellished swinging earpendants of fine gold, the most prosperous, the most brilliant, the most powerful, the most renowned, the most glorious, the most happy, with a shining body, with a garland of flowers of many colours reaching to his feet; who was in Saudharma Kalpa, in the celestialcar Saudharma Avatamsaka in the audience hall Sudharman, in the simhasana named Sakra. In the centre; Sakra is seated on Bhadrasana. He has four arms, with Ankusha and Vajra as usual. Round behind him in all three panels and on both the margins are represented 32 dancers in different poses. citra 19, devenuM sanya. sinoranA bhaMDAranI "saMgrahaNI sUtranI prata uparathI. kendra sAta jAtanA sainyane adhipatI che.. gaMdhavva naTTa haya gaya, raha bhaDa aNiyANi savva iMdANaM / mANiyANa basahA, mahisANa ahInivAsINaM | 1 gaMdharva-citramAM jamaNA khabhA upara taMbure rAkhIne Ubhe rahela che te. 2 naTTa-citramAM be hAthathI maMjIrA vagADato tathA nRtya karato dekhAya che. 3 ghoDo-citramAM nIcenA bhAgamAM DAbo paga UMco rAkhIne Ubhelo che. 4 hAthI-citramAM uparanA bhAgamAM cAlatA batAvela che. 5 ratha-citramAM ratha tenA hAMkanAra sahita cItarele che. ratha hAMkanAre mogala samayanI pAghaDI paherelI che. rathamAM jaDelA be ghoDAmAM eka sapheda ane bIje vAdaLI raMgano ghoDe che. A citramAM upara varNana karyA pramANe sAta jAtanA sinyamAMthI pAMca jAtanA sainyanuM citra ApeluM che. te sivAya 6 subhaTa ane sAtame vRSabha athavA pADo hoya che. je citra pAnAnI pAchaLanI bAju hovAthI atre ApyAM nathI. Fig. 19 Five armies, out of seven of gods. From a manuscript of 'Sangrahani Sutra' of Sinor collection. Sakrendra is the lord of the seven armies; The painting represent the various anikas that the Indras have. They include Gandharvas (musicians), natas (dancers), the elephant, the horse, chariot ridden by a rider. The rider, musician and dancer wear the typical Mogal costumes of the Shahajahan period. citra 20. zakastava. DahelA. 1nA pAnA 8 uparathI. saudharmendra zaka nAmanA siMhAsana upara beThAM beThAM pitAnA avadhijJAna vaDe zramaNa bhagavAna mahAvIrane, RSabhadatta brAhmaNanI bhAryA devAnaMdA brAhmaNInI kukSimAM garbhapaNe utpanna thaelA joyA. jotAM ja te harSita thaye. harSanA atirekathI. varasAdanI dhArAthI puSpa vikAsa pAme tema tenA romarAji vikasvara thayA. tenAM mukha ane Jain Education Intemational

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18] The Life of Lord Sri Mahavira netra upara prasannatA chavAI rahI. tarata ja zakrendra Adara sahita utsukatAthI potAnA siMhAsana uparathI UThaco, UThIne pAdapIThathI nIce UtaryAM, UtarIne ratnAthI jaDelI baMne pAdukAone pagamAMthI utArI nAkhI. pachI eka vastravALuM uttarAsaMga dhAraNa karIne aMjila vaDe be hAtha joDI tIrtha'karanI sanmukha sAta-ATha pagalAM gA. pachI peAtAnA DAbe DhIMcaNa UbhA rAkhI, jamaNA DhIMcaNane pRthvItaLa upara lagADIne peAtAnuM mastaka traNa vAra pRthvItaLane lagADayu, ane te sAthe pAtAnA zarIrane paNa namAvyuM. kaMkaNu ane berakhAthI staMbhita thaelI peAtAnI bhujAone jarA vALIne UMcI karI, be hAtha joDI, dase nakha bhegA karI, Avarta karI, mastake aMjali joDIne zakrastava vaDe prabhu zrImahAvIranI stuti karI. citramAM indra siMhAsananI nIce pAtAnA DAkhA DhIMcaNuUbhA rAkhIne tathA jamaNeA DhIMcaNu jamInane aDADIne zakrastava khelatA beThelA che. indranA cAra hAtha paikI be hAtha abhayamudrAe rAkhelA che, nIce rAkhelA jamaNA hAthamAM phala che tathA bIjA UMcA karelA DAbA hAthamAM aMkuza che. indranA uttarIya vastramAM suMdara DIjhAIna che. IndranA hAthanI AMgaLIo vagerenI rajUAta citrakAranI kalApravINatAnuM digdarzana karAve che. Fig. 20. DUA. 1, 8. Sakra reveres Mahavara's embryo. Sakra, by the power of his avadhi (all-seeing) knowledge, saw that Mahavira had descended to the earth. He left his throne, took off his bejewelled shoes, arranged his garments, folded his hands in a gesture of worship, andvanced seven or eight steps towards the Tirthankara, bent his left knee and rested upon the right and touched the earth with his head three times. He joined his hands. put them to his head, and then, after addressing all the holy beings, spoke in praise (shakrastava) to Mahavara. At the left Sakra kneels with hands extended in worship, and behind him are four gods standing in worship. Above him is his honorific parasol. citra 21. zakrastava. jaisalameranI pratanA pAnA 9 uparathI. varNana mATe jUe uparanA citra 20nuM A prasaMgane ja lagatuM varNana. citramAM DAbI bAjue indra pAtAnA ane DhIMcaNu pRthvItaLa upara lagADI be hAthanI aMjila joDIne bhaktipUrvaka zakrastava khelatA hoya tema spaSTa dekhAya che. IndranA ane hastanI aMjalimAM uttarAsaMga pakaDeluM che. citramAM jamaNI bAjue zaka nAmanuM siMhAsana suMdara citrAkRtiovALuM cItareluM che. uparanA bhAgamAM suMdara citrAkRtivALA caMdaravA AMdhelA che. A citramAM citrakAre sAnAnI zAhInA ja mukhyatve upayoga karelo che. indranI rajUAta citrakAre bahu ja sarasa rIte karelI che. Fig. 21. JSM. 9. Sakra revers Mahavaras cmbryo. The treatment is essentially same as that in figure 20. citra 22, zakANA, pATaNanA pAnA 8 uparathI. zakrastava kahIne zramaNa bhagavAna mahAvIrane vaMdana ane namaskAra karIne, indra pAtAnA siMhAsana upara pUrva dizA tarapha mukha rAkhIne beThA. tyAra pachI devAnA rAjA zakrendrane vicAra thayA ke tIrthaMkarA, cakravartIe, baladevA ane vAsudeve mAtra zuddha ane ucca kSatriyakuLamAM ja janma laI zake. tethI tuccha, bhikSu ane nIca evA brAhmaNa

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As Represented in the Kalpasutra Paintings [19 kuLamAM mahAvIranA jIvanuM avataravuM yogya nathI, ema vicArI zramaNa bhagavAna mahAvIranA garbhane trizalA kSatriyANInI kakSine viSe mUkavAno nizcaya karyo. temaja trizalA kSatriyANIno putrIrUpe je garbha hato tene devAnaMdA brAhmaNInI kukSimAM mUkavAno vicAra karyo. nizcaya karIne padAti sainyanA adhipati hariNe meSI nAmanA devane bolAvI pitAnI AkhI yojanAnI samajUtI ApatAM kahyuM ke : "he devAnupriya! devanA Indra ane devonA rAjA tarIke mAre e AcAra che ke bhagavAna arihaMtane zudra kuLomAMthI vizuddha kuLamAM saMkramAvavA. mATe che devAnupriya! tuM jA ane zramaNa bhagavAna mahAvIrane devAnaMdA brAhmaNInI kukSimAMthI saMharI, trizalA kSatriyANInI kukSine viSe garbhapaNe saMkamAva ane trizalA kSatriyANIne je garbha che tene devAnaMdA brAhmaNInI kukSimAM garbhapaNe saMkamAva. ATaluM kAma patAvIne jaladI pAcho Ava ane mane nivedana kara." A ghaTanAne lagatI ja ghaTanA kRSNanA saMbaMdhamAM banyAne ulekha bhAgavata, dazamaskaMdha, a. 2, lo. 1 thI 13, tathA a. 3, le. 46 thI 50mAM jovAmAM Ave che, jene TUMka sAra A pramANe che. "asurane upadrava maTADavA devAnI prArthanAthI avatAra levAnuM nakakI karI viSague yogamAyA nAmanI potAnI zaktine belAvI. pachI tene saMbodhI viSaNue kahyuM ke tuM ja ane devakInA garbhamAM mAre zeSa aMza Avela che, tene tyAMthI (saMkarSaNa) haraNa karI vasudevanI bIjI strI rohiNInA garbhamAM dAkhala kara. je pachI baLabhadra-rAmarUpe avatAra leze ane tuM naMdapatnI yazodAne tyAM putrI rUpe avatAra pAmIza. jyAre huM devakInA AThamAM garbharUpe avatAra laI janmIza tyAre tAre paNa yazodAne tyAM janma thaze. samakALe janmelA ApaNuM baMnenuM ekabIjAne tyAM parivartana thaze." citramAM suvarNanA siMhAsana upara cAra hAthavALA kendra beThelo che. kendranA cAra hAthe paikI uparanA jamaNe hAthamAM aMkuza ane DAbA hAthamAM pAza che tathA nIcenA jamaNe hAthamAM talavAra ane DAbA hAthamAM phala che. IndranA mastakanA uparanA bhAgamAM suMdara chatra laTake che. vaLI IndranA mastakanA pAchaLanA bhAgamAM ratnajaDita suvarNanuM suMdara DijhAInovALuM bhAmaMDala che. Indra AkhA zarIre vastrAbhUSaNothI susajijata thaIne beThele che. IndranA uttarAsaMganA be cheDA pavanamAM UDatA dekhAya che ane kamara nIcenA vAdaLI raMganA rezamI uttarIya vastramAM haMsapakSInI suMdara DijhAIna cItarelI che. vaLI siMhAsananA cAre pAyAnI nIce ekeka siMhanI AkRti cItarelI che. IndranI sAme be hAtha joDIne IndranI AjJAnuM zravaNa karato vastrAbhUSaNothI susajijata thaIne hariNAmeSina deva mastaka upara suMdara chatra sahita Ubhelo che. A citranuM ekeeka aMga pramANapata che ane paMdaramA saikAnA gujarAtI citrakArenA citrano suMdara namUno che. IndranA paganI nIcenA bhAgamAM tenA vAhana hAthInI suMdara hAra cItarelI che. Fig. 22. HGP 2, 8, Sakra commands Harinaigamesin. Sakra, reflecting that in all periods Tirthankaras are born only in families of the ruling caste (Ksatriya) and never in those of the priestly caste (Brahmana), decides that he must have the embryo in the Brahmani Davananda's womb exchanged for that in the womb of Ksatriyani Trisala, wife of King Siddhartha of the Kasyapa gotra. He summons Harinaigamesin, commander of his infantry and instructs him to make the exchange, Harinaigamesin signifies obedience. At the left is Sakra seated on his throne. Facing him, at the right, is Harinaigamesin, with his hands in a gesture of obedience. Harinaigamesin is represented in the paintings as a being with a human body or with a human body and the head of an antelope as in this illustration. In our next (fig. 23) illustration the head is that of an antelope with horns. Jain Education Intemational For Private & Personal use only

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20] The Life of Lord Sri Mahavira Naigamesa the short form of the name Harinaigamesin, is the name of a Yaksa known from the time of the Atharva Veda, where he appears as a ramheaded creature-elsewhere with a horse's head. With the name Naigamesa should be connected the name Naigameya, applied to the war god Skanda. So, too, the vehicle of Harinaigamesin is the peacock (Br. fig. 15) which is also that of Skanda. In various ways connections are indicated between Harinaigamesin and Cagamukha, Agnimukha, Sanatakumara (Skanda, Chand. Up. VII. 26. 2), Susena (Ram. IV, 22. 42; VII. 2). Manibhadra, the Buddha Sankusumita, Pradyumna and Pancasikha. Harinaigamesin is a composite figure, the son of a great deity, who becomes the leader of the army of some god or of the gods, and at the same time is associated with the procreation of children and the use of herbs. In our story he functions both as a general and as a deity of procreation. For the literature on Harinaigamesin, see : Winternitz, M., Journ. Roy, Asiatic Soc., pp. 149 ff., 1895; Hopkins, E. W., Epic Mythology, pp. 119, 228 ff., Keith, A. B., Religion and Philosophy of the Veda, p. 242; Mukhopadhyaya, Indian Hist. Quart., vol. 7, pp. 309-318; Epigraphia Indica II. 314 ff.; Barnett, L. D., The antagadadasao p. 67; Smith, V. A., The Jain Stupa of Mathura, plate XVII; Lalou, L'iconographie des etoffes peintes (pata) dans le Manjusrimulakalpa, pp. 66-70; Coomaraswamy, A. K. Yaksas pt. 1, pp. 10, 12; Sh. p. 21. Four very early sculptural representations of Harinaigamesin and a female counterpart, from Kushana times, are reproduced in Sh. pl. XXVI. (The exchange episode in our story recalls the legends of Krishna is infancy,) A red back-ground with part of the sky depicted in ultramarine; Indra is seated on a beautifully worked simhasana, 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 bijora fruit; he wears a mukuta, a light scarf and a blue dhoti worked with the geese pattern, and ornaments. On the right stands Harinaigamesa with folded hands. The picture is very carefully drawn, and the decorative design on the costumes filled in with a similar care. citra 23. zakAjhA. navAba 1nA pAnA 13 uparathI. varNana mATe juo uparanAM citra 22nuM A prasaMgane lagatuM varNana. Fig. 23. SMN. 1, 13. Sakra commands Harinaigamesin. The treatment is essentially the same as that in our figure 22. citra 24 hariNagameSina, sohana. pAnA 11 uparathI. citramAM pariNameSinuM be hAthamAM AkAzamArge garbha laIne jato dekhAya che. tenA paganI nIcenA bhAgamAM pahADanI AkRti tathA baMne bAju suMdara jhADa citrakAre cItarelAM che. tene AkAzamArge cAlatA hovAno batAvavA mATe haMsapakSInI DijhAInavALA tenA uttarAsaMganA baMne cheDAone citramAM UDatA batAvelA che. Fig. 24. Soh. 11. Harinaigamesin carrying the embryo. Harinaigamesin carrying the dain Education Intermational Jain Education Intemational

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As Represented in the Kalpasutra Paintings [21 embryo, went from the part of Kundagrama where the Brahmana dwelt to the part where the Ksatriyas dwelt, to the home of Siddhartha and Trisala. Harinaigamesin is seen flying in the air with the foetus of Devananda. In the foreground is represented a mountain flanked with trees. The flutter of his dupatta expresses his flight in the air. citra 25. zayanamaMdiramAM devAnaMdA, pATaNa rana pAnA 10 uparathI. zrImahAvIra bhagavAna brAhmaNakuMDagrAma nagaramAM, koDAlagotrI RSabhadatta brAhmaNanI patnI jAlaMdhara gotrI devAnaMdA brAdANInI kukSimAM garbharUpe utpana thayA. te samaye madhyarAtri hatI ane uttarAphAgunI nakSatrane candrane coga prApta thayo hato. citramAM zayanagRhamAM bichAvelAM suMdara DijhAInavALA palaMgamAM bichAvelI suMdara zayyAmAM devAnaMdA brAdANI vastrAbhUSaNothI susajita sUtelAM dekhAya che. A citra paMdaramA saikAnA gRhasthanA zayanagRho kevI rIte zaNagArelA rahetA hatA tene sarasa khyAla Ape che. Fig. 25 HGP. 2, 10. The Devananda on her couch. When Mahavira descended from heaven to take the form of an embryo in the womb of the Brahmani Devananda, she was lying on her couch resting fitfully, now sleeping, now waking. Devananda, dressed in a bodice (choli) lower garment with hamsa pattern and scarf, rests upon a beautifully worked couch, on which is a bed with a flowered coverlet. She is half sitting up with support of a bolster, her left leg crossed is over the right. She is richly bejewelled and wears a diadem in her hair. At the bottom is a hamsa panel. Overhead is an elaborate canopy and a hanging lamp. citra 26. garbhApahAra. navAba nI pratanA pAnA 16 uparathI. zakanI AjJA laIne devone viSe pratIta evI, bIjI gatio karatAM manohara, cittanI utsukatAvALI, kAyAnI capaLatAvALI, tIvra, bAkInI gatione jItanArI, pracaMDa pavanathI uchaLatA dhumADAnI gati jevI, zarIranA samagra avayavane kaMpAvanArI, utAvaLI ane dene yogya evI devagati vaDe utAvaLathI doDate doDato te harigameSina deva, tIrachA asaMkhyAtA dvIpasamudranI madhya bhAgamAM thaIne jaMbudvIpanA bharatakSetrane viSe brAhmaNakuMDagrAma nagaramAM RSabhadatta brAhmaNane ghera, jyAM devAnaMdA brAhmaNI zayanagRhamAM sukhapUrvaka sUI rahI che tyAM pahoMcyo. pahoMcIne bhagavaMtanA garbhanAM darzana thatAM ja bhagavAna mahAvIrane namaskAra karyA. devAnaMdAne tathA tenA parivArane avasthApinI nidrA ApI devAnaMdAnA zarIramAMthI azuci pudagale dUra karyA ane zubha pudagalo sthApana karyA. pachI "he bhagavAna! Apa mane anujJA Apo." ema uccAraNa karI prabhu mahAvIrane bilakula harakata na Ave tema sukhapUrvaka pitAnI divyazakti vaDe baMne hAthanI aMjalimAM lIdhA. citramAM zayanagRhamAM devAnaMdA brAhmaNI suMdara palaMga para sUtelAM che ane palaMganI bAjumAM ja hariNaMgameSinuM baMne hAthanI aMjalimAM prabhu mahAvIranA garbhanuM apaharaNa karIne javAnI taiyArI karato hoya tema cItarela che. Fig. 26. SMN. 4, 16. Harinaigamesin remove the embryo from the Devananda's womb. Harinaigamesin miraculously went to the continent of Jambudvipa, to Bharatvarsa (India), to the village of Kundagrama, bowed to Mahavira, cast Devananda and her attendants into a deep sleep, and saying "May the Venerable one permit me" took out the embryo from Devananda's womb. Jain Education Intemational

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The Life of Lord Sri Mahavira Devananda is lying on her bed, with her eyes wide open, although she is supposed to be asleep-in this art eyes are regularly represented open, no matter what the circumstances. At the right Harinaigamesin is seem carrying the embryo in his both hands. Overhead is an elaborate canopy, and above that the top of the house, there are three birds and a streaming banner. Below the bed are two objects: One of which is a sacrificial altar with burning butter-balls and the other a water jar. 22] citra 27. garbhasaMkramaNu. jaisalameranI pratanA pAnA 17 uparathI. pachI kSatriyakuMDagrAmanagaramAM, siddhArtha kSatriyane ghera jyAM trizalA kSatriyANI sUtAM che tyAM AvI, temanA AkhA piravArane avasvApinI nidrA ApI, trizalA mAtAnA zarIramAMthI apavitra puddagalA dUra karI, pavitra pudgaleA sthApI, prabhune bilakula harakata na Ave tevI rIte sukhapUrvaka, pAtAnA divya prabhAva vaDe trizalA kSatriyANInI kukSimAM saMkramAvyA. citramAM trizalA kSatriyANI ratnajaDita palaMga upara jAgRta avasthAmAM sUtelAM che ane temanA paga agADI be hAthamAM bhagavAna mahAvIranA garbhane pakaDI rAkhIne NegameSan UbheA che. A citramAM zayanagRhanI sajAvaTa khAsa jovA lAyaka che. Fig. 27. JSM. 17. Harinaigamesin brings the embryo to Queen TriSala. Bringing the embryo of Mahavira to the home of King Siddhartha and Queen Trisala, Harinaigamesin cast the queen and her retinue into a deep sleep, and then placed the embryo that had been in the womb of Devananda into the womb of Trisala. citra 28. devAnaMdAne AvelAM uttama cauda svapnA. haMsavi. 1, pAnAM 2 uparathI. varNana mATe jUe citra 13nuM A prasaMgane ja lagatuM varNana. Fig. 28. HVB. 1, 2. Devananda and the fourteen lucky dreams, The treatment is essentially similar to that of our figure 13. citra 29. trizalAnA cauda svapta. jesalameranI pratanA pAnA 20 uparathI, citranI paheALAi ane laMbAi 343 iMca che. je samaye trizalA kSatriyANinI kukSimAM prabhu mahAvIranA garbhanuM saMkramaNa thayuM te samaye-madhyarAtrie te pAtAnI avarNanIya zayyAmAM alpanidrA karatI hatI, eTalAmAM te mahApuruSanA avataraNane sUcavanArAM cauda mahAsvapro joi jAgI uThI. e cauda mahAsvapro A pramANe hatAM :- (1) hAthI, (2) vRSabha, (3) siMha, (4) lakSmI, (5) phUlanI mALA, (6) pUrNacaMdra, (7) UgatA sUrya (8) vA, (9) pUrNakuMbha, (10) padma sarovara, (11) kSIra samudra, (12) devavamAna, (13) ratnanA DhagalA, ane (14) dhUmADA vagaranA agni. citramAM devAnaMdAe cALI, suMdara citrAkRtivALuM uttarIya vasra-sADI, uttarAsaMga vagere vasrA, kAnamAM kuMDala, kaMThA tathA meAtInI mALA vagere AbhUSaNA paridhAna karelAM che. temanI zayyAmAM sugaMdhIdAra phUlo bichAvelAM che, teNI takIAne aDhelIne-TekA daIne ardha jAgRta ane ardha nidrAvasthAmAM sUtelI dekhAya che. teNIe DAkhA paga jamaNA paganA DhIMcaNu upara rAkhelA che. teNInA mAthAmAM AbhUSaNa che, ane mAthAnI veNI chUTI che ane tenA cheDA TheTha palaMganI nIce laTakatA dekhAya che. palaMganI nIce pAdapITha, pANInI jhArI vagere vastuo mUkelI che.

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As Represented in the Kalpasutra Paintings [23 citrakAre citranA traNa bhAga pADelA che. tenA sauthI uparanA bhAgamAM hAthI, vRSabha, siMha tathA lamI vagere cAra svapna, madhyabhAgamAM pUrNakuMbha, devavimAna, padma sarovara, kSIra samudra, nirdhama agni tathA dhajA vagere che svapna ane nIcenA bhAgamAM palaMgamAM sUtelA trizalA mAtA ane pUrNacaMdra, Ugato sUrya ane phUlanI mALA vagere cAra svapno maLIne kula cauda svapno A citramAM rajU karelAM che. citramAM raMgonI sapramANa vaheMcaNI tathA prasaMganI rajU karavAnI citrakAranI siddhahastatA jagatanA koI paNa kalApremIne tenI kaLA pratye mAna upajAve tema che. Fig. 29 : Trisala and the fourteen lucky dreams. JSM. Fol. 20. Size 3" x 3". On the night when the embryo was transferred, the Ksatriyani Trisala was sleeping fitfully in her beautifully ornamented room, lying upon a highly decorated couch, and at the time she saw the fourteen lucky dreams, namely (1) an elephant (2) a bull (3) a lion (4) the anointing of the goddess Sri (5) a garland (6) the moon (7) the sun (8) a banner (9) a full jar (10) a lotus lake (11) an ocean (12) a celestial mansion (13) a heap of jewels (14) and a brilliant smokeless fire. At the bottom of the scene lies Trisala on a couch dressed in bodice (coli), lower garment (sari) and scarf (dupatta), rests upon a bed with flowers coverlet (caddar), half sitting up with the supprot of a bloster; left leg crossed over the right. She is fully ornamented and wears a diadem on her hair. Beneath it are four objects. The one at the left is an incense-burner, another is a foot-stool (padapitha), third is a water-jar and the fourth is a basket, Above Trisala, the fourteen dreams appear in three rows, reading from top to bottom and from left to right not in the order of the KS text. Although the text specifically states the fourth dream is the anointing (abhiseya) of Sri, the elephants that usually appear in the composition sprinkling her with water not represented and the omission is common in the KS Illustrations. citra 30 trizalAe uttama cauda svano joyAM. navAba. 1, pAnAM 20 uparathI. varNana mATe jUo citra 29nuM A prasaMgane ja lagatuM varNana. Fig. 30 : SMN. 1, 20 Trisala saw the fourteen lucky dreams. The treatment is essentially similar to our figure 29. citra 31. uttama cauda svapno. kAMtIvi. 1, pAnAM 16 uparathI. varNana mATe jUo citra 29nuM A prasaMgane ja lagatuM varNana. A citramAM citrakAre trizalAne bAkAta rAkhIne ekalA cauda svapnanI rajUAta karelI che. Fig. 31. KVB. 1, 16. The fourteen lucky dreams. The treatment is essentially similar to our figure 29. In this painting artist has represented only fourteen dreams and omitted Trisala. - citra 32. hAthI. devasA. nI prata uparathI. trizalA kSatriyANIe sauthI pahelAM svapnamAM hAthI joyo. e hAthI bhAre mAMjavALa, cAra dAMtavALa, U, gaLI gaelA bhAre meghanI samAna dhaLI, tathA bhege karele metIne hAra, dudhane dariyo, caMdranAM kiraNe, pANInAM biMduo, rUpAno moTo pahADa, e badhA padArtho jevo dhoLo hato.

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24) The Life of Lord Sri Mahavira e hAthInA gaMDasthaLamAMthI sugaMdhI mada jharyA kare che ane sugaMdhathI kheMcAelA bhamarAo tyAM TeLe maLyA che. evuM enA kapALanuM mULa che. vaLI, e hAthI denA rAjAnA hAthI-arAvaraNa hAthI-nA jevuM che, tathA pANIthI paripUrNa rIte bharelA vipula meghanI je gaMbhIra ane manahara e e hAthIne gulagulATa che tathA e hAthI zubha che, tamAma jAtanAM zubha lakSaNethI aMkita che tathA e hAthInA sAthaLa uttama che evA hAthIne trizalAdevI svamamAM jUe che. citramAM hAthIne be dAMta che. vaLI, tenA upara teno mAvata beThelo che. mAvatanI pAchaLa aMbADI che. aMbADInI pAchaLa eka cAmara dharanAra paricAraka cAmara vIMjhato beThelo che. citranI uparanA bhAgamAM baMne bAju vAtAyanenI madhyamAM pUrNakalaza cItarelo che. Fig. 32. DVS. The elephant. The first of Trisala's fourteen dreems was an elephant. Large and beautiful possessing all the lucky marks, white, four tusks, its forehead streaming with ichor, an animal equal to Indra's elephant. On a blue background is the elephant. It is fully caparisoned, like a state elephant. An elephant driver is seated on it and behind him is a fly-whisk bearer. Of the four tusks mentioned in the text, two are represented. The top part of the painting has three peaks. A full vase filled with the water is in the middle peak. citra 33 vRSabha. devasA.nI prata uparathI. tyAra pachI vaLI, dhoLA kamaLanI pAMkhaDIonA DhagalAthI paNa vadhAre rUpanI prabhAvALA, kAMtinA aMbAranA phelAvAne lIdhe sarva bAjuone dIpAvatA, jenI kAMdha jANe ke atizaya zobhAne lIdhe halavala na thatI hoya evI kAMtivALI zobhatI ane manahara kAMdhavALA tathA jenI ruMvATI ghaNI pAtaLI cakakhI ane suMvALI che ane evI ruMvATIne lIdhe jenI kAMti cakacakita thAya che evA, jenuM aMga sthira che, barAbara baMdhAela che, mAMsathI bharela che, tagaDuM che, laTTu che ane barAbara vibhAgavAra ghaDAyela che evA suMdara aMgavALA, jenAM ziMgaDAM barAbara pUrAM goLa, la, bIjAM karatAM vizeSatAvALAM, utkRSTa, aNIdAra ane nIce copaDelAM che evA uttama ziMgaDAvALA tathA dekhAvamAM gabharu ane eka sarakhA zobhatA ane dheALA che evA suMdara dAMtavALA, vaLI, na gaNI zakAya eTalA guNavALA ane maMgalamaya mukhavALA evA vRSabha-baLada-ne trizalA devI bIjA svamamAM jUe che. citramAM suMdara laTTu ane puSTa baLada mastImAM deDato hoya evI rIte cItarelo che. baLadanI uparanA bhAgamAM baMne bAju vAtAyane, tathA vAtAyanI madhyamAM pUrNakalaza cItarele che. Fig. 33. DVS. The bull. The second dream was of a white bull. The bull shedding a flood of radiance like a bunch of white lotus flowers, shining and darting out rays on every side. A very fine ornamental attractive hump adorns his shoulders, with his skin clear; hair sleek, form graceful, and body in healthy condition, and on the whole beautiful to look at his horns circular, smooth and elevated; his teeth harmless and clean. Such was the assemblage of excellent qualities the bull possessed. In the painting, the artist has represented a mighty beautiful bull on the blue backgronnd. The upper part of the picture, showing the entablature of the house, is beautifully ornamented with a full vase in the middle. Jain Education Intemational

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[25 As Represented in the Kalpasutra Paintings citra 34. devasA. nI prata uparathI. kesarIsiMha. pachI vaLI, motInA hArane Dhagalo, dUdhane dariye, caMdranAM kiraNa, pANInA biMduo ane rUpAne moTe pahADa e badhAnI samAna garA, ramaNIya, dekhAvaDA jenA pAMca eTale paMjA sthira ane laThuMmajabUta che, jenI dADhA geLa, khuba puSTa, vacce pilANa vagaranI, bIjA karatAM caDIAtI ane aNIvALI che, evI dADhe vaDe jenuM mukha hAmaNuM dekhAya che evA, tathA jenA baMne hoTha cekakhAIvALA, uttama kamaLa jevA komaLa, barAbara mApasara, bhAyamAna ane laTTu che evA, rAtA kamaLanI pAMkhaDI jevA kamaLa suMvALA tALavAvALA ane jenI uttama jIbha bahAra lapalapAyamAna-laTakatI che, evA, jenI baMne AMkho senAnI mUsamAM paDelA tapAvelA uttama senAnI peThe halakala kare che, barAbara geLa che tathA cekakhI vIjaLInI peThe jhagArA mAryA kare che evI uttama AMkhavALA, vizALa ane khuba puSTa uttama sAthIvALA, barAbara pUrNapaNe bharAvadAra evA jenAM cokakhA kAMdha che evAM, tathA jenI yALa-kesarAvaLI-kamaLa, peLI, pAtaLI, suMdara lakSaNavALI ane phelAelI evI yALanA ADaMbarathI je zobhita che evA, jenuM pUchaDuM UMcuM, pachADIne UMcuM kareluM hovAthI goLAkAre vaLeluM ane suMdara che evA saumya, saumya dekhAvadAra, gela karatA, AkAzamAMthI UtaratA ane potAnA moMmAM pesatA tathA nahora jenA aNIvALA che evA tathA jANe ke mukhanI zobhAe pitAno pAlava na phelAvela hoya evI suMdara laTakatI jIbhavALA siMhane te trizalArANI trIjA svapramAM jUe che. citramAM siMhane badale citrakAre siMhane sUDha sahita cItarIne kesarIsiMhanI rajUAta karelI che. svapnanA varNana pramANe ja siMhanuM pUchaDuM vaLeluM tathA siMhanI jIbha lapalapAyamAna karatI batAvelI che. ahIM paNa uparanA bhAgamAM vAtAyano rajU karelAM che. Fig. 34. DVS. The lion. The third dream was a lion of a dazzling white colour, like a bunch of pearls, or the ocean of milk, representing lunar radiance, the drops of dew, whiter than the great mountain Vaitadhya pleasing and delightful to the sight, strong, muscular, and fat, with his members all properly rounded in the most elegant way, having a sharp well-formed jaw, a mouth beautiful as the periphery of a lotus. a fine muscular lip, with a palate like the red water lily, and the tip of his tongue hanging out of his mouth like fine gold being poured out of a crucible, while his bright eyes seemed like a ball of lightning. His chest was broad and his large well-made shoulders were adorned with a soft, bright, sleek, long-haired mane, while his tail was raised aloft with a circle in the centre, bounding like a ball, and possessing the good qualities as well as form of the moon. He seemed descending from heaven with open mouth, as if he was coming directly down upon us; lion with sharp strong claws, yet pleasing to the sight, and with a tongue hanging out of his mouth, beautiful as the petal of a lotus. In the painting, the artist has represented a lion with a tongue protruding from his mouth on the blue background. The lion's tail is also flapping as mentioned in the text. The upper part of the picture, showing the entablature of the house is beautifully ornamented with a swan in the centre. - citra 35. lakSamIdevI. pATaNa 1, 21. tyArapachI vaLI, te pUrNacaMdramukhI trizalA devI cothe svane lahamIdevIne jUe che. e lakSamIdevI UMcA pahADa upara ugelA uttama kamaLanA Asana para barAbara beThelI che, suMdara rUpavALI che, enA baMne paganA phaNuM barAbara goThavAyelA senAnA kAcabA jevA uMcA che. ati uMcA ane puSTa evAM aMgUThA tathA AMgaLIomAM enA nakha jANe raMgelA na hoya evA lAla, mAMsathI bharelA uMcA pAtaLA, tAMbA samAna rAtA ane kAMtithI camakadAra che. kamaLanI pAMdaDIo jevI suMvALI enA hAtha ane paganI Jain Education Intemational For Private & Personal use only

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26) The Life of Lord Sri Mahavira kamaLa ane uttama AMgaLIo che. enI ane jAMgho caDaUtara pramANe mothanA vaLAMkanI peThe goLa vaLAMkavALI che, zarIra puSTa hovAthI enA banne hAthe ghuMTaNa bahAra dekhAtA nathI, enA sAthaLa uttama hAthInI sUMDha jevA puSTa che tathA eNe keDa upara senAne kaMdare paherela che evI, eNInI keDa kAMtivALI ane vizALa gherAvAvALI che. jeNInA zarIra uparanAM rUMvATAM uttama AMjaNa, bhamarAnuM ToLuM, meghanuM jUtha, e badhAM jevAM zyAma tathA sIdhAM, barAbara sarakhAM, AMtarA vinA lagolaga ugelAM, atizaya pAtaLAM, suMdara manohara sUvALAmAM sUvALA narama ane ramaNIya che, nAbhimaMDaLane lIdhe jeNInAM jaghana suMdara vizALa ane sarasa lakSaNavALAM che evI, hatheLImAM mAI jAya tevA pAtaLe aMdara trivalIvALo jeNInAM zarIrano madhyabhAga che evI, aMge aMge vividha maNinAM, ratananAM, pILA sonAnAM, cokakhA lAla senAnA jeNIe AbharaNa ane bhUSaNo sajelAM che evI, jeNInA stanayugala jhaLahaLatA che, nirmaLa kaLazanI samAna goLa ane kaThaNa che, motInA hArathI tathA kuMda-magarA vagerenAM phUlanI mALAthI sajelAM che evI vacce vacce jyAM zebhe tyAM pannAnAM naMgo jaDelAM hoIne zebhAyamAna banelA tathA AMkhane game tevI rIte metInAM jhumakhAM laTakatAM hoIne vizeSa camaktA evA metInA hArathI suzobhita evI, chAtI upara paherelI gInInI mALAthI virAjita evI, tathA gaLAmAM paherelAM maNisUtrathI sohAmaNI evI, te lakSamIdevIe khabhA sudhI laTakatAM camakatAM be kaMDalane paherelAM che tethI vadhAre sohAmaNuM tathA sarasa kAMtivALA banelA ane jANe ke mukhane kuTuMbI-sage-ja na hoya evI rIte mukha sAthe ekAkAra thayelA evA zebhAguNanA samudAya vaDe te zebhItI lAge che, tenAM lecana kamaLa jevAM nirmaLa vizALa ane ramaNIya che evI, kAMtine lIdhe jhagArA mAratA bane hAthamAM kamaLa rAkhelAM che ane kamaLAmAMthI makaraMdanAM pANInAM TIpAM TapakyAM kare che evI, garamI lAge che mATe nahIM paNa mAtra mejane khAtara vIMjAtA paMkhAvaDe zebhatI evI, ekadama chUTA chUTA gUMca vinAnA, kALA, ghaTTa, jhINu-suMvALA ane lAMbA vALa vALo ene kezakalApa che evI, padmadrahanA kamaLa upara nivAsa karatI ane himavaMta parvatanA zikhara Upara diggajonI vizALa ane puSTa sUMDhamAMthI nIkaLatA pANI vaDe jeNIno abhiSeka thayA kare che evI bhagavatI lakSamIdevIne trizalA rANI cothe svame jue che. citranI madhyamAM cAra hAthavALAM lakSmIdevI beThelAM che. temanA cAra hAtha paikI uparanA jamaNA tathA DAbA hAthamAM kamaLanA phUla upara ekeka hAthI Ubhelo che. nIcenA jamaNA hAthamAM varadamudrAe mALA pakaDelI ane DAbA hAthamAM varadamudrAe phala pakaDeluM che. teo suvarNanA bAjoTha upara beThelAM che. mAthe mugaTa, kAne kuMDala, hAthe ratnajaDita cUDIo, kapALamAM suMdara tilaka tathA pAchaLa aMboDAnA vALa paNa baMne bAju bAMdhelA dekhAya che. mastakanA uparanA bhAgamAM tathA vimAnane pharatI suMdara kamala phUlonI DijhAInavALI kamAna che ane kamAnanI uparanA bhAgamAM baMne bAjue ekeka mera mukhamAM ratnanI mALA laIne beThelA che. Fig. 35. HGP, 1. 21. The goddess Sri. The fourth of the fourteen lucky dreams is represented alone. The goddess is seated in a spired seat of honour, looking straight forward. She is four-armed, and in the upper hands carries the two lotuses with elephants mentioned in the KS text. She is dressed in a bodice, lower garment, and scarf, wears full ornaments, and on her forehead carries the usual spot (tilaka). Peacocks are shown in the upper corners. citra 36. devasA.nI prata uparathI. phUlanI mALA. vaLI, pAMcamA svamamAM trizalA AkAzamAMthI nIce paDatI mALAne jUe che. maMdAranAM tAjAM phUlo guMthelAM hoIne e mALA suMdara lAge che. emAM cepa, AsopAlava, punAga, nAgakesara, priyaMgu, sarasaDa, mogaro, mahilakA, jAI, jUI, aMkala, kU, karaMTakapatra, mara-Damare, navamAlikA, bakula, tilaka, vAsaMtIvela, sUryavikAsI kamaLo, caMdravikAsI kamaLo, pATala, kuMda, atimuktaka, sahakAra-AMbo e badhAM vRkSo ane Jain Education Intemational

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As Represented in the Kalpasutra Paintings [27 keTalIka velaDI-latAo tathA keTalAka gucchAonAM phale guMthIne e mALA banelI hovAthI ghaNI ja sugaMdhavALI che tathA e mALAnI anopama manahara sugaMdhane lIdhe daze dizAo maheka maheka thaI rahI che. vaLI, e mALAmAM tamAma RtumAM khilatAM phalenI mALAo maLelI che, mALAno mukhya varNa dhaLe che chatAM temAM bIjAM raMgaberaMgI phalo bhaLelAM hovAthI te vividharaMgI zobhAyamAna ane manahara dIse che tathA emAM vividha bhAta paDe e rIte phUle goThavelAM che. ethI e acaraja pamADe evI lAge che. vaLI, e mALAmAM Upara nIce AgaLa pAchaLa ema badhI bAjumAM gaNagaNATa karatAM pada, madhamAkhIo ane bhamarAonAM ToLAM maLelAM che ethI e mALAnA tamAma bhAgo gujatA jaNAya che evI e mALI AkAzamAMthI nIce AvatI dekhAya che. citranI madhyamAM be suMdara mALAo vividharaMgI phUlothI guMthelI dekhAya che. uparanA bhAgamAM vAtAyane che. vaLI, eka vAtAyananI madhyamAM haMsapakSI beThela che. Fsg. 36. DVS. The garland of flowers : The fifth dream was a vision of a garland of flowers altogether delightful, and worthy a place in the heaven of delights. It was composed of the flowers : "Champaka, ashoka, punnaga, nagakesara, priyangu, sarisava, mogaro, mallika, jai-jui, ankola, navamalika and bakula", intermingled with amaranth leaves, and sandle-wood, besides jasmine and rare varieties; sesame flowers, and other flowers of pspring, with red, blue and white water lilies with beautiful sweet smelling mango blossoms producing altogether an unequalled, delightful, sweet-smelling garland of flowers, imparting pleasure to the inhabitants of the world, shining and waving, and pleasing the eye and of every variety of colour, while a swarm of six footed (satpada) honey-bees were seen buzzling and flying around it as it descended from heaven. In the painting, artist has represented the pair of garlands hanging down. The part of the picture, showing the entablature of house, is beautifully ornamented with a swan in the centre. citra 37. caMdramA. pATaNa 1, 23. have huM svapna mAtA caMdrane jue che. e caMdra gAyanuM dUdha, pANInAM phINa, pANInAM biMduo ane rUpAno ghaDo e badhAnI je varNa-raMge dhoLe che, zubha che, hadaya ane nayana e banene game eve che, barAbara saMpUrNa-pUrepUro che, gADhAM ane gherAM aMdhArAMvALAM sthaLAne aMdhArAM vagaranAM banAvanAra e e caMdra che tathA pakSa pUro thatAM eTale zukalapakSa pUro thatAM chelle divase jenI AnaMda ApanArI tamAma kaLAo pUrepUrI rIte khilI nIkaLe che evo, kumudanAM vanane khilavanAra, rAtrine zobhAvanAra cakakhA karelA darpaNanA kAca jevo camakato, haMsa samAna dhoLA varNavALe, tArA ane nakSatromAM pradhAna, tathA temane zobhAvanArA, aMdhArAno zatru, kAmadevanA bANone bharavAnA bhAthA samAna, dariyAnA pANIne UchALanAre, damaNI ane pati vagaranI virahIstrIone caMdra potAnA kirAvaDe sUkavI nAkhe che evo, vaLI, e caMdra saumya ane suMdara rupavALe che, vaLI vizALa gaganamaMDaLamAM saumya rIte pharato te, jANe gaganamaMDaLanuM hAlatuM cAlatuM tilaka na hoya e, rohiNInA manane sukhakara evo e rohiNIne bharathAra che evA, sArI rIte ulasatA e pUrNacaMdrane trizalAdevI cha svamamAM jUe che. citramAM caMdradeva pitAnA jamaNuM hAthamAM amRtane kalaza ane DAbA hAthamAM sAta pAMkhaDIvALA DAMDI sahita kamalakatane pakaDIne beThelAM che. caMdradevanA zarIrane varNa sapheda che. mastake mugaTa, kAnamAM kuMDala, vALanA. abaDAmAM AbhUSaNa, hAthe kaDAM tathA bAjubaMdha vagere AbhUSaNa ane kammaranI uparanA khUllA badana para baMne cheDethI uDatA uttarasaMga tathA kamara nIce uttarIya vastra sahita bhadrAsananI beThake lIlA raMgathI taiyAra karelI Jain Education Intemational

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28 J The Life of Lord Sri Mahavira DijhAInavALA kiMmatI gAlIcA upara candradeva besIne uDatA dekhAya che. citranI uparanA baMne khUNAmAM ekeka siMhanI AkRti dorelI che, je citaravAnA citrakArane Azaya candradevanuM vimAna batAvavAnA hAya ema lAge che, kalpasUtranI kAIpaNu hasta pratamAM chaThThA svapta tarIke pUrNacandranuM A jAtanuM svarUpa cItareluM mArA jovAmAM AvyuM nathI. A citra ApaNane caudamA saikAnA aMtabhAganI candradevanI mUrtinA mUrtividhAnanA namUne pUro pADe che. Fig. 37. HGP. 1, 23. The moon. The sixth dream was the full moon. The moon god is seated on a round cushion and faces to the left. He is holding the purnakalasha in the right hand and a lotus flower in the left; he wears a mukuta, a yellow criss-crossed dupatta and a rose coloured dhoti. This is an unique figure of Moon-God. citra 38. sUrya. pATaNa 1, 24. tyArapachI vaLI, aMdhArA paDaLAne phADI nAkhanAra, tejathI jhaLahaLatA, rAtA AsApAlava, khilelAM kesuDAM, pApaTanI cAMca, caNeADIneA aDadhA lAlabhAga e badhAnAM raMga jevA lAlacALa, kamaLanAM vanAne khilavanAra, vaLI, jyeAtiSacakra Upara pharanArI hAvAthI tenA lakSaNane jaNAvanAra, AkAzataLamAM dIvA jevA, himanAM paDaLAne gaLe pakaDanAra, eTale gALI nAkhanAra, grahamaMDaLanA mukhya nAyaka, rAtrine nAza karanAra, UgatAM ane AthamatAM ghaDIbhara kharAkhara sArI rIte joi zakAya evA, khIje vakhate jenI sAme joi ja na zakAya evA rupavALA, tathA rAtrimAM jhapATAbaMdha doDatA cAra jAra vagerene aTakAvanAra, ThaMDInA vegane haDAvI nAkhanAra, merU parvatanI AsapAsa nira'tara pherA pharanAra, vizALa ane camakatA caMdra tArA vagerenI zeAbhAne peAtAnAM kiraNAvaDe dAbI denAra evA sUryane mAtA sAtamA svamamAM jUe che. citramAM sUryanArAyaNa be paiDAvALAM baMne bAju ekeka gheADA joDelA ane te baMne gheADAne hAMkatAM ekeka aruNu sArathi sahitanA ratha para birAjamAna thaelA che. sUryanArAyaNe baMne hAthe prakAzanAM kiraNA pakaDelAM che. citranI pRSThabhUmi siMdUriyA lAlaraganI che. sUryanuM A jAtanuM citra AjasudhI maLI AvelI bIjI kAipaNa kalpasUtranI hastapratamAM mArA jovAmAM AvyuM nathI, te A citranI khAsa viziSTatA che. vaLI, A citra paMdaramA saikAnI zarUAtanA samayanI sUryanArAyaNanI mUrtinI AkRtinA eka namUnA che. sArathIonI hAMkavAnI rIta ane gheADAonA DhoDavAnA vega paNa citrakAranI peAtAnA viSaya uparanI rajUAta karavAnI pUrNa zakita sAaita kare che. Fig. 38, HGP. 1, 24. The Sun. The seventh dream was the red sun. In our painting the sun is anthropomorphic, seated on his chariot with legs crossed and dangling down in front. His roundness is indicated by a circle behind his head. He is riding in the two horses chariot, driven by his charioteer Aruna (Dawn.) citra 39. dhvajA (dhajA). devasA.nI prata uparathI. tyArapachI vaLI, AThamA svapnamAM uttama sAnAnA krU'DanI Toca upara barAbara besADelA, bhegAM maLelAM nIlAM rAtAM pILAM ane dheALAM tathA suMvALAM, vaLI pavanane lIdhe laherakhIo letAM jene mAthe mArapIMchAM vALanI jema zeAlI rahyAM che evA dhvajane mAtA AThame svapne jUe che, e dhvaja adhika ze|bhAvALA che, je dhvajane mathALe-uparanA bhAgamAM sphaTika athavA tADelA zaMkha, zaMkara, megarA, pANInAM biMdue ane rUpAnA kaLaza e badhAMnI jevA dheALA raMganA zeAbhA siMha zeAlI rahela che jANe ke e siMha gaganataLane phADI nAkhavAne phALa bharatA na heAya evA dekhAya che evA e dhvaja che tathA e dhvaja, sukhakArI maMdamaMda pavanane lIdhe pharapharI rahela che, ghaNA mATA che ane mANasAne bhAre dekhAvA lAge che, citramAM dhvajamAM siha cItarelA nathI. vaLI, uparanA bhAgamAM eka pUrNakalaza cItarelA che.

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Jain Education Intemational arwei AAN INNNNA TADZANASTAS ZALAM KGRONOROTONONTON SIR INZAIDSERCARGELIDIRGISDRIDGIDORAIRA 313013 ICESORIES For Private & Personal use only 32 29W 4 sech (ciell) 32 The elephant 33 2014 2 9444 (U15) 33 The bull

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SANTANE WURFICHEGOISCINE pennnv 192ION CAG 60 34 svapna 3 kesarIsiMha 34 The lion wwwww SAVI EIL 26 CET PORTOSPODIOSscasa wwwwww. 36 svapna 5 phulanI mALA :36 The garland of flowers 22

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3pa svapna 4 zrIlakSamIdevI 35 The goddess Sri 37 svapna 6 caMdra 37 The moon

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38 svapna 7 sUrya 38 The sun 39 svapna 8 dhvaja (dhajA) 39 The banner 24

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As Represented in the Kalpasutra Paintings [29 Fig. 39, DVS. The banner., The eighth dream was of a standard, with its golden staff firmly fixed, its flag, consisting of profusion of blue, red, yellow, and white cloth, raised and spread out to the wind, while the extremity was adorned with a bunch of peacock's feathers. It was brilliant as crystal, a conch, the flowers of jasmine, the drops of dew, or a silver jar. Its head was like a lion's head exceedingly splendid, while it pierced the sky with its extremity. It was lucky to behold, and had its soft flag moved backward and forward by a gentle wind, and, though vast in size, yet of a form attractive to the beholder. In the painting, the artist has represented a large banner. The upper of the picture above the banner, is a beautiful arch (torana) and at the bottom, there is a panel of four swans. citra 40 pUrNakalaza. pATaNa 1, 25. tyArapachI vaLI, uttama kaMcananI jevA UjaLA rUpavALo, cokakhA pANIthI bharelo, Uttama jhagArA mAratI kAMtivALA, kamaLAnA jaththAthI cAre bAju zobhato evo rUpAne kalaza mAtAne navame svapna dekhAya che, tamAma prakAranA maMgalanA bheda e kalazamAM bhegA thaelA che evo e sarvamaMgalamaya che, Uttama ratnone jaDIne banAvelA kamaLa upara e kalaza zobhI rahela che, jene jotAM ja AMkha khuza khuza thaI jAya che e e rUpALo che. vaLI, e potAnI prajAne cAre kora phelAvI rahyo che, tamAma dizAone badhI bAjuthI UjaLI karI rahyo che, prazasta evI lakSmInuM e ghara che, tamAma prakAranAM dUSaNo vinAno che, zubha che, camakilo che, zobhA vaDe Uttama che, tathA tamAma RtunAM phUlanI mALAo e kalazanA kAMThA upara mUkelI che evA rUpAnA pUrNakalazane e mAtA jUe che. citramAM suvarNakalazane gaLAmAM ratnajaDita kaMThe tathA hAra paherAvelo che. baMne bAjunA cheDA upara uDatuM raMgIna rezamI kapaDuM paNa citranI zobhAmAM vRddhi karI rahyuM che. uparanA bhAgamAM jJAna ane darzananI ghAtaka be AMkho cItarelI che ane TheTha uparanA bhAgamAM kaHpavRkSanA pAMdaDAvALI DALIonI baMne bAju uparanA bhAgamAM ekeka popaTa paNa cItarela che. citrakAranI citranirUpaNa zaili kalAtmaka che. Fig. 40, A Vase. HGP. 1, 25 The ninth dream was a full vase shining like burnished gold, full of the purest and best water, brilliant and ornamental, and placed upon a lotus made of pearls, pleasant to see and shedding a brilliant lustre spreading on all sides; a habitation of Laksmi herself, free from any defect, auspicious and resplendent, symbolic prosperity, with the beautiful and sweetsmelling flowers of all seasons arranged like a necklace; altogether, a perfect and brilliant flowerpot. In the painting, artist has represented a beautiful vase, set in its own nice fran.e. A parrot is seated on both the sides of frame. citra 41. padma sarevara. devasA.nI prata uparathI. tyArapachI vaLI, padma sarovara nAmanA sarovarane mAtA trizalA dasamA svamamAM jUe che. e sarovara UgatA sUryanAM kiraNothI khilelAM hajAra pAMkhaDIvALAM-sahaadalamoTAM kamaLone lIdhe sugaMdhita banela che, emAM kamaLAnAM rajakaNo paDelAM hovAthI enuM pANI piMjarA raMganuM eTale pILuM tathA rAtuM dekhAya che, e sarevaramAM cAre ke ghaNA badhA jIvo pharI rahyA che, mAchalAM e sarevaranuM aDhaLaka pANI pIdhA kare che, vaLI, ghaNuM lAMbuM, pahoLuM ane ane UMDuM e sarovara sUryavikAsI kamaLo, caMdravikAsI kuvalaya, rAtAM kamaLe, moTAM kamaLo, UjaLAM kamaLe, evA aneka prakAranAM kamaLAnI vistAravALI, Jain Education Intemational

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30] The Life of Lord Sri Mahavira phelAtI vividharaMgI zAmA ene lIdhe jANe ke agAza mAratuM hoya evuM dekhAya che, sarovaranI zobhA ane rUpa bhAre maneAhara che, cittamAM prameAda pAmelA bhamarAo, mAtelI-matta-madhamAkhIe e badhAnAM ToLAM kamaLA Upara besI temane rasa cUsI rahyAM che evA e sarovaramAM mIThA avAja karanArA haMsA, bagalA, cakavA, rAjahaMsA, sArasA garvathI masta banIne tenA pANInA upayoga kare che tathA vividha prakAranAM pakSIonAM naramAdAnAM joDakAM e sAvaranAM pANInA hAMze hoMze upayAga kare che evuM e sarovara kalinInAM pAMdaDAM upara bAjhelAM motI jevAM dekhAtAM pANInAM TIpAM vaDe citrAvALuM dekhAya che. vaLI, e sAvara jonAranAM hRdayAne zAMti pamADe evuM che evA aneka kamaLAthI ramaNIya dekhAtA e sAvarane mAtA dasame svapne dekhe che. citranI madhyamAM pANInI aMdara suMdara kamalA, tathA tamatA kalahaMso dekhADhelA che. sarAvanI cAre bAju cAra daravAjA che. dareka daravAje ekeka pakSInI rajUAta citrakAre karelI che. vaLI, sarAvaranI upara ane nIce, tathA cAre khUNuAmAM suMdara vRkSa tathA uDatAM pakSIonI rajUAta paNa suMdara rIte karelI che. AkhA citramAM phAi paNa jagyA jaLacara pakSIo, vRkSeA tathA kamaLaphUle ane pANInA dekhAva vagara khAlI rAkhI nathI. A citranuM saMcAjana paNa utkRSTa kArtinuM che. Fig. 41. DVS. The lotus lake. After that, the mother Trisal saw the lotus lake in the tenth dream. The lake radiates with the beams of the rising sun, tinging its waters with an orange hue, effected by innumerable thousand-leaved water lilies. The lake is filled up with aquatic animals, and exhibiting shoals of happy fishes, sporting and shining as if the water was on fire There are lotus flowers of the solar and the lunar radiance, the blue lotus, the rose-coloured, and the pale, all growing together in one splendid and delightful assemblage. Large black bees and the swarms of flies are sucking honey from lotus flowers. Black and white swans, cranes, geese, and Indian cranes, in all their pride, males and females, were fluttering over the water, while the lotus leaves, besprinkled with drops of dew, reflected varied colours, a sight quite pleasing to the eye; the whole scene inspiring the greatest delight. In the painting, the lake is full of swan and lotuses. It has four gateways. The birds appear near the entrance of two gates. A beautiful tree is represented in four corners with birds on it, and two other gates; altogether artist has represented six trees. citra 42. kSIra samudra. devasA.nI prata uparathI. tyArapachI vaLI, mAtA agiyArame svapne kSIra samudranedUdhanA dariyAne jUe che. kSIra samudraneA madhya bhAga, jevI caMdranAM kiraNAnI ze|bhA hAya tevI ze|bhAvALA che eTale ati UjaLA che, vaLI, e kSIra samudramAM cAre bAju pANInA bharAvA vadhatA vadhatA hAvAthI e badhI khAjIe ghaNA UMDA che, enAM meAjA bhAre capaLamAM capaLa ane ghaNAM UMcAM UchaLatAM hAvAthI enuM pANI DhALyA ja kare che, tathA jyAre bhAre pavananuM jara hoya che tyAre pavano enAM mAjA'nI sAthe zerathI athaDAya che tethI meAjA jANe jorajorathI doDavA lAge che, capaLa ane che, ethI e spaSTa dIsatA taraMgA Amatema nAcatA hAya evA dekhAva thAya che tathA e taraMgo bhayabhIta thayA hoya ema toAbha pAmelA jevA dekhAya che evA e sohAmaNA nirmaLa uddhata kallolAnA meLApane lIdhe enArane ema jaNAya che ke jANe ghaDIkamAM e dayA kAMThA tarapha doDatA AAve che ane ghaDIkamAM vaLI e pAttA tarapha pAchA vaDI jAya che. evA e kSIrasamudra cama kattA ane ramaNIya dekhAya che, e dariyAmAM rahetA moTA moTA maLI, moTA moTA mA, timi, timiMgala, niruddha ane tikSattinilaya nAmanA jaLacarA potAnAM pUchaDAMne pANI sAthe aphaLAvyA kare che ethI enAM cAre

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As Represented in the Kalpasutra Paintings [31 bAju kapUranI jevAM UjaLAM phINa vaLe che ane e dariyAmAM moTI moTI gaMgA jevI mahAnadIonA pravAho bhAre dhasArAbaMdha paDe che, e vegathI paDatA pravAhone lIdhe emAM gaMgAvata nAmanI bhamarIo pedA thAya che, e bhamarIone lIdhe bhAre vyAkuLa thatAM dariyAmAM pANI UchaLe che, UchaLIne pAchAM tyAM ja paDe che, bhamyA kare che- ghumarI le che, evAM ghumarImAM cakakara cakkara pharatAM e pANI bhAre caMcaLa jaNAya che, evA e kSIra sara zaradaRtunA caMdra samAna saumya mukhavALI te trizalA mAtA agiyArame svapna jUe che. citramAM samudranA pANImAM eka vahANa taratuM batAveluM che. vahANanI aMdara be musAphare beThelA che. vahANanA uparanA bhAgamAM citranI jamaNI bAjue eka mANasa-vahANano sukAnI beThelo che. vaLI, vahANanI AjubAju pANImAM mAchalI vagere jaLacara prANIo taratAM batAvelAM che. svapnanA varNanamAM vahANano ulekha kyAM nathI. Fig. 42. DVS. The ocean of milk. Thereafter, she also saw the ocean of milk shining like the moon, with utmost brilliance, propitious as the divine curle, the fluid rushing together from the four quarters of the heaven, the lofty gaint waves utterly devoid of stability, agitated by the tempestous winds; in one place rushing against each other, while in another they dash against the shore, sending forth a brilliant spray, inspiring the soul with delight. Enormous whales, crocodiles and sea serpents, durting through the fluid form rivers of foam, white as camphor, and again diving into the depths, cause a whirlpool like that of the Ganges when she bursts her mountain barriers. Such was the mighty effervesecnce of waters seen by the queen. In the painting, the ocean is represented by a wide diagonal band, in which the . crossed lines indicate water. Fish & crocodiles swim around. In the centre is a boat with two travellers. At the top is a navigator. Fishes and other acquatic animals are also represented There is no reference to the ship in the description. citra 43. devavimAna. pATaNa 1nA pAnA 7 uparathI. tyAra pachI vaLI, mAtA bArame svapna uttama devavimAnane jUe che, e devavimAna UgatA sUryamaMDalanI jevI camakatI kAMtivALuM che, jhaLahaLatI bhAvALuM che, e vimAnamAM uttama sonAnA ane mahAmaNionA samUhamAMthI ghaDelA uttama eka hajAra ane ATha TekA-thAMbhalA-mUkelA che tethI e camakatuM dekhAtuM vimAna AkAzane vizeSa camakatuM banAve che, evuM e vimAna senAnA patarAmAM jaDelA laTatA motIonA gucchAothI vizeSa camakIluM dekhAya che, tathA e vimAnamAM caLakatI divyamALAo laTakAvelI che, vaLI emAM vRka, vRSabha, ghoDe, puruSa, magara, pakSI, sApa, kinna, amRgo, zarabha, camarI gAya, vizeSa prakAranAM jaMgalI janAvaro, hAthI, vananI velaDI, kamaLavela vagerenAM vividha bhAtavALAM citro dorelAM che tathA emAM gaMdha gAI rahyAM che, ane vAjAM vagADI rahyAM che tethI emanA avAjathI e pUrepUruM gAjatuM dekhAya che, vaLI, pANIthI bharelA vipula meghanI garjanAnA jevA avAjavALA nitya gAjatA devaduMdubhinA meTA avAjavaDe jANe AkhAya jIvalekane e vimAna na bharI detuM hoya evuM e gAje che, kALe agara, uttama kaMdarU-kinarU, turakI dhUpa vagere baLatA dhUpone lIdhe maghamaghI raheluM e vimAna gaMdhanA phelAvAne lIdhe manahara lAge che ane e nitya prakAzavALuM, dhoLuM, UjaLI prabhAvALuM, devothI zobhAyamAna, sukhopabhogarUpa evuM uttamottama vimAna te trizalAdevI bAramA svapnAmAM jUe che. citramAM potAnA ratnajaDita vimAnamAM deva AkAzamAM UDato kaI jagyAe jaI rahyo hoya ema dekhAya che. devanA UMcA karelA jamaNA hAthamAM phala jevuM kAMIka ane DAbA hAthamAM sAta pAMkhaDIvALuM DAMDI sahitanuM kamalanuM GS Jain Education Intemational For Private & Personal use only

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The Life of Lord Sri Mahavira phUla che. sAta pAMkhaDIvALuM kamalanuM phUla kAmadevanuM dyotaka che. devanA zarIranA varNa tapAvelA suvarNa jevA pILA che. vimAnanI upara UDatI e dhajAo paNa bAMdhelI che vimAnanI bahAranA bhAgamAM ane Ajue ekeka cAmara dharanArI o paricArikA paNa che. devanuM vimAna sahitanuM A pramANenA svarUpavALuM citra A prata sivAyanI bIjI koIpaNa kalpasUtranI sacitra pratamAM mArA jovAmAM AvyuM nathI. 321 che. A citrA, tADapatra uparanI hastapratAnI kAgaLanI pratA upara nakalA thavI zarU thai tenI zarUAtanA samayanuM hAya ema citromAM vaparAelA tADapatrIya pratAnA citrAnA raMgeA tathA tADapatrane malatI ja sAIjhanA pratanA pAnA vagere jotAM lAge che. Fig. 43. HGP, 1, 7. The celestial palace. In our painting God is seen going in his Devavimana, God has two hands. In his raised right hand he holds a piece of cloth and in his left hand a lotus. citra 44, ratnane DhagaleA. devasA.nI prata uparathI. tyAra pachI, mAtA trizalA terame svapna tamAma prakAranA ratnAnA DhagalAne jUe che. e DhagalA bheAMtaLa Upara rahelo che chatAM gaganamaMDaLanA cheDAne peAtAnA tejathI cakacita kare che, emAM pulaka, vajra, iMdranIla, sAsaga, karyaMtana, lAhItAkSa, marakata, masAragala, pravAla, sphaTika saugadhika, haMsagarbha, aMjana, caMdanaprabha vagere uttama ratnAneA rAzi sarasa rIte geAThavAyelA che, ratnAnA e DhagalA UMcA meruparvata jevA lAge che, evAM ratnAnA rAzi-DhagalAne te trizalA devI terame svapne jUe che. Fig, 44. DVS. The heap of jewels. Then further, she seems a heap of a dense mass of best jewels. Containing Pulaka, Vajra, Indranila (Sapphires), Sasyakaratna, Karketan ratna, Lohitaksa (a kind of gem, not ruby. very rare), Markata-ratna (emeralds), Masaragalla (a variety of supphires), Pravala (coral), Sphatika (quarts; crystal), Saugandhika-ratna, Hamsagarbha-ratna, Anjana-ratna, and Chandrakanta-ratna, resting on the level of the earth and illuminating the end of the sphere of the sky. It was high and resembeled Mount Meru. The heap stands upon a low table. citra 45. nima agni. devasA.nI prata uparathI pachI vaLI, caudame svapne mAtA trizalA agninI jvAlAe jUe che, e agninI jvAlAe khubakhuba phelAyela che tathA emAM dhALuM ghI ane pILAza paDatuM madha vAraMvAra chaMTAtuM hAvAthI emAMthI muddala dhUmADA nIkaLatA nathI evA e agni dhakhadhakhI rahyo che, enI dhakhadhakhatI jalatI jvAlAne lIdhe te suMdara lAge che, vaLI, enI nAnI moTI jhALA-jvAlAo-ne samUha eka bIjImAM maLI gayA jevA jAya che tathA jANe ke UMce UMce saLagatI jhaLAvaDe e agni kAi paNa bhAgamAM AkAzane pakavatA na heAya evA dekhAtA e atizaya vegane lIdhe caMcaLa dekhAya che. te trizalA mAtA caukrame svapne evA agnine jUe che, Fig. 45. DVS. The smokeless fire Then, after, she sees a flame of fire in vehement motion, fed by abundant pure ghee and yellow honey, smokeless, burning fiercely, and beautiful by its bright burning flames. The mass of the flames progressively increasing seemed to interpenetrate each other, and seemed to hake the vault of the sky in some places by the rising blaze of its flames, citra 46. siddhArtha ane trizalA. jaisalameranI pratanA pAnA 37 uparathI. A citranI pahoLAI tathA laMbAI 3x3 iMca che. Jain Education Intemational

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As Represented in the Kalpasutra Paintings [33 svama darzanathI vimaya pAmelI, saMtuSTa thaelI, harSollAsavALI trizalA kSatriyANI svapronuM smaraNa karavA lAgI. tyArapachI te UThI ane pAdapIThathI nIce utarI. koIpaNa jAtanI mAnasika vyagratA vagara, rAjahaMsanI gatithI te siddhArtha kSatriyanI zamyA pAse AvI. AvIne potAnA viziSTa guNavALI vANI vaDe siddhArthane jagADayA, tyArapachI siddhArtha kSatriyanI AjJAthI trizalA kSatriyANI ratnamaNithI zobhatA siMhAsana upara beThAM. pitAnA zrama ane kSobhane dUra karI. pitAnI svAbhAvika madhura, kamaLa, lalita ane bhAvabharI vANI vaDe kahyuM ke : he svAmI ! huM Aje mahApuNayazALI ane bhAgyazALIne egya zayAmAM kaMIka jAgatI ane kaMIka UMghatI hatI, tevI sthitimAM cauda mahAsvama dekhI jAgI UThI." citranA uparanA bhAgamAM mastake mugaTa ane kAnamAM kuMDala paherIne, jamaNuM hAthamAM talavAra pakaDIne suvarNanA siMhAsana upara siddhArtha kSatriya beThelA che ane temanI sAme bhadrAsana upara trizalA kSatriyANI besIne ne AvelA svapnanuM vRttAMta kahetAM dekhAya che. siddhArthanI pAchaLa eka strIparicArikA pitAnA DAbA hAthathI cAmara vIMjhatI A svapnane vRttAMta sAMbhaLatI UbhelI che. siddhArtha ane trizalAnI vacce madhyabhAgamAM suMdara citrAkRtivALo caMdara laTake che. A pachI citranA anusaMdhAne, nIcenA bhAgano citra prasaMga jovAno che. A prasaMgamAM paNa siddhArtha mAthe mugaTa ane kuMDala vagere AbhUSaNo ane suMdara citrAkRtiovALA uttama rezamI uttarAsaMga ane uttarIya vastra paherIne beThelA che. siddhArthanA uMcA karelA DAbA hAthamAM lIle rezamI rUmAla che, ane jamaNe hAthathI sAme beThelA trizalA kSatriyANIne svapnanuM phala kahe che. trizalA kSatriyANI paNa kuMDala, mastakanuM AbharaNa ane motInI mALA vagere AbhUSaNo tathA kaMcukI, uttarAsaMga ane uttama jAtinA rezamanI vividha citrAkRtiovALuM uttarIya vastra-sADI paridhAna karIne svapnanuM vRttAMta eka citte zravaNa karatAM ane uMcA karelA pitAnA jamaNA hAthathI te vRttAMta svIkAra karatAM bhadrAsana upara beThelAM che. bhadrAsananI citrAkRti paNa prekSanIya che. A citranI vezabhUSA citrakAranA samayanA paheravezane samakAlIna pUrAve che. ahIM paNa baMnenA madhyabhAgamAM suMdara citrAkRtiovALe caMdara bAMdhe che. strI-paricArikA cAmara vIMjhatI ane svapnanuM phala sAMbhaLatI A prasaMgamAM rajU karelI che. Fig. 46. : Siddhartha and Trishala. JSM. Fol. 37. Size 31" 3". On waking from the fourteen dreams, Trisala with stately gait like that of the royal swan (raja hamsa), went to the couch of the Ksatriya Siddhartha, and addressed him. With the permission of Siddhartha, Trisala sat down upon the throne of honour and related to him the fourteen dreams. He assured her that the dreams presaged the birth of a son, who would become a mighty monarch-in Jainism, the dreams indicate the child just conceived will be either a world-emperor or a Saviour. King Siddhartha sits at the left on his throne. An elaborated canopy hanging between them. In the left hand of Siddhartha is a flower and in his right hand his sword, this being the customary pose in this art of a King occupying the throne. Trisala faces him, seated on the bhadrasana mentioned in the KS Text. A female chauri-bearer is standing behind the throne of King Siddhartha. The rich silk printed garments put on by both reflect varied details and provide to the posterity the progress in printing of fabrics and drapery in the early 15th century. The representation of Gujarati patola a patternised silk textile is found here. Jain Education Intemational

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34] The Life of Lord Sri Mahavira citra 47. navAba rU1. uparathI. siddhArtha ane trizalA. tyAra pachI, te siddhArtha rAjA trizalA kSatriyANI pAsethI e vAta sAMbhaLIne samajIne harSavALe ane saMtuSTa cittavALo thayo, AnaMda pAmyo, tenA manamAM prIti thaI, mana ghaNuM prasanna thaI gayuM, harSane lIdhe tenuM hRdaya dhaDakavA lAgyuM ane mehanI dhArAthI chaMTAyela kadaMbanA sugaMdhI phUlenI peThe tenAM rezama roma UbhAM thaI gayAM. A rIte khuba rAjI thayelA siddhArtha te svapna vize eka sAmaTo sAmAnya vicAra kare che, te svapno vize eka sAmaTo sAmAnya vicAra karI pachI te svapnono nakha nokho vIgatathI vicAra kare che, e rIte te svapnane nakhe no vIgatathI vicAra karIne pachI te potAnI svAbhAvika mati sahitanA buddhi vijJAna vaDe te svamonA vizeSa phaLano kho ne nizcaya kare che, temanA vizeSa phaLane nokho nokho nizcaya karIne teNe potAnI Ijha yAvat maMgaLarupa, parimita maMgaLa ane sohAmaNI bhASAvaDe vAta karatAM karatAM trizalA kSatriyANIne A pramANe kahyuM : he devAnupriye! tame udAra svapna dIThAM che, he devAnupriye! tame kalyANapu svo dIThAM che, e ja pramANe tame joyelAM svapno zivarupa che, dhanyarupa che, maMgaLarupa che, bhAre sahAmaNuM che, e tame joyelAM svapna Arogya karanArAM, tuSTi karanArAM, dIrdhAyuSyanAM sUcaka ane kalyANakAraka che. he devAnupriye ! tame maMgala karanArAM svapna dIThAM che. te jemake, tame joyelAM svapnothI ApaNane he devAnupriye ! arthano lAbha thavo joIe. he devAnupriye! bhogano lAbha thavo joIe, putrane lAbha thavo joIe. e ja rIte sukhane lAbha ane rAjyane lAbha thavo joIe. kharekhara ema che ke he devAnupriye! tame nava mahinA barAbara pUrA thayA pachI ane te upara sADAsAta rAtadivasa vityA pachI amArA kulamAM dhavaja samAna, amArA kulamAM dIvA samAna, e ja pramANe kulamAM parvata samAna acaLa, kulamAM mugaTa samAna, kulamAM tilaka samAna, kulanI kIrti karanAra, kulane barAbara nirvAha karanAra, kulamAM sUraja samAna, kulanA AdhAraspa, kulanI vRddhi karanAra, kulane jaza vadhAranAra, kulane chAMye ApanAra vRkSa samAna ane kulanI vizeSa vRddhi karanAra, evA putrane janma Apaze. vaLI te janamanAra putra hAthe page sukamALa, zarIra ane pAMce iMdriyathI pUro tathA jarApaNa khoDa vagarano haze tathA e, zarIranAM tamAma uttama lakSaNathI eTale hAthapaganI rekhAo vagerethI ane vyaMjanothI eTale tala, masa vagerethI yukta haze, enA zarIranuM mAna, vajana ane uMcAI e paNa badhuM barAbara haze tathA e putra savage sujAta, suMdara, caMdrasamAna saumyakAMtivALa, kAMta, priya lAge ane darzana karavuM game evo haze arthAt he devAnupriye ! tame upara varNavyA tevA uttama putrane janama Apaze. vaLI, te putra jyAre potAnuM bALapaNa pUruM karI bhaNIgaNa barAbara ghaDAI taiyAra thaI yauvana avasthAe pahoMcaze tyAre zara thaze, vIra thaze, parAkramI thaze, enI pAse vizALa senA tathA vAhana vi tamAro e putra rAjyane dhaNI e rAjA thaze, mATe he devAnupriye! tame je mahAvo dIThAM che te badhAM bhAre uttama che ema kahIne yAvat be vAra paNa ane traNa vAra paNa ema kahIne te siddhArtha rAjA, trizalA kSatriyANInI bhAre prazaMsA kare che. 47. SMN. 3, 1. King Siddhartha tells Trisala, the meaning of the dreams. Then, Siddhartha, after having heard this news from Ksatriyani Trisala and having reflected upon, It, he-pleased, contented, with his hair bristling in their pores, with joy at heart, like the fragrant flower of Nipa tree, Nuclea, Cadamba, sprinkled with showers of rain, fixed those dreams in his mind, and having fixed the dreams, begins to think about their meanings. Having commenced thus, he meditates upon the meaning of those dreams through the medium of his natural lunate intellect determined by his superior knowledge. Having done so, he spoke thus to Ksatriyani Trisala addressing repeatedly with those pleasing, lucky. measured, sweet auspicious words. Jain Education Intemational

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As Represented in the Kalpasutra Paintings [35 Noble dreams, o beloved of the gods ! you have seen; auspicious dreams, o beloved of the gods ! you have seen. Thus o beloved of the gods ! you have seen noble, prosperity, lucky, beautiful dreams, bestowing health, contentment, long-life, luck and prosperity; o beloved of the gods ! you will acquire wealth; o beloved of the gods ! you will get pleasures; o beloved of the gods ! you will have a son. o beloved of the gods! you will have happiness; o beloved of the gods ! you will acquire a kingdom. Thus, o beloved of the gods! after the lapse of nine months and seven and half nights and days, you will give birth to a lovely, beautiful, handsome child who will become an emblem of our family, a lantern of our family, a support of the family, a diadem of the family, a Tilaka, An ornament of the fore-head for the family, a renowner of the family, a maintainer of the family, a sun in family, a prop of the family, a gladdener of the family, a maker of the fame of the family, a shelter of the family, an augmentor of the family, a child with tender hands and feet, whose body is furnished with unlacking complete five senseorgans, furnished with lucky marks and signs, and whose handsome body is furnished with all the members which are well-measured, well-proportioned, appropriate, perfect, and beautiful, and with a face as calm as the moon. Besides, the child when he has completed boy-hood, and after having acquired proficiency in arts and sciences, when he has reached youth, he will become a benevolent powerful, envincible king-an owner of an extensive large army and force. Under a canopy sits king Siddhartha on a spired throne, dressed in a lower garment (dhoti) and a scarf. In his right hand is a sword which is the regular attribute in Western Indian miniature painting of a king in ceremonial dress. Before him sits Queen Trisala on a cushion, wearing bodice (choli), scarf, and lower garment (sari). The king and both wear jewellary and an elaborated head-dress. In the right corner of the upper register, two maids are depicted. citra 48. devasAnA pADAnI kalpasUtranI pratanA suMdara suzobhanavALA A pAnAnI aMdara senAnI zAhIthI A pramANe lakheluM che ke :- siddhArtha rAjA, trizalA kSatriyANIne svapnanuM phala kahe che. tyAra pachI, te trizalA kSatriyANI siddhArtha rAjA pAsethI e vAta sAMbhaLI samajI bhAre harakhANa, saMtoSa pAmI yAvatuM tenuM hadaya praphala thaI gayuM ane te hAthanI ane hatheLInI daze nakha bhegA thAya e rIte mastakamAM zirasAvarta karavA sAthe aMjali karIne A pramANe belI : | he sAmI ! e e pramANe che, te sAmI! e tame kahyuM te pramANe che, te sAmI! tamAruM kaheNa sAcuM che, te sAmI! tamAruM vacana saMdeha vinAnuM che. te sAmI ! huM e tamArA kathanane vAMchuM chuM, he sAmI! meM tamArA kathanane tamArA e mukhathI nIkaLatAM ja svIkArI lIdhuM che, te sAmI ! tamAruM mane gamatuM e kathana meM pharI pharIne vAM chela che. jema tame svapnonA e arthane batAve che tema e sAcA che; ema karIne trizalA kSatriyANuM svapnonA arthane sArI rIte svIkAre che, e pramANe svapnonA arthane sArI rIte svIkArIne siddhArtha rAjAnI rajA laI te vividha prakAranAM jalAM maNi ane ratnanI bhAtavALA adbhuta bhadrAsana uparathI UbhI thAya che, UbhI thaIne dhIme dhIme acalapaNe, utAvaLa vagaranI, vilaMba karyA vagaranI rAjahaMsanI jevI cAlathI cAlatI evI rIte trizalA kSatriyANa jyAM pitAnuM bichAnuM che tyAM AvI pahoMce che. Jain Education Intemational

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The Life of Lord Sri Mahavira devasAnA pADAnI kalpasUtranI hastapratanAM suMdaratama suAAbhaneAvALA eka pAnAnAM suzeAbhanAnuM varNana. A pAnAmAM jaina sAdhuonI dhArmika kriyAnA judAjudA prasaMgeA citrakAre uttama rIte rajU karelA che, je jaina sAdhuenI dhArmika kriyAonuM citrakArane pUrepUruM jJAna hAvAnI khAtrI Ape che. 36] pAnAnI jamaNI khAjunA hAMsiyAmAM cAra citra prasaMgeA che, je anukrame uparathI nIce jovAnA che : (1) pahelA prasaMgamAM suMdara caMdaravA nIce eka gRhastha yugala Asana upara besIne kAMI vAtacIta karatuM dekhAya che, te baMnenI pAchaLa eka khAoTha upara savAraneA samaya darzAvavA mATe ceAghaDIyAM vagADavAnuM nagAru che; ane te nagArAMnI pAse cAghaDIyAM vagADanAra eka puruSa beThelA che. (2) khIjA prasaMgamAM eka jaina sAdhu upAzrayathI bahAra nIkaLIne, jinamaMdiranA darzana karavA jatA hoya ema lAge che; jyAre bIjA be jaina sAdhue tethI UlaTI dizAmAM gRhasthAne ghera gAcarI levA jatA hAya ema lAge che. (3) trIjA prasaMgamAM eka UMcA siMhAsana upara guru mahArAja beThelA che, temanI sAme gRhasthAne gherathI geAcarI vaheArI lAvavA gaelA e jaina sAdhue paikInA eka sAdhu pAtAnA UMcA karelA jamaNA hAthathI pAte je kAMi gAcarI vahArI lAvela che, te saMbaMdhI vAtacIta kare che; ane temanI pAchaLa UbhelA bIjA jaina sAdhu zAMta citte guru-ziSyanI vAtacIta sAMbhaLe che. guru mahArAjanI pATanI pAse be puruSo beThelA che, teo paNa paraspara kAMika dhArmika carcA karatA hAya ema lAge che. (4) ceAthA prasaMgamAM eka gRhastha ane eka sAdhu dharmakriyA saMbaMdhI vAtacIta karatA dekhAya che. pAnAnI DAbI khAjInA hAMsiyAmAM paNa cAra citraprasaMgeA cItarelA che, je anukrame uparathI nIce jovAnA che : (1) pahelA prasaMgamAM eka sAdhu UbhelA che, bIjA sAdhu pATa para beThelA guru mahArAja sAthe dharma saMbaMdhI carcA karatA UbhelA che. guru mahArAjanI pATa pAchaLa eka ziSya guru mahArAjanI suzruSA karatA UbhelA che. (2) bIjA prasaMgamAM peAtAnA jamaNA hAthamAM pakaDelA daMDAsanathI nIcenI jamInanuM pramArjana karatAM karatAM traNa jaina sAdhue jIvAnuM rakSaNa karatAM (iriyAvahI sAcavIne) sthaMDila bhUmie jatA hoya ema lAge che. (3) trIjA prasaMgamAM eka sAdhu UbhelA che, ane bIjA sAdhu UMcA Asana upara beThelA guru mahArAjanA caraNamAM paDIne, AkhA divasanA karelA aparAdhanI kSamA mAMgatA dekhAya che. (4) cAthA prasaMgamAM be gRhasthA dhArmika carcA kare che, ane temanI khAjumAM eka jaina sAdhu UbhelA che. pAnAnI upara ane nIcenI baMne kinArAmAM doDatA haraNiyAMonAM gaLAmAM phrAMsA nAkhatAM A be zikArIo, sAmasAmA doDatAM batAvelA che. dareka kinAramAM kula cAra haraNA ane cAra zikArIo che. doDatAM haraNAnA vega ane gaLAmAM phrAMsA nAMkhelA zikArIonI zikAra pakaDavAnI tatparatAnI citrakAre evI rIte rajUAta karI che ke je ApaNane tenA citrakaLA mATenA jJAna mATe mAna upajAve che. Fig. 48. A page from DVS. KS. Siddhartha tells TriSala the meaning of the dreams. Then, having heard the meaning from King Siddhartha and having reflected upon it. Ksatriyani Trisala, pleased, contented, full of joy at heart etc, brought the palm of her folded hands in a way to bring the ten nails round the head in the form of a folded cavity in front of the forehead, and spoke thus : That is so, o master! It is so o master! It is exactly so, o master ! It is undoubtedly so, o master! It is so desired, o master! It is accepted, o master! It is so desired and accepted, o master ! and she, saying that the meaning is as true as you say, entirely accepted those dreams. Having accepted them, and, being permitted by King Siddhartha, she rises up from the state-chair inlaid with designs of various kinds of jewels and precious Jain Education Intemational

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40 svapna 9 pUrNa kalaza 40 The full vase 43 svapna 12 devavimAna 43 The Celestial palace

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Jain Education Intemational th ildliff E 'Da 41 svapna 10 padma sarovara 41 The lotus lake 42 svapna 11 kSIrasamudra 42 The Ocean of milk 26

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= = = . ha* .. . ' 44 svapna 13 nirdhama agni 44 The smokless fire 4pa svapna 14 2narAzi 45 The jewel heap

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dip ZT 46 siddhArtha ane trizalA 46 Trisala relates her dreams to Siddhartha " siddhArtha ane trizalA 47 siddhirtha tells Trials the meaning of the dreams 28

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As Represented in the Kalpasutra Paintings (37 stones. Having risen up, she goes to her couch with an unhasty, untremulous, unbewildered un-delaying gait, resembling that of a royal swan. The description of a page from the DVS KS. With beautiful decorations. The artist has represented various religious actions of the Jaina monks in both the panels which shows up-to-date knowledge of his representations. The left panel has four compartments, which are to be seen from top to bottom : In the first compartment, at the left, under a canopy, one couple is seated discussing some topic. In the companion scene, a man is seated in worshipping attitude. In the second compartment, three Jaina monks are represented. First monk seems going outside from his residential place (upashraya) to a temple for worshipping, while two other monks are seem going out for taking alms from the houses of the laymen. All have jars hanging in their hands and the brooms under the armpits. In the third compartment also, three Jaina monks are represented. First monk is a Guru, seated on a sinhasana facing him, are two pupils, one of them is giving details of alms they got from the laymen's house and another is hearing attentively. Near the sinhasana are seated two laymen discussing a religious topic. In all the four compartments, beautiful decorated canopy is hanging. The right panel has also four compartments, they are to be seen from the top to bottom: In the first compartment at the left stand a monk, Second monk asking some religious questions to his preceptor seated on a sinhasana. A pupil is standing behind the guru in service at the extreme right. In the second compartment, monks are going, outside the upasraya for the call of nature with broomed sticks in their right hands and water jars in their left hands. In the third compartment, at the left, stand second monk is kneeling before his guru for forgiveness. Guru is seated on a beautifull decorated asana and seems to forgive his pupil by putting his left hand on his head. In the fourth compartment, two laymen are talking about some religious topics and a monk stand at the right hearing their talk. Nicely decorated canopy is hanging at the upper part of all the four compartments. In the upper and lower panels, the artist has represented four deers and four hunters in every panel. The hunters are ensuaring the deer who are represented running. The artist has represented every creature in such a lively manner that they seem exact living creatures, which proves his mastery in the treetment of subjects. citra 49, haMsavi. 1, 2. siddhArtharAjA kauTuMbikane AjJA kare che. tyAra bAda siddhArtha kSatriya prabhAtanA samayamAM kauTuMbika puruSane sAda de che, potAnA kauTuMbika puruSone sAda daI te A pramANe bolyo : he devAnupriye! Aje bahAranI ApaNI beThakane savizeSa rIte jaladI sajAvavAnI che eTale ke temAM sugaMdhI pANI chAMTavAnuM che, barAbara sApha karIne tene liMpavAnI che, tyAM uttama sugaMdhavALA pAMca prakAranAM pupe veravAnAM che, kALA agara, Uttama kidaruM ane tuka dhUpa saLagAvI te AkhI beThaka maghamaghatI karavAnI che tathA UMce jatA sugaMdhane lIdhe tene suMdara banAvavAnI che, jyAM tyAM sugaMdhavALAM uttama cUrNo chAMTI tene sugaMdha sugaMdha karI mUkavAnI che jANe ke e, keI sugaMdhI vastunI geTI-goLI ja hoya evI rIte tene sajavAnI che; A badhuM jhaTapaTa kare, Jain Education Intemational ein Education Intemational

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38] The Life of Lord Sri Mahavira karAve ane karIne tathA karAvIne tyAM eka moTuM sighAsaNa maMDAvI tame "meM je je kahyuM che te badhuM karI nAkhyuM che e rIte mArI A AjJA mane tarata ja pAchI vALo. tyAra pachI, siddhArtha rAjAe e pramANe hukama karelA te kauTuMbika puruSo rAjI rAjI thatA yAvat hRdayamAM ullAsa pAmatA hAtha joDIne yAvata aMjali karIne 'sAmI! jevI ApanI AjJA" ema karIne rAjAnI AjJAne vinayapUrvakanA vacanathI svIkAre che, e pramANe rAjAnI AjJAne vinayapUrvakanA vacanathI svIkArIne teo siddhAra kSatriyanI pAsethI bahAra nIkaLe che, bahAra nIkaLI jyAM bahAranI beThaka che tyAM Ave che tyAM AvIne tarata ja e beThakane savizeSapaNe sajAvavA maMDI paDe che eTale ke te beThakamAM sugaMdhI pANIne chAMTavAthI mAMDIne moTuM siMghAsaNuM maMDAvavA sudhInI tamAma sajAvaTa karI nAkhe che ane e badhI sajAvaTa pUrI karIne te kauTuMbika puruSo jyAM siddhArtha kSatriya che tyAM Ave che, tyAM AvIne daze nakha bhegA thAya e rIte banne hatheLIone bhegI karI mAthA upara zirasAvarta sAthenI aMjali karo siddhArtha kSatriyanI te AjJA pAchI Ape che eTale te sAmI ! ame jema tame pharamAveluM tema badhuM karI AvyA chiye ema kahe che. Fig. 49. HVB. 1, 2. Siddhartha commands his officers. At the daybreak King Siddhartha commanded the family servants to prepare the outer hall of audience and erect his throne, and to come report when all was prepared. In the upper register King Siddhartha sits upon his throne, confronted by two family servants, who are receiving his orders. In the lower register are a male lute prayer, a male trumpter, a female dancer, a male drummer, and a male manjira player are enjoying. This painting is an unique of its kind. citra 50. navAba 4, trizalAno AnaMda. pitAne garbha sahIsalAmata che ema jaNAtAM trizalA mAtAnA AnaMdano pAra na rahyo. A citramAM trizalA mAtA khUba AnaMdamAM AvI jaIne, teNInI sAme UbhI rahelI be strI paricArikAone pitAno AnaMda vyakta karatI senAnA siMhAsana upara mahAmUlyavAna vastrAbhUSaNathI susajita thaIne beThelI che. A samaye prabhu mahAvIre potAnA mAtApitAnI hayAtimAM dIkSA na levAne garbhamAM ja niyama lIdho. Fig. 50. SMN. 4, Queen Trisala's joy. The embryo of Mahavira perceiving his mother's grief and understanding its cause, relieved her mind by quivering slightly, and now joy filled her heart. At that time the Venerable Mahavira made the decision not to enter the monk life so long as his parents remained alive. In this painting, Trisala has regained her zest for life. The aureole and diadem have reappeared, her hair is braided, she is adorned with all her finery, and she admires herself. Two maids stand before her, one holding a lotus flower and other a mirror. citra 51, prabhAtanuM dazya. kusuma. pAnA 111 uparathI. pachI, vaLate divase savAranA pahoramAM, jyAre poyaNuM kamaLapaNe pAMdaDIe pAMdaDIe khIlavA mAMDyAM che. haraNanI AMkhe kamaLapaNe dhIre dhIre ughaDavA lAgI che, UjaLuM prabhAta thavA AvyuM che, vaLI, rAtA azokanI prajAnA puMja samAna, kesuDAMnA raMga je, popaTanI cAMca je ane caNoThInA aDadhA lAlaraMga jevo lAlacoLa tathA moTAM moTAM jaLAzayomAM ugelAM kamaLAne khilavanAra hajAra kiraNavALo tejathI jhaLahaLato dinakara-sUrya UgI gayo che tyAre siddhArtha kSatriya bichAnAmAMthI UbhA thAya che. Jain Education Intemational

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As Represented in the Kalpasutra Paintings [39 A citramAM uparanA bhAgamAM AkAzamAM sUrya ugato hoya te vakhate je lAlALa raMga dekhAya che te, ane AMkha ughADIne deDatAM haraNa ane khIlatAM poyaNAM nIcenA bhAgamAM batAvIne citrakAre prasaMgane anurUpa dazya, sonAnI zAhI ane kALo tathA lAlacoLa raMga vAparIne suMdara nisargika dekhAva raju karelo che. Fig. 51. KSM. 111. Early morning. Then, next day, at dawn, with the expansion of blue lotuses and the gentle opening of day lotuses, with bright morning-light, and the rising of the extremely beautiful Sun-resembling the briliancy of the red Asoka tree, the Scentless red blossoms of the kesudo a tree, the beak of a parrot, the red half of the Gunja berry, and when the thousand-rayed Sun was shining with bright light, and the darkness was removed by the strokcs of its rays, and when the world of the living was involved in the saffron-coloured light of the early Sun-shine, Ksatriya Siddhartha rises up from his couch. In the upper portion sky is dipicted in dark-red colour and clouds are in black. In the lower portion there are two running deer, five trees and four mountain peaks. The artist has used dark-red, black and gold colours. This is the first pure landscape that I have seen in early Western Indian miniature. citra pa2. kAMti vi. 1, 28 uparathI. siddhArtha vyAyAmazALAmAM. bichAnAmAMthI UbhA thaIne pAvaThA upara Utare che, pAvaThA uparathI UtarIne jyAM vyAyAmazALA che tyAM Ave che, tyAM AvIne vyAyAmazALAmAM praveza kare che, vyAyAmazALAmAM praveza karIne aneka prakAranAM vyAyAma karavA mATe zrama kare che, zarIrane ceLe che, paraspara eka bIjAnA hAtha paga vagere aMgone maraDe che, mallayuddha kare che ane vividha prakAranAM Asane kare che, e rIte zrama karIne Akhe zarIre ane hAtha paga Doka chAtI vagere aMge aMge thAkI gayelA te siddhArtha kSatriyane Ape zarIre ane zarIranA avayave avayave prIti upajAvanArAM, suMghavA jevAM sugaMdhathI maghamaghatAM, jaTharane teja karanArAM, dhAranArAM, mAMsa vadhAranArA ane tamAma iMdriyone tathA tamAma gAtrone sukhamAM taraboLa kare tevAM, savAra ane hajAravAra pakavelAM evAM zatapAka, sahastrapAka vagere aneka jAtanAM uttama sugaMdhavALAM tela copaDavAmAM AvyAM, pachI taLAI upara cAmaDuM pAtharIne te upara beThelA siddhArtha kSatriyane Akhe zarIre ane avayave ava ve mAliza karavAmAM nipuNa, hAthe page saMpUrNapaNe kamaLa taLiyAMvALA suMvALA, tela copaDavAmAM, telanI mAliza karavAmAM, mAliza kareluM tela parasevA vATe bahAra kADhI nAkhavAmAM je kAMI zarIrane phAyadA che te tamAma phAyadAnA barAbara jANanArA, samayanA jANakAra, keIpaNa kAryane vinA vilaMbe karanArA, zarIre paE, kuzala, buddhivALA ane thAkane jitI gayelA evA puruSoe hADakAMnAM sukha mATe, mAMsanAM sukha mATe, cAmaDInAM sukha mATe tathA romeromamAM sukha thAya e mATe e cAre prakAranI sukhakara aMga sevA thAya te nimitte tela vagerenI mAliza karI ane siddhArtha kSatriyano tamAma thAka dUra karI nAkhyo eTale te vyAyAmazALAmAMthI bahAra nIkaLe che. citramAM uparanA ane nIcenA bhAgamAM vyAyAmazALAmAM siddhArthane mukhyatve muSTiyuddha tathA mallayuddha vagere vyAyAma karate raju karela che. Fig. 52. KVB, 28. Siddhartha at his gymnastic exercises. Having risen up from the couch, he gets down from the foot-stool. Having got down, he goes to the gymnasium hall. Having gone, he enters the gymnasium-hall, Having entered it, and becoming fatigued with several gymnastic exercises such as jumping, bending of stre Jain Education Intemational

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40] The Life of Lord Sri Mahavira tched-out limbs, wrestling, fighting, and being anointed with highly scented oils refined one hundred times or one thousand times or which nourished the system, promoted digestion, increased manly vigour, strengthened muscles excited sexual passion, and invigorated all the senseses and limbs, he was shampooed by skilful persons with well-formed soft, tender palms of the hands and soles of the feet, who-were experienced in the best qualities of the art of rubbing the body with oil, massage, and bringing back the oil to the surface, they knew what to do at a particular time and were intelligent, formost, expert, wise and untiring. In the upper register the king is thrice represented highly animated postures, with object on his hand that resemble boxing gloves; in the lower register he appears more in wrestling attitudes, He is in "undress" position. citra 53 navAba 5, pAnA 28 uparathI. siddhArtha rAjA vyAyAmazALAmAM. varNana mATe juo uparanA citra paranuM A prasaMgane lagatuM varNana. A citramAM siddhArtha kSatriye mugaTa ane kuMDala tathA vastro paridhAna karelAM che. Fig. 53 SMN. 5, Folio 28. King Siddartha at his gymnastic exercise. See under figure 52. In the upper register is King Siddhartha appears in wrestling attitudes, with four other. He is dressed in lower garment (dhoti), decorated with beautiful design, and wears a crown, and large errings. In the lower register he is dressed in (dupatta ) scarf and lower garment (dhoti), and represented with a crown and errings. Here he appears in shooting his bow, his companion is in animated posture, with objects on his hands that resemble boxing gloves. This painting is done with great delicacy and is especially fine. citra 54. jayasu. pAnA 29 uparathI. siddhArtharAjA nAnagRhamAM. vyAyAmazALAmAM kasarato karIne tathA tela vagerenI mAlIza karAvIne, siddhArtharAjA snAnagRhamAM dAkhala thAya che. nAnagharamAM dAkhala thaIne, khUba kharca karIne taiyAra karAvelA snAna karavAnA ratnajaDIta bAjaTha upara besIne, uMcI jAtanA attarothI suvAsita karelA pANIthI nAna karAvanArA mANasanA hAthe snAna karIne, mahAmUlyavALA uttama vastro ane AbhUSaNe paridhAna kare che. citramAM siddhArtharAja snAnagRhamAM snAna karavAnA ratnajaDIta bAjoTha upara mUkelI gAdI upara beThelA che. siddhArthanA jamaNA hAthamAM darpaNa che; jyAre pAchaLa Ubhelo nakara mAthAnA vALa kAMsakAthI eLe che. teonA mastaka upara suMdara caMdaro bAMdhelo che. A citra khUba kALajIpUrvaka cItareluM che. A citranA mAthAnA lAMbA vALa uparathI ApaNane khAtrI thAya che ke gujarAtanA paMdaramA saikAnA puruSe lAMbA vALa rAkhatA hatA ane snAnagRha te samayanA vaibhavazALI kuTuMbanA vaibhavane khyAla Ape che. Fig. 54. JSR. 29. Sidhharatha's toilet. After his exercises and shampooing, the king entered the bathhouse, where he bathed luzuriously and put on the robes and ornaments. King Siddhartha sits on a cushion on a bathing stool, while an attendant dresses his hair. He has a mirror in his right hand. A canopy is hanging above him. This painting is done with great delicacy. Jain Education Intemational

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[41 As Represented in the Kalpasutra Paintings citra 55. devasAnA pADAnI pratanA eka pAnA uparathI. siddhArtha rAjAnA vacce ane AbhUSaNenuM varNana. A suMdara suzobhanavALA pAnAmAM sonAnI zAhIthI siddhArtha rAjAe snAna karyA pachI je AbhUSaNo paridhAna karyA hatAM, temAMnA keTalAka vastro ane AbhUSaNonuM varNana kareluM che : '"hadaya hArathI DhaMkAyeluM hovAthI te savizeSa dekhAvaDuM thayuM, viTIyo paheravAthI pILI lAgatI AMgaLIo camakavA lAgI, A badhuM paheryA pachI teNe lAMbA laTakatA kapaDAMne khesa potAnA aMga upara sarasa rIte nAMkhyo ane cheka chelle te siddhArtha kSatriye nipuNa kArIgare banAvelA vividha maNi ane suvarNa ane ratnothI jaDelAM vimaLa bahumUlAM, cakacakatAM banAvelAM, majabUta sAMdhAvALAM uttama prakAranAM ghaNAM suMdara vIravalayo paheryo. vadhAre varNana zuM karavuM? jANe ke te rAjA siddhArtha-sAkSAt kalpavRkSa ja hoya ema alaMkRta ane vibhUSita bane. AvA siddhArtha rAjAnA mAthA upara chatradhAroe karaMTanA phUlanI mALAo laTakAveluM chatra dharyuM ane sAthe ja te dhoLAM uttama cAmarAthI vijhAvA lAgyo. tene jotAM ja loko jaya jaya" e maMgaLanAda karavA lAgyA. e rIte sajaja thayelo, aneka gaNanAyaka, daMDanAyake, rAjAo, Izvara-yuvarAje, rAjAe prasanna thaIne jemane paTTo baMdhAvelA che te talavara-rAjya sthAnIya puruSo." Fig. 55. DVS. KS. A page containst the description of Siddhartha's costumes and ornaments. In this beautiful page is written by gold ink, the description of the some garments and ornments put on by the King Siddhartha : "His chest, covered with necklaces, delighted well, His fingers looked yellow by his finger-rings. He put on a well-arranged cloth upper garment hanging like a pendant. He put on glittering, well-made, well-jointed, excellent, beautiful Vira Valayas-Armlets indicative of pride of heroism-made of spotless and valuable jewels, gold and precious stones of various kinds by clever artisans. What more? The king was ornamented and decorated like the Kalpa Vriksha-The Wishing Tree yielding desired objects. Anfumbrella embellished with wreaths and garlands of flowers of Korinta Tree, was held over him, and he was fanned by white excellent chowries. His appearance was greeted by the auspicious shouting of victory. Sarrounded by many chieftains, leaders of troops, kings, princes, knights." devasA.nI kalapasUtranI hastapratanA suMdaratama suzobhanavALA A pAnAmAM pAnAnI jamaNI bAjunA hAMsiyAmAM anukrame AkAzamAMthI UDatA ane nIce UtaratA pipaTa, eka nAnA vartuLamAM ATha popaTanAM meMDhAonI addabhUta saMyojanA, tenI nIce pANImAM taratI mAchalIo, ane tene pakaDavAnI tatparatA batAvatA gIdha pakSIo, ane chevaTe eka bIjAnI cAMcamAM cAMca bharAvIne rajU karela mayura-yugala citrakAranAM pakSIsRSTinA jJAna mATe ApaNane prazaMsA karatAM karI mUke che. pAnAnI DAbI bAjunA hAMsiyAmAM, nirabhra AkAzamAM UDatA judIjudI jAtanAM pakSIo, ane samudramAM cAlatuM eka tetIMga vahANa ane te vahANanA jUdA jUdA bhAga upara beThelA jUdA jUdA pakSIonI rajUAta, citrakAranI prasaMganI rajUAtanI khUbI darzAve che. vaLI, vahANanA nIcenA bhAgamAM vAMkI Deka karIne beThelo mayUra je caturAIthI tene rajU karelo che, te te tenI kaLAnA jJAna mATe bhAre mAna utpanna kare tema che. e abhUta moranI nIce samudrano agAdha jalarAzi ane tenI aMdara taratAM mAchalAM vagere jalacara prANIonI paNa rajUAta karelI che. Jain Education Intemational

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42]. The Life of Lord Sri Mahavira pAnAnI uparanI kinAramAM cha pakSIo kaLAbharI rIte rajU karelAM che. nIcenI kinAramAM bIjAM bAra mayUrapakSIo paNa khUbIbharI rIte rajU karelAM che. A page from the DVS KS with elaborate beautiful decorations. On the left panel, is an illustration of the parrots flying up in sky and descending to the earth in a small circle. There is a beautiful combination of the eight heads of the parrots; and the fishes are seen swimming in the water, and the vultures following to catch them. At the bottom extreme left side the artist has represented a peacock couple in very attractive style. The representation of the birds, fishes and the flower plants is not only significant but also beautiful. In the right panel, are seen different kinds of birds flying in the sky at the top of the panel, and a big ship with the varieties of the birds seated on the different parts of it. Moreover, a peacock is represented turning back his neck in such a lively mood that we have to admire craftsmanship of the artist. Also at the bottom of the panel, he has represented an unfathomable ocean of water with the fishes swimming in it. In the upper panel, the artist has shown six peacocks facing each other, three times; i. e. six peacocks are represented altogether. In the lower panel, the six double peacocks are shown i. e. altogether, twelve peacocks in different attitudes. The representation of peacocks reflects the mastery in the craftsmanship of the artist. citra pa6. siddhArtha ane trizalA. sohana. pAnA 19 uparathI. siddhArtha rAjA snAnagRhamAMthI nIkaLI, bahAra kyAM sabhAnuM sthAna hatuM tyAM pahoMcyA ane siMhAsana upara pUrvadizA tarapha mukha rAkhI birAjamAna thayA. tyArabAda potAnI bahu najIka nahIM tema bahu dUra nahIM evI rIte sabhAnA aMdaranA bhAgamAM paDado baMdhAvyo. paDadAnI manoharatA A paDadAne vividha prakAranAM maNi ane ratno jaDelAM hovAthI atizaya darzanIya lAgato hato. jyAM UMcI jAtanAM vastro vaNAtAM hatAM, tyAM ja te banAvarAvavAmAM Avela hovAthI bhAre kiMmatI hato. bArIka rezamano banAvelo ane seMkaDo gUMthaNIo vaDe manane Azcarya pamADanAra tANo temAM khIlI nIkaLato hate. vaLI e paDadA upara aneka prakAranAM manahara ane AzcaryakAraka citro AlekhelAM hatAM. varu, vRSabha, manuSya, magara mo, paMkhIo, sarpo, kinnarade, rUrU jAtinAM mRgalAM, aSTApada nAmanAM jaMgalanAM pazuo, camarI gAyo, hAthIo tema ja azokalatA vagere vanalatAo ane padmalatAonAM kaLAbharelAM citro temAM mukhya hatAM. A paDado-javanikA baMdhAvAno uddeza e ja hato ke aMdaranA bhAgamAM rANI vagere ataHpuravAsinIo nirAMte besI zake. rANInuM siMhAsana paDadAnI aMdara rANIne besavA mATe eka siMhAsana goThavavAmAM AvyuM. tenI upara maNi-ratnanI suMdara racanA karavAmAM AvI hatI. besavAnI jagyAe svaccha ane kemaLa rezamI gAdI bichAvI tenI upara sapheda cAdara pAtharavAmAM AvI hatI. e rIte te atizaya komaLa ane zarIrane sukhAkArI lAge evuM siMhAsana goThavavAmAM AvyuM hatuM. citramAM siddhArtha rAjA jamaNuM hAthamAM talavAra tathA DAbA hAthamAM kula rAkhIne sihAsana upara vastrAbhUSaNathI susajijata thaIne beThelA che. mastaka upara rAja chatra laTake che. vacce paDade che. paDadAnA AMtarAmAM Jain Education Intemational

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As Represented in the Kalpasutra Paintings [43 trizalA jamaNA hAthamAM phUla rAkhIne vastrAbhUSaNothI susajijata thaIne beThelAM che. temanA mastaka upara paNa caMdaravo bAMdhelo che. citranA TheTha uparanA bhAgamAM be mora citarelA che. Fig, 56 Soh. 19. Siddhartha and Trisala listen to the expounding of the dreams. When the interpreters had been shown their seats, King Siddartha seated on a throne and Queen Trisala behind the elaborately ornamented veil arranged by his order. They two then listened to the interpretation. In the painting on the left, Siddhartha wearing dhoti ornaments and mukuta is seated on a throne, holding a naked sword in the right hand and a flower in the left. On the other side of the curtain, drawn across the centre is Trisala wearing a sari, bodice, ornaments and mukuta. Two peacocks are seen on the balcony at the top. citra pa7. siddhArtha ane trizalA tathA kauTuMbika puruSa. haMsavi. 1 uparathI. bhadrAsana maMDAvIne te siddhArtha kSatriya kauTuMbika puruSane bolAvIne A pramANe che : he devAnupriyo ! tame tarata ja jAo ane jeo aSTAMgamahAnimittanAM zAstronAM arthanAM pAragAmI che, vividha zAstromAM kuzaLa che tevA svapnalakSaNapAThakone eTale svapnonuM phaLa kahI zake tevA paMDitone bolAvI lAva." Fig. 57. HVB. 1. Siddhartha, Trisala and the family servants. Having ordered it to be arranged, he calls the family servants. Having called them, he spoke thus :- Quickly, indeed, o beloved of the gods ! call the interpreters of dreams, who know the great science of Omens and their meanings in their eight branches, and who are well versed in various sciences. citranA uparanA bhAganA vistRta varNana mATe jUo citra padanuM A prasaMgane lagatuM varNana. nIcenA bhAgamAM cAra kauTuMbika puruSo beThelA che. In the painting the king and queen, fully ornamented, sit upon their respective seats. Below them are four family servants are seated. citra 58. svamalakSaNapAThako. pATaNa nI pratanA pAnA 23 uparathI. siddhArtha rAjAe svapalakSaNa pAThakene vaMdI, sArA zabdomAM guNastuti karI, puSpa vaDe pUjI, phaLa ane vastrAdinA dAna vaDe satkAra karI, vivekapUrvaka UbhA thaI temanuM Adara-sanmAna karyuM ane pratyeka svarUpAThake prathamathI ja sthApelA siMhAsana upara potapotAnI beThaka lIdhI. te pachI siddhArtha kSatriye hAthamAM phala-phUla laI ati vinayapUrvaka svapna pAThakane svapnanuM phaLa pUchayuM. svapna pAThakane A vAta sAMbhaLI ghaNo ja saMtoSa ane AnaMda thayo. temaNe te svapnanA artha vicAryA ane potapotAnI aMdara masalata calAvI. potAnI buddhi vaDe barAbara artha avadhArI paraspara ekabIjAnA abhiprAya meLavI, saMzonA khulAsA karI, ekamata thaI, siddhArtha kSatriya AgaLa cauda mahAsvapnanuM phaLa kahevA lAgyA. citramAM cAre svapnapAThaka suvarNanA alaga alaga siMhAsana upara beThelA che ane dareke kiMmatI vastrAbhUSaNe aMga upara dhAraNa karelAM che. khAsa karIne darekanA zarIra paranAM rezamI kapaDAMnI judI judI jAtanI DijhAIne ApaNane paMdaramA sikAnA gujarAtI kApaDanA namUnAo pUrA pADe che. A citra paNa sarvAMga suMdara che. Jain Education Intemational For Private & Personal use only

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44] The Life of Lord Sri Mahavira Fig. 58. HGP. 2, 23. The interpreters of the dreams. The astrologers, expounders of dreams, and determiners of prognostications, on being summoned, bathed, arrayed themselves in auspicious garments, and came to Siddhartha's court, where they were given the seats of honour that had been prepared. Siddhartha told them the dreams. They recited the books on dreams, and assured him that the child would be either a universal emperor or a universal religious saviour (Jina). In the painting four of the dream interpreters sits on the seats of honour. citra pa9. navAba 1, 38 uparathI. siddhArtha svapnalakSaNapAThake pAsethI svapnanuM phala sAMbhaLe che. citramAM siddhArtharAjA jamaNA hAthamAM talavAra tathA DAbA hAthamAM phala rAkhIne siMhAsana upara vastrabhUSaNothI susajjita thaIne beThelA che. tenA mAthA upara rAja chatra laTake che. tenI AgaLa svapnalakSaNapAThakemAMthI uparanA bhAgamAM beThelo eka svapnalakSaNapAThaka svapnanuM phala saMbhaLAve che, ane bIje nIcenA bhAgamAM beThela svapnalakSaNapAThaka svapnazAstranA oLIyAmAMthI svapnanuM phala vAMcI saMbhaLAve che. Fig. 59. SMN. 1. 38. Siddhartha listens to the expounding of the dreams. In the painting King Siddhartha sits upon the familiar spired throne, while before him one of the dream interpreters expounding the meaning of the dreams, and the second interpreter reads from a roll of dreams, held in his right hand, and makes the prediction. over the king's head is parasol. citra 60. navanidhAna. kusuma. pAnA pa7 uparathI. zramaNa bhagavAna mahAvIranA garbhanuM devAnaMdA brAhmaNInI kukSimAMthI trizalA kSatriyANInI kukSimAM parAvartana karyA pachI, tirtho lekamAM nivAsa karanAra jaMbhaka jAtinA devoe pUrve dATelA ane ghaNA kALanAM purANuM mahAnidhAna lAvIlAvIne siddhArtharAjAnA bhavanamAM mUkavA mAMDayA. citramAM nava mahAnidhAnanA adhiSThAyaka nava devanI pratikRtio citrakAre raju karI che. kalpasUtranI keTalIka saciva, hastapratomAM A nava AkRtione badale nava kalazanI AkRtio paNu cItarelI maLI Ave che. Fig. 60. KSM. 57. Navanidhana. From the time when Mahavira was brought into the Jnatri family, the servants of Vaisramana (Kubera, god of wealth) brought to Siddhartha's palace treasure which had been buried in all sorts of places and forgotten. All the gold, silver, corn, seraglio, arms, subjects, glory of the Jnatris all increased. The consequence Mahavira's parents decided to name him Vardhamana. In the painting appear nine gods of wealth (navanidhana), symbolizing the prosperity of Siddhartha and his clan. They are seated in three rows, of three. citra 61. trizalAno zAka ane harSa. pATaNa 2 nA pAnA ra7 uparathI. citramAM upara ane nIce ema be prasaMgo che. temAM kathAnA paricayanI zarUAta uparanA citrathI thAya che. citramAM mAtA hathelI upara mukha TekavIne zokasAgaramAM DUbelAM dekhAya che. mAtAnA mastaka pAchaLa pharatuM AbhAmaMDala ratnajaDita che. mAtAnI pAchaLa eka strI-pazciArikA cAmara vIMjhatI UbhelI che ane sAme bIjI be strIo, anukrame hAthamAM phalanI chAba tathA pipaTa ane vINA hAthamAM pakaDI rAkhIne trizalA mAtAne Jain Education Intemational

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Jain Education Intemational URBAHAGIRAHellchilikzeena HBILEHITCHBUATE2(r)SIKUT: ippttmgam| HABCMBBCIGISB For Private & Personal use only HIEULLHDCPH CERISELECIMER 48 siddhArtharAjA trizalAdevIne cauda svapnanuM phaLa kahe che 48 DVS. Siddhartha tells the meaning of dreams

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49 siddhArtharAjA kauTuMbikAne AjJA kare che 49 Siddhartha despatches messengers D 50 trizalAne AnaMda 50 Queen Trisala's Joy 30

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#359980 pUrva prabhAtanuM dRzya 51 Early morning para siddhArtharAjA vyAyAmazALAmAM 52 Siddharth at his gymnastic exercises 31

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54 siddhArtha ane trizalo koTuMbika puruSa sAthe 54 Siddhartha and Trisala with family servants 53 siddhArtharAjA vyAyAmazALAmAM 53 Siddhartha at his gymnestic exercises

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As Represented in the Kalpasutra Paintings [45 AzvAsana ApatI UbhelI che. sAme UbhelI baMne sakhIonA mastaka upara suMdara DijhAInavALo caMdaro bAMdhelo che. A citramAMnI cAre strIonA caherA zokamagna che. A citramAM cAre strI pAtroe paherelAM rezamI vastranI judI judI DijhAIne, ApaNane te samayanA gujarAtanA kArIgare kevA suMdara kApaDanuM vaNATakAma tathA chApakAma karatA haze tenA namUnAo pUrA pADe che. A pachI citranA anusaMdhAne, garbhanA pharakavAthI trizalA mAtAnA harSano prasaMga jevAne che. bhagavAna mahAvIre garbhamAM rahyA chatAM avadhijJAnanA baLathI, mAtAne manogata saMka95 jANI lIdho. pachI temaNe potAnA zarIrano eka bhAga heja kaMpAvyo. garbha sahisalAmata che ema jaNAtAM trizalA mAtAnA AnaMdano pAra na rahyo. temanA banne netromAMthI ullAsabhAva jharavA lAgyo. mukharUpI kamala sahasA praphullita thayuM ane meremamAM AnaMdane pravAha jharavA lAgyo. temaNe pitAnI sakhIo vagerene kahyuM, ke kharekhara, mAre garbha sahisalAmata che. citramAM trizalA mAtA AnaMdamAM AvI jaIne, DAbA hAthamAM darpaNa pakaDIne temAM potAno cahere jotAM jotAM sAme UbhI rahelI baMne sakhIone jamaNe hAtha UMce rAkhIne pitAne garbha sahisalAmata che, tema kahetAM jaNAya che. A citramAMnI traNe strIonAM kapaDAMnI tathA mAthA uparanA caMdaravAnA kApaDanI DijhAIne paNa khAsa prekSaNIya che. Fig. 61. HGP. 2, 27. Two scenes in one : (a) sadness in the palace; (b) Trisala's joy. Red background; in the upper panel Trisala is seated on a cushion at the left, wearing a turquoise light blue scarf, a sari worked with a geese pattern, mukuta and ornaments. A chauri bearer in full-sleeved bodice stands behind her, on the right are two attendants, one holding a tray of ornaments and the other a parrot. In the lower panel Trisala seated on the left, and has regained her zest for life. She is looking at her self in a mirror. The aureole and diadem have reappeared. Her hair is braided and she is adorned with all her finery. On the right, two maids stand before her, one holding a lotus flower and other a parrot. The picture is very carefully drawn, and the decorative design on the costume very carefully filled in with equal care. citra 62. pATaNa 3, 42. uparathI. trizalA mAtAne garbha pharakavAthI AnaMda. citranI madhyamAM sonAnA hiMcoLAkhATa upara rANI trizalAdevI pitAnA DAbA hAthamAM darpaNa pakaDIne beThelAM che. teNInA DAbA hAthanA nIcenA bhAgamAM (prabhu mahAvIra teNInA garbhamAM hovAthI) citrakAre te darzAvavA bAlakarUpe ahIM rajU karelAM che. hiMcoLAkhATanI nIce be pAdapITha rajU karelAM che. rANIe lIlA raMganI kaMcukI gulAbI raMganuM uttarIyavastra ane suMdara phUlanI citrAkRtivALI sADI paridhAna karela che. rANInuM mukhAraviMda khUba AnaMdita dekhAya che. A citra, citrakAranA samayanI zreSTipatnIonA paheravezanI suMdara rajUAta kare che. Fig. 62. Patana 3, 42. Trisala rejoicing at the movement of the foetus. Queen Trisala is seated on a well-designed golden swing bed holding a mirror in her left hand. Near her left hand (Sri Mahavira as foetus in her womb), artist represents here Mahavira as a child. The top design of the swing bed is artistically drawn and the whole lay-out is well planned. The red background enhances the beauty of the whole Jain Education Intemational

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46] The Life of Lord Sri Mahavira setting. The Queen wears a green bodice, rose coloured upper garment and flower designed blue lower garment. The jewelled ornaments worn by her and the nice setting of her hair are indicative of the prevalent vogue. The forehead has a nice circular tilaka. The whole illustration represents the vogue of the period of the artist. The Queen's face beams with delight. citra 63. sAmaLA. pratanA pAnA 44nA prathama bhAga uparathI. prabhu zrImahAvIranA pUrvanA 23 pUrvabhave. DAbI bAjunA hAMsiyAnA uparanA bhAgamAM prabhu mahAvIranA jIva pahelA bhavamAM navasAra nAme gAmatti hatA. te eka vakhata lAkaDA levA vanamAM gayA hatA. tyAre badhAranA bhAjana samaye sArthathI chUTA paDelA sAdhune khAnapAna vaheArAvIne mArga batAve che. citramAM hAthamAM kuhADA laine UbhelA nayasArane sAdhu upadeza ApatA dekhAya che. prasaMganA anusaMdhAne jaMgala batAvavA uparanI kinAramAM cAra jhADA cItarelAM che. jhADAnI joDe ja anukrame mahAvIra khAvIzamA bhave sAmAnya manuSya thayA te prasaMga cItarelA che. pachI anukrame uparanI ja kinAramAM bInathI sAtamA bhava sudhInA citraprasaMgA A pramANe rajU karelA che. bIna bhavamAM prabhu saudharma devalAkamAM utpanna thayA hatA. citramAM te prasaMga darzAvavA vimAnanI rajUAta karelI che. trIjA bhavamAM prabhu bharata cakravartInA riMthI nAmanA putra thayA hatA ane te bavamAM pahelA tIrthaMkara zrIpAdeva pAse dIkSA lIdhI hatI. citramAM madhyanA hAMsiyAnA uparanA bhAgamAM jamaNI bagalamAM AghA tathA hAthamAM dAMDA ApIne marIcinI sAdhu avasthAmAM rajUAta karI che. cAcA bhavamAM prabhu brahmadevalokamAM devatA thayA hatA. citramAM te prasaMga darzAvavA vamAnanI rajUAta karelI che. pAMcamA bhavamAM prabhu kauzika nAmanA brAnANuM thayA hatA. citramAM te prasaMganI rajUAta hAyamAM krUDa pakaDIne UbhA rAkhIne karela che. pachI prabhunA nAnA nAnA DhavAdI bhavAnI gaNatarI karI nathI; chatAM paNa citrakAre ahIM te mATe eka vimAnanI rajUAta karelI che. chaThThA bhavamAM prabhu puSpa nAmanA brAhmaNu thaine aMte tri'DI thayA hatA. tethI ja citramAM hAthamAM daMDa pakaDIne UbhA rAkhIne te prasaMganI rAta karelI che. sAtamA bhavamAM prabhu saudharma devalokamAM utpanna thaelA hovAthI citramAM deva vimAna rajU kareluM che. jamaNI bAjunA hAMsiyAmAM sAthI agiyAra bhava sudhInA prasaMgo A pramANe rajU karelA che. AThamA bhavamAM prabhu agniauta nAmanA brAhmaNa tarIke utpanna thaelA ghavAthI citramAM hAthamAM daDa pakaDIne ubhelA brAhyasanI rakhkhAta hAMsiyAnA uparanA bhAgamAM karelI che. navamA bhavamAM prabhu IzAna devalAkamAM utpanna thaelA hovAthI hAMsacAnA bIna bhAgamAM vimAnanI rajUAta karatI che. dazamA bhavamAM agnibhUti nAmanA zAhALu varI utpana thaelA hovAthI, citramAM hAthamAM IMDu pakaDIne UbhelA brAhmasRnI hAMsiyAnA trIjA bhAgamAM rajuAta karelI che. giyAramA bhavamAM prabhu sanatakumAra devalAkamAM utpana thaelA hovAthI citramAM devimAnanI rakhAta karelI che. nIcenI kinAramAM jamaNI bAjuthI DAmI khAju tarapha khAramAM bhavathI sattaramA bhavanI rajUAta anukrame A pramANe karelI che. bAramAM bavamAM bhAradvAja brAhmaNuM tarIke citramAM jUsmAta karelI che. temA bhavamAM mAhe devalokamAM daivatarIke ramata karavI che. caudamA bhavamAM sthAvara nAmanA brAhmaNa tarIke rajUAta karelI che. paMdaramA bhavamAM brahmA devalokamAM devatarIke rajUAta karelI che. sALamA bhavamAM vizvabhUti nAmanA yuvarAja tarIke rajUAta karelI che. sattaramA bhavamAM mahAzukra nAmanA devalAkamAM deva tarIke rajUAta karelI che.

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[47 As Represented in the Kalpasutra Paintings DAbI bAjunA hAMsiyAmAM aDhAra tathA ogaNIsamA bhavanI rajUAta A pramANe karelI che: hAMsiyAnI madhyamAM siMhAsana upara beThelA tripRSTha vAsudevanI aDhAramA bhava tarIke rajUAta karelI che. vAsudevanI nIce vAsudevanA Ayudhe rajU karelAM che. aDhAramA bhAvamAM prabhu sAtamI narakamAM utpanna thayA hatA, tethI hAMsiyAnI nIcenA bhAgamAM nArakAvAsanI rajUAta karelI che. nIcenI kinAramAM DAbI bAjuthI jamaNI tarapha anukrame 20, 21 ane 23mA bhavanI rajUAta A pramANe karelI che : vIsamA bhavamAM prabhu siMha tarIke utpanna thaelA hovAthI siMhanI, ekavIzamAM bhavamAM prabhu cothI narakamAM upana thaelA hovAthI narakAvAsanI ane tevIzamA bhavamAM prabhu priyamitra cakravartI tarIke utpanna thaelA hovAthI caka pakaDelA manuSyanI rajUAta karelI che. bAvIzamA bhavamAM prabhu manuSya tarIke utpanna thaelA hovAthI manuSya tarIke uparanI kinAramAM rajUAta karelI che. Fig. 63. SMP. 44. Symbolic incidents from the first to twenty-third previous Bhavas, of Sri Mahavira. The officer named Nayasara in the first previous Bhava of Sri Mahavira's soul. Once he went in forest, for the purpose of bringing timber. At the time of mid-day meal, an idea came up to Nayasara's mind. If a hungry ascetic straying away from caravan, ignorant of right road, happens to here as my guest, I will first feed him and, then, I will take my meals." With this intention in his mind, as Nayasara was seeing all directions, he saw some pious sages who had become separated from the caravan. As soon as Nayasara saw them, he immediately advanced forward to receive them. Bowing down respectfully before them, he said "O venerable sages ! O magnanimous personages ! please accompany with me to my dwelling and do me favour." On being thus requested by Nayasara, the Sadhus went to his dwelling. Nayasara, then provided them water and food. In the meantime, Nayasara, having finished his meals and approached to Sadhus and Said "O magnanimous persons ! you come with me. I shall show you the road to the town." The Sadhus accompnied him. 19iwichelenis shall suo wa pero che toodadhus and When Nayasara and the Sadhus arrived at the road to the town, the chief of the Sadhu, explained to him, the essence to the True Religion. On hearing the preaching of the Sadhu, Nayasara considered himself very fortunate and from that time onwards, he acquired Samyaktva i. e. firm belief in the doctrines and teaching of the Tirthankaras. In our painting in the upper register of the left margin is depicted a monk and a Nayasara holding an axe by his left hand and in continuation, to represent the forest, the artist has depicted here trees, in thc begining of the upper border. In the continuation of the trees the artist depicts here two men to represents Jain Education Intemational

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48] The Life of Lord Sri Mahavira Sri Mahavira's twenty-second previous Bhava. Then, in contiuation in the upper border, depicted incidents of the second to seventh previous Bhavas of Sri Mahavira : After death, the soul of Nayasara, who had acquired Samyaktva from the monk, was born during the second previous Bhava as a celestial being in Saudharma Devaloka. In the painting it is represented by a celestial-palace. The Soul of Nayasara having completed his existence as a god, was born during the third previous Bhava as a son of Bharata chakravarti named Marici. He took Diksa, at the hands of his grand-father-the first Tirthankara Sri Rsabhadeva. In the painting a monk is represented with the broom (rajoharana) and the staff, in the upper register of the middle margin. The Soul of Marici was, after death, born as a celestial being in Brahma devaloka, during the fourth previous Bhava. In the painting it is represented by a celestial-palace. On descent from Brahma deva-loka, the soul of Marici was born, during the fifth previous Bhava of Sri Mahavira, as a Brahmana named Kausika. During the latter part of his life, he became Tridandi sanyasi, an ascetic bearing a triple staff. In the painting he is represented as Tridandi sanyasi. After enduring innumerable miseries as a minor god or as a lower animal being, he was born during the sixth previous Bhava, of Sri Mahavira, as a Brahmana named Puspamitra, he became parivrajaka, In the painting it is represented by a celestial-palace and as parivrajaka. Puspamitra was born, during the seventh previous Bhava of Sri Mahavira as a god in Saudharma deva-loka, In the painting it is represented by a celestial-palace. Descending on the expiration of celestial being, he was born as a Brahmana named Agnidyota, in the eighth previous Bhava of Sri Mahavira. During the latter age, he became parivrajaka. In the right hand margin, the incidents of the eighth to are represented : elevanth previous Bhava In the upper register, he is depicted as a parivrajaka. After death, he was born, during the ninth previous Bhava of Sri Mahavira, as a god in Isana deva-loka. Jain Education Intemational

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As Represented in the Kalpasutra Paintings [ 49 In the second register, it is represented by a celestial-palace. After experiencing various divine pleasures, he was born, during the tenth previous Bhava of Sri Mahavira as a Brahmana named Agnibhuti. In the young age, he became Parivrajaka. In the third register, he is represented as a Parivrajaka. The soul of Marici during the eleventh previous Bhava of Sri Mahavira was born as a god in Sanatkumara deva-loka. In the lower register, it is represented by a celestial-palace. In the lower border, from right to left, the incidents of the twelvth to seventeenth previous Bhava are represented : Leaving the Sanatkumara deva-loka, the soul of Marici during the twelvth previous Bhava of Sri Mahavira was born as a Brahmana named Bharadvaja. There also, he became Parivrajaka in his old age. In the lower border, he is represented as a Parivrajaka. During the thirteenth previous Bhava of Sri Mahavira, the soul of Marici was born as a god in Mahendra deva-loka. In the lower border, it is represented by a celestial-palace on the completion of his age-limit, he left the deva-loka, The soul of Marici, during the fourteenth previous Bhava of Sri Mahavira, was born as a Brahmana named Thavara. There also, he became Tridandi ascetic. In the lower border, it is represented as an ascetic. After death, the soul of Marici, was born during the fifteenth previous Bhava of Sri Mahavira, as a god in Brahma deva-loka. In the lower border, it is represented by a celestial-palace. Descending from Brahma deva-loka, the soul of Marici, was born during the sixteenth previous Bhava of Sri Mahavira as Visvabhuti prince. In the middle of the lower border, Vishvabhuti is represnted well dressed, seated on the golden cushion. During the seventeenth previous Bhava, he was born as a god in Mahasukra deva-loka. In the lower border, it is represented by a celestial-palace. Jain Education Intemational For Private & Personal use only lan Intermational For Private & Personal use only

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50]. The Life of Lord Sri Mahavira Descending from Mahasukra deva-loka, the soul of vishvabhuti was born as Tripristha Vasudeva, during the eighteenth previous Bhava of Sri Mahavira. In the middle register of left side margin, Tripristha Vasudeva is represented sitting on a spired throne, the honorific parasol of sovereignty above him. The weapons of Vasudeva are represented below him. During the Nineteenth previous Bhava, he was born as a Naraka in the seventh hell. In the begining of the lower border, it is represented by a Narakavasa, the dwelling place of Naraka. During the twentieth previous Bhava, the soul of Sri Mahavira was born as a lion. In the second compartment of the lower border, lion is already represented. On the completion of his life as a lion, he was born as a Naraka in the fourth-hell during his twenty-first previous Bhava. In the third compartment of the lower border, it is represented by a Narakavasa, the dwelling place of Naraka. The soul of Nayasara, after wandering in Samsara, during the twenty-second previous Bhava was born in royal family named Vimala. In the second compartment of the upper border is represented, Vimala as a human being. During the twenty-third previous Bhava, he was Priyamitra Cakravartin. In the fourth compartment of the lower border is represented, Priyamitra Cakravartin. He holds a cakra in his both hands. A pratanA pAnA 44nA prathama bhAgamAM sonAnA akSarathI A pramANe lakheluM che ? dehadAnuM pUruM sanmAna jALavavAmAM AvyuM, e dehadAnuM jarA paNa apamAna thavA devAmAM na AvyuM. e rIte tenuM pUrNa vAMchita siddha thavAthI dehada zamI gayA che, ane have dehada thatA aTakI gayA che evI te sukhasukhe Teko laIne bese che, sUve che, UbhI rahe che, Asana Upara bese che, pathArImAM ALoTe che, e rIte te. garbhane sukhe sukhe dhAraNa kare che. te kAle te samaye grISmaRtu cAlatI hatI tene je te prathama mAsa eTale caitra mAsa ane te caitra mAsano bIjo pakSa eTale caitra mAsano zuddha pakSa pravartato hato, te caitra mAsanA zuddha pakSane teramo divasa eTale citra za0 di terazane divase barAbara nava mahinA taddana pUrA thayA hatA ane te upara sADAsAta divasa vItI gayA hatA. graho badhA ucca sthAnamAM AvelA hatA, caMdrano prathama ga cAlato hato, dizAo badhI saumya, aMdhakAra vinAnI ane vizuddha hatI. zukano badhAM jayavijayana' In the text written by gold letters : Jain Education Intemational

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As Represented in the Kalpasutra Paintings 151 'Whose desires have been fulfilled, whose desires have been respected by the acqisition of wished-for objects, whose desires have not been disregarded even for a moment, whose desires have been removed completely by the acquisition of the desired object, and who has now become entirely free from any desires, reposes herself on a pillow etc, sleeps, gets up, sits down, wallows in bed when she is free from sleep. and moves about happily in a way that does not produce the least harm to her foetas, During that age, at that time on the thirteenth day of the second fortnight of the first month of summer, that is on the thirteenth day, of the bright fortnight of the month of Caitra, after the completion of nine months and seven and a half days, when the planets occupied the highest aspects, when the Candra-moon assumed an excellent position when all the directions were calm, free from darkness and serene, when all the birds were making Jaya Vijaya sound.' citra 64. sAmaLA.nI pratanA pAnA 44 uparathI. prabhu zrI mahAvIranA covIzathI chavIza sudhInA pUrvabhavo ane janma. DAbI bAjunA hAMsiyAnA uparanA bhAgamAM prabhu covIzamAM bhAvamAM mahAzukra devalokamAM utpanna thaelA hovAthI devavimAnanI rajuAta karelI che. hAMsiyAnA madhyabhAgamAM pacIzamAM bhavamAM prabhu naMdana nAmanA rAjaputra tarIke utpanna thaelA hovAthI hAMsiyAnA madhyabhAgamAM siMhAsana upara beThelA rAjaputranI rajUAta karelI che. nA bhAgamAM prabhu chavIzamAM bhavamAM prANuta devalokamAM upana thaelA hovAthI devavimAnanI rajUAta karelI che. sattAvIzamAM bhavamAM prabhu mahAvIra tarIke utpanna thaelA hovAthI citramAM trizalA mAtA suvarNapalaMga upara sUtelAM che, ane pitAnA DAbA hAthathI mahAvIra prabhune bAlakarUpe pakaDI rAkhelA che. trizalA devInI sanamukha Ubhelo paricArikA cAmara vijhe che. madhyanA hAMsiyAmAM suMdara citrAkRtio cItarelI che. jamaNI bAjunA hAMsiyAnA uparanA bhAgamAM prabhu mahAvIrane sAdhupaNumAM baMne kAnamAM khIlA ThekIne govALIyAe karelA upasarganI rajUAta citrakAre karelI che. hAMsiyAnA nIcenA bhAgamAM prabhu mahAvIranA paga pAse baMne bAju ekeka bhakta beThela che. uparanI kinAramAM anukrame beThela eka zrAvaka, jaina sAdhune bhikSA ApatI eka zrAvikA, siddhArtharAjA ane trizalA rANI tathA be zrAvako ane be zrAvikAo baMne hastanI aMjali joDIne prabhunI stuti karatA beThelA che. nIcenI kinAramAM traNa ghoDAo tathA traNa hAthIo tathA prabhunI stuti karate eka bhakta beThelo che. pAnAmAM sonAnA akSarothI prabhunA janmanuM varNana A pramANe kareluM che : pavana jamaNI taraphano anukULa ane bhene aDIne dhIre dhIre vAto hate, medinI barAbara dhAna pAkI javA upara AvavAne lIdhe nIpajelI hatI, dezanA tamAma loko pramodavALA banI ramatagamatamAM gulatAna hatA te samaye lagabhaga madharAtanA vakhate, hastattarA nakSatrane eTale uttarAphAgunI nakSatrane vega AvatAM trizalA kSatriyANIe Arogya ArogyapUrvaka putrane janama Ape. je rAte zramaNa bhagavAna mahAvIra janamyA te rAta, ghaNA de ane ghaNI."

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The Life of Lord Sri Mahavira Fig. 64. SMP. 44. The incidents of the twenty-fourth to twenty-sixth previous Bhava and the Birth of Sri Mahavira, 52] During the twenty-fourth previous Bhava, the soul of Nayasara, was born as a beautiful god in Mahasukra devaloka. In the upper register of left hand margin, it is represented by a celestial palace. Descending from Mahasukra deva-loka, the soul of Nayasara, during the twenty-fifth previous Bhava, of Sri Mahavira, was born as Nandanakumara in the royal family. In the middle register of left hand margin, Nandana is represented sitting on a throne, the honorific parasol of sovereignty is above him. During the twenty-sixth previous Bhava of Sri Mahavira, the soul of Nayasara, was born as an affinent god in Pranat deva-loka. In the lower register, it is represented by a celestial palace. After completing his age-limit as a celestial being, the soul of Nayasara, having descended from the Pranat deva-loka, during the twenty-seventh Bhava, Queen Trisala gave birth to Sri Mahavira. In the painting. Trisala is represented lying on a golden couch furnished with a flower, bed sheet and a cushion. The babe Mahavira is supported by her left arm. Her sari is decorated with a flower pattern, a scarf covering her coiffure is wrapped round her waist and she wears ornaments. A maid is in attendence. In the upper register of right margin, Sri Mahavira is represented in Kayotsargamudra with two spikes in the ears. In the lower register, two laymen sitted in worshipping attitude, seeing towards Sri Mahavira, standing in Kayotsarga. In the upper border is represented, A layman in first compartment. A laywoman is giving alms to a jain monk in second compartment. King Siddhartha and Queen Trisala sitted in third compartment. Two laymen and two laywomen sitted in fourth comparment. All are worshipping Sri Mahavira with folded hands. In the lower border is represented, three horses, three elephants and a layman. In the text written by gold letters: 'The southernly pleasant wind was gently touching the ground, at a time when all the people were joyful and amusing themselves playfully on account of heathfulness and a time of plenty, at midnight, when the moon was in conjunction with the constelation uttaraphalguni, Trisala Ksatriyani painlessly gave birth to a healthy child. The night during which Sramana Bhagavan Mahavira was born, many gods and many." citra 5 thI 80. devasAnA pADAnI pAtranI prata upara.

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[53 As Represented in the Kalpasutra Paintings citra 65 thI 72 prabhu mahAvIranA janma samaye chappana dikakumArIonuM Agamana. prabhune janma thatAM chappana dikakamArIonAM Asana kaMpyAM ane avadhijJAne karIne zrIarihaMta prabhune janma thaelo jANI harSapUrvaka sUtikAgharane viSe AvI temAM 1 bhagaMkarA, 2 bhagavatI, 3 subhagA, 4 bhAgamAlinI, 5 suvatsA, 6 vatsamitrA, 7 puSpamALA ane 8 anaMditA nAmanI ATha dikumArIoe adholokamAMthI AvIne prabhune tathA prabhunI mAtAne namaskAra karI izAna khUNAmAM sUtikA ghara racyuM; ane e gharathI eka jana paryata vAyu vaDe jamInane saMvarta vAyu vaDe zuddha karI. citramAM adhalokathI AvelI AThe dikakumArIo eka hAthamAM sUtikA ghara racavAnI sAmagrI pakaDIne beThelI dekhAya che. A AThe anukrame, uparathI nIce javAnI che. pahelA hAMsiyAmAMnI traNa, bIjA hAMsiyAmAMnI paNa traNa, ane trIjA hAMsiyAmAMnI uparanI be maLIne kula ATha che. citra 73 thI 80 dikakumArIonuM Agamana. 9 meghaMkarA, 10 meghavatI, 11 sumeghA, 12 meghamAlinI, 13 toyadhArA. 14 vicitrA, 15 vAriyA, ane 16 balAhikA nAmanI ATha dikakumArIoe AvI prabhune tathA mAtAne namaskAra karI sugaMdhI jaLa tathA phUlanI vRSTi karI. citramAM urdhva lokamAMthI AvelI AThe dikakumArIo pitAnA uMcA karelA eka hAthamAM phUla pakaDIne beThelI che. je anukrame, trIjA hAMsiyAnI trIjI eka, cothA hAMsiyAmAMnI cAra, ane phalaka 41nI pahelA hAMsiyAnI traNa, ema kula maLIne ATha che. Fig. 65-72 : The dikkumaris arrive. On the night when Mahavira was born there was a divine lustre caused by the descending and ascending gods. By the power of their avadhijnana (clairvoyance knowledge) seeing that Mahavira is born, the 56 dikkumaris (goddesses) arrived and acted as midwives. They came in groups of eight. First group of eight is named : 1. Bhogankara, 2. Bhogavati, 3. Subhoga, 4. Bhogamalini, 5. Suvatsa, 6. Vatsamitra, 7. Puspamala and 8. Anandita came from adholoka. They salute the Lord and his mother and prepare sutikaghar (special room to stay after delivery) in the north-east direction, and the earth is cleaned for one yojana around with the help of samyarta wind. In the painting, eight dikkumaris are represented. They are seated ready with preparation for a sutikaghar. They are to be seen from the left : three of the first panel, three of the second panel and two of the third panel, altogether eight. Fig 73-80 : The dikkumaris arrive. 9. Meghankara, 10. Meghavati, 11. Sumegha, 12. Meghmalini, 13. Toyadhara, 14. Vicitra, 15. Varisena and 16. Balahika came from Urdhvaloka. They salute the Lord and his mother and sprinkle the scented water and flowers. In the painting, eight dikkumaris are represented. They all seated with a flower in hand. They are third of the third panel and four of the fourth panel and three of the first panel represented in the Plate 41. citra 81 thI 89 dikumArIonuM Agamana. 17 naMdA, 18 uttarAnaMdA, 19 AnaMdA, 20 naMdivardhanA, 21 vijayA, 22 vaijayaMti, 23 jayaMti ane 24 aparAjitA nAmanI ATha dikakumArIeAe, pUrva dizA taraphanA rUcaka parvatamAMthI AvIne mukha jovA mATe darpaNa dharyA. citramAM pUrva dizA taraphanA rUcaka parvatamAMthI AvelI AThe dikumArIoe potAnA eka hAthamAM darpaNa pakaDeluM Jain Education Intemational

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541 The Life of Lord Sri Mahavira che. je anukrame, bIjA hAMsiyAnI traNa, trIjA hAMsiyAnI traNa, ane ceAthA hAMsiyAnI traNamAMthI nIcenI be, ema kula maLIne ATha che. citra 87nI (cAthA hAMsiyAnI uparanI) kumArInA hAthamAM phUla che ane mane lAge che ke te vadhArAnI rUcaka dvIpamAMnI che. Fig. 81-89 : The dikkumaris arrive. Named : 17 Nanda, 18. Uttarananda, 19. Anayda 20. Nandivardhani, 21. Vijaya, 22, Vaijayanti. 23. Jayanti and 24. Aparajith who came from the East direction of Rucaka mountain and holds a mirror to see the face. In the painting, eight dikkumaris are represented. They are with a mirror in their hands. They are: Three of the second panel, three of the third panel and remaining two of the fourth panel (second and third), Fig. 87. First of the fourth panel, who holds a flower in hand, is a dikkumari came from a Rucaka dvipa. citra 90 thI 97 dikkumArIonuM Agamana. 25 samAhArA, 26 supradattA, 27 suprabuddhI, 28 zeSa, 29 lakSmIvatI, 30 zeSavatI, 31 citraguptA, ane 32 vasuMdharA, nAmanI ATha dikakumArIe dakSiNu dizAnA rUcaka parvatamAMthI AvIne snAna mATe jaLathI bharelA kaLazeA hAthamAM lai gItagAna karavA lAgI. citramAM dakSiNa dizAnA rUcaka parvatamAMthI AvelI AThe viMkumArIe potAnA UMcA karelA eka hAthamAM snAna mATe jaLathI bharelA kaLazeA pakaDelA che, ane bIjA hAthamAM gItagAna karavA mATe vINA pakaDelI che, je anukrame, pahelA hAMsiyAnI traNa, bIjA hAMsiyAnI traNa, ane trIjA hAMsiyAnI pahelI be, ema kula maLIne ATha che. citra 8 thI 101 dikakumArInuM Agamana, 33 ilAdevI, 34 surAdevI, 35 pRthviI, 36 padmavatI, 37 ekanAsA, 38 navamA, 39 bhadrA, ane 40 zItA nAmanI ATha kikumArI pazcima dizAnA caka parvatamAMthI AvIne prabhune tathA prabhunI mAtAne pavana nAkhavA mATe hAthamAM vIMjhaNAM paMkhA laIne UbhI rahI. citramAM pazcima dizAnA rUcaka parvatamAMthI AvelI mAha dikakumArIe paikI cAranI ja kSetre rajUAta karelI che. A cArenA UMcA karelA eka hAthamAM paMkhA che. je anukrame, trIjA hAMsiyAnI trIjI-chellI eka, ane cAthA hAMsiyAnI traNa; ema kula maLIne cAra che, Fig, 90-97 : dikkumaris arrive, Named : 25, Samahara, 26. OMupradutin, 27, Suprabuddha, 28. YasodharTM, 29. Laksmivati, 30. Sesavati, 31. Citragupta and 32. Vasundhara came from South direction of Rucaka mountain and holds a vase full of water in the hand and started to sing. In the painting, eight dikkumaris are represented. They hold the full vase of water in one hand and vina (lute) in the second hand. They are : Three in first panel, three in second panel and remaining two in third panel (first and second). Fig. 98-101 : The dikkumaris arrive. Named : 33. Iladevi, 34. Suradevi, 35. Prthivi, 36. Padmavati, 37, Ekanast, 38. Navanika, 39. Bhadrand 40. sit came from west direction of Rucaka mountain holding a fan for the Lord and in the service of the mother. In the painting, the artist has represented only four dikkumaris instead of eight. They holds a fan in the hand. They are: Third of the third panel and three of the fourth panel.

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[5s As Represented in the Kalpasutra Paintings citra 102 thI 105 diku kumArIonuM Agamana. pazcima dizAnA rUcaka parvatamAMthI AvelI bAkInI cAra dikumArIonI rajUAta ulAsapUrvaka nRtya karatI pahelA ane bIjA hAMsiyAomAM citrakAre karelI che. Fig. 102-105 The dikkumaris arrive. Remaining four dikkumaris came from west direction of Rucaka mountain are represented in the first and second panel by the artist. They are dancing in joyful attitudes. citra 106 thI 111. dikakamArIonuM Agamana. 41 alaMbusA, 42 mikezI, 43 paMDarIkA, 44 vAruNI, 45 hAsA, 46 sarvaprabhA, 47 zrI ane 48 ho nAmanI ATha dikakumArIe uttara dizAnA rUcaka parvatamAMthI AvIne cAmara vijhavA lAgI. citramAM uttara dizAnA rUcaka parvatamAMthI ATha dikukamArIo paikI chanI ja ahIM rajUAta karelI che. A chaenA UMcA karelA eka hAthamAM cAmara che. je anukrame, trIjA hAMsiyAnI traNa ane cothA hAMsiyAnI traNa, ema kula maLIne cha che. Fig. 106-111 : Dikkumaris arrive. Named : 41, Alambusa, 42. Mitakesi. 43. Pundarika, 44. Varuni, 45. Hasa, 46. Sarvaprabha, 47, Sri and 48. Hri, came from north direction of Rucaka mountain and started to fly chamar (fly-whisk). In the painting, the artist has represented only six dikkumaris. instead of eight, They holds fly--whisks in their hands. They are : Three of the third panel and three of the fourth panel. citra 112-113 dikumArIonuM Agamana. uttara dizAnA rUcaka parvatamAMthI AvelI bAkInI be dikakumArIonI rajUAta citrakAre bhAvapUrvaka nRtya karatI pahelA hAMsiyAmAM karelI che. Fig 112-113 The Dikkumaris arrive. Remaining two dikkumaris came from north direction of Rucaka mountain are represented in the first panel by the artist. Both the dancing figures are the unique figures in the whole series of the dikkumaris. citra 114 thI 117. dikakumArIonuM Agamana. 49 citrA, 50 citrakanakA, 51 zatarA, ane para vasudAminI nAmanI cAra dikukamArIo rUcaka parvatanI vidizAomAMthI AvI hAthamAM dIpaka laI IzAna vagere vidizAomAM UbhI rahI. citramAM rUcaka parvatanI vidizAomAMthI AvelI cAre dikakumArIonA uMcA karelA eka hAthamAM dIpaka (mazAla) che. je anukrame, bIjA hAMsiyAmAM cAre cItarelI che. citra 118 thI 121 dikakumArIonuM Agamana. 53 rUpA, 54 rUpAsikA, papa surUpa, ane pa6 rUpakovatI nAmanI cAra dikakumArIoe rUcaka dvIpamAMthI AvIne bhagavaMtanA nALane cAra AMgaLathI cheTe chedIne, delA khADAmAM nAkhI khADo vaiDUryaratnathI pUrI tenI upara pITha banAvyuM tathA tene dUrvAthI bAMdhIne te janmagharanI pUrva dizA, dakSiNa dizA, ane uttara dizAmAM keLanAM traNa ghara banAvyAM. citramAM rUcaka dvIpathI AvelI cAre dikakumArIo paikI ekanI rajUAta citrakAre phalaka 41mAM chapAyelA cothA hAMsiyAmAMnI pahelI citra 87 tarIke, ane ahIM trIjA hAMsiyAmAMnI traNa, kula maLIne cArenI rajaAta karelI che. cArenA UMcA karelA eka hAthamAM phUla pakaDeluM che. Jain Education Intemational For Private & Personal use only

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56] The Life of Lord Sri Mahavira A pramANe chappana dikumArIonAM citro prastuta graMthamAM prathama ja prasiddha karavAmAM AvelA che. Aja sudhI mArA jevAmAM AvelI kalpasUtranI seMkaDo hastaprata paikInI koI paNa pratamAM dikakumArIonAM citro mArA jevAmAM AvyAM nathI. Fig. 114-117 : Dikkumaris arrrive. Named : 49. Citra, 50. Citrakanaka, 51. Satora and 52. Vasudamini, came from Rucaka mountain and stood with a lamp in hand in different directions. In the painting, the artist has represented four dikkumaris. They hold a lamp in hand. They are represented in the second panel. Fig. 118-120 Dikkumaris arrive. Named : 53. Rupa, 54. Rupasika, 55. Surupa, and 56. Rupakavati came from Rucaka dvipa, operated Lord's Nala from a distance of four angula, dug the earth and put the Nala in it; afterwards they made pitha on it and made three small kadalighar (hut made of the leaves of plaintains) in the east, south and north directions of the place of birth. In the painting, the artist has represented all the four dikkumaris. They holds a flower in the hand. They are : Three of the third panel and first of the fourth panel represented in the plate 41. Thus all the fifty six dikkumaris are published for the first time here. Out of the hundreds of illustrated manuscripts of the Kalpasutra, this is the only manuscript in which the illustrations of dikkumaris are represented citra 121. mahAvIrajanma ane chappana dikakumArIo taraphathI karavAmAM Avato. janma mahotsava. DahelA. 1nI pratanA pAnA 46 uparathI. A citramAM paNa upara ane nIce be prasaMge che. temAM kathAnA paricayanI zarUAta uparanA mahAvIrajanmanA prasaMgathI thAya che. varNana mATe jUo citra 7nuM A prasaMgane lagatuM varNana. citranA anusaMdhAne chappana dikakumArIonA mahotsavane nIce prasaMga jovAno che. prabhuno janma thatAM ja chappana dikakumArIonAM Asana kaMpyAM ane avadhijJAnathI prabhune janma thaelo jANI, harSapUrvaka sUtikAgharane viSe AvI. teomAM (1) bhagaMkarA (2) bhagavatI (3) subhegA (4) bhegamAlinI (5) suvatsA (6) vatsamitrA (7) puSpamALA ane (8) anaMditA nAmanI ATha dikakumArIoe alakathI AvI prabhune tathA prabhunI mAtAne namaskAra karI IzAna dizAmAM sUtikAghara racyuM; ane e gharathI eka jana paryata jamInane saMvartavAya vaDe zuddha karI. (9) meghaMkarA (10) meghavatI (11) sumeghA (12) meghamAlinI (13) toyadhArA (14) vicitrA (15) vAriSaNA ane (16) balAhikA nAmanI ATha dikakumArIoe UrvalokathI AvI prabhune tathA prabhunI mAtAne namana karI sugaMdhI jaLa tathA puSponI vRSTi karI. (17) naMdA (18) uttarAkhaMdA (19) AnaMda (20) naMdivardhanA (21) vijayA (22) vaijayaMtI (23) jayaMtI ane (24) aparAjitA nAmanI ATha dikakumArIoe pUrva dizA taraphanA rUcaka parvatathI AvIne mukha jevA mATe AgaLa darpaNa dharyuM. Jain Education Intemational

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As Represented in the Kalpasutra Paintings [57 (25) samAhArA (26) supradattA (27) suprabuddhA (28) yazodharA (29) lakSamIvatI (30) zeSavatI (31) citraguptA ane (32) vasuMdharA nAmanI ATha dikakumArIo dakSiNa dizAnA rUcaka parvatathI AvI snAna mATe jaLathI bharelA kaLaza laI gItagAna karavA lAgI. (33) ilAdevI (34) surAdevI (35) pRthivI (36) padmavatI (37) ekanAsA (37) navamikA (39) bhadrA ane (40) zItA nAmanI ATha dikakumArIo pazcima dizAnA rUcaka parvatathI AvI, prabhune tathA prabhunI mAtAne pavana nAkhavA mATe paMkho laIne UbhI rahI. 41) alaMbusA (42) mitakazI (43) puDarIkA (44) vAruNI (45) hAsA (46) sarvaprabhA (47) zrI ane (48) hI nAmanI ATha dikakumArIo uttara dizAnA rUcaka parvatathI AvI, cAmara vIMjhavA lAgI. (49) citrA (50) citrakanakA (51) zatarA ane (52) vasudAminI nAmanI cAra dikakumArIkAo rUcaka parvatanI vidizAomAMthI AvI, hAthamAM dIpaka laI IzAna vagere vidizAomAM UbhI rahI. (53) rUpA (54) rUpAsikA (55) surUpa ane (56) rUpakAvatI nAmanI cAra dikumArIoe rUcaka dvIpathI AvIne bhagavaMtanA nALane cAra aMgUlathI cheTe chedI, khodelA khADAmAM nAkhI. khADo vaiDUryaratnothI pUrI tenI upara pITha banAvyuM, tathA tene dUrvAthI bAMdhIne te janmagharanI pUrva dizA, dakSiNa dizA ane uttara dizAmAM keLanAM traNa ghara banAvyAM. dakSiNa dizAvALA gharamAM prabhune tathA mAtAne siMhAsana upara besADI, baMnene sugaMdhI telanuM mardana karyuM. citramAM judI judI dizA, vidizAonI ekeka dikumArI raju karI che, kAraNa ke ATalI jagyAmAM pa6 dikakumArIo citarI zakAya nahi. citramAM keLanA traNa ghara tathA be siMhAsana paNa cItarelAM che. kalpasUtranI bIjI hastapratomAM AvI rItano citraprasaMga cItareluM jovAmAM Avato nathI. chappana dikumArIkAonAM judAM judAM citra 65 thI 120 A pustakamAM ja prasiddha karelAM che. Fig. 121. DUA. 1, 46. Two scenes in one : (a) Mahavira's birth : (b) Goddesses arrive. The treatment is essentially the same as that of our fig. 7 and 64. citra 122 janmAbhiSeka ane iMdranuM paMcarUpe prabhune laIne meru upara javuM. citra 121nA pAnA uparathI. A citramAM paNa upara ane nIce ema be prasaMge che. temAM kathAnA paricayanI zarUAta nIcenA IMdra paMcarUpe prabhune meru upara laI jAya che, te prasaMgathI thAya che. Idra prabhune karasaMpuTamAM lIdhA ane prabhunI sevAno tamAma lAbha levA mATe pitAnAM pAMca rU5 banAvyAM. eka rUpe prabhune grahaNa karyA, be rUpe baMne bAjue rahIne cAmara vIMjhavA lAgyo, eka rUpe prabhunA mAthe chatra dhAraNa karyuM ane eka rUpe vajA dhAraNa karIne AgaLa cAlavA lAgyo. pachI citranA anusaMdhAne, janmAbhiSekano uparano prasaMga jevA che. varNana mATe juo citra 123nuM A prasaMgane lagatuM ja varNana. citranI madhyamAM be hAthamAM prabhune pakaDIne eka rUpe indra vegathI jato dekhAya che, bIjA rUpe sauthI AgaLa vaja dhAraNa karyuM che, tenI pAchaLa trIjA rUpe cAmara vIMjhatA ane cothA rUpe prabhunA mastake chatra dhAraNa karato tathA pAMcamA rUpe cAmara vIMjhato dekhAya che. iMdra AkAzamAM utAvaLathI jatA hovAthI cAmara dharatAM baMne rUpe tathA chatravALuM rUpa AgaLapAchaLa thaI gayAM che. citranAM pAtro vegavAna che. je citrakArano pIchI upara adabhuta kAbU darzAve che. 15 Jain Education Intemational

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The Life of Lord Sri Mahavira Fig. 122. DUA. 1. 46. Two scenes in one : (a) Mahavira's lustration and bath at his birth; (b) Sakra in fivefold rupas. 58] The treatment is essentially similar to that of our fig. 123 and 127, citra 123, prabhu zrImahAvIrasvAmIne meru parvata para janmAbhiSeka. pATaNa ranI pratanA pAnA 29 uparathI. saudharmendranuM parvata samAna nizcala, zakra nAmanuM siMhAsana kaMpAyamAna thayuM, eTale indre avidhajJAnanA upayoga mUkI joyuM te carama jinezvaranA janma thaelA jaNAyA. tarata ja indre harigameSI deva pAse eka ceAjana jeTalA parimaMDaLavALA sughASA nAmaneA ghaMTa vagaDAvyA. e ghaMTa vagADatAMnI sAthe ja sarva vimAnAmAM ghaMTa vAgavA lAgyA. peAtAtAnA vimAnamAM thatA ghaMTanAdathI devA samajI Indrane kAMika ktavya AvI paDayuM che. te sarve ekaThA thayA eTale hariNagameSoe indranA hukama kahI saMbhaLAvyA. tIrtha'karanA janmamaheAtsava karavA javAnuM che ema jANIne devAne bahu ja AnaMda thayA. gayA ke devAthI parivarelA indra nandIzvaradvIpa pAse AvI vimAnane saMkSepI bhagavAnanA janmasthAnake AvyA. jinezvarane tathA mAtAne traNa pradakSiNA dai, vaMdana-namaskAra vagere karI melyeA ke 'kukSimAM ratna upajAvanArI, jagatamAM dIpikA samI he mAtA ! huM tamane namaskAra karU chuM. huM devAneA svAmI zakrendra Aje tamArA putra chellA tIrthaMkaranA janmamahAtsava UjavavA devalAkathI cAlyA AvuM chuM, mAtA ! tame kAI rIte ciMtA ke vyagratA na dharatAM.' te pachI trizalA mAtAne indre avasvApinI nidrA ApI ane jinezvaraprabhune kasaMpuTamAM lIdhA. dhImedhIme vividha bhAvanA bhAvatA, devAthI parivarelA, saudharmendra, meruparvatanA zikhara upara rahelA pAMDuka vanamAM AvI paheAMcyA ane tyAM merunI cUlAthI dakSiNa bhAgamAM rahelI ati pAMDukakhalA nAmanI zilA para jaI prabhune kheALAmAM laI pUrva dizA bhaNI mukha karI sthita thayA. pahelAM acyutendra prabhune snAna karAvyuM. te pachI anukrame bIjA indro ane cheka chelle caMdra-sUrya vageree paNa prabhunA snAnane lahAvA lIdhA. zakendre pAte cAra vRSabhanuM rupa karIne ATha zIMgaDAMmAMthI jharatA jaLa vaDe prabhunA abhiSeka karyA. citramAM saudharmendranA kheALAmAM prabhu birAjamAna thaelA che. IMdranA mastaka upara uttama kiMmatI chatra che ane pAchaLanA bhAgamAM bhAmaMDala che. uparanA bhAgamAM e vRSabhanAM rupA cItarelAM che ane AjubAjumAM e devA hAthamAM kalaza laIne UbhelA che, indranI palAMThInI nIce meruparvatanI cUlAe cItarelI che. parvatanI cUlAnI baMne bAjue pUjananI sAmagrI hAthamAM laIne parvata para caDatA ekeka bhaktajananI citrakAre rajUAta karelI che. Fig. 123. HGP. 2, 29. Mahavira's lustration and bath at birth. The treatment is essentially similar to that of our figure 122. On the night when Mahavira was born there was a divine lustre caused by the gods descending; and ascending, wealth was poured on to the palace of Siddhartha by the servants of Kubera; and the gods celebrated the festival of the birth bath of the Tirthankara (titthayarajammana-abhiseya-mahimae kayae). Hemachandra expands the account. The 56 dikkumaris acted as midwives. Then came Sakra, threw the queen into a deep slumber with a sleeping charm, laid a false Mahavira by her side, and made himself fivefold (Jaisalmerni Chitrasamriddhi Fig. no. 32). With one self he held the child, with a second self he held a parasol over

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As Represented in the Kalpasutra Paintings [59 the child, with a third and fourth he stood beside it waving fly-whisks, and with the fifth, bearing the thunderbolt, he danced before the child. Then all went to Mount Meru for the ceremony. The 63 other Indras came to bath the child. The Master playfully pushed the tip of Mount Meru with his left great toe, and all the mountain peaks down before him, to the amazement of the gods. Then the Indras anointed him with marvellous unctions. In our painting, Mahavira sits on Sakra's lap. Beside him are two Indras, holding pitchers of water. Above are two bulls, apparently two of four crystal bulls created by Sakra to stand in the four directions. The peaks of Mount Meru appear in the bottom of th scene. Above Sakra is an honorific parasol and behind him is an aureole. At the right of the Meru peak a man is climbing with a flower basket and at the left a man is climbing with a flower in his hand, these subjects are additional to our figure. 122. citra 124. prabhu zrImahAvIrasvAmine janmAbhiSeka. navAba 1nI pratanA pAnA 46 uparathI. varNana mATe juo citra 122-123nuM A prasaMgane lagatuM varNana. Fig. 124. SMN, 1, 46. Mahavira's lustration and bath at birth. The treatment is essentially similar to our figure 122. citra 125. siddhArtha rAjAnA bhavanamAM hiraNyane varasAda varasAvatA de. navAba 4, pAnA 32 uparathI. je rAte zramaNa bhagavAna mahAvIra janamyA te rAte kuberanI AjJAmAM rahetA tirachA lekamAM vasatA ghaNA bhaka dee siddhArtharAjAnA bhavanamAM hiraNyane varasAda ane suvarNano varasAda, ratanano varasAda ane vajana varasAda, vastrone varasAda ane ghareNAMno varasAda, pAMdaDAMno varasAda ane phulano varasAda, phaLono varasAda ane bIjano varasAda, mALAono varasAda ane sugaMdhane varasAda, vividha raMgane varasAda ane sugaMdhita cUrNone varasAda varasAvyo, vasudhArA varasAvI eTale dhanane relamachela varasAda varasAvyo. Fig. 125. SMN. 4, 32 The serevants of Kubera rained shower of silver, gold etc, on the king Siddhartha's palace. During the night in which Sramana Bhagavan Mahavira was born, many gods of the Lokantikadeva--loka, in Kuber's service, rained on the palace of king Siddhartha, a shower of silver, gold, diamonds, garments, ornaments, leaves, fruits, seeds, garlands, perfumes, scented powders, coloured powders and a continuous shower of riches. citra 126. pATaNa 3nA pAnA 38 uparathI. prabhu zrI mahAvIra svAmInA janma prasaMge AnaMda karatA devo. bhagavAna mahAvIranA janma mahotsava vakhate, deva jUdI jUdI jAtanAM vAdyo vagADIne AnaMda karatAM dekhAya che. citramAM kula cAra de che. temAM uparanA devanA jamaNA hAthamAM lUMTa, tathA uMcA karelA DAbA hAthamAM ghaMTa vagADavAne daDe che. prathama devanI pAchaLa baMne hAthe Dhola vagADate bIje deva Ubhela che, devanA baMne hAthanI gati khAsa jovA jevI che. nIcenA be deve paikI, prathama devanA baMne hAthamAM zaMkha che, ane prathama devanI pAchaLa Ubhelo bIjo deva bhUMgaLa vagADe che. A citraprasaMga citrakAranA samayanA saMgItanA vAdyo tathA te vagADavAnI paddhatine pUrA ApaNane pUro pADe che, je jotAM ApaNane lAge che ke citrakAranA samayamAM pazcima bhAratanI prajAmAM saMgItanuM jJAna ane sanmAna ghaNAM ja ucca prakAranAM hovAM joIe. Jain Education Intemational

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60]. The Life of Lord Sri Mahavira Fig. 126. HGP 3, 38. At the birth of Bhagavan Sri Mahavira Gods in gaiety. The gods are celebrating the birth of Bhagavan Sri Mahavira in great merriment. Four gods are represented in the illustration, the first god on the upper left holds a bell in his right hand and a stick in his raised left hand. Following him another god, beating a drum with both hands. The rhythm of the hands reflect the speed of the movements. In the lower portion, the first god holds a conch and the second blows a pipe. This provides useful information about the musical instruments and the mode of playing them at the time of the composition of the illustration. It shows also that the music was held in high esteem by the people in Western India at that time. citra 12. paMca rUpe IMdra ane mahAvIra janma. jaisalameranI pratanA pAnA 39 uparathI. A citranI pahoLAI ane laMbAI 343 IMcanI che. citramAM upara ane nIce ema be prasaMge che, temAM kathAnA paricayanI zarUAta nIcenA mahAvIra janmanA citrathI thAya che. je vakhate graha ucca sthAnamAM vartatA hatA, caMdrane uttama yoga prApta thayo hato, sarvatra saumyabhAva, zAMti ane prakAza khIlI rahyAM hatAM, dizAomAM aMdhakAranuM nAmanizAna paNa na hatuM, ulkApAta, rajovRSTi, dharatIkaMpa ke digadAha je upadravano cheka abhAva vartato hato, dizAonA aMta paryaMta vizuddhi ane nirmaLatA patharAelI hatI, je vakhate sarva pakSIo potAnA kalarava vaDe jayajaya zabdo uccAra karI rahyAM hatAM, dakSiNa dizAne sugaMdhi zItaLa pavana pRthvIne maMdamaMdapaNe sparza karato vizvanA prANIone sukha-zAMti upajAvI rahyo hato, pRthvI paNa sarvaprakAranAM dhAnyAdithI ubharAI rahI hatI ane je vakhate sukALa, Arogya vagere anukuLa saMyogothI dezavAsI lokonAM haiyAM harSanA hiMDoLe jhUlI rahyAM hatAM, tema ja vasaMtotsavAdinI kIDA dezabharamAM cAlI rahI hatI. te vakhate, madhyarAtrinA viSe, uttarAphAgunI nakSatra sAthe caMdrano yoga prApta thatAM, ArogyavALI trizalA kSatriyANIe bAdhArahitapaNe ArogyavAna putrane janma Apyo. citramAM suvarNanA palaMga upara bichAvelI vividha jAtinAM kulethI AcchAdita karelI sugaMdhIdAra zamyA upara trizalA kSatriyANI sUtA che. jamaNA hAthe prabhu mahAvIrane bALakarUpe pakaDIne temanA tarapha-sanmukha joI rahelAM che. temano jamaNo hAtha takIAne aDhelIne rAkhela che. temanuM sAruM ke zarIra vastrAbhUSaNathI susajita che. temanA uttarIya-vastra-sADImAM suMdara bhAta cItarelI che. temane pozAka paMdaramA saikAnA zrImaMta vaibhavazALI kuTuMbanI strIonA paheravezano suMdaramAM suMdara khyAla Ape che. palaMganI nIce pANInI jhArI tathA palaMgamAMthI UtaratI vakhate paga mUkavA mATe pAdapITha paga mUkavAno bAjoTha-5Na cItarelAM che. trizalAnA paga AgaLa eka strI-paricArikA UbhelI che, ane uparanA bhAgamAM citranI DAbI bAjue, bIjI be strI-paricArikAo hAthamAM vividha vastuo pakaDIne sevA karavAnI utsukatA batAvatI beThelI che. A pachI citranA anusaMdhAne, iMdra paMcarUpe prabhune janmAbhiSeka karavA laI jAya che te prasaMga jovAno che. trizalA mAtAne tathA parivArane avasthApinI nidrA ApIne, Idra prabhune karasaMpuTamAM lIdhA ane prabhunI sevAne tamAma lAbha potAne maLe te mATe pitAnA pAMca rUpa banAvyA. eka rUpe prabhune grahaNa karyA (A citramAM IMdranA badale harimeSi-iMdranA padAti-nI rajUAta karelI che). be rUpe banne bAju rahIne cAmara vijhavA lAgyo, eka rUpe prabhunA mAthe chatra dhAraNa karyuM ane eka rUpe vajI dhAraNa karIne AgaLa cAlavA lAgyo. citranI madhyamAM be hAthe prabhune pakaDIne IMdra vegathI jato dekhAya che, bIjA rUpe sauthI AgaLa vajA dhAraNa karyuM che, tenI pAchaLa trIjA rUpe cAmara vIMjhato ane cothA rUpe prabhunA mastake chatra dhAraNa karato tathA Jain Education Intemational

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jainelibrary.or rAgAdidyApiMgalagalIpApAle balaMbamANavakaTANDa prAmumilihavisiDalaha RNaNakaNarurakapAcaza disAkAriTamaladArAmAMcA vazichANAmapikaNArArimalamaharihavigavi dAminimiAsatavi viddavIravalagA kiMva lakidA vicasiera primaann||||||sdaavshvaamraa dimAgI di| maMgalA dAhakAlA ANAnAdAgadaMDanAyagarAIsaratala Re 55 siddhArtharAjAnAM AbhUSaNeAnuM varNana 55 Description of the Siddhartha's ornaments 33

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Jain Education Intemational pada siddhArtha svapnonuM phala sAMbhaLe che. 56 Siddhartha listens to the expounding of the dreams pa7 siddhArtharAjA snAnagharamAM 57 Siddhartha's toilet

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pa8 svapnalakSaNa pAThaka 58 The interpreters of the dreams 59 siddhArtha svapnalakSaNa pAThakathI svapnanuM phala sAMbhaLe che 59 Siddhartha listens to the expounding of the dreams

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C Xiang Tong 6219.024 P 60 navanidhAna 60 Treasure jars in Siddhartha's palace 36

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61 upara : trizalA mAtAnA zAka ane AnaMda 61 Trisala's grief and rejoicing 62 trizalA mAtAnA garbha pharakavAthI AnaMda 62 Trisala's rejoicing at the movement of the foetus 31

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dAhA 121 mAna lAkha 26 OR SOP mantal KARN maNimAdA donadAhalA irie nijI bahi pannA nija NESTLEDE ApaNa 63 prabhu zrImahAvIrasvAmInA 1 thI 23 pUrvabhavAnAM prasaMge 63 Symbolic incidents from the first to twentythird preceeding lives of Mahavira 38

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) . ( ? di ka ja ja ' 64 prabhu zrImahAvIrasvAmIno janma ane 24 thI 26 pUrvabhavanAM jIvana prasaMge 64 Sri Mahavira's Birth and incidents from the twentyfourth to twentysixth preceeding lives

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40 65-77 The dikkumaris arrive 65-77 diku kumArIkAonuM avataraNa Jain Education Intemational

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As Represented in the Kalpasotra Paintings 1 61 pAMcamA rUpe sauthI pAchaLa cAmara vIMjhatA dekhAya che. citranAM pAtrA vegavAna che, je citrakAranA pIMchI uparanA adbhUta kAbU darzAve che. Fig. 127. Sakra in five fold and Mahavira's birth. JSM. Fol. 39. Size 32"x3" two scenes in one: (a) Sakra in five fold; (b) Mahavira's birth. Story begins from the lower portion. It was in the summer season in first month in the second demi-lunation, during the bright half of the month Caitra, on the thirteenth day, after a gestation of nine months and seven and half days, that the Venerable Ascetic Mahavira was born, a faultless child. When the planets were at their greatest elongation, and when they were in a fortunate conjuction with the moon, while all the region were in a state of placidity, while there was no darkness, but all luminous without any louring redness and nightingales singing song of triumph and the purifying winds moving gently along, and circling around the place where lay the Lord Mahavira and his mother. The joyous multitude were engaged in celebrating the vernal festival and even the earth seemed to share in the delight. It was at midnight, under the constellation of Uttara Phalguni, at a lucky conjunction of the moon and planets that the event took place. On the night in which the Adorable Ascetic was born, many gods and goddesses continued going and coming to and from this world with a divine splendour, manifesting, by laughter and other signs, the intensity of their joy. On the night in which the Adorable Ascetic Mahavira was born, many divinities dwellers in the world under the command of Kubera rained down showers of precious ores, gold, diamonds, garments, jewells sweet-smelling leaves of flowers, fruits, seeds, garlands, ambergris, sandal-wood, and strings of pearls. The four classes of gods, those who dwell in subterranean places, those of the aerial regions, those of the stairy firmament, and those from the highest heavens, allflocked to the abode of the noble Siddhartha to hold high festival of the inaugaration of the Tirthankara. Trisala is represented lying on a golden couch furnished with the usual type of bed, with the usual types of vessels beneath it, the babe Mahavira held in her right arm. Her sari is decorated with a flower pattern, a scarf covering her coiffure is wrapped round her waist and she wears ornaments. A female chauri-bearer standing behind the couch and three out of 56 dikkumaris are shown in the right side of the painting. In the continuation of the lower portion, we have to see the scene of upper portion. Sakra is represented in five fold in the upper portion. With one self he held the child in his arms (here instead of Sakra, Haripaigamesin is represented), with a second self he held a parasol (chhatra) over the child, with a third and fourth he stood beside it waving. fly-whisks, and with the fifth, bearing the thunderbolt, he danced before the child. Then all went to Mount Meru for the ceremony. In the middle of the painting Haripaigamesin (instead of "Sakra") shown going immediately with babe Mahavira held in his raised arms, with a second self in left he is. waving fly-whisk, with a third self he held a parasol, with a fourth self het is waving flywhisk and with the fifth, bearing the thunderbolt and seeing babe Mahavira. The lovely dyes of the garments and well-balanced patterns put on by Trisala and Sakra in five fold 16

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62] The Life of Lord Sri Mahavira are reflective of the art and fashion of the age. The earrings provided a new vogue, Silver colour adds to the lustre of the miniature, whose every figure represents a model symbolic of the prosperity and progress of the 15th century. citra 128: prabhuzrI mahAvIrane janma ane pachI jAgaraNa. haMsa. vi. 1, uparathI. prabhu zrI mahAvIranA janmanA varNana mATe citra 127nuM A prasaMganuM varNana juo. putra janamanA chaThThA divase prabhunA mAtApitAe kuladharma pramANe jAgaraNuno utsava eTale rAtijo karyo. citranA nIcenA bhAgamAM suMdaravastrAbhUSaNo paherIne, uMcA karelA eka hAthamAM pUjana kareluM pustaka pakaDIne cAra kumArIkAo beThelI che. Fig. 128 : HVB 1. Sri Mahavira's birth and Vigil on the sixth night. The treatment of the upper register is essentially the same as that in our figure 127. The parents of Mahavira celebrated the birth of the heir on the first day; they observed the religious vigil on the sixth day. The painting shows four women holding a book with flowers in raised hand. All women are beautifuly dressed and ornamented. citra 129 : bALa mahAvIrane janmanA trIjA divase caMdranA darzana karAve che. citranI DAbI bAjue uparanA bhAgamAM caMdra che. bAkInA prasaMgonI rajUAta nIcenA citrane lagabhaga maLatI che. citra 130 : bALa mahAvIrane janmanA trIjA divase sUryanuM darzana karAve che. citranI DAbI bAjue uparanA bhAgamAM Ugato sUrya che. jamaNI bAjue rAjamahelanI agAsIno eka bhAga che. sUryanI nIce trizalArANI bALaka vardhamAnakumArane uMcA karelA baMne hAthamAM pakaDI rAkhIne sUryanAM darzana karAve che. rANInI pAchaLa chatra sahita siMhAsana che. A baMne citro aDhAramA sikAnI rAjapUta citrakalAnA namUnAo che. baMne citromAM rANIe mastaka upara oDhaNIno keTaloka bhAga oDhelo spaSTa dekhAya che. Fig. 129 : Showing the moon to Babe Mahavira on the third day after the birth. On the left is seen the Moon. The traetment corresponds to the treatmet of Fig. 130. Both these illustrations represent the art of Rajput Painting of the 18th century. Fig. 130 : Showing the Sun to Babe Mahavira on the third day after the birth. On the right side is a rising Sun and to the left on the top is a balcony of the palace. Raising Vardhmanakumar with both hands, the Queen Trisladevi shows the rising Sun. Behind the Queen is the sinhasana (throne) with a canopy. citra 131: AmalakI krIDA karatA zrIvardhamAnakumAra, kusumacaMdrasUrijInI kalpasUtranI chata uparathI. citranA varNana mATe jUo citra 132nuM A prasaMgane ja lagatuM varNana. Fig. 131. KSM : The youthful Mahavira and the jealous god. The treatment is essentially the same as that in figure 132. Jain Education Intemational For Private & Personal use only

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As Represented in the Kalpasutra Paintings [ 63 citra 132 : AmalakI krIDA ane nizAla garaNuM, DahelA. 2nI pratanA pAnA 43 uparathI. A citramAM paNa upara ane nIce ema be prasaMgeA che. temAM kathAnA paricayanI zarUAta uparanA AmalakI krIDAnA citrathI thAya che. (1) eka vakhate saudharmendra pAtAnI sabhAmAM mahAvIranA dhairyaguNanI prazaMsA karI ane kahevA lAgyA ke : he devA ! atyAranA A kALamAM manuSyalAkamAM zrIvardhamAnakumAra eka bALaka hAvA chatAM paNa temanA jevA bIjo keAi prarAkramI vIra nathI. IndrAdi devA paNa temane khavarAvavAmAM asamartha che.' A sAMbhaLIne eka deva ke jenuM nAma jaNAvavAmAM nathI AvyuM, te jyAM kumArA krIDA karatA hatA tyAM AnyA ane sAMbelA jevA jADA, capaLa be jIbhavALA, caLatA maNuivALA, phUMphADA mAratA, kAjaLa samAna kALA varNavALA, krUra AkRtivALA ane vistRta phaNAvALA meATA sarpanuM rUpa banAvIne krIDA karavAnA vRkSane vIMTALI dIdhuM. AvA bhayaMkara sarpa joi bhayabhIta banelA adhA kumArA ramatagamata paDatI mUkI nAsI chUTavA, paraMtu mahAparAkramI dhairyazALI zrI vardhamAnakumAre jarApaNu bhaya pAmyA vinA pAte tyAM tenI pAse jai, sarpane hAthathI pakaDI dUra pheMkI dIdhA. sarpa dUra paDaco eTale nirbhaya anelA kumAre pAchA ekaThA thai gayA ane krIDA zarU karI dIdhI. (2) have kumAroe vRkSanI ramata paDatI mUkI daDAnI ramata zarU karI. ramatamAM evI zarata hatI ke je hArI jAya te jItelAne khabhA Upara besADe. kumAraveSadhArI deva zrI vardhamAnakumAra sAthe ramatamAM hArI gayA. teNe kahyuM : bhAI, huM hAryAM ane A vardhamAnakumAra jItyA mATe emane mArA khabhA upara besavA do. zrI vardhamAna khabhA upara beThA eTale deve taka sAdhI temane khivarAvavAnA prapaMca karyo. teNe pAtAnI devazaktithI sAta tADa jeTaluM UMcu pAtAnuM zarIra banAvyuM. prabhu tenA prapaMca avidhajJAnanA khaLathI jANI gayA. temaNe vajra jevI kaThAra muSTithI tenI pITha para evA tA prahAra karyo ke te cIsA pADavA lAgyA ane pIDA pAmavAthI maccharanI jema sakeAcAi gayA. prabhunuM parAkrama tathA dhairya pratyakSa anubhavI indranA satya vacanane teNe manamAM svIkAra karyAM ane peAtAnuM asala svarUpa prakaTa karI saghaLA vRttAMta kahI saMbhaLAvyA. te vakhate indra dhairyazALI prabhunuM * vIra' evuM guNaniSpanna nAma pADayuM. citramAM vardhamAnakumAre mAthe mukuTa tathA kAnamAM kuMDaLa vagere AbhUSaNA paherelAM che ane jhADane vIMTAI vaLelA sarpa che. vardhamAnakumAranI AgaLapAchaLa traNa tathA uparanA bhAgamAM eka khIe chekaro cItarelA che. vardhamAna devanA khabhA upara beThelA che. vaLI najIkamAM eka vyakita UbhelI che, je jamaNA hAtha UMcA karIne kAIne olAvIne mahAvIranA A parAkramanA prasaMga khatAvatI hAya ema lAge che. A prasaMganI sAthe sarakhAve| kRSNanI bALakrIDAneA eka prasaMga. (1) kRSNa jyAre khIjA geApa bALakA sAthe ramatA hatA tyAre temanA zatru kaMse mAravA mAkalelA azva nAmanA asura eka ceAjana jeTaluM sarparUpa dhAraNa karI mArga vacce pADyo ane kRSNa suddhAM badhAM bALakone gaLI gayA. A joi kRSNe e sarpanA gaLAne evI rIte rUdhI nAkhyuM ke jethI te sarpa aghAsuranuM mastaka phATI zvAsa nIkaLI gayA ane te marI gayA. tenA mukhamAMthI khaLakA badhA sakuzaLa bahAra AvyA. -bhAgavata dazamadha, a. 20, aaa. 12-35, pR. 88. (2) ekabIjAne arasaparasa gheADA banAvI jyAre geApa bALakA sAthe kRSNa ane khaLabhadra ramatA hatA, te vakhate kaMse mAkalelA pralamba nAmanA asura te ramatamAM dAkhala thayA. te kRSNa ane khaLabhadrane UpADI javA IcchatA hatA. eNe khaLabhadrane gheADA banI temane dUra laI jaI, eka pracaMDa ane bhayAnaka rUpa pragaTa karyuM. khaLabhadre chevaTe Jain Education Intemational

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64). The Life of Lord Sri Mahavira na DaratAM sakhata muSTiprahArathI e vikarALa asurane lehI vamato karI ThAra karyo ane aMte badhA sakuzaLa pAchA pharyA. -bhAgavata dazamasakanda, a. 20, kale. 18-30 A pachI citranA anusaMdhAne, anukrame nizAla garaNano nIceno prasaMga jovAno che. prabhu jyAre ATha varSathI kaMIka adhika ummaranA thayA tyAre, prabhu janmathI ja traNa jJAna sahita janmelA hovA chatAM, parama harSita thaelAM mAtA, sAmAnya putranI peThe teone nizALe bhaNavA mokalavA taiyAra thayAM. zubha muhUrta ane zubha lagna prabhune nizALe besADavAnI mahotsava pUrvaka moTI taiyArI karI. sagAM-saMbaMdhIone, hAthI, ghoDA vagere vAhanathI, hAra, mugaTa, kaMDala, bAjubaMdha, kaMkaNu vagere AbhUSaNethI ane paMcavarSIya rezamI vastrothI AdarapUrvaka satkAra karyo. bhaNAvanAra paMDitane mATe mahAmUlyavALAM ghareNAM, vividha prakAranAM ratna ane zrIphaLa vagere uttama vastuo taiyAra karavAmAM AvI. nizALanA vidyArthIone vaheMcavA mATe sopArI, sAkara, badAma, drAkSa, cAroLI, mIThAI ane vividha prakAranAM vastro maMgAvyAM. suvarNa, ratna ane rUpAthI jaDelAM pATI-khaDiyo-lekhana vagere upakaraNa taiyAra kayAM. devI sarasvatInI mUrtinA pUjana mATe kiMmatI ratno ane motIothI jaDeluM suvarNanuM manohara AbhUSaNa taiyAra karAvyuM. kulanI vRddha strIoe prabhune pavitra jaLa vaDe snAna karAvI, caMdana kapUra vagere sugaMdhI dravyothI vilepana karyuM. tyAra pachI uttama vastro, divya AbhUSaNe ane puSpamALA vaDe alaMkRta thaelA prabhune suvarNanI sAMkaLathI zobhI rahelA uttama hAthI upara besADyA. sevakoe prabhunA mastaka upara ramaNIya chatra dhAraNa karyuM. caMdranAM kiraNo jevAM sapheda cAmara vIMjhAvA lAgyAM, gavaiyAo gAna gAvA lAgyA, vAjiMtronA madhura sUra nIkaLavA lAgyA, vividha prakAranA nAca thavA lAgyA, yAcakane Icchita dAna maLavA lAgyAM. evI rIte dhAmadhuma sAthe, caturaMgI senAthI paravarelA zrIvardhamAnakumAra paMDitane ghera bhaNavA gayA. citramAM hAthI upara vardhamAnakamAra beThelA che. hAthInI AgaLa eka mANasa zaraNAI vagADato dekhAya che ane hAthInI pAchaLa upara be ane nIce eka, kula traNa strIo maMgala gIta gAtI ubhI che. nIce cAra puruSo beThelA che. Fig 132: DUA. 2, 43. Two scenes in one : (a) The youthful Mahavira and the jealous god; (b) Mahavira is going to school (Nisalagarnum). Before he was 8 years old Mahavira used to play games becoming his age with other boys. One day, in his court while describing the hero (Vira), Hari (Sakra) said that all steadfast (dhira) beings were inferior to Maha vira (anumahaviram). One of gods his name is not given-full of prideful envy determined to shatter Mahavira's courage, and went to the place where the Lord was playing. At that time Mahavira and his companions were engaged in the game of amalaki. The god assumsd the form of a serpent and appeared at the foot of a tree, All the other boys fled in terror, but Mahavira picked up the serpent as though it were a rope and dashed it to the ground. The other boys were than ashamed and resumed the game. The god now returned in the form of a boy. At this time the boys were climbing a tree. Mahavira got to the top first-for what achievement was that for him who was destined to reach the top of the universe ?-where he shone like the sun on Mount Meru, while his companions hung below like the constellations of monkeys (pun on the word sakhamrgas). Mahavira had won, and the wager had been that winner should mount the back of the vanquished and ride about on them. He therefore got on to the backs of the other boys as though they were horses; foremost among the strong, he even Jain Education Intemational

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As Represented in the Kalpasutra Paintings [ 65 mounted the back of the god. Then the god, with wicked intent, took the form of a terrifying demon and began to increase in size until he was even larger than the mountains. In his hell like mouth, his tongue looked like the serpent Taksaka; on his head now like a mountain top (indeed the sirahsaila) his tawny hair flamed like a forest fire. His two dreadful tusks (or, rows of teeth) were like saws; his eyes blazed furiously like braziers of coals (angarasakatyau); his brows, twisted in a scowl were like two mighty serpents. He was still growing larger when the Lord dealt him a mighty blow on the back with his fist, and that blow reduced him to a dwarf. The god, who had thus suffered and actual demonstration of the manliness of the Lord, described by Indra, now took his true form, did reverence to the Lord, and returned to his abode. (a) In the upper portion of the painting at the left is a tree, around which is coiled a snake (the god in disguise), Near the tree is a boy playing and Lord Mahavira is on the shoulder of a god. Above Mahavira's head is parasol. Behind Mahavira at the right are three boys playing. (b) In the lower portion at the left is a trumpeter, and behind him Mahavira is seated on an elephant on his way to school. Following the elephant are three ladies with auspicious objects in their hands. At the bottom of the painting four men are following the procession. citra 133 : zrI vardhamAnakumAranuM pANigrahaNa. zrI supArzvanAtha caritranI pratanA pAna 50 uparathI. citranI mayamAM bAMdhelA lagnamaMDapamAM zrI vardhamAnakumAra tathA yazodAne hastameLApa, baMnenI vacamAM beThelo jozI karAve che. lagnamaMDapanI baMne bAjue corInA vAsaNo uparAuparI goThavelA dekhAya che. corInA vAsaNonI bAjumAM kadalI staMbha UbhA karelA che. citranI jamaNI bAjue cerInI bahAra eka puruSa suMdara vastrAbhUSaNo paridhAna karIne ubhelo che, jyAre citranI DAbI bAjue eka strI suMdara vastrAbhUSaNa paridhAna karIne ubhelI che. teNInA UMcA karelA jamaNA hAthamAM kAMIka mAMgalika vastu che. citranI uparanA bhAgamAM kadalI vRkSanAM pAMdaDAnAM banAvelAM suMdara toraNe laTakatAM dekhAya che. A citra ApaNane citrakAranA samayanI lagna vyavasthAno pUrepUro khyAla Ape che. Fig. 133 : Vardhamana's Marriage : From the folio No. 50 of Sri Suparsvanatha Caritra's MS. In the centre of the Painting is a chawri (marriage pavilion), and inside are seen Vardhamanakumara and his bride Rajkumari Yasoda, with their hands in unision. Between them, a brahman is seated. A lamp is hanging in the pavilion. At the left one man is standing with a raised hand and a woman is standing at the right with an auspicious object in a raised hand witnessing the marriage ceremony. Decorative arches (torana) of Kadalivriksa are seen hanging near the top of the painting. This is a beautiful symbolic specimen of the marriage pavilion of the fifteenth century. citra 134: vardhamAnakumAranuM pANigrahaNa. prabhu anukrame bAlyAvasthA vaTAvIne yauvanAvasthA pAmyA, tyAre mAtA-pitAe teone uMmaralAyaka ane bhegasamartha jANI, zubha tithi, zubha muhurtamAM samaravIra rAjAnI yazodA nAmanI putrI sAthe paraNavyA. citramAM vardhamAnakumAra tathA yazodAno hastameLApa thate batAvela che. baMnenI vacce saLagato agni batAvela che. baMne bAjue cerInA vAsaNo tathA keLane suMdara mAMDe bAMdhelo che. citranI nIcenA bhAgamAM 17. Jain Education Intemational For Private & Personal use only

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66] The Life of Lord Sri Mahavira sAta haMsapakSIonI suMdara rajUAta karelI che. A prasaMga paNa bIjI hastapratomAM javalle ja maLI Ave che. Fig. 134. : Vardhamana's Marriage: When Vardhamana reached a marriageble age, his father and mother, thinking it time for his son to marry asked Vardhamana's consent. To please his father and mother, Vardhamana married with the Princess named Yasoda, the daughter of King Samaravira on a very auspicious day and in an auspicious time. In the painting, Vardhamanakumar and his bride Yasoda stand in the marriage pavilion which the King Samarvira erected with their hands together. The burning fire is seen in th centre. The vessels of chauri, and Kadalistambha are also represented. A beautiful arch is in the upper part of the painting. In the lower part is a panel of seven swans. This scene is rarely seen in other illustrated manuscripts. citra 135. pATaNa 2.nA pAnA 25 uparathI. siddhArtha rAjA nagaranA rakhevALAne prabhuno janma mahotsava ujavavA AjJA pharamAve che. tyAra pachI te siddhArtha kSatriya, bhavanapani vAnavaMtara jyotirSika ane vaimAnika devoe tIrthaMkarano janmAbhiSeka mahimA karyA pachI, savAranA pahoramAM nagaranA rakhevALAne bolAve che. nagaranA rakhevALAne bolAvIne prabhuno janma mahotsava ujavavAnI AjJA pharamAve che. Fig. 135. : HGP. 2, 25. Siddhartha commands his officers to announce a festival. At daybreak King Siddhartha commanded city warders to announce a festival with freeing of prisoners, sweeping and watering of streets, decoration of the city, sports, and entertainments. King Siddhartha sits upon his throne, sword in right hand, faced by four officers, who receive his orders. citra 136: jIrAnI pratanA pAnA 41 uparathI. zrI vardhamAnakumArane janma mahotsava ujavatA siddhArtha rAjA. prabhu mahAvIrano janma thayAnuM jANatAM ja priyaMvadA nAmanI dAsI deDatI deDatI siddhArtha rAjA pAse AvI pahoMcI ane putra janma thayAnI vadhAmaNI ApI. A vadhAmaNI sAMbhaLIne rAjAne anahada AnaMda utpanna thAya emAM te pUchavAnuM ja zuM ? harSanA atirekathI tenI vANI gadgada zabdAvALI thaI gaI ane tenA zarIranA romAMca vikasvara thaI gayAM. A vadhAmaNI ApanAra dAsI para rAjA ghaNA prasanna thayo; pitAnAM mugaTa sivAyanAM saghaLAM AbhUSaNe tene bakSIsa ApI dIdhAM ane dAsIpaNAthI tene mukta karI dIdhI. savAra thatAM ja, siddhArtha rAjAe nagaranA koTavALAne bolAvIne kahyuM ke : "he devAnupriyo! tame jaladI kSatriyakuMDa gAma nagaranA kedakhAnAmAMthI tamAma kedIone choDI mUko ane AkhA nagarane zaNagAro. uparAMta nAca karanArA, malayuddha karanArA, hAsya-kutUhala karanArA vidUSako, bhAMDa-bhacA, hAthI, UMTa ke UMcA rAkhelA vAMsane kudI janArA, rasika kathAo kahenArA, rAsa ramanArA, vAMsa upara caDhI tenA agrabhAga upara khela karanArA, cAmaDAnI mazakamAM vAyu bharI zaraNAI bajAvanArA, vINu vagADanArA, tALI vagADI nAca karanArA, AvI AvI jAtanA kutUhalakhela-ramatagamata karanArA aneka lokone lokonA manoraMjana mATe kSatriyakuMDagrAma nagarane viSe bolAve. Jain Education Intemational

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As Represented in the Kalpasutra Paintings [ 67 A mahAtsavanA divaseAmAM kAi AraMbha-samAraMbha na kare ane daLavA-khAMDavAnuM baMdha rAkhe evA aMdAkhasta tame pAte karo ane khIjA pAse karAvA, tathA mArI AjJA mujaba dareka kArya karIne mane nivedyana karo.' citramAM upara ane nIce ema be prasaMgeA che. temAM kathAnA paricayanI zarUAta uparanA citrathI thAya che. siMhAsana upara jamaNA hAthathI talavAra pakaDIne vastrAbhUSaNaiAthI sajja thaIne siddhArtha beThelA che ane peAtAnA DAbA hAthamAMnA kiMmatI hAra sAme UbhelI putrajanmanI vadhAmaNI lAvanAra priyaMvadA dAsIne ApatA dekhAya che, ane te hAra grahaNa karavA mATe be hAtha dharIne dAsI UbhelI che. dAsInA mAthAnA uparanA bhAgamAM eka hAthamAM DhAla ane bIjA hAthamAM talavAra pakaDIne beThelA gAmanA kATavALa siddhArthanI AjJA sAMbhaLatA hoya tevI rIte beThelA che. siddhArthanI pAchaLa cAmara uDADatI eka strI-paricArikA ubhelI che. A pachI citranA anusaMdhAne, nIcenA citramAM cItarelA mahAvIra prabhunA janma thayAnA AnaMdamAM judIjIjudI jAtanAM vAgho laine nAca-gAna karatAM strI-puruSAne prasaMga jovAnA che, citranI madhyamAM eka strI nAcatI dekhAya che. nAcatI strInI jamaNI bAju eka puruSa zaraNAI vagADe che ane khIjo puruSa nagArU vagADatA UbhelA che. DAbI bAju UbhelA e puruSA paikI ekanA baMne hAthamAM maMjIrA che ane bIjo puruSa baMne hAthathI pakaDelI vAMsaLI vagADe che. A pramANe kula pAMca strI-puruSo nAcagAna karatAM dekhAya che. Fig. 136: JRP 41. Siddhartha celebrating the festival of Mahavira's birth. The King and his seraglio celebrated the 10 days' festival decreed in honour of the birth of an heir to the kingdom. In the upper register at the left sits Siddhartha, opposite to him is maid servant Priyamvada giving the message of the birth of Mahavira. In the lower register are a male trumpeter, a male drummer, a female dancer, a mail singer and a male lute player enjoying the birth festival. This painting is unique of its kind. citra 137 : leAkAMtika devAnI prArthanA ane varSIdAna. jIrAnI pratanA pAnA 46 uparathI. citramAM upara ane nIce ema e prasaMgeA che. temAM kathAnA paricayanI zarUAta uparanA citrathI thAya che. eka tarapha prabhu pAte ja dIkSA levAne taiyAra hatA ane bIjI tarapha brahmadevalAka nivAsI leAkAMtika devAe, dIkSA levAne eka varasa khAkI rahyuM, eTale ke prabhunI AgaNatrIza varSanI uMmara thaI tyAre, peAtAnA zAzvata AcAra pramANe dIkSAnA avasara AvyAnuM sUcavI dIdhuM. nava prakAranA leAkAMtika devAe peAtAnI madhura, priya ane hRdayamAM utarI jAya evI vANImAM prathama te prabhune vAraMvAra abhinaMdI khUkha stuti karI pachI temaNe kahyuM ke :- "he samRddhizAlI! Apane jaya hA! he kalyANavaMta ! Apane vijaya thAo. he prabhu! ApanuM kalyANa che. jagatanA uddhAra karavAnI dhU'sarI dhAraNa karavAmAM samartha heAvAthI huM kSatriyAmAM zreSTha vRSabha samAna ! ApanA jaya heA. he bhagavan ! Apa beSa pAmeA, dIkSA svIkAro. huM leAkanAtha ! sakala jagatanA jIvAne hitakara, evuM dharmatIrtha pravartAvA; kAraNake A dharmatIrtha sakala leAkane viSe sarva jIvAne hita karanAruM thaze, sukhakAraka tathA mAkSadAyaka thaze." citramAM suvarNanA siMhAsana upara jamaNA hAthathI talavAra pakaDIne ane DAbe hAtha, sAme aMjali joDIne UbhelA leAkAMtika devAne pratyuttara ApavA UMcA karIne beThelA bhagavAna mahAvIra kumAra avasthAmAM vastrAbhUSAthI susajjita che, sAme be hAtha joDIne UbhelA traNa leAkAMtika devA prabhune dIkSA levAnI vinaMtI kare che. A pachI citranA anusaMdhAne, nIcenA citramAM cItarelA mahAvIra prabhunA varSIdAnane prasaMga jovAnA che. varNana mATe jIe citra 138nuM A prasaMganuM ja varNana.

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68] The Life of Lord Sri Mahavira A citramAM siMhAsananI pAchaLa strI-paricArikAne badale bAlasarInuM jhADa che ane dAna lenAra vyakitaonI saMkhyA pAMcane badale traNanI che. bAkI citra 138ne barAbara maLate prasaMga che. Fig. 137. : JRP, 46. Two scenes in one : (a) The Laukantika gods cames to awaken Mahavira to his mission; (b) Mahavira gives away his possessions. When the time had come for Mahavira to leave the world, the Laukantika gods came to awaken him to his mission. In the upper portion sits Mahavira on a throne with the Laukantika gods facing him in an attitude of worship, saying, "Arhat, propogate the religion which is a blessing to all creatures in the world !" In the lower portion sits Mahavira on a throne, making gifts to a gray-bearded man and two young men. In front of him is a table heaped with jewels. Each of the poor men has an object in his hand, obviously a gift. citra 138. : pATaNa nA pAnA 33 uparathI. saMvatsarI dAna ApatA zrI vardhamAnakumAra. zramaNa bhagavAna mahAvIrane dIkSA levAmAM eka varSa bAkI hatuM tyArathI ja temaNe varSIdAna ApavAnuM zarU karyuM. teo hamezAM sUryodayathI AraMbhI prAtaHkALanA bhajana pahelAM eka karoDa ne ATha lAkha sonaiyAnuM dAna ApavA lAgyA. evI rIte eka varSamAM prabhue traNa abaja, aThakyAsI karoDa ane esI lAkha sonaiyA dAnamAM khaca dIdhA. citramAM mahAvIra siMhAsana upara beThelA che ane jamaNA hAthe seniyAnuM dAna Ape che. hAthamAM eka sonaiyo aMguTho ane tarjanI AMgaLIthI pakaDele dekhAya che. mahAvIrane jamaNe paga siMhAsana para che ane DAbo paga pAdapITha para che, je batAve che ke dAnanI samAptino samaya thavA Avyo che. A citramAM mahAvIrane dADhI tathA mUcha sahita citrakAre cItarelA che. mahAvIranI najIkamAM traNa pAyAvALI TIpoI upa2 suvarNana te spaSTa dekhAya che. uparanI chatanA bhAgamAM caMdare bAMdhelo che. citranI DAbI bAjue eka vRddha tathA cAra ummaralAyaka mANase, ema kula maLIne pAMca vyakitao dAna levA AvelI dekhAya che. citranA varNana mATe juo citra 137nuM A prasaMgane lagatuM varNana. Fig. 138 : HGP. 2, 33. Mahavira gives away his possessions. The treatment is essentially similar to that of figure 137. citra 139 : navAba 1nA pAnA 55 uparathI. prabhu zrI mahAvIra caMdralekhA pAlakhImAM dIkSA levA jatAM. zramaNa bhagavAna mahAvIrane pahelAM paNa eTale mAnavI gRhastha dharmamAM AvatAM-vivAhita jIvanathI-pahelAM paNa uttama, Agika, nAza na pAme evuM jJAnadarzana hatuM, tethI zramaNa bhagavAna mahAvIra te potAnA uttama Agika jJAnadarzana dvArA potAno niSkramaNukALa eTale pratrajyAsamaya AvI pahoMcyo che ema jue che, e rIte joyA jANyA pachI hiraNyane tajI daIne, suvarNane tajI daIne, dhanane tajI daIne, rAjyane tajI daIne, rASTrane tajI daIne e ja pramANe senAne, vAhanone dhanabhaMDArone, kekArane tajI daIne, purane tajI daIne, antaHpurane tajI daIne, janapadane tajI daIne, bahoLAM dhana kanaka, ratana, maNi, motI, zaMkha, rAjapaTTa ke rAjAvata paravALAM mANeka vagere savavALuM sAravALuM e tamAma dravya vizeSa prakAre tajI daIne pote nimelA denArAo dvArA e tamAma Jain Education Intemational ation Intermational

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Iain Education Intemational /// Ii 78-89 di kumArIkAonuM avataraNa 78-89 The dikkumaris arrive

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90-101 dikakumArIkAonuM avataraNa 90-101 The dikkumaris arrive Jain Education Intemational

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102-111 dika kumArIkAonuM avataraNa 102-111 The Dikkumaris arrive Jain Education Intemational For Private & Personal use only

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112-120 dikakumArIkAonuM avataraNa 112-120 The Dikkumaris arrive Jain Education Intematonal

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As Represented in the Kalpasutra Paintings [ 69 dhanane khulluM karIne te tamAma dAnarUpe devAnA vicAra karIne ane peAtAnA gAtranA leAkAmAM e tamAma dhana dhAnya hiraNya ratana vagerene vaheMcI ApIne hemaMta RtunA je te pahelA mAsa ane pahelA pakSa eTale mAga zaranA 10 di. pakSa AvatAM tathA te mAgazara mahinAnI 10 di. dazamanA divasa AvatAM jyAre chAyA pUrvadizA tarapha DhaLatI hatI ane kharAkhara pramANa pramANe na ochI ke vadhu evI pauruSI thavA AvI hatI teve samaye suvratanAmane divase vijaya nAmanA muhUtaeN bhagavAna caMdraprabhA nAmanI pAlakhImAM beThA ane temanI pAchaLa pAchaLa devA mAnavA ane asurAnAM moTAM ToLAM mAragamAM cAlatAM hatAM tathA AgaLa keTalAka zaMkha vagADanArA hatA, keTalAka cakradhArI hatA, keTalAka haLadhArI hatA eTale gaLAmAM seAnAnuM haLa laTakatuM rAkhanArA khAsa prakAranA bhATaleAkA hatA, keTalA mukhamaMgaLiyA-mukhe mIThuM beAlanArA-hatA, vardhamAnakeA eTale pAtAnA khabhA upara khIjAAne besADelA che evA paNa keTalAka hatA, keTalAka cAraNeA hatA. ane keTalAka ghaMTa vagADanArA hatA. e badhA leAkeAthI vIMTaLAyelA bhagavAnane pAlakhImAM beThelA joine bhagavAnanA kulamahattA te te iSTa prakAranI manehara sAMbhaLavI game tevI managamatI manane prasAda pamADe tevI udAra kalyANarupa zivarupa dhanya maMgaLamaya parimita madhura ane sAhAmaNI vANIdvArA bhagavAnanuM abhinaMdana karatA, bhagavAnanI stuti karatA A pramANe kahevA lAgyAH he naMda! tArA jaya jaya thAo, he bhadra ! tArA jaya jaya thAe; tAruM bhadra thAo, nirdoSa ane jJAna darzana ane cAritra dvArA, tuM nahIM jitAyelI iMdriyAne jitI leje, jitAyelA zramaNa dharmane pALaje; vighnAne jitI laIne he deva! tuM tArA sAdhyanI siddhimAM sadA tatpara raheje, tapadvArA tuM rAga ane dveSa nAmanA matlAne haNI nAkhaje, dhairyanA majabuta kaccha AMdhIne uttama zukaladhyAna vaDe ATha karmazatruone masaLI nAkhaje, apramatta banIne he vIra! tuM traNalAkanA raMgamaMDapamAM vijayapatAkAne varaje-meLavaje, timira vagaranuM uttama kevalavarajJAna pAmaje, jinavare upadezelA saraLa mArgane anusarIne tuM paramapadarupa meAkSane meLavaje, parISaheAnI senAne haNIne huM uttama kSatriya ! -kSatriyanarapuMgava ! tuM jaya jaya-je jekAra meLava. bahu divasa sudhI, bahu pakSA sudhI, bahu mahinAo sudhI, bahu Rtuo sudhI, bahu ayaneA sudhI ane bahu varSo sudhI parISahA ane upasage^thI nirbhaya banIne bhayaMkara ane bhAre khIhAmaNA prasaMgeAmAM kSamApradhAna thaine vicara ane tArA dharmamAM eTale tArI sAdhanAmAM vigna na thAo; ema kahIne te leAkeA bhagavAna mahAvIranA jaya jaya nAda gajave che. tyAra pachI zramaNa bhagavAna mahAvIra hajAro netrA vaDe jovAtA jovAtA, hajArA mukhAvaDe prazaMsAtA prazaMsAtA, hajArA hRdayAvaDe abhinaMdanA pAmatA pAmatA, bhagavAnane joine lAkA evA manArathA karavA lAgyA ke ame AmanA sevaka thaIne rahIye tA sAruM e rIte hajAra jAtanA maneArathI karavA lAgyA ke ame AmanA sevaka thaIne rahiye te sAruM e rIte hajAra jAtanA maneArathA vaDe vizeSa IcchAtA IcchAtA, bhagavAnanAM krAMti ane rupaguNane joIne srIe AvA amArA bharathAra hAya tA kevuM sAruM' e rIte temanI sAme vAraMvAra joIne manamAM prArthanA karavA lAgI arthAt kAMti ane rupaguNane lIdhe bhagavAna e rIte prArthAtA prArthAtA ane hajAre) AMgaLIo vaDe bhagavAna dekhADAtA dekhADAtA tathA peAtAnA jamaNA hAtha vaDe ghaNAM hajAra naranArIonA hajArA praNAmAne jhIlatA jhIlatA bhagavAna e rIte hajArA gharAnI hAranI hAra vaTAvatA vaTAvatA vINA, hAthanA rAsaDA, vAjAo, ane gItAnA gAvA bajAvAnA madhura suMdara jaya jaya nAda sAthenA avAja sAthe e rIte maMju maMjI jaya jaya nAdanA ghASa sAMbhaLIne bhagavAna barAbara sAvadhAna anatA anatA peAtAnAM chatra cAmara vagerenA tamAma vaibhava sAthe tamAma ghareNAM-aMge aMge paherelAM tamAma ghareNAMonI kAMti sAthe tamAma senA sAthe hAthI gheADA UMTa khaccara pAlakhI myAnA vagere tamAma vAhanA sAthe, tamAma jana samudAya sAthe, tamAma Adara sAthe-tamAma aucitya sAthe, peAtAnI tamAma saMpatti sAthe, tamAma zeAbhA sAthe, tamAma prakAranI utkaMThA sAthe, tamAma prajA eTale vANiyA kSudrajana garAsiyA brAhmaNa vagere aDhAre varNo sAthe, tamAma nATakA sAthe, tamAma tAla karanArA sAthe, badhA aMtaHpura sAthe, phUla vasra gaMdha mALA ane alaMkAranI tamAma prakAranI zAlA sAthe tamAma vAjAMonA 18

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70] The Life of Lord Sri Mahavira avAjanA paDaghA sAthe e rIte meATI Rddhi mATI dyuti, meATI senA, meTAM vAhane, meATA samudAya ane eka sAthe vAgatAM vAnAM nAda sAthe eTale zaMkha mATIne DhAla bhera jhAlara kharamukhI huDukaka duMdubhi vagere vAenA nAda sAthe bhagavAna kuMDapura nagaranI vacceAvacca thaine nIkaLe che, nIkaLIne jyAM jJAtakhaMDa nAmanuM udyAna che, temAM jyAM AsApAlavanuM uttama vRkSa che tyAM Ave che. citranI madhyamAM pAlakhImAM prabhu vastrAbhUSaNAthI susajjita thaine beThelA che ane cAra mANasAe pAlakhI upADelI che. citranI raMgapUraNI kalAkAranI pravINatA darzAve che. citra 140 : pATaNa 2. pAnA 34 uparathI. prabhu zrImahAvIra caMdralekhA pAlakhImAM dIkSA levA jatAM, citranA varNana mATe jUe citra 139nuM A prasaMgane lagatuM ja varNana. Fig. 140. : HGP. 2, 34. Mahavira in the initiation palanquin. The treatment is essentially similar to that of figure 139. This painting is one of the best of the hundreds in the Kalpasutra manuscripts. citra 141 : haMsa vi. 1 pAnA 60 uparathI. zrI mahAvIranA paMcamuSTika leAca ane dIkSA levA jatAM. tyAM AvIne AsApAlavanA uttama jhADanI nIce peAtAnI pAlakhIne UbhI rAkhe che, e jhADa nIce pAlakhIne UbhI rAkhIne pAlakhI uparathI pAte nIce Utare che, pAlakhI uparathI nIce UtarIne peAtAnI meLe ja hAra vagere AbharaNeA phUlanI mALAo ane vIMTIveDha vagere alaMkArone utArI nAkhe che, e badhAM AbharaNa mALAe ane alaMkArAne utArI nAkhIne peAtAne hAthe ja pAMca muSTi leAca kare che eTale cAra mUThivaDe mAthAnA ane eka mUThivaDe dADhInA vALane kheM'cI kADhe che e rIte vALane lAca karIne pANI vinAnA chaThThuM bhakta-e upavAsasAthe eTale cha Taka sudhI khAnapAna tajI daine arthAt e rIte e upavAsa karelA bhagavAna hastottarA nakSatranA arthAt uttarAphAlgunI nakSatranA cega AvatAM eka devadRSya laIne pAte ekalA ja kAI bIjI sAthe nahIM e rIte muMDa thaine agAravAsa tajI daine anagArika prajyAne svIkAre che. E citramAM zramaNa bhagavAna mahAvIranA DAkhA khabhA upara devadRSya vasranI rajUAta citrakAre karI jaNAtI nathI. citramAM eka hAthe mastakanA vALanA leAca karavAnA bhAva darzAvatA, indranI sanmukha jotA mahAvIra prabhu, ane e hAtha prasArIne prabhue leAca karelA vALane grahaNa karavAnI utsukatA batAvatA indra dekhAya che. indranA pAchaLanA eka hAthamAM vajra che je Indrane ALakhAve che. kharI rIte te jyArejyAre indra prabhunI pAse Ave tyAretyAre Ayudhane tyAga karIne ja Ave evA rivAja che, paraMtu indranI eALakhANa ApavA khAtara citrakAre vajra kAyama rAkheluM hAya ema lAge che. prabhunI AgaLa ane pAchaLa azekavRkSanI ra%0Ata citrakAre karelI che. A pachI citranA anusaMdhAne, nIcenA citramAM varNavelA caMdralekhA pAlakhInA prasaMga jovAnA che. A prasaMganA varNana mATe jUe citra 139nuM A prasaMgane lagatuM ja varNana. citra 142 : jaisalameranI pratanA pAnA 49 uparathI. prabhu zrImahAvIranA paMcamuSTika leAca ane pAlakhImAM dIkSA levAM jatAM. A citranI laMbAi tathA paheALAI 343 IMca che. vArSika dAnanI kriyA samApta thatAM, pAtAnA vaDIla baMdhu naMdivardhananI anumati lai, dIkSA lai devAe ANelA kSIra samudranA jalathI, sarva tIrthInI mATIthI ane sarve ASadhiothI naMdivardhana rAjAe prabhune pUrva dizA sanmukha besADI temane abhiSeka karyA, prabhune e

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As Represented in the Kalpasutra Paintings [71 rIte snAna karAvI, gaMdhakASAyI vastravaDe zarIrane lUchI nAkhI Akhe zarIre caMdananuM vilepana karyuM. prabhunA AkhA zarIra upara suvarNajaDita cheDAvALuM, svaccha, ujajavaLa ane lakSamUlyavALuM veta vastra zobhavA lAgyuM. vakSa:sthaLa upara kiMmatI hAra jhUlavA lAgyA. bAjubaMdha ane kaDAMothI temanI bhUjAo alaMkRta banI ane kaMDalanA prakAzathI temanA mukhamaMDalamAM dIpti AvavA lAgI. AvI rIte AbhUSaNa ane vastrothI alaMkRta thaI prabhu pAlakhImAM birAjamAna thayA. A samaye AkhA kSatriyakuMDa nagarane vajA-patAkA tathA tAraNothI zaNagAravAmAM AvyuM hatuM. pacAsa dhanuSya lAMbI, paccIsa dhanuSya pahoLI, chatrIsa dhanuSya UMcI, suvarNamaya seMkaDo staMbhethI zobhI rahelI ane maNio tathA suvarNa jaDita 'caMdralekhA" nAmanI pAlakhImAM prabhu mahAvIra dIkSA levA nisaryA. te samaye hemaMta Rtune pahelo mahino-mAgazara mAsa, paheluM pakhavADiyuM-kRSNa pakSa ane dazamanI tithi hatI. te veLA temaNe chaThane tapa karyo hato ane vizuddha vezyAo vartatI hatI. prabhunA jamaNe paDakhe kulanI mahattA strI haMsalakSaNa uttama sADI laIne bhadrAsana upara beThI hatI. sarva prakAranI taiyArI thaI rahyA pachI naMdivardhananI AjJAthI tenA sevakoe pAlakhI upADI. citramAM upara ane nIce ema be prasaMgo che. temAM kathAnA paricayanI zarUAta nIcenA pAlakhInA citrathI thAya che. citranI jamaNI bAjue pAlakhImAM prabhu vastrAbhUSaNothI susajijata thaIne beThelA che. baMne bAju ekeka zrI cAmara vIMjhatI beThelI che. cAra sevakoe pAlakhI upADelI che. pAlakhInI AgaLa be mANaso bhUMgaLa vagADatA ane te baMnenI nIce be mANaso jorathI nagAruM vagADatA dekhAya che. A pachI citranA anusaMdhAne, uparanA citramAM varNavelA prabhu mahAvIre karelA anagArapaNuM (sAdhupaNA)nA svIkArano prasaMga jovAno che. citramAM zramaNa bhagavAna mahAvIranA DAbA khabhA upara devaduSya vastra tathA azokavRkSanI rajUAta citrakAre karI jaNAtI nathI. citramAM eka hAthe pitAnA mastakanA vALano leca karavAno bhAva darzAvatA, IndranI sanmukha jetA mahAvIra prabhu, ane be hAtha prasArIne prabhue leca karelA vALane grahaNa karavAnI utsukatA batAvate Indra dekhAya che. IndranA pAchaLanA eka hAthamAM ja che je Indrane oLakhAve che; AgaLane eka hAtha varada mudrAe rAkhela che. kharI rIte te jyAre jyAre Indra prabhunI pAse Ave tyAre tyAre saghaLA Ayudhone tyAga karIne ja Ave e rivAja che, paraMtu IndranI oLakhANa ApavAnI khAtara ja vaja kAyama rAkheluM hoya ema lAge che. kSatriyakuMDa nagaranI bahAranA udyAnamAM AvelA eka azokavRkSanI heThaLa AvI prabhu pAlakhImAMthI nIce utaryA ane pitAnI meLe ja eka muSTi vaDe dADhImUchane ane cAra muSTi vaDe mastakanA kezano evI rIte paMcamuSTi leca karyo. e veLA nirjaLa chaThane tapa te hato ja, uttarAphAgunI nakSatrane yoga thayo tyAre Indra DAbA khabhA upara sthApana kareluM devaduSya vastra grahaNa karIne, ekalA eTale rAgadveSarahitapaNe kezano loca karavA rUpa dravyathI ane krodhAdine dUra karavArUpa bhAvathI muMDa thaIne, gRhavAsathI nIkaLIne anagArapaNu-sAdhupaNu-ne pAmyA. Fig. S. 141-142. : Mahavira in the initiation Palanquin. JSM. Fol. 49. Sixe 3" x 3", While the Venerable Ascetic Mahavira was yet living in the society of men and following the religious practice of a house holder, he had obtained in comparable, all manifesting, indestructible intelligence and perception. Therefore, by this incomparable, all manifesting inlelligence and perception, clearly seeing that the time of his initiation had arrived, he abandoned with a derermined resolve all silver, gold, wealth, kingdom, country, army, chariots, treasury, store-houses, city, private apartments, and society; and taking his money, golden ornaments, jewels, precious stones, pearls, conchs, corals, rubies and other Jain Education Intemational

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72] The Life of Lord Sri Mahavira precious stones, he distributed them in charity, and distributed them among his relatives. All this happened in the winter season, the first half of the first month, that is to say after the full moon of Margsirsa, the tenth day, when the shadow was turned to the east, and but one watch of the day remained, on the day called opeyance (Sannati) and the hour (Muhurta) called victory (Vijayenam). He proceeded in the Candraprabha palanquin, accompanied by gods, men and Titans bearing some conchs, some quoits and some golden ploughshares; acted the part of heralds, some raised the weak to see the show, some personated bards, some sounded gongs. and all in melodious accents, spoke as follows : "Victory, Victory, and prosperity! Victory, Victory to thee! O Lord possessed of indesturctible intelligence and perception, conqueror of the un-conquered passions, protector of the Ascetic Religion! O thou, who hast for ever overcome every obstacle, O divine sage, who art now united to perfection, bind the two giants (Anger and Malice), by the austerities, and like a hero girding up thy loins overcome the eight enemies, by thy auste ritiies; whose power lies in works and performing the purest and chief kind of meditations, devoid of passion, like a warrior seize the flag of victory erected in the battlefield of the three worlds, and obtain a knowledge cloudless, incomparable, perfect and supreme, rise to emancipation, the highest state of bliss, by that most excellent of roads pointed by the Jinas, a road free from all perplexing deviousness and slay all the foes that oppose by progress. Victory! Victory to the chief of Ksatriyas, for many days, many fortnights, many months, many seasons, many holy years, having vanquished all natural evils, and accidental diseases, may he obtain perfect patience and equanimity, subduing fear and grief, and performing without obstruction on every required religious act" So saying they again made the air resound with the shout of "Victory! Victory"! Thereon the Adorable Ascetic Mahavira, gazed on by a circle of thousands of mouths, venerated by a circle of a thousand of hearts, surrounded by a circle of thousands whose hearts were won to religion by his conduct, pointed out with admiration by the right hand fore-fingers of a circle of thousands of men and women, with a circle of thousands of friends and relations taking leave of him, and with the sounds of violins, drums, cymbals, tambourines, and other instruments of music, and a chorus of voices, shouting "Victory! Victory!" accompanied also with all his wealths, all his glory, all his troops, all his chariots, all his attendants, all his magnificence, all his ornaments, all hist wealth, all his subjects, all his dancers, all the musicians, all the members of the female apartments in the midst of all these attendents,a nd while all those musical instruments were sounding, he proceeded through the midst of Kuandgrama, to the garden out of the city, where the Asoka tree grew; under he alighted from the palanquin Candraprabha, and stri pped himself of all his garlands, jewels, and ornaments, he then, performed the fast of abstinence from six-meals without drinking water, and having plucks out five locks of his hair, he then, under the constellation Uttara Phalguna, at a fortunate conjunction of the moon, assumed the garment of the monks, and all alone, without a companion, and having been shaved, from a householder he became a houseless pilgrim.

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JUyiDID | 6000 6000 6 gaze , &vI tirathaMive vAdAra nISi TATa) a che 121 prabhu zrImahAvIrasvAmIno janama ane dika kumArIkAoe ujavela mahotsava 121 Sri Mahavira's birth and celebration by fiftysix Dikkumaris 122 prabhu zrImahAvIrasavAmIne meruparvata para devAe karela jamAbhiSeka 122 Sri Mahavira's lustration and the birth ceremonial bath by gods and goddesses 45

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123 prabhu zrImahAvIrasvAmIne meruparvata para janmAbhiSeka 123 Sri Mahavira's ceremonial bath by gods and goddesses 125 siddhArtha rAjAnA bhavanamAM devAe karelI suvarNa vagerenI vRSTi 125 The servants of Kubera rained shower of silver, gold etc. on the king Siddhartha's palace

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124 prabhu zrI mahAvIrasvAmInA meruparvata para janmAbhiSeka 124 Sri Mahavira's ceremonial bath by gods and goddesses 126 prabhu zrImahAvIrasvAmInA janma prasaMge AnaMda karatA deve 126 Gods celebrating Sri Mahavira's birth festival

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DIET ' 127 prabhu zrImahAvIrane merupavata para laI jatA hiraNegamaSan deva ane zrImahAvIrasvAmInA janma 127 Sri Mahaviras birth and Harinaigamesin carrying babe Mahavira to Mount Meru 128 prabhu zrImahAvIranA janama ane SaSThI jAgaraNu 128 Sri Mahavir's birth and vigil on the sixth night 48

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[13 As Represented in the Kalpasutra Paintings In the upper portion at the left corner, descending from the palanquin, Mahavira divested himself of all his fine clothes and ornaments, fasted six-meal fast, put on a divine robe and quiet alone, plucks out his hair by five handfuls. Mahavira is dressed only in a lower garment. As he plucks out his hair, Sakra catches it. At right, Sakra is four-armed and carries vajra as an attribute. He is seated like Mahavira. In the lower portion, Mahavira is seen being carried by four men in an elaborate palanquin, which resembles the porch of a temple, and is like heavenly palace or vimana, attended by a female chauri-bearer on either side, fully dressed and adorned. In front of the palanquin are two trumpeters and below are two drumers. citra 143 : prabhu zrI mahAvIrane paMcamuThi le. jaisalameranI pratanA pAnA 63 uparathI. A prasaMganA varNana mATe juo citra 142nuM A prasaMgane lagatuM ja varNana. A citranI laMbAI tathA pahoLAI 2"x3" iMcanI che. citra ghaNuM ja bhAvavAhI che, ane tenA raMge bahu ja svaccha ane pramANe peta che. jhADanI goThavaNI bahu ja uMcA prakAranI che. Fig. 143 : JSM. 63. Sri Mahavira plucks out his hair. This illustration measures 27" x 3" and is very expressive in minute details. The colours suggest power and grandeur. The arrangement of the tree reflect the ingenuity of the artist, who has proved the perfectness of his knowledge. citra 144 : prabhu zrImahAvIrane paMcamuSTika loca. zrIjayasihasUrIzvarajInA saMgrahanI kalapasUtranI prata uparathI. prasaMganA varNana mATe juo citra 142nuM varNana. A citramAM vadhArAmAM uparanA bhAgamAM AkAzamAM vAdaLAM batAvelAM che. ane baMne bAjunA jhADanI goThavaNI viziSTa prakAranI che. Fig. 144. JSR. Sri Mahavira plucks out his hair. The treatment is essentially the same as that in figure 143. This fine miniature shows some very few points of difference that in figure 143. citra 145 : zrI mahAvIra prabhu ardhavastra dAnamAM Ape che (jamaNI bAjunuM citra). je vakhate zramaNa bhagavAna mahAvIra gRhasthapaNAmAM vArSika-saMvatsarI-dAna ApI, jagatanuM dAridra phaDI rahyA hatA, te vakhate eka daridra soma nAmano brAhmaNa dhana kamAvA mATe paradeza gayo hato. pote kamanasIba hovAthI paradezamAMthI paNa khAlI hAthe ja pAcho karyo. garIbIthI akaLAI gaelI brAhamaNapati tene laDavA lAgI ke : "are ! nirbhAgya ziromaNi ! zrI vardhvamAnakamAre jyAre suvarNano varasAda varasAvyo tyAre tame kayAM uMghI gayA hatA? paradezamAM bhaTakIne paNa hatA tevA ne tevA ja nirdhana pAchA ghera AvyA ! jAo, hajI paNa mAruM kahyuM mAnI jaMgama kalpavRkSa samAna zrI vardhamAna pAse jaze te te dayALu ane dAnavIra tamAruM dAridra dUra karyA vinA nahi rahe." potAnI nA vacana sAMbhaLI pile brAhmaNa prabhunI pAse Avyo ane kahevA lAgyo ke : "he prabhu! Apa te jagatanA upakArI cho ! Ape to vArSika dAna ApI jagatanuM dAridra dUra karyuM. he svAmi ! suvarNanI dhArAothI Apa sarvatra varasyA to kharA, paNa huM abhAgyarUpI chatrathI e DhaMkAI gayo hato ke mArI upara suvarNadhArAnAM TIpAM paNa na paDyAM! mATe he kapAnidhi ! mane kAMIka Apo mArA jevA garIba brAhmaNane nirAza 19 Jain Education Intemational For Private & Personal use only

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14]. The Life of Lord Sri Mahavira nahi karo !" karuNALu prabhue te vakhate potAnI pAse kaI vastu na hovAthI, devadUSya vacano aDadho bhAga Apyo, ane bAkIne pAcho potAnA khabhA para mUkyo. citramAM jamaNI bAju dADhIvALA brAhANa Ubhelo che, tenA lAMbA karelA DAbA hAthamAM zrIvartamAnakumAra pitAnA jamaNA hAthathI devadUSya vastra ApatA dekhAya che. zrIvardhvamAnakumAranA mastakanA uparanA bhAgamAM suMdara phUlovALuM eka vRkSa zobhI raheluM che. Fig. 145. : At the left, Mahavira gives away half his garment. When Mahavira after plucking out his hair started on his wonderings as an ascetic, he was accosted by a Brahman named Soma, who said that he had not been present at the bestowal of gifts which Mahavira made before forsaking the world. He asked Mahavira nevertheless, to give him a gift. Mahavira had nothing left but a single garment, which he tore in two pieces and gave one half to Soma. The Brahman took to the tailor to have the torn edge sewn into a hem, but the tailor told him to go back and follow Mahavira until he left second half of the garment on a thorn or somewhere. If Soma brings it, tailor would sew the two pieces together, and then sell the whole garment for a hundred thousand dinaras. In the painting, Mahavira is giving half his garment to Brahman Soma, who is facing him. citra 146 : zrI mahAvIraprabhune govAlane upasarga (DAbI bAjunuM citra). eka vakhata vihAra karatA karatA prabhu be ghaDI divasa bAkI rahyo tyAre, kumAra nAmanA gAmamAM pahoMcyA ane tyAM rAtrie kAusagnamAM rahyA. prabhu tyAM pahoMcyA te vakhate ke eka vALIo, Akho divasa baLadiyA pAse haLa kheMcAvI, saMdhyAkALe prabhu pAse mUkI, gAyo dehavA mATe potAnA ghera gayo; pelA baLadiyA caratA caratA dUra jaMgalamAM cAlyA gayA. govALa gAyo dehIne pAcho Avyo tyAre prabhune pUchavA lAgyo ke : "he Arya ! mArA baLada kayAM che ? govALe vicAryuM ke baLadanA saMbaMdhamAM emane khabara nahi hoya, eTale pote baLadanI zodha karavA jaMgalamAM nIkaLI paDyo. baLadiyA paNa rAtre pitAnI meLe ja pharatA pharatA tyAM AvI caDayA. govALa pAcho pharato pharate tyAM Avyo ne te vakhate baLadone tyAM beThelA joIne vicAravA lAgyo ke : "Amane khabara hatI chatAM emaNe mane vAta na kahI ane mane bhaTakavA dIdhe.' e pramANe krodhe bharAIne baLadanI rAza laIne prabhune mAravA doDyo. citramAM jamaNI bAju kAusaggamAM prabhu mahAvIra UbhelA che. ane DAbI bAjue Ubhelo govALIo potAnA UMcA karelA jamaNA hAthamAM baLadanI rAza pakaDIne prabhune mAravA doDato dekhAya che. A citra prasaMga paNu javalle ja bIjI hastapratomAM maLI Ave che. AkhA pAnAnI cAre bAjunI kinArAnI citrAkRtio koI kuzaLa citrakAranA hAthathI cItarAelI hoya ema spaSTa dekhAI Ave che. Fig. 146. : At the right, Mahavira's austerities : An Assault of the cowherd. After plucking out his hair, Mahavira first gave one half of his garment to a Brahman named Soma (Fig. 145) and then in the evening went to pratima (posture for meditation) near a village named Kurmara. At that time, a cowherd came driving the bulls and left them grazing near Mahavira, while he himself went into the village to milk his cows. The bulls wandered into the forest, and when the cowherd returned he could not find them, and he spent the night in search. Meanwhile, the bulls came to Mahavira and lay down near him Jain Education Intemational

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75. As Represented in the Kalpasutra Paintings contentedly chewing the cud. After sometime, the cowherd came, and when he saw the bulls there, he at once jumped to the conclusion that Mahavira meant to steal them. In a rage, he took up the bulls binding thong to strike the Lord. Just at that time, Sakra desired to know how Mahavira was faring on his first day, and he saw what was going on. He stayed the cowherd's hand and rebuked him. Then he stated that for twelve years * Mahavira would suffer trials before obtaining omniscience and he offered to go along as a bodyguard. But Mahavira coming out of his meditation and for the first time noticing what was taking place, declined, saying that the Tirthankaras always obtain Omniscience by their own heroic efforts. Sakra, therefore, compromised by appointing as a bodyguard a Vyantara god Siddhartha, who had been Mahavira's maternal nephew (mother's sister's son), telling him to ward off those who would interfere with Mahavira's meditation. In the painting, Mahavira stands motionless in meditation, his eyes fixed on the tip of his nose, with arms hanging down (pralambitabhujadvaya). On the right side, the cowherd stands with the thong upraised to strike Mahavira. The side panels have foliage and geometric carpet designs. citra 147. : navAba 6, uparathI. zrI mahAvIra prabhune zUlapANi yakSano upasarga. zrI mahAvIra prabhu eka divasa asthika grAmamAM zUlapANi yakSanA maMdiramAM AvyA. lokoe kahyuM ke : "he prabhu ! A duSTa tenA caityamAM rahenAra darekane mArI nAkhyA vinA raheto nathI, lokee nA kahevA chatAM, prabhu te yakSane pratibodhavA mATe loke pAsethI anumati mAgI tyAM ja rAtrie ekAgracitte kAusagadhyAne rahyA. pelA duSTa yakSe prabhune kSobha pamADavA krodhAvezamAM AvI bhUmine bhedI nAkhe evuM aTTahAsya karyuM, prabhu ethI jarAya na DagyA. pachI teNe anukrame sarpa, naLIo ane pizAcanAM rUpa vikurtI, duHsaha upasargo karyA. prabhu to parvatanI jema acaLa ja rahyA. teNe prabhunAM mastaka, kAna, nAka, netra, dAMta, pITha ane nakha jevA sAte aMgomAM evI vedanA utpanna karI ke je sAmAnya mANasane evI vedanA thAya to te prANu ja gumAvI bese. ATaluM karavA chatAM paNa prabhu na kaMpyA tyAre te pratibaMdha pAmyo. Fig. 147. : SMN. 6, Sulpani's attack Mahavira. In course of time, one day Sri Mahavira came to the temple of Sulpani yaksa at Asthikagrama, with the object of enlightening yaksa. Sri Mahavira asked some village-people of having a temporary lodging in the temple. They said : "o worthy man ! yon may not be killed at the hands of this yaksa". Sri Mahavira did not reply and stayed there and remained in Kayotsarga. With the object of terrifying Sri Mahavira, Sulpani created a devil, a mongoos and highly poisonous serpents, who angrily threw poisonous flashes of fire; who was as black as the mass of hair of the head of the young female. The venomous 'serpents speedily approached Sri Mahavira and sightly entwined himself by his body around a pole and was biting him with his sharp teeth and by encircling himself round Sri Mahavira's neck. On thus seeing Sri Mahavira perfectly unshaken, Sulpani was greatly enraged, and he caused him extremely violent and unbearable, excruclating pains on seven different places Jain Education Intemational For Private & Personal use only

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76] The Life of Lord Sri Mahavira all at a time viz, hand, ears, nose, eyes, teeth, back and nails continuously throught the night. But, Sri Mahavira patiently endured all the afflictions with perfect calmness. Then, Sulpani asked pardon of Sri Mahavira and became a devotee. citra 148, H yasAnA pAThAnA kalpasUtra uparathI. zrImahAvIra prabhune surkha nAganA upasarga, prabhu mahAvIra surabhipura pahoMcatA pahelAM gaMgA nadI eLaMgavA mATe siddha nAmanA nAvikanI nAvamAM beThA hatA. prabhu jevA nAva upara ArUDha thayA ke vA ja ghuvaDa pakSInA avAja kAna upara mAvatAM te nAthamAM prabhunI sAthe ja beThalA mila nAmanA eka nimittIyA bAlI UThayo ke : "Aje ApaNane maraNAMta kaSTa utpanna thaze, parantu A mahAtmAnA puNyabaLathI ApaNA vALa paNa vAMkA niha thAya.' uttArUthI baraMtuM nAva jyAre gaMgA nadInI madhyamAM paheAMcyuM tyAre, prabhue pAtAnA tripRSTha vAsudevanA bhavamAM je siMhane mAryAM hatA te siMhanA jIva te vakhate nAgakumAra nikAyamAM mukhya nAma devatA thayelA hatA, teNe prabhune nAvamAM beThelA emane potAnA pUrvajAyanA verane badaleA levA mATe nAvane DubADavA mAMDayuM; kharAkhara te ja vakhate nAgakumAra nikAyamAM utpanna thaelA kuala ane roMkhala nAmanA be davAe prabhune utpanna thaelA upasarga neyA ke tarata ja tyAM AvI pahoMcyA ane suine hAMkI kADhIne nAvanuM rakSaNa karyuM. citramAM upara ane nIce ema be prasaMgA che; temAM kathAnA paricayanI zarUAta nIcenA prabhu mahAvIra nAvamAM beThA che, te prasaMgathI thAya che. citranI jamaNI mAjue nAvamAM prabhu mahAvIra beThA che, teonI AjIbAjI vartulAkAra tejapuMja citrakAre rajU karelA che. nAvanA uparanA bhAgamAM be baLadonI rajUAta karelI che, je kakhala zaMkhala nAmanA nAgakumAra nikAyanA be devAnA pUrvabhava rajU karavA mATe citrakAre cItarelA che. citranA anusaMdhAne, suMdara nAmanA devatAne hAMkI kADhavA mATe kabala ane zaMkhala AvatA dekhAya che. A citraprasa`ga bIjI prattAmAM tevAmAM AvatA nathI. Fig. 148. DVS. Kalpasatra. Naga Sudamstra's attack. Mahavara, Once, to cross the Ganges, the Master boarded a ship with a number of other travellers, and the ferryman began to row steadily across the stream. Suddenly the owl, which was kept to espy the farther shore screached and a prognosticator who understood the cries of birds announced that the screach forboded a danger. Even as he was saying this, the boat came to deep water, where the Naga Sudanstra dwelt, and the Naga saw the Lord. At that time, he was reminded of an enmity he bore towards the Lord from a previous birth, when he had been a lion and the future Mahavira had wantonly killed him as he lay in his cave, and his anger flared up. Now this was the time for vengeance. He generated such a powerful wind as would bring about the dissolution of the world; the trees fell and the mountain shook and the waves of the Ganges licked the sky. The boat tossed up and down; the mast was broken, the sail torn, the boat, lost its course, the helmsman was in a panic, the terrified passengers began to call upon the gods Now it had so happened that there had once lived in Mathura a pious merchant and his wife, who were especially considerate of all four-footed animals. Every day, they would purchase curds and other dairy products from the milkwoman, and one day they bought some unusually fine curds from one of them. From thence, the merchant's wife would buy from no one else, and she and the milkwoman became great friends; sisters

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Education Intematonal 129-130 zrI mahAvIra prabhune janmanA trIjA divase caMdra sUryanAM darzana karAve che, 129-130 The maid showing babe Mahavira, the moon and the sun on the third day of the birth

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131 AmalakIkrIDA karatA zrIvardhamAnakumAra 131 The youthful Mahavara and the jealous god 133 zrIvardhamAnakumAraneo lagnamaMDapa 133 SrI Vardhmankumar's Chori 50

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Indication Intemational 134 zrIvardhamAnakumArano lagnamaMDapa 134 Sri Vardhmanakumara's chori 132 upara : AmalakI krIDA karatA zrIvardhamAnakumAra nIce : nizALe bhaNavA jatA zrIvardhamAnakumAra 132 (a) The youthful Mahavira and the jealous god (b) Mahavira is going to school

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Jain Education Intemational ET(E)I 8 E BIGG TI , che 135 siddhArtharAjA prabhune janma mahotsava ujavavA AjJA pharamAve che 135 Siddhartha commands his officers to announce a birrh festival 136 siddhArtharAjA zrIvardhamAnakumArano janma mahotsava ujave che. 136 Siddhartha celebrating the festival of Mahavira's birth

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As Represented in the Kalpasdtra Paintings [77 as it were. On the occasion of a marriage in the herdswoman's house, the merchant and his wife were invited. They found the time unsuitable for them to come and sent their deep regrets, but they told the herdswoman to take from their house whatever she needed for the wedding. The wedding was a splendid success, and the herds folk were delighted. In return, they took two beautiful young oxen named Kambala and Sambala and persuaded the merchant and his wife accept them as a gift. Then the merchant and his wife thought that if they let the oxen go, unthinking folk would put them at hard labour with such work as ploughing, and so they kept them and reared them tenderly as if they were their own sons. Whenever the merchant and his wife fasted or read the scripture, the two oxen listened and if the merchant went without food, they fasted too. The merchant held them in high esteem and honour. The villagers were once celebrating a festival in honour of the yaksa bhandirvana, and as part of the celebration held a contest of oxen. A friend of the merchant, anxious to try out these two beautiful creatures took them to the contest without permission, and yoked them to a cart. He mercilessly drove them with a whip and goad. They won all the wagers through their unrivalled speed. Then he returned them with their bodies gory through the misuse of the goad, to the merchant's house. At meal time, the merchant went to feed them, and then when they would not eat due to their injuries. While he was wondering who could have done this thing, the cowherd narrated the whole incident. Nothing could induce the stricken oxen to eat. He saw that they were in a state of grace, and he awakend them to religion by reciting the namaskaras. They died and were reborn as two Naga princes. These two Naga princes, Kambala and Sambala, by clairvoyant power saw the attack Sudanstra was making upon the Master. They came to the rescue and one fought with Sudanstra, while the other took the ship safely to shore. Defeated Sudanstra fled; Kambala and Sambala revered the Master, and sent a rain of flowers and scented water from the heaven. The other passengers then worshipped the Master, through whose power they had reached safely. The two Nagas bowed to the Lord and left, and he himself disembarked and went on his way. At the bottom of the painting is the boat, a huge wave about to engulf it with Mahavira in it; the other passengers and the boatman are not shown. In the register above the boat are the lion in his cave and the two oxen. At the top are the two Naga princes in human form, dancing and singing in celebration of their meeting the Lord. citra 149, : prabhu mahAvIranA caMDakauzikane pratiSeAya. de. pA. nA. dayAvi.nI kalpasUtranI pratanI suzeAbhanakaLAnA namUnA tarIke 86mAM AkhA pAnAnuM citra atre rajU karyuM che. A AkhI ce pratamAM mULa lakhANa karatAM citrakaLAnA suzobhana-zRMgAra mukhya bhAga bhajave che. mArAka gAmathI vihAra karI prabhu zvetAMbI nagarI tarapha cAlyA. mArgamAM gAvALAoe kahyuM ke : svAmI ! Apa je mArge jAe che te jo ke zvetAMkhIneA sIdhA mArga che, paNa rastAmAM kanakakhala nAmanuM tApasAnuM AzramasthAna che tyAM hamaNAM eka aiDakozika nAmanA daSTiya sarpa rahe che, mATe Apa A sIdhA mArga javAnuM mAMDI vALA.' chatAM karuNALu prabhu, khIjA kAi uddezathI nahi, paNa pelA caMDakauzikane pratibeAdhavA te ja mArge te ja Azrama bhaNI gayA. 20

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18) The Life of Lord Sri Mahavira caMDakauzikane pUrvabhava caMDakauzika pUrvabhavamAM eka ugra tapasvI sAdhu hatA. eka divase tapasyAne pAraNe gocarI vahoravA mATe eka ziSyanI sAthe gAmamAM gayA. raste cAlatAM temanA paga nIce eka nAnI deDakI AvI gaI. deDakInI thaelI virAdhanAne prAyazcitapUrvaka paDikAmavA mATe hitaciMtaka ziSya gurune IriyAvahI paDikkamatAM, gocarI paDikkamatAM ane sAyaMkALanuM pratikramaNa karatAM-ema traNa vAra deDakIvALI vAta saMbhALI ApI. AthI sAdhune khUba krodha caDhayo. krodhamAM ne krodhamAM teo ziSyane mAravA deDakyA, paNa akasmAta eka thAMbhalA sAthe aphaLAtAM tapasvI sAdhu kALadharma pAmyA. tyAMthI teo jyotiSka vimAnamAM deva tarIke utpanna thayA. tyAMthI avIne te AzramamAM pAMcaso tApasIno svAmI caMDakauzika nAme tApasa thayo. tene potAnA Azrama upara eTale badho moha hatA ke kadAca koI mANasa AzramanuM kaMI phaLa-phUla toDe to te ja vakhate krodhe bharAI, kuhADo laIne mAravA doDe-eka vakhate te tApasa thoDA rAjakumArone potAnA AzramanA bAgamAMthI phaLa toDatA joI krodhe bharAyo. kuhADa laI mAravA dhasI jatA hatA, teTalAmAM acAnaka kuvAmAM paDI gayA ane krodhanA adhyavasAyathI marIne te ja AzramamAM pitAnA pUrvabhavanA nAmavALo daSTiviSa sarpa thayo. | mahAvIra prabhu to AzramamAM AvIne kAusagga dhyAne sthira rahyA-prabhune joI krodhathI dhamadhamI rahele te sa. surya sAme dRSTi karI. prabhu tarapha daSTijavALA pheMke ane rakhene prabhu potAnI para paDe evA bhayathI pAcho haDI jAya. eTaluM chatAM prabhu te nizcala ja rahyA. AthI teNe vizeSa dRSTijavALA pheMkavA mAMDI, tathApi e javALAo prabhune te jaLadhArAo jevI lAgI ! traNa vAra daSTivALA choDavA chatAM prabhunuM ekAgradhyAna tUTavA na pAmyuM, tethI te asAdhAraNa roSe bharAyo. teNe prabhune eka sakhta DaMkha mAryo. tene khAtrI hatI ke : "mArA tIvra viSano pratApa eTalo bhayaMkara che ke prabhu hamaNAM ja pRthvI upara mUchita thaIne paDavA joIeparaMtu Azcarya jevuM che ke prabhunA paga upara vAraMvAra DasavA chatAM prabhune tenuM leza mAtra paNa jhera na caDhayuM; UlaTuM haMsavALA bhAgamAMthI gAyanA dUdha jevI rUdhiranI dhArA vahevA lAgI. viramaya pAmela caMDakauzika sarSa thoDIvAra prabhunI sanmukha nihALI rahyo. prabhunI mudrAmAM tene kaMIka apUrva zAMti jaNAI. e zAMtie tenA dila upara apUrva asara karI. tenA potAnAmAM paNa zAMti ane kSamA AvatAM dekhAyAM. caMDakauzikane zAMta thaelo joI prabhue kahyuM ke : "he caMDakauzika kaMIka samaja ane bujha-bodha pAma!" prabhunI zAMti ane dhIratAe tenA para asara karI ja hatI, eTalAmAM prabhunAM amRta zAM mIThAM veNa sAMbhaLatAM ane te viSe vicAra karatAM tene jAtismaraNa (potanA pUrvabhava saMbaMdhinuM) jJAna utpanna thayuM. te potAnA bhayaMkara aparAdhone pazcAttApa karavA lAgyo. prabhune pradakSiNA Apato te manamAM vicAravA lAgyo keH "kharekhara A karuNAsamadra bhagavaMte mane durgatirUpa maTI khAImAM paDato bacAvI lIdho. te ja vakhate teNe anazanavrata laI lIdhuM. rakhene potAnI viSamaya bhayaMkara daSTi kaI sadoSa ke nirdoSa prANI upara paDI jAya evA zubha hetuthI teNe pitAnuM mastaka darane viSe chupAvI dIdhuM. A prasaMgane maLate kRSNanA jIvanane eka prasaMga eka vakhata eka vanamAM nadI kinAre nanda vagere badhA gopa-govALe sUtA hatA, te vakhate eka pracaMDa 1. AvI ja eka vAta buddha vize jAtaka nidAnamAM che. ullAmAM (bhagavAna) buddha ekavAra uLavelakAzya nAmanA pAMcase ziSyavALA jaTilanI agnizALAmAM rAtavAso rahyA, jyAM eka ugra AzIviSa sarpa raheto hato. buddha te sapane jarApaNa ijA pahoMcADyA sivAya nisteja karI nAMkhavA dhyAna-samAdhi AdarI. sarSe paNa pitAnuM teja pragaTAvyuM. chevaTe buddhanA teja satijane parAbhava karyo. savAre buddha e jaTilane pote nisteja karela sarpa batAvyo. e joI e jaTila buddhane potAnA ziSyo sAthe bhakta tha. Jain Education Intemational

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As Represented in the Kalpasutra Paintings [19 ajagara AvyeA ke je vidyAdharanA pUrvajanmamAM peAtAnA rUpanA abhimAnathI muninA zrApa maLatAM abhimAnanA pariNAmarUpe sarpanI A nIca ceAnimAM janmyA hatA. teNe nandanA paga casyA. bIjA badhA geApa bALakone sarpanA mukhamAMthI e paga cheADAvavAnA prayatna niSphaLa gayA, tyAre chevaTe kRSNe AvI pAtAnA caraNathI e sarpane sparza karyAM. sparza thatAM ja e sarpa peAtAnuM rUpa cheADI mULa vidyAdharanA suMdara rUpamAM pheravAI gayA. bhaktavatsala kRSNanA caraNasparzathI uddhAra pAmela e sudarzana nAmanA vidyAdhara zrIkRSNanI stuti karI svasthAne gayA. -bhAgavata dazama skandha, a. 34, zlAka pa-15, pRSTha 917-918 pAnAnI jamaNI bAjunA citramAM upara ane nIce ema be prasaMgeA che; temAM kathAnA paricayanI zarUAta uparanA caMDakauzikanA pUrvabhavanA sAdhu avasthAnA citrathI thAya che. caMDakauzika sAdhu baMne hAthamAM AghA pakaDI ziSyane mAravA jatA doDatA dekhAya che. mAvA jatA mastaka thAMbhalA sAthe aMdhArAmAM athaDAya che, sAme baMne hAthanI aMjila joDI hAthamAM edhA rAkhI namrabhAve vinayapUrvaka deDakAnI virAdhanAne prAyazcittapUrvaka paDivA mATe gurumahArAjane yAdI ApatA ziSya UbhelA dekhAya che. tenA paga AgaLa ja thAMbhalA najIka prasaMgAnusAra citrakAre deDakI cItarelI che. A pachI citranA anusaMdhAne, nIcenA citramAM varNavelA caMDakauzikanA khAkInA pUrvabhavAnA prasaMga jovAnA che. caMDakauzika sAdhu avasthAmAMthI kALadharma pAmI jyAtiSTha vimAnamAM deva tarIke utpanna thaelA batAvavA mATe atre vimAnanI aMdara beThelA eka devanI AkRti citrakAre cItarelI che. tenI (vimAnanI) nIce te devaleAkamAMthI cyavIne caMDakauzika nAme tApasa tarIke utpanna thaela heAvAthI tene tApasa svarUpe peAtAnA bagIcAmAMthI phaLa-phUla tADatA rAjakumArAne hAthamAM kuhADA laIne mAravA jatAM kuhADA sAthe acAnaka kuvAmAM paDelA cItarelA che. tyAMthI marIne te pAte ja caiDakauzika nAme dRSTiviSa sarpa thayA che, te batAvavA mATe citrakAre kALA bhayaMkara nAga cItarelA che. pAnAnI DAbI bAjunA citramAM A citranA anusaMdhAne, zramaNa bhagavAna mahAvIre caMDakauzikane karelA pratimAdhanA prasaMga jovAnA che. caMDakauzikanA bila-dara AgaLa ja prabhu mahAvIra kAusaggadhyAne UbhA che. prabhu mahAvIranA zarIre citrakAre je AbhUSaNa paherAvyAM che te tenuM jainadharma pratyenuM ajJAna sucave che, kAraNa ke tIrthaMkara jyAre sAdhupaNAmAM vicaratA hoya tyAre AbhUSaNu vagerenA zramaNupaNuM-sAdhupaNuM aMgIkAra karatI vakhate tyAga karelA heAvAthI temanI A sAdhaka avasthAmAM AbhUSaNA teonA aMga upara saMbhave ja nahi. varNanamAM sarpane prabhunA page DaMkha mAratA varNavelA che tyAre citramAM prabhunA AkhA zarIre vIMTaLAelA tene cItarelA che. pachIthI prabhue pratiAdhyA pachI pAtAnuM mukha bilamAM nAkhIne paDI rahelA citrakAre tene cItarelA che. pAnAnI uparanA suzeAbhanamAM cha suMdara hAthIe, nIcenA bhAgamAM pAMca gheADesvArI tathA eka padAti hathiyArAthI susajjita thaelA ane AjubAjunA baMne hAMsiyAonA uparanA bhAgamAM yuddha karatA gheADesvArA tathA nIcenA bhAgamAM jaLabharelI vAvA, vAvAnI aMdara snAna karatA cAra puruSA cItarelA che. AkhA pAnAnI cAra lAinAmAM phakata 14 akSarAnA lakhANa sivAya AkhuM pAnuM apratima suzAbhanakaLA tathA citrakaLAnI rajUAta kare che. Fig. 149. DVS. 86. The former lives of Chandakausika and his attack on Mahavira. On his way from Moraka to Svetambi Mahavira was advised by some cowherds to avoid the direct road, because it ran through a forest where there lived a fierce serpent whose very look was poisonous (drstivisa). Mahavara, however, was aware of the serpent's previous existence; and saw that it had lived through a number of existences as a fierce-tempered and violent creature, in the last of which he had been born as an ascetic of the Kausika family, whose evil ways had won him the name Chandakausika "Fierce Kausika." But Mahavira Percived that the serpent was now ready for awakening. He entered the forest,

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801 The Life of Lord Sri Mahavira which was bare and desolate, full of dried up and twisted trees, piles of dead leaves and ant hills and came to an old hut of leaves. There he began to Meditate. The serpent saw him, and sent forth his deadliest looks and most fatal breath, but they had no effect. He then bit the master's feet, but again without result; all his poison was as nectar. Then the master spoke, "Awake, awake!" At these words the serpent recalled its previous existences and repented. Immediately it renounced violence. Soon the cowherds came and great was their astonishment. Presently along came vendors of ghee (melted and clarified butter) and they dropped ghee on the serpent. Ants, attracted by the odour, came to eat it. The serpent never moved and when the ants finished with him, he looked like a sieve (titau). After a fortnight's agony the serpent died and went to heaven. The left-hand panel is in four sections, the upper two contain horsemen advancing in ranks in the same direction; the third panel contains two horsemen with bows drawn mounted on rearing horses facing each other, at the feet of one of the horses is a dog. pursuing a hare; the bottom panel contains a bathing scene showing four men at a ghat (bathing steps). The right-hand panel is also in four sections: the upper section shows two cavalrymen and one foot-soldier; in the second, two horsemen with drawn bows face each other, the third also shows two horsemen with drawn bows facing each other, their horses are rearing, and there are hares in the foliage at the horse's feet; the bottom section shows four men at a bathing ghat, These scenes, all executed in a Persian manner, have nothing to do with the text. The top margin contains six advancing elephants in two sets of three facing one another; on each elephant is a soldier with a spear. The bottom margin has two horsemen and a foot-soldier advancing towards three approaching horsemen who carry drawn bows. the figures in the top and bottom margins are all executed in the early Western Indian manner. The two painting in the centre of the page deal with the story of the serpent Chandakausika. The scene on the right shows the serpent attacking Mahavira and dying. The scene on the left illustrates the previous existences of the serpent. The account opens with the soul of the future serpent Chandakausika as a Jain monk who, while carelessly going on his round, trod upon a frog and killed it. Reminded of this sin by his disciple he flew into a temper and ran to attack him, but in doing so he dashed against a pillar and died. He was then born as a god and afterwards came to the earth, under the name of Chandakausika, as the head of five hundred hermits. He was a very temperamental man who lost his temper at the sight of people plucking flowers and fruits from the hermitage garden. One day he ran after some princes while they were plucking fruits fell into the well and died. Later he was born as a serpent and began to live in his former hermitage. Mahavira, on reaching his hermitage, began to meditate. On the left side in the upper panel, Chandakausika is seen treading on a frog, his attack on his disciple and the pillar against which he dashed himself are also represented. In the lower panel Chapdakausika is shown as god riding in his heavenly chariot; his fall from heaven and his transformation into a snake are also shown. On the right side,

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lucation Intemational * ge & I * * 11. A ja 137 lekAMtika devanI prArthanA ane saMvatsarI dAna 137 Laukantika gods comes to awaken and Sri Mahavira gives away his possessions 138 saMvatsarI dAna ApatAM zrIvardhamAnakumAra 138 Sri Mahavira gives away his possessions 33

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139 zrImahAvIra caMdralekhA pAlakhImAM dIkSA levA jatAM 139 Sri Mahavira in the initiation palanquin 140 zrI mahAvIra caMdralekhA pAlakhImAM dIkSA levA jatAM 140 Sri Mahavira in the initiation palanquin S4

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dITIT T 1 *XXXXXXXXXXX che 500 ke 141 zrImahAvIrane paMcamuSTika lAca ane pAlakhImAM dIkSA levA jatAM 141 Two scenes in one : (a) Sri Mahavira plucks out his hair (b) Sri Mahavira in the initiation palanquin 142 zrImahAvIrane paMcamuSTika lAca ane pAlakhImAM dIkSA levA jatAM 142 Two scenes in one: (a) Sri Mahavira plucks out his hair (b) Sri Mahavira in the initiation palanquin

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Hui Rao Chang Qu Dong ya Topa 143 zrImahAvIrane paMcamuSTika lAca 143 Sri Mahavira plucks out his hair 147 zrImahAvIra prabhune zUlapANi yakSanA upasarga 146 Yaksa Sulapani assaulting Sri Mahavira

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As Represented in the Kalpasutra Paintings [8] Mahavira is standing near Chapdakausika's hole in kayotsargamudra with the serpant. entwining itself round his body. Colours : Red, ultrumuring, yellow, gold, purple, silver, grey, green, black, brown, white etc. citra 150, vasonA pADAnI pasUtranI prata uparathI, zvetAbI nagarInA rAja pradeza prabhu zrImahAvIrane zvetAMkhI nagarImAM padhAravA vinaMtI kare che. citranA uparanA bhAgamAM, citranI DAbI bAjue kAyAtsargamAM UbhA rahelA prabhu mahAvIrane pradezI rAjA vinaMtI karatA citranI jamaNI bAjue rajU karelA che. pradezI rAjAnA uparanA bhAgamAM eka vRkSanI rajUAta citrakAre karelI che. citranA nIcenA bhAgamAM hAthI upara besIne prabhu mahAvIrane vaMdana karavA AvatA pradezI rAjA hAthInA upara beThelA che, hAthInI AgaLa eka pAti sainika che. citranI bAjunA bhaumitika AkRtivALA hAMsiyA paNa darzanIya che. Fig. 150. DVS. King Pradesin welcoming Mahavira to the city Svetambi. In the panel, there are beautiful geometrical designs. The painting at the left illustrated the ovation King Pradesin gave to Mahavira when he came to the city Svetambi. The bottom register show the King on his elephant; the upper register illustrates him revering Mahavira, who is in meditation in a park outside the city. citra 151, dhruvasAnA pADAnI pratta uparathI. prabhu zrImahAvIrane katanAnA upasarga. mahAvIra prabhu vihAra karatA karatA gAmaka sainirdezamAM bhAvI pahoMcyA. ahIM udyAnamAM rahelA bibelaka nAmanA cI prabhunA mahimA karyAM. tyAMthI prabhu vihAra karIne zAlI nAmanA gAmamAM gayA. tyAM mADha mahinAnI kaDakaDatI ThaMDImAM udyAnamAM prabhu pratimAdhyAne rahyA. prabhunA tripRSTa vAsudevanA bhavamAM eka vijayavatI nAmanI aNamAnItI rANI hatI te marIne kaTapUtanA nAmanI dhvaMtarI thaI hatI, te baMtarIe tApasInuM rUpa vikI pAtAnI jaTAmAM hiMga jevuM ThaMDuM pANI bharI prabhunA zarIra upara chAMTavA mAMDayu, te jaLa vaDe prabhune bahuja AkarI zIta upasarga thayA. chatAM prabhune nizcala jANIne, te vyaMtarI prabhunI kSamA mAMgIne caraNumAM namI paDI. A zIta upasargane sahana karatA ane nA tapavaDe vizuddha thaelA prabhune te vakhate leAkAvidha-avadhijJAna utpanna thayuM. citramAM DAbI bAjue kAcotsargamudrAe prabhu UbhelA che. prabhunA uparanA bhAgamAM tApasI rUpe viSuvRtI jaTAmAM pANI bharI bharIne chAMTatI evI kaTapUtanA dhRtarIne citrakAre citranI jamaNI bAjue rajU karelI che. pANI chAMTavA chatAM prabhune nizcala jANIne, te caitarI prabhunA caraNamAM namI paDatI ane prabhunI stuti karavI, prabhunA jamaNA paganI pAse rajU karelI che. A citraprasaMga paNa bIjI pratAmAM bhAgye ja maLI Ave che. Fig, 151, DVS. Kataputana's attack Mahavira. Once in the month of Might, Mahavira went into meditation in a grove at the village of Salisirsa. At that time a Vanavyantarika goddess named Katapatana was there. She had been a wife of Mahavira in a previous birth and had at one time been offended by him. While still in angry mood, she died. After a number of births, she became a human being, and in that existence practised bala tapas (improperly motivated ascetism)-in consequence of which she was now born. as a Vyantari goddess. She remembered her enmity of the previous birth and decided to female ascetic with avenge the old injury. She transformed herself into a matted hair and a bark dress, and appeared above the Master. Then she drenched him with icy water and directed wind to empty rainy clouds on the Lord. The drops fell from 21

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82) The Life of Lord Sri Mahavira the tips of her hair and the ends of her bark garments, and pelted against Mahavira's body like arrows. They would have pierced the body of anyone else, but they had no effect upon him. All night long, he endured this. In the morning, by the power of his meditation, he aquired clairvoyant knowledge (avadhijnana), and knowledge of the meaning of the eleven angas of the Svetambara Jaina canon. At the end of the night Kataputana felt appeased and became repentant; and she honoured Mahavira with devotion and left. In the painting, Mahavira stands at the right; above him is Kataputana with the rain flowing from her hair. At the lower left, she is showing devotion to Mahavira. This incident is rarely seen in other illustrated manuscripts. citra 15ra. : navAba 7, uparathI. zrI mahAvIra prabhune saMgamadevane upasarga. paMdaramA saikAnI hastalikhita kalpasUtranI suvarNAkSarI tArIkha vagaranI prata uparathI. eka vakhate zakrenDe pitAnA avadhijJAnathI prabhune dhyAnamagna joI, surata siMhAsana uparathI UtarI prabhune udezIne namana karyuM. te pachI Indra prabhunA dharyaguNanI prazaMsA karatAM pitAnI sudharmA sabhAmAM beThelA devanI samakSa kahyuM ke "aho ! zrIvIraprabhu kevA dhyAnamagna thaI rahyA che? temanI dhIratAnI ane aDagatAnI huM keTalI stuti karuM ? temanA dhyAnamagna cittane calAyamAna karavA traNa jagatanAM prANIo kadAca ekaThAM thAya to paNa niSphaLa ja jAya ! sabhAmAM beThelA Indrane eka sAmAnika deva- saMgama A prazaMsA sahana na karI zakyo. te bhrakuTi caDAvI dhrujatA svaramAM tADUkI UThI bolyA ke : "A devanI sabhAmAM eka pAmara jananAM vakhANa karatAM Apane jarA ye saMkoca nathI thato ? Apane je vizeSa khAtrI karavI hoya to huM pote ja tene eka kSaNavAramAM gabharAvI dauM !" InDe vicAryuM : "je huM dhAruM to saMgamane hamaNAM ja bolato baMdha karI zakuM, paNa je huM atyAre tene hukama karI jato aTakAvI daIza to te durbuddhi ema samajaze ke tIrthakaro te pArakAnI sahAyathI ja tapa kare che. eka saMgamanA manamAM nahi, paNa lagabhaga badhA denA manamAM khoTuM bhUta bharAI jaze; mATe atyAre to A duSTane tenuM dhAryuM karavA devAmAM ja lAbha che." krodhathI dhamadhamI rahelA saMgamadeve prabhune calAyamAna karavA Indra samakSa pratijJA karI, tarata ja sabhAmAMthI cAlI nIkaLyo ane sIdho prabhu pAse AvI Ubho rahyo. prabhunI zAMta mukhamudrAmAMthI zAMti ane karuNAnI amIdhArA jharatI hatI, paNa saMgamane to te UlaTuM ja pariNamyuM; kAraNa ke tenuM hadaya krodha ane IrSAthI dhagadhagI rahyuM hatuM. (1) sauthI prathama teNe dhULano varasAda varasAvyo. (2) te pachI dhULane khaMkherI nAkhI te duSTa vajI jevA kaThora-tIkSNa mukhavALI kIDIo prabhunA zarIra upara vaLagADI. te kIDIoe prabhunuM AkhuM zarIra cALaNI jevuM karI nAkhyuM, chatAM prabhu acaLa ja rahyA. (3) pachI pracaMDa DAMsa upajAvyA. DAMsanA tIkSNa caTakAthI prabhunA zarIramAMthI gAyanA dUdha jevuM rudhira jharavA lAgyuM. (4) vaLI tIkSNa mukhavALI ghImela prabhunA zarIre evI te sajajaDa cAMTADI ke AkhuM zarIra dhImelamaya thaI gayuM. (5) te pachI vIMchIo vipharyAM. pralayakALanA aninA taNakhA jevA te vIMchIoe bhagavaMtanA zarIrane bhedI nAkhyuM. (6) tyArapachI noLiyA vipharyA. te "khI ! khI!" evA zabdo karatA deDIdaDIne potAnI ugra dADhA vaDe bhagavaMtanA zarIranuM mAMsa teDavA lAgyA. (7) pachI bhayaMkara sarpo choDI mUkyA. paramAtmAna mahAvIranuM AkhuM zarIra-pagathI mAthA sudhI-sarSothI chavAI gayuM. phaNAe phATI jAya tevA jorathI prabhunA zarIra upara phaNanA prahAro thavA lAgyA, dADhe bhAgI jAya teTalA baLathI te DasavA lAgyA. (8) pachI saMgame uMdare vikuLaM. te nakhathI ane dAMtathI prabhune khaNavA lAgyA ane tenI upara pizAba karIne Jain Education Intemational

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As Represented in the Kalpasutra Paintings [ 83 paDelA ghA upara kSAra chAMTavA jevuM karavA lAgyA. (9) te pachI mamatta hastIo vipharcA. hastIoe prabhunA zarIrane sUMDhathI pakaDI, addhara uchALI, daMtazala upara jhIlI, dAMta vaDe prahAra karyo ane paga nIce paNa dAkhyA. (10) hAthIthI kSobha na thayo eTale hAthaNIo AvI. te hAthaNIoe paNa tIkSNa dAMtathI prabhune ghaNu prahAra karyA. (11) pachI adhama saMgamadeve pizAcanuM rUpa dhAraNa karyuM. te pizAca agninI javALAothI vikrALa banelA pitAnA mukhane phADI hAthamAM talavAra pakaDI prabhunI sanmukha dhasI AvyA ane aTTahAsya karI ghora upasarga karyA. (12) te pachI nirdaya saMgame vAghanuM rUpa lIdhuM. potAnI vA jevI dADhathI ane trizUla jevA tIkSNa nahArathI prabhunA AkhA zarIrane teNe vidArI nAkhyuM. (13) chatAM paNa prabhune dhyAnamAM acaLa jaI saMgame siddhArtha rAjA ane trizalA mAtAnuM rUpa lIdhuM. teo jANe karuNAjanaka vilApa karIne bolavA lAgyA ke : "he putra ! te AvI duSkara dIkSA zuM karavA lIdhI. ame ghaNuM duHkhI thaI ADAMavaLAM nirAdhAra bhikhArInI jema rajhaLIe chIe. tuM amArI saMbhALa kema nathI leta ? AvA vilApathI paNa prabhu dayAnamAM nizcala ja rahyA. (14) tyAre saMgame eka chAvaNI vikryo. te chAvaNInA mANasoe prabhunA paga vacce agni saLagAvI bhAta rAMdhavA paga upara vAsaNa mUkayuM. agni eTalo badhe Akare karyo ke prabhunA paga nIcethI paNa baLavA lAgyA. (15) te pachI eka cAMDAla vikuoM. te cAMDAle prabhunI DokamAM, be kAnamAM, be bhujAmAM ane be jaMghA vagere avayavo upara pakSIonAM pAMjarAM laTakAvyAM. pakSIoe cAMca ane nakhanA prahAro eTalA badhA karyA ke prabhunuM zarIra pAMjarA jevuM chidravALuM thaI gayuM. (16) te pachI pracaMDa pavana vikuLyuM. e pavanathI parvata paNa kaMpavA lAgyA. prabhune upADIne nIce paTakI dIdhA. (17) vaLI eka bhayaMkara vaMTeLIo upajAvI, kuMbhAranA cAkaDAnI upara rahelA mATInA piDanI peThe prabhune khUba bhamAvyA. (18) te pachI saMgama krodhe bharAIne hajArabhAra jeTaluM vajanadAra eka kALacakra vikuchyuM. te kALacakra upADI jorathI prabhunA zarIra upara nAkhyuM. te cakra prabhunA zarIra upara paDavAthI teo DhIMcaNa sudhI jamInamAM pesI gayA. (19) te pachI kaMTALIne chelA anukULa upasargo ajamAyaza karavAno vicAra karIne, rAtri hovA chatAM prabhAta vikuchyuM. mANaso Amatema pharavA lAgyA ane teo prabhune kahevA lAgyA ke : "he devArya ! prabhAta thaI gayuM. chatAM Ama dhyAnamAM ne dhyAnamAM kayAM sudhI raheze? UThoApane dhyAnano samaya te kyArane ye pUro thaI gayo." paNa prabhu te potAnA dhyAnamAM rAtri bhALI rahyA hatA, tethI jarA paNa na DagyA. (20) Akhare teNe devaRddhi vikuva, ane vimAnamAM besI prabhune lalacAvavA lAgyo ke : "he maharSi! huM ApanuM AvuM ugra tapa ane pavitra satva nihALI bhAre prasanna thayo chuM te Apane je joIe te mAgI le. kaho te mokSamAM laI jauM." e mIThA zabdothI paNa prabhu na lebhAyA. eTale teNe tatkALa kAmadevanI senA jevI devAMganAo vikrvA. te devAMganAoe hAvabhAvAdi ghaNA upasarga karyA paNa prabhunuM eka rUMvADuM ye na pharakayuM, te na pharakayuM, evI rIte duSTa saMgame eka rAtrimAM moTAmoTA vIsa upasargo karyA. chatAM prabhue te tenA tarapha dayAdaSTi ja varSAvI. dhanya che mahAvIranI asIma karuNAne ! citramAM vacce mahAvIra prabhu kAusadhyAne UbhA che. A citramAM AbhUSaNo vagere je paherAvelAM che te citrakAranI aNasamajaNane AbhArI che. kapALamAM brAhmaNanuM tilaka karyuM che te paNa avAstavika che; sAdhune kapALamAM tilaka hoya ja nahi. prabhunA mastakanA uparanA bhAgamAM be haraNa jevAM prANIo che, varNanamAM haraNano ulalekha mAtra paNa nathI. kAna agADI baMne bAjuthI baMne hAthothI pavanane AmaMtrita karatI be purUSa-vyaktio UbhelI che. jamaNI bAju vIMchI, vAgha tathA chAvaNane lazkarI paThANa sipAI prabhunA jamaNu paga upara bhAta rAMdhavAnuM vAsaNa mUkIne bhAta rAMdhato Ubhelo dekhAya che. DAbI bAju sarpa, hAthI, noLio tathA DAbA paga upara cAMDAle mUkeluM tIrNa cAMcavALuM pAMjarA vagaranuM eka pakSI cItareluM che. Fig. 152. SMN. 7. Mahavira's austerities. In the middle stands Mahavira in strict meditation. Samgamaka made 20 attacksu pon Mahavira meditation. This god, hearing Sakra Jain Education Intemational

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841 The Life of Lord Sri Mahavira praise Mahavira for fortitude in meditation, sets out to interrupt it; and attacks him with a dust storm, ants, gnats, ghritelika, scorpions, mongeese, snakes, mice, with an elephant, a she-elephant, a demon, a tiger, with attempt by his father and mother to dissuade him. from the quest, with a vessel of food at his feet, fire at his feet, an outcast who set cages of birds over Mahavira's body to pack it, a burning wind, a kalachakra weapon; then with attractive temptations, such as the music of the birds. He tells Mahavira he is a god. who has been tempting him and he now offers heaven as a reward; finally he shows beautiful women. The trials last six months, but Mahavira stands unheeding. When Mahavira finishes his meditation and goes to break his fast, Samgamaka interferes by having improper food offered. Above Mahavira are seems two deer and each side stands a man with a lute in his hand, on either side of Mahavira are represented some of the 20 attacks by Samgamaka. citra 153, camarendranA utpAta. devasAnA pADAnI kalpasUtranI prata uparathI. pUraNa nAmaneA eka RSi tapa tapIne asurakumArAnA indra-camarendra tarIke utpanna thayA. teNe utpanna thatAMnI sAthe ja pAtAnA mastaka upara saudharmendrane joyA. teNe adekhAithI prerAI, gusse thai, prabhu zrIvIranuM zaraNuM lai bhayaMkara rUpa dhAraNa karyuM ane hAthamAM parigha nAmanuM zastra laI gaInA karatA saudharmendranA AtmarakSaka devone trAsa ApatA ce caDyo. tyAM jaIne saudharmAvartasaka nAmanA vimAnanI vikAmAM paga mUkI keMdrane dhamakAvavA lAgyA. pachI IMdra gusse thaIne tenA tarapha jAjavalyamAna vajra mUkayuM, camarendra gabharAIne nAsatA nAsatA prabhu mahAvIranA caraNakamaLamAM AvI namI paDaco. pachI iMdre avadhijJAnathI A vRttAMta jANyA; ane mAtra cAra AMgaLa ja cheTuM raheluM vajra pAchuM kheMcI lIdhuM. citramAM uparanA bhAgamAM candra ane saudharmendre yuddha karatA darzAvelA che. citranA anusa dhAne, nIcenA bhAgamAM saudharmendra pAtAnI pAchaLa mUkelA vajrathI bacavA mATe citranI DAbI bAjue kAcAsagamAM UbhelA prabhu mahAvIranuM zaraNu letA cArendrane uMdhA mastake cItarelA che. A citranI bAjumAM paNa suMdara hAMsiA jovA lAyaka che. Fig. 153. DVS. The fight between Camarendra Asura and Sakra. Mahavara went into meditation for the night near the city of Sumsumara. At this time, it so happened that a child had been born as Camarendra lord of the Asuras in Camaracanca; in consequence of bala tapas. After birth, he looked round about and saw above him in the Saudharma heaven the god Sakra, great in splendor, and he felt enraged. At once he announced his intention of driving Sakra from his kingdom, and refused to be dissuaded by his courtiers Prudence overpowered him and he went first to the Master, who was standing in meditation; and threw himself upon him for protection. Then he took out his weapons and transformed himself into a huge and fearsome creature frightening all the divinities of the sky reached Sakra's castle, and challenged him. OMakra took his club (vajra) which he threw at Camars. So bright and powerful was it that Camara could not withstand it, and he fled like an owl before the sun headlong toward the earth losing his great size and hastening towards the Lord. Sakra began to wonder how an Asura could reach his realm, and realized that it must be with some outside aid. Through clairvoyance, he saw that Camara had come by the grace of Mahavira and was even now hastening to him. Then Sakra, terror-stricken cried out "I am slain !" and took himself after his vajra, which was hurtling toward

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Jain Education Intemational Lcberci rahimamAeM OLI EUTIO LEAINS sAvadhAvaya dhAramA 145 zrI mahAvIra prabhu aDadhuM vastra brAhmaNane dAnamAM Ape che. 145 Sri Mahavira gives away half of his garment 146 zrI mahAvIra prabhune govALiyAne upasarga 146 Assault of the cowherd 57

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Jain Education Intemational 144 zrImahAvIrane paMcamuSTika leca 144 Sri Mahavira pluks out his hair 148 zrI mahAvIra prabhune sudaMSTra nAgane upasarga 148 Naga sudanstra's attack upon Sri Mahavira

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bANAva vavidyA DivAi sArAsa KENTHUS NDKC 149 caMDakauzikanAM jIvanaprasaMgeA ane prabhu zrImahAvIra kAyAtsarga-mudrAmAM caMDakauzikanAM rAphaDA AgaLa 149 The events of the Chandakausika's previous lives and Sri Mahavira enlightens him. 59

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Jain Education Intemational 150 prabhu zrI mahAvIrane AvakAra Apato pradezI rAjA 150 King Pradesin welcoming Sri Mahavira 151 prabhu zrI mahAvIrane vyaMtarI kaTapUtanAne upasarga 151 Goddess Katputana's attack upon Sri Mahavira 60

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As Represented in the Kalpasutra Paintings [85 Camara. The Asura reached the Master and transformed himself into a tiny being and hid himself near the Master's feet before the vajra was within a short distance of reaching him. Sakra withdrew vajra, when it was very near the Lord. Then Sakra begged his pardon. for launching his vajra at Camara. When he was given such refuge. He told Camara that by taking refuge with Mahavira he had assured himself of safety. After he left, Camara came out from his refuge, praised and worshipped the Master, and returned to his city of Camaracanca, where he narrated the whole incident to his court, and asked them all to worship Mahavira. The Master had never broken his meditation all the while and had given no indication of knowing the whole affair. At dawn, he came of his meditation, and started on his journey. The painting shows Mahavira at the right. Above him is Sakra following the vajra, which is in front of him in the upper left-hand part of the scene, and below Camara is illustrated falling to the feet of Mahavira. citra 154. : devasAnA pADAnI kalpasUtranI prata uparathI. prabhu zrImahAvIrane baDadanA khAphaLA vaheArAvatI caMdanabALA. anukrame vihAra karatA karatA prabhu mahAvIra kauzAMbI nagarIe padhAryAM. te vakhate kauzAMbImAM zatAnIka nAmano rAjA rAjya karatA hatA. tene gAyatI nAmanI rANI hatI. tyAM prabhue pASa vadi ekamanA divase praveza karyAM, ane te ja divase temaNe evA abhigraha karyo ke : 'drazyathI supaDAnA khUNAmAM rahelA aDada maLe tA ja vahAravA, kSetrathI eka paga uMbarAmAM ane bIjo paga uMbarAnI bahAra rAkhIne vaheArAve tA ja vaheAravA kAlathI bhikSAnA samaya vItI gayA pachI ja maLe teA vaheAravA, ane bhAvathI kAI rAjakumArI dAsIpaNAne pAtrI hoya, teNInuM mastaka mUDAveluM hoya; pagamAM beDI hAca, rUdana karatI hoya ane teNIe ahUmanI tapasyA karI hoya, evI A vaheArAye te ja vahoravuM.' A pramANe abhimata karIne prabhu nagarInI aMdara bhikSA mATe pharavA lAgyA. rAjA pradhAna vageree ghaNA ghaNA prayatna karyA tA paNa prabhunA abhigraha pUrNa na thayA. te vakhate zatAnIka rAjAe caMpA nagarI upara caDhAI karI. caMpA nagarInA rAjA dhiAhana hAryo. dadhivAhana rAjAnI rANI dhAriNI ane vasumatI nAmanI rAjakumArIne eka subhaTa pakaDIne peAtAnA kabajAmAM rAkhyAM. te subhaTe dhAriNI rANIne potAnI strI tarIke rahevAnuM kahetAM ja te suttI pAtAnI jIbha kacaDIne maraNa pAmI. tyArapachI te subhaTe vasumatIne AzvAsana ApIne potanI putrI tarIke rAkhavAnuM samanathI, kauzAMbI nagarInA bajAramAM cAra rastA bhegA thatA hatA tyAM vecavA mATe lAvyeA. te vakhate te nagaranA dhanAvaha nAmanA eka zeTha tyAMthI pasAra thatA hateA, teNe te vasumatIne kharIdI lIdhI ane peAtAne ghera lai jaI putrI tarIke rAkhI. te khALAnA caMdana jevA zItala vacaneAthI zeThe teNInuM nAma caMdanA rAkhyuM. pachI zeTha teNInA upara eka putrI tarIkene sneha rAkhavA lAgyA. eka vakhate zeTha bapAranA ghera jamavA AvyA te vakhate bIjI kAI dAsI vagere hAjara nA hovAthI caMdranAe zeThanA paga dhAvA mAMDavA. paga dhAtAM dhAtAM caMdanAneA kezapAsa sahasA vikharAI gayA, ane mAthAnA vALa bhInI thaelI bhUmi para paDIne gaMdA thavA lAgyA. zeThe potAnI putrInA vALa melA na thAya te mATe, sahaja svabhAve kezane lAkaDI vaDe UMcA karyA ane AdarathI bAMdhI dIdhA. jharUkhAmAM beThanI zeThANI-mULA e A drazya joyuM. teNI vicAra karavA lAgI ke : kharekhara! zeThanI buddhi ja bagaDI lAge che. bhaviSyamAM nakkI A bALAne zeTha pAtAnI au banAvaze, ane mArI pUrI vale thaze.' zeTha kAI kAryaprasaMge bahAra gayA eTale mULA zeThANIe eka hajAmane melAvIne caMdanAnuM mAthuM mU`DAvI 22

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86] The Life of Lord Sri Mahavira nAMkhyuM. pachI tenA baMne pagamAM beDI paherAvI, khUba mAra mArI dUranA eka aMdhArA oraDAmAM pUrI daravAje tALuM mArIne. pitAnA pitAne ghera cAlI gaI. zeTha bahAragAmathI AvyA pachI cothA divase caMdanAne oraDAmAM pUryAnI vAtanI khabara paDI. eAraDAnuM tALuM kholAvyuM, ane tatkALa eka sUpaDAnA khUNAmAM aDadanA bAkaLA ApIne, paganI beDI toDAvavA mATe zeTha luhArane bolAvavA gayA. A vakhate caMdanAe vicAra karyo ke je koI bhikSu AvI caDe che, tene A aDada vaherAvIne huM pAraNuM karuM." te ja samaye teNInA bhAgyame, mahinAmAM pAMca divasa ochA upavAsavALA zramaNa bhagavAna mahAvIra bhikSArthe pharatA pharatA tyAM padhAryA. prabhune AvatA joIne caMdanAne rUMvADe rUMvADe AnaMda vyApI gayo. pote loDhAnI beDI vaDe sakhata jakaDAelI hovAthI uMbaro oLaMgavAne azakta hatI. tethI eka paga uMbarAmAM ane bIjo paga bahAra rAkhIne, prabhune aDadanA bAkaLA grahaNa karavA vinaMtI karavA lAgI. te vakhate, svAmino abhigraha pUro thavAmAM, AMkhamAM AMsu nahi hovAthI, prabhu pAchA pharyA. te vakhate caMdanA vicAra karavA lAgI ke : "huM kevI abhAgiNI ke avasare padhArelA prabhu kAMI paNa lIdhA vinA pAchA pharyA." te vakhate duHkhathI raDavA lAgI. te vakhate prabhune abhigraha pUrNa thavAthI prabhue pAchA pharIne aDadanA bAkaLA vaheryA. citramAM jamaNI bAjue UbhA rahelA prabhu mahAvIra potAnA be hAtha UMcA karIne, caMdanabALAnA hAthe aDadanA bAkaLA vahore che. citranI DAbI bAjue eka paga uMbarA bahAra ane eka paga uMbarAnI aMdara rAkhIne rahelI caMdanabALA potAnA UMcA karelA jamaNA hAthathI prabhune bAkaLA vahorAvatI dekhAya che. caMdanabALAe prabhane bAkaLA vahorAvyA ke tarata ja teNInA mastake vALa pragaTa thayA hatA, te vastune caritArtha karavA mATe ja citrakAre caMdanabALAne vastrAbhUSaNo paridhAna karelI citramAM rajU karelI che. caMdanabALAnA uparanA bhAgamAM suMdara vAtAyano cItaravAmAM AvelAM che. prabhu mahAvIra tathA caMdanabALAnI AjubAju divya tejapUMja prakAzI rahelo che. A addabhuta citraprasaMga kalapasUtranI bIjI hastapratomAM jovAmAM AvatuM nathI. A citranI bAjunA hAMsiyAnI suMdara phUlonI citrAkRtinuM saMyojana paNa viziSTa prakAranuM che. Fig. 154. : DVS. KS manuscript. Candanabala gives alms to Mahavira. Mahavira, moving about from village to village, reached Kausambi Nagari, a town with rows of white beautiful houses with triangular passages, squares, court-yards, market places, public buildings etc. There was a King named Satanika, who had a Queen named Mrigavatidaughter of King Cetak. She knew the basic truth of the Jaina Religion and she was always eager in worshipping the lotus like feet of Jinesvaras. In that town also, there was a wealthy merchant named Dhanavaha, who held prominent position amongst all the merchants. He had a wife named Mula. On the first day of the dark-half of the month Pausa, Sramana Bhagavan Mahavira took an austere vow : "1. A virgin girl, whose feet tied with an iron chain. 2. Whose hair of the head been totally removed. 3. Who was crying with a faltering tone due to a choking of her voice on account of the burden of sorrow. 4. Who being a daughter of a king was reduced to servitude at somebody's house. 5. Who had a continuous fasting of three days. 6. Who Jain Education Intemational

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[ 87 As Represented in the Kalpasutra Paintings had placed one foot in the interior of the house and the other foot had crossed the region of the house. 7. Who gives me alms of Kulmasa (adada beans of Phaseolus Radiatus) from a supadun (a winnowing fan made of bambooreeds). 8. And when all the mendicantsbeggars have returned after taking their alms, then, I will break my fasting". After having taken the above vow, Sramana Bhagavan Mahavira used to go daily to several house in the town for alms, but he invariably returned without food and drink as he would never accept any that did not confirm to the rigid conditions of the vow. The people of the town were unaware of the vow taken by the Jinesvara. At that time, King Dadhivahana was the King of Campa Nagari. He had a queen named Dharini and a daughter named Vasumati. King Satanika of Kausambi had a quarrel with King Dadhiva hana of Campa Nagari. One day the King Satanika took all the fighting equipments in ships and he reached Campa within one night. Without the least opposition, the army of King Satanika laid a seige round Campa. King Dadhivahana, unable to resist without sufficient materials of men and weapons became escasperated as to what he should do at this critical moment and he consulted his ministers. His ministers told him : "O Good King! why do yuu become so agitated ? For the present the escape is advisable" On listening to this advice, King Dadhivahana ran away with his wife. During this state of complete anarchy, Dharini, the Chief queen of King Dadhivahana while moving about from one place to another for safety was cought by a soldier of the king along with her daughther Vasumati. Then, queen Dharini died on way to Kausambi, and the soldier took the girl to Kausambi and kept her standing on a public highway for sale. At that time, Seth Dhanavaha, passing by road, saw the pitiable condition of the girl and thought : "Oh! From her appearance it seems she is not a daughter of an ordinary person. It is, therefore, appropriate that I should buy her by paying more money lest the pitiable girl may fall in the hands of some wicked person. Besides, under my protection, she may meet her family-members in due course of time". Dhanavaha seth bought the girl after paying the price asked for. Soon after taking her to his house, he adopted her as his own daughter, and entrusted her to his wife Mula. From that time onwards, she stayed at Seth's house as comfortably as she would at her own house. By her pleasing manners, politeness, and by her skiful conversation, she delighted the hearts of Seth Dhanavaha, his family members, and all others, who came in contact with her. Due to her calm disposition as cooling as a sandal-paste, her name was changed to Candana. She was being devoutly addressed as Candana with due affection. As she grew in age, her lovely features became most lively. Her lotus like eyes expanded, Jain Education Intemational

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88] The Life of Lord Sri Mahavira and her braid of hair as dark as lamp-black became longish. Even individuals barren of natural beauty become more lovely during youth, then what to say about a royal princess. who is endowed with natural beauty and charm, Mula Sethani, out of spite, thought: Why is it not possible to believe that Dhanavaha Seth may marry her, and may make her the mistress of the house? I should, therefore, be always ready for disfavour." One day, distressed by the heat of summer Dhanavaha Seth returned home from a neighbouring market place. At that time, there was no servant ready who can do the work of washing Seth's feet, so Candana out of politeness, got up to wash his feet. Dhanavaha. Seth gently forbid her, but she began to wash his feet considering him to be her own. father, When she was washing Seth's feet, her long braid of hair became loose and fell on the ground. So, best "It may not fall into mire." Dhanavaha took it by means of a sporting stick held in his hand, and tied it up with a dispassionate mind. The wicked Mula Sethapi always alert in finding out her faults and imputing wrong motives saw it from the balcony of the house. With her eyes red with anger resulting from personal envy and with extremely mean heart born out of feminine nature, Mula, thinking Candana to be impious on account of a wrong impression created in her mind became ready to seek her ruin. When, after resting for a while Dhanavaha Seth went out to the market place, Mula Sethani burning with the fire of intense animosity sent for a barber, got Candana's head clean-shaved, beat her severely, applied iron chains tightly round her feet, locked her in a distant part of the house and after closing the doors tightly, she told the servants of the house: "If any one informs the Seth about this incident, he will meet with a similar punishment. Even if Seth makes enquiries with great pertinacity, none should tell the truth". Mula instructed her servants repeatedly in the same strain. When in the evening Dhanavaha enquired 'Where is Capdapa? No one answered him. Thereby he thought: She must be playing on the terrace". On the second day, Candana was not to be seen. On the third day, Dhanavaha became greatly disturbed when he could not get any information. Becoming greatly excited he told the servants: "Ah! give me the true account about Candana; otherwise I will punish you. This false show of ignorance dose not in the least indicate your cleverness". On hearing these angry words of Seth, an old maid servant told the true story about the Candana, and showed him the house in which Candana was locked up. Dhanavaha went there and opened the door of the apartment. On seeing Candana with her head shaved, with her body distressed with hunger and devoid of her beauty like a lotus-garland crushed under the feet of an intoxicated elephant, then Seth with his eyes flooded with an incessant flow of tears said: "O daughter, be calm", Having consulted her, Seth went to the kitchen. He examined all the utensils of keeping food but he could not get a morsel of food. So he took adada (phaseollus) beans in a supadun and handing them to Candana, he said: "Child! I am calling a blacksmith for breaking your chains. In the meanwhile, you eat this beans." On seeing the beans lying before her, like a female elephant separated from her folk, Candana, lamenting her sorry plight said "Ah! Fate! When you gave me birth in

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15ra zrImahAvIra prabhune saM gamadevanA upasarga 152 God Samgamaka's attack upon Sri Mahavira 156 zrImahAvIranuM samavasaraNa 156 Sri Mahavira's Samavasarana

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Jain Education Intenational 153 camarendrane utpAta 153 The fight between Camarendra and Sakra 157 yajJa karatAM iMdrabhUti vagere be brAhmaNa paMDita 157 Two Brahmana priests sacrificing yagna 62

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Jain Education Intemational ITI ITIATIHI/ / IIIT/II 1 : ' LUXLI chIche. cho TITUTUTTTTTTTTTTTT intricit - ati lAve, HTTITLE 155 prabhu zrI mahAvIranA kAnamAM khIlA ThokavAna govALino upasarga 155 The cowherd drove spikes in Sri Mahavira's ear 154 prabhu zrImahAvIrane vahorAvatI caMdanabAlA 154 Chandana bala gives alms to Sri Mahavira 63

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jI 158 prabhu zrImahAvIranuM nirvANa 158 Sri Mahavira as a siddha 159 prabhu zrImahAvIranuM nirvANa 159 Sri Mahavira as a Siddha

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As Represented in the Kalpasitra Paintings [ 89 a royal family, why did you throw me in an ocean of misery hard to traverse? Ah! Why did that royal wealth, that sublime affection of my parents, and everything disappear like a miracle? Really, the diversions of fate uplifting for a moment and throwing immediately after a moment-resemble a banner-cloth flying with a gust of strong wind". With her throat chocked with intense sorrow and emotion the poor girl's face was completely wet with a ceaseless flow of tears. On account of hunger and thirst, she took, adada beans lying in corner of the supadun disinterestedly like the mind of a muni. At that very moment, a happy idea came to her mind-"If any mendicant comes here at these juncture I should give him alms first and thereafter I will take my meal". With this idea uppermost in her mind, she glanced at the door and she saw Sramana Bhagavan Mahavira who was coming there after moving about in regular order from house to house. Thinking Mahavira was extremely handsome and illustrious, and that the meal of adada beans was extremely worthless, and also that, the food material was perfectly unfit for the great saint, she, with a speech faltering with deep sorrow, and with an active flow of tears dropping from her eyes, said :-"O Bhagavan ! although this adada beans is unfit for you, however, please accept this meal with the object of showing favour this unfortunate girl". On seeing the fulfilment of the conditions of his vow, with a steady heart Mahavira extended his two hands. Candana, keeping one of her chained feet outside the door with great difficulty, and keeping the other foot inside the house gave the alms. of adada beans from the supadun to Mahavira. In the picture, Mahavira stand with his to hands extended for alms at the left. Candana is giving the adada beans by her right upraised hand from the supadun kept in her left hand. Her one leg is outside the door and the other inside the house. Here she is represented well-dressed and ornamented. The upper part of the picture, showing the entablature of the house is beautiful. This scene is singularly a unique scene I have seen in any illustrated Kalpasitra MS. citra 155. jayasUrijInI kalpasUtranI prata uparathI. zrImahAvIraprabhunA kAnamAM khIlA ThokavAnA govALIyAe karelA upasarga vihAra karatAM karatAM prabhu SamAni nAmanA gAme padhAryA. tyAM gAma bahAra kAusagaMdhAne UbhA rahyA. eka gAvALIe prabhu pAse baLado mUkIne gAmamAM gayA. gAvALa jyAre pAtAnuM kArya patAvIne gAma bahAra AvyA, tyAre pAtAnA baLado tyAM nahi jotAM, te prabhune pUchyA lAgyA ke : "huM devAya ! mArA baLado kAM gayA ?" prabhu to dhyAnamAM ja UbhA rahyA, tethI govALa bahu ja krodhe bharAyA. te doDatA jaIne zaraDha vRkSanA lAkaDAnA be majabuta khIlA banAvI lAnce; ane dhyAnastha prabhunA kAnamAM hacADAvatI baMne khIlA uMDA pesADI dIdhA, baMne khIlAnI AgaLanI dhAre eka bIjAne maLI gaI. khIlAne kAi joi jAya ane bahAra kheMcI kADhe nahi, evA duSTa IrAdAthI, geAvALe ane khIlAnA bahAra dekhAtA bhAgeA kApI nAkhyA A pramANe ghAra upasarga thavA chatAM pannu prabhu dhyAnathI leza mAtra na camyA. kAnamAM khIlA ThokAvavAnuM karma prabhue potAnA tripRSTha vAsudevanA bhavamAM zayyApAlakanA kAnamAM tapAvelA sIsAnA rasIne upArjana karyuM hatuM; te mahAvIrasvAmInA bhavamAM udayamAM AvyuM. te zayyApAlakane jIva ghaNAM bhavabhramaNa karI, A bhavamAM geAvALIe thayA hatA. 23

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90] The Life of Lord Sri Mahavira Fig, 155, JSR. KS. manuscript. The cowhered drove spikes in Mahavira's ears. When Mahavira was engaged in ascetic meditation, out of Sanmani village, certain sensation karma, which he had accumulated in a previous existence by pouring melted tin into another person's ears, had come to the point of repening. His victim had been reborn as a cowherd, who had at this time let his bulls loose outside the village, while he went to milk the cows. The bulls wandered away. The cowherd came seeking them, and charged upon Mahavira. He asked if he had seen the bulls, but Mahavira was too deeply absorbed in meditation to hear him. "Sir, where are my bulls ? Why don't you answer me, you monkling? Don't you hear ? Or are your earholes useless ?" When Mahavira still did not reply, the cowherd in a blind fury took two spikes of Sarakata tree and drove them into the Master's ears until they met inside his head and became one. Then he cut off protruding ends that no one might see them and draw them out, and left. In the painting, Mahavira stands motionless in meditation. Both the sides cowherd seems draving spikes in his ears. Two lions raging at his feet, which he does no notice. While birds roost unnoticed on his ears and peck at his head. I suppose, representation of lions and birds are the part of the events of god Samgamaka attack upon Mahavira, discussed already in figure 152. citra 156. prabhu zrImahAvIranuM samavasaraNa. navAba 1, pratanA pAnA 59 uparathI. tIrthakarone kevalyajJAnanI prApti thayA pachI deve samavasaraNanI racanA kare che. ApaNane prAcIna citromAM A samavasaraNanI be jAtanI racanAo maLI Ave che. eka jAtanI racanA gaLAtimAM hoya che ane bIjI jAtanI catuSkoNa-cAra khUNAvALI-cokhaMDI hoya che. A citra goLAkRtivALA samavasaraNanuM che. samavasaraNanI madhyamAM prabhu mahAvIranI suvarNavarNanI mUrti padmAsananI beThake birAjamAna che. teone cAre bAju pharatAM gaLAkRtimAM traNa gaDha, mastakanI pAchaLanA bhAgamAM azokavRkSane badale be bAju laTakatAM kamala jevI suMdara AkRti cItarelI che. prabhunI baMne bAjue ekeka haMsapakSI che. traNe gaDhanI cAre dizAe ekeka daravAjo tathA gaDhanI bahAranA cAre khUNAo paikI uparanA baMne khUNAomAM ekeka vApikA-vAva cItarelI che, ane nIcenA jamaNe khUNAmAM baMne hastanI aMjalI jeDIne stuti karate eka purUSa ane DAbA khUNAmAM te ja rIte stuti karatI eka strI; ghaNuM karIne A prata cItarAvanAra tathA lakhAvanAra zrAvaka ane tenI dharmapatnI-zrAvikA-nI rajUAta citrakAre karelI che. prasaMgopAta jaina dhArmika graMthomAM ApeluM samavasaraNanuM TuMka varNana atre vAcakenI jANa khAtara ApavuM mane yogya lAge che. pahelAM vAyukumAra deve jana pramANu pRthvI uparathI kacare, ghAsa vagere dUra karI tene zuddha kare che. pachIthI meghakumAra de sugaMdhI jaLanI vaSTi karI e pRthvInuM siMcana kare che. tIrthaMkaranA caraNone pitanA mastake caDAvanAra A pRthvInI jANe pUjA karatA hoya tema vyaMtara chae RtunA pacaraMgI, sugaMdhI adhomukha DIMTavALA puSpanI jAnu paryata vRSTi kare che. tyArabAda vANavyaMtara de suvarNa, maNi ane mANekavaDe pRthvItaLa bAMdhe che arthAta eka yojana paryaMtanI A pRthvI upara pIThabaMdha kare che. cAre dizAomAM teo manahara toraNo bAMdhe che vizeSamAM bhavyajanone bolAvato hoya te toraNanI upara rahelo vajAne samUha racIne teo samavasaraNane zobhAve-suzobhita kare che. toraNonA nIce pRthvInI pITha upara AlekhAelAM ATha maMgaLa maMgaLatAmAM umero kare che. Jain Education Intemational

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As Represented in the Kalpaslitra Paintings [91 vaimAnika thA aMdarano, jyAtiSThA madhyanA ane bhavanapati bahAranA gaDha banAve che, madhyanA kAMgarAvALA ane ratnanA banAvelA aMdaranA gaDha jANe sAkSAt rAhagiri' hoya tema zAbhe che, ratnanA kAMgarAvALeA ane sAnAnA banAvelA madhyagaDha dvIAmAMthI AvelA sUryanI zreNI jevA caLakI UThe che. sauthI khahAranA gaDha sonAnA kAMgarAvALA ane rUpAnA banAvelo hovAthI tIrthaMkarane vaMdana karavA mATe jANe sAkSAt caitAdraSa parvata AvyeA hoya tema bhAse che. A citra prasaMga tIrI pratAmAM AlekhAelA yA hatAM A citranA vividharavAnI goThavaNI ane AlekhanamAM vadhu sukomaLatAvALA temaja kAMIka vadhAre kALajIthI Alekhela hoya ema lAge che. Fig. 156 SMN. 1, Mahaviras Samavasarana. For the proper understanding of the set up in the scene, it is necessary to know what Samavasarana is. This is a walled enclosure prepared by Indra or minor gods, intended for a religious discourse by a Jina, immediately after he becomes Kevalin. The following description of a Samavasarana is taken from Samavasarana Stavana. "Wherever the Jinas exhibit the condition of Kevalin, in which all substances manifest themselves, the Princes of the AIR (Vayu-kumaras) cleanse the earth for one Yojana all round. The Cloud princes (Megha-Kumaras) sprinkle fragrant water, the gods of the Seasons spread heaps of flowers, and the Vana-Vyantaras make the surface of the earth. Variegated with ruby, gold and gems. There are three ramparts; the innermost, intermediate, and outermost. (The first) is constructed of gems, with the battlements of rubies by the Vaimanikas; (the second) of gold, with the battlements of gems constructed by Jyotiskas, (and the third) of silver, with the battlements of gold, by Bhavanapatis. In a round Samavasarana the ramparts are 33 dhanush and 33 angulas wide, 500 dhanush high, and I kosha 600 dhanushe (counting both sides) distant from each other. Each rampart has four gates made of gems. In the centre is a gem-studded pedestal, with four doors, three steps, and as high as the figure of the Jina, 200, dhanush broad and long, two and a half koshas high from the ground level. (In the centre of the dias stands) the Asoka tree, twelve times as high as the body of the Jina, and exceeding a Yojana in breadth. Then (underneath) is (a pedestal) called devacchamda (and on it are) four lion-thrones accompanied by (four) footstools. The four lion-thrones are occupied by the Jina himself in the East, and on the other sides by three reflections of the Jina, produced by the Vana-Vyantaras. At every gate the Vana-Vyantaras put up flags, parasols, makaras; garlands, pitchers; a triple arch (torana), and incense-vases. Having entered from the East and from the left to right hav ing saluted the congregation (tirtha), the Lord discourses on the Law. (The congregation consists of gods, men and animals.) There are two step-wells in each corner when it is square, and one (at each gateway) when the Samavasarana is round." In the painting Mahavira sits within the round Samavasarana. He is not in a priestly. garb, but is in the ornamented array common to a perfected being (Siddha). samavasaraNanA vistRta varNana mATe 1 Avazyaka niyukita, 2 triSaSThI zalAkA purUSa caritra, samavasaraNa prakaraNa vagere graMtho jovA bhalAmaNa che.

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92 ] The Life of Lord Sri Mahavira citra 157. yajJa karatAM iMdrabhUti vagere brAhmaNa paMDite. devasAnA pADAnA ka9pasUtranI prata uparathI. prabhune kevaLajJAna utpanna thatAM ja IMdronAM siMhAsana DolyAM. temaNe avadhijJAnathI, prabhune kevaLajJAna thayAnI vAta jANI ke tarata ja devonA parivAra sAthe prabhunI pAse AvI pahoMcyA, ane samavasaraNanI racanA karI. te samavasaraNamAM prabhue dezanA ApI. samavasaraNamAM devo ane iMdro bhegA thaelA hovAthI prabhunI prathama dezanA niSphaLa gaI. prabhu thoDo vakhata dezanA ApIne tyAMthI vihAra karIne, apApApurInI pAse AvelA mahasena nAmanA udyAnamAM padhAryA. te vakhate apApApurImAM somila nAmanA brAhmaNane ghera yajJa karavA sAru, te samayanA ghaNA samartha brAhANe bhegA thayA hatA. temAM 1 IMdrabhUti, 2 agnibhUti ane 3 vAyubhUti nAmanA bhAIo pAMca pAMcaso ziSyonA parivAra sAthe AvyA hatA. citramAM suMdara ghaTAdAra vRkSanI nIce UMcI beThaka upara beThelA be brAhmaNa paikI, citranI jamaNI bAjune brAhmaNa pitAnA UMcA karelA hAthathI yajJamAM AhUti ApavA mATe maMtra bole che; ane citranI DAbI bAjune bIje brAhmaNa pitAnA UMcA karelA jamaNA hAthathI yajJakuMDamAM pitAnA hAthamAMnI vastunI AhUti Apato beThele che. bannenI madhyamAM saLagatA avinanI jvAlAo yajJakuMDamAMthI nIkaLatI dekhAya che. banne brAhmaNonI bAjumAM yajJamAM bali tarIke homavA mATenA pazuo paNa citrakAre rajU karelAM che. A citra prasaMga bIjI kaI paNa hastapratamAM mArA jevAmAM Avela nathI. citranI jamaNI bAjunA hAMsiyAmAM moranI vividha jAtinA aMgamareDanI citrAkRtio citrakAre rajU karelI che. Fig. 157. : DVS. KS manuscript. Two Brahmans sacrificing yagna. At the time, when Sramana Bhagavan Mahavira aquried KevalaJnana (perfect knowledge), out side Jrambhikagama Nagara on the banks of Rjuvaluka river, a wealthy Brahmana named Somila was preparing for a great sacrificial yagna to which he invited many Brahmans including eleven highly talented Acaryas of whom the three brothers-1. Indrabhuti, 2. Agnibhuti and 3. Vayubhuti, who were well-versed in the fourteen kinds of the knowledge. The painting shows two Brahmans out of the eleven seated on high level seats with an object for sacrificing in agnikunda in the hand of right side Brahmana, left side Brahmana is chanting vedamantras. Agnikunda is represented by fire. Above them is a beautiful large tree on both the sides. At the left, under the high-level seat are two deers in two compartments and at the right, a goat and a horse are kept for sacrificing them in Yajna. I have never seen a similar scene in any illustrated KS manuscript before. In the left panel, the artist has represented three peacoks in different actions, which shows the proficiency in his art. citra 158. mahAvIra nirvANa. navAba 1; pAnA 66 uparathI. zramaNa bhagavAna mahAvIre je varSAkALamAM madhyama apApApurIne viSe hastipAla rAjAnA kArakunonI sabhAmAM cheluM comAsuM varSARtumAM rahevA mATe karyuM, te comAsAno cotho mahino, varSAkALanuM sAtamuM pakhavADiyuM eTale ke kArtika mAsanuM (gujarAtI Aso mAsanuM) kRSNa pakhavADiyuM, te kArtika mAsanA kRSNa pakhavADIyAnA paMdarame divase gujarAtI A mAsanI amAse), pAchalI rAtrie kALadharma pAmyA. teo siddha thayA, buddha thayA. citramAM prabhu mahAvIranI mUrti je pramANe citramAM varNavI gayA te pramANenA AbhUSaNa sahita cItarelI Jain Education Intemational Jain Education Interational

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A evA hoya che - che. 160 zrIIdrabhUti gautamasvAmIne kevalajJAna 160 Sri Indrabuti Gautama's omniscience 161 gaNadhara zrI AryasudharmAsvAmI 161 Ganadhara Sri Arya Sudharma

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162 prabhu zrI mahAvIra sAmAcArIne upadeza ApatAM 162 Sri Mahavira preaching the Samachari 163 prabhu zrImahAvIra 163 Tirthankara Sri Mahavira

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168 prabhu zrI mahAvIra sAmAcArIne upadeza ApatAM 164 Part of Sri Mahavira's audience as he preached the Samachari 165 prabhu zrImahAvIra sAmAcArIno upadeza ApatAM 165 Part of Sri Mahavira's audience as he preached the Samachari

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Jain Education Intemational gdavAsanakavimAnanyATayani-sAkaramyAnava che ? che ; For Private & Personal use only 168 de prabhu zrImahAvIrane agnisaMskAra 1 166 prabhu zrImahAvIra kAyotsargamAM 166 Sri Mahavira in meditation 167 devo prabhu zrImahAvIranuM mRtaka vimAna upADe che 167 The Gods lift up corpse of Sri Mahavira 168 Gods doing funeral ceremony of Sri Mahavira 68

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As Represented in the Kalpasutra Paintings [93 che. nirvANa kalyANakano prasaMga darzAvavA khAtara prabhunI palAMThInI nIce siddhazIlAnI AkRti ane banne bAjue ekeka saphedaraMganI goLAkRti vadhArAmAM rajU karela che. prabhunA mastaka upara chatra laTake che. The painting shows two Brahmana out of the eleven seated on high level seats with an object for sacrificing in agnikunda in the hand of right side Brahmana, left side Brahmana is chanting vedamantras. Agnikunda is represented by fire. Above them is a beautiful large tree on both the sides. At the left, under the high-level seat are two deers in two compartments and at the right, a goat and a horse are kept for sacrificing them in Yajna. I have never seen a similar scene in any illustrated KS manuscript before. In the left panel, the artist has represented three peacocks in different actions, which shows the proficiency in his art. Fig. 158. SMN. 1, 59. Mahavira as a Siddha. On death, a liberated soul goes to the Siddhasila or Isatpragbhara, which is at the top of the universe. This resembles an inverted white parasol, being made of pure white gold 4,500,000 yojanas long and as many wide, eight Yojanas thick at the middle but tapering off till at the edges it is thinner than a fly's wing. All varieties of Siddhas (perfected beings) go there after death; of these the Tirthankaras are the foremost. There the released souls dwell in omnipotence and omniscienee, perfectly blissful. Mahavira, fully ornamented sits on a throne, hands in lap, one above the other, palms upwards. Above is a parasol. A lion, the congnizance of Mahavira, is in the centre of throne pedestal. Below Mahavira is the thin crescent representing the isatpragbhara. Both the sides of Mahavira are a circular in white colour. citra 159: mahAvIra nirvANa jinavijayajInA saMgrahanI mahAvIra caritranI prata uparathI. A prasaMganA varNana mATe jUo citra 158nuM A prasaMgane lagatuM varNana. Fig. 159. JNV. Mahavira as a Siddha. The treatment is essentially similar to that of our figure 158. citra 160. pATaNa 2 uparathI. gautamasvAmIne kevalajJAna. je rAtre zramaNa bhagavAna mahAvIra kALadharmane pAmyA yAvata temanAM tamAma duHkhe taddana chedAI gayAM te rAte, temanA jyeSTa-paTTa-ziSya gautamagAtranA iMdrabhUti anagAranuM jJAnakulamAM janmelA bhagavAna mahAvIra saMbaMdhI je premabaMdhana hatuM te naSTa thayuM ane anaMtavastunA viSayavALuM, aMtavagaranuM, uttattama evuM kevaLajJAna ane kevaLadarzana utpanna thayuM. jyAM sudhI zramaNa bhagavAna mahAvIra jIvatA rahyA, tyAMsudhI temanI upara neha dharAvanAra zrIgautamasvAmIne kevalajJAna utpana na thayuM; paraMtu bhagavAna mahAvIra nirvANa pAmyA jANIne, temano rAga gurUbhakitamAM pariNamyo ane prabhunA virahamAMthI udbhavelo kheda, kevaLajJAna prApta karAvavAmAM sAdhanabhUta thayA. citranI madhyamAM zrIgautamasvAmI pravacana mudrAe nAnA maMdiranI aMdara pATa upara besIne caturvidha zrIsaMghane 24 Jain Education Intemational

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94] dharmopadeza ApatA dekhAya che. teozrInA jamaNA khabhA upara mutti che ane hAthamAM mALA che. Fig, 160 : HGF 2, 2, Indrabhuti Gautarma's Omniscience, On the night when Mahivira died. his eldest disciple, Indrabhati of the Gautama Gotra (family), by realizing that affection was out of place, even when directed towards his master; finally over-came all the bonds and won perfect knowledge (kevalajnana). The Life of Lord Sri Mahavira The miniature shows Inbrabhuti framed like a temple image in the niche. He is dressed in the robes of a Svetambara Monk. His right shoulder is bare, but over it is a narrow white piece of mouth-cloth (muhapatti). The left hand rests upon his lap, the right is raised in a teaching gesture (pravacanamudra). citra 161 AryadharmAMsvAmI. navAba 1, pAnA 2 uparathI. citranI madhyamAM gaNadhara zrI sudharmAvAmIbeThelA che. prabhu mahAvIranI paraparAe teozrI AvelA hatA. teozrInI sanmukha nava pAMkhaDInuM kamaLanuM vikasvara phUla citrakAre rajU karIne teezrIne gautamasvAmIthI jUdI rIte rajU karyAM hoya ema lAge che. teozrInA mastakanI pAchaLanA bhAgamAM suMdara bhAmaiDala che. tIrthakaradevA ane gaNadharavAne khudA oLakhavA mATe prAcIna mUrtie ane citramAM taphAvata mAtra eTaleA ja rAkhyA che ke tIrthaMkaranI mUrti tathA citrA padmAsanastha AbhUSaNa sahita ane baMne hAtha palAMThI upara ane gaNadharahevAnI mUrti tathA citro padmAsanastha, Aju vagara sAdhuvezamAM ane jamaNeA hAtha hRdaya sanmukha pravacanamudrAe, keTalIka vakhata mALA sahita tathA DAbA hAtha kheALA upara rAkhatA. A citramAM sudharmAMsvAmInI baMne bAjue ekeka ziSya suzruSA karatA UbhelA che. uparanA bhAge che mAra che ane pATanI Toce e haMsapakSI rajU karelAM che. citranI raMgapUraNI khUba suMdara ane AlhAdaka che, ane citrakAra uccakoTInA kalAkAra hoya ema lAge che. Fig, 161, SMN. I, 2. Gaadhara art Arya Sudharmiswari. In the small temple sits Arya Sudharmasvami. The iconographic difference between Tirthankaras and monks is made clear. He holds a rosary in his right hand in a gesture of lecturing. Around his had is pointed halo, frequently used with jain monks. Below his throne is lotus. On the either side is a peacock and at the top are two swans. The colour scheme is skilful and brilliant. He was a direct inheritor of Sri Mahavira, though he was the fifth Ganadhara. On account of his long life. citra 162. prabhu zrImahAvIra sAmAcArInA upadeza ApatAM. jesalameranI kalpasUtranI pratanA pAnA ga uparathI. A citranI pahoLAI tathA laMbAI kax3 iMca che. te kALe eTale cAcA ArAne cheDe, ane te samaye eTale zramaNa bhagavAna mahAvIra rAjagRha nagarane viSe samavasaryA te avasare, guNazIla nAmanA caityane viSe ghaNA zramaNeAnI, ghaNI zramaNIenI, ghaNA zrAvakAnI, ghaNI zrAvikAonI, ghaNA davA ane ghaNI devInI madhyamAM ja beThelA zramaNu bhagavAna mahAvIre A pramANe kyuM citramAM uparanA bhAgamAM jamaNI bAjue suvarNanA siMhAsana upara prabhu mahAvIra beThelA che. teonI sAme uparanA bhAgamAM eka zrAvaka ane nIcenA bhAgamAM eka sAdhu ane zrAvakra maLIne, kula trA jaththA prabhunA upadeza ajale joDIne sAMbhaLatA DaMkhAya che. citranA nIcenA bhAgamAM jamaNI bAjue cAra zrAvikA baMne

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[95 As Represented in the Kalpasutra Paintings hAthanI aMjalio jeDI prabhu mahAvIrano upadeza eka ja citte sAMbhaLatI dekhAya che. Fig. 162. JSM. KS. 92. Mahavira preaching samacari. At the end of Samacari, it is stated that the Vanerable Ascetie Mahavira delivered this discourse, called the Paryusanakalpa, in the town of Rajagrha, in the Gunasila Caitya, in the midst of monks, nuns, laymen, laywomen, gods and goddesses. In the upper row our painting depicts Mahavira seated on a spired throne lecturing, mouth-cloth (Muhapatti) in hand. On a lower seat before him is a monk and two laymen receiving the instructions; out of two laymen, one is seated at the top in right corner and the other is behind a monk. In the lower row from left to right are seated two nuns and four laywomen facing them. citra 163H prabhu zrImahAvIra. navAba 1, nA pAnA 1 uparathI. A prasaMganA varNana mATe jUo citra 1nA A prasaMgane lagatuM varNana Fig. 163. SMN. 1, 1. Tirthankara Sri Mahavira. The treatment is essentially the same as that in our figure 1. citra 164H prabhu zrI mahAvIra sAmAcArIne upadeza ApatAM. navAba 1, pAnAM 132 uparathI. citramAM upara ane nIcenA dareka bhAgamAM be jaina sAdhuo beThelA che. baMne bhAgonA madhyabhAgamAM sthApanAcArya che. darekanA uMcA karelA jamaNA hAthamAM muhapatti che. te badhA (cAre) sAdhuo sonAnI beThaka upara beThelA che. Fig. 164. SMN. 1, 132. Part of Sri Mahavira's audience as he preached the Samachari. In the upper and lower portion are seated two jain monks. In the middle of both portions is also represented a sthapanacharya. In the raised right hand of each is a muhapatti (a piece of cloth). They are all sitting on golden seats. citra 165 : prabhu zrI mahAvIra sAmAcArIne upadeza ApatAM. navAba 1, pAnAM 132 uparathI. citramAM uparanA bhAgamAM cAra zrAvake che; ane nIcenA bhAgamAM be sAdavIo ane be zrAvikAo rajU karelI che. saghaLAMye bane hastanI aMjali jeDIne prabhu mahAvIrano upadeza sAMbhaLatAM beThelAM che. badhAMye suvarNanI beThaka upara beThelA che. Fig. 165. SMN. 1, 132. Part of Sri Mahavira's audience as he preached the Samachari. In the upper portion are four laymen; and in the lower portion are represnted two nuns and two laywomen. All seated on golden seats. citra 166-167-168. pATaNa 3nI prata uparathI. A traNe citro eka ja pAnA upara che. 166 zrI mahAvIra prabhu kAusagadhyAnamAM, 167 zrI mahAvIra prabhunuM mRtaka vimAna upADatA deva, tathA 168 zrI mahAvIra prabhune agnisaMskAra. A citra prasaMgo anukrame citranI jamaNI bAjuthI jovAnAM che. citra 166mAM suvarNavarNana mahAvIra apApApurInI bahAranA bhAgamAM kAyotsarga mudrAe dhyAnamAM UbhelA Jain Education Intemational For Private & Personal use only

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96] The Life of Lord Sri Mahavira che. prabhunA mastakanA uparanA bhAgamAM vAdaLI raMganA vAdaLAMo AvelAM che. prabhunA mastakanA uparanA bhAgathI baMne bAjunA kAnanI pAse eka eka kamalaphala laTake che. prabhunA paganI nIce jaMgalanI baMne bAjue ekeka vRkSanI rajUAta citrakAre karelI che. citranA anusaMdhAne, citra 167mAM cAra devoe upADelI pAlakhImAM zrI mahAvIra prabhunuM mRtaka besADeluM che. A citramAM mRtakanA badale tIrthaMkaro jevI rIte dIkSA levA jatAM pAlakhImAM beThelA hoya che, tevI ja rIte vastrAbhUSaNe sahita ane jamaNA hAthamAM pAMca pAMkhaDInA kamalaphala sahita prabhune rajU karelA che, je janadharmanI cAlu praNAlikA pramANe citrakAranuM jaina rItirIvAjonuM ajJAna sUcave che. A pachI chelA citra 168mAM apApApurInI bahAra devoe racelI caMdanakASTanI bhaDabhaDa baLatI citAmAM mahAvIra prabhunuM mRtaka baLatuM dekhAya che. A citra prasaMga bIjI pratAmAM javalle ja jovA maLe che. Figs. 166-167-168. : HGP. 3. Three illustrations on one page. Lord Mahavira in meditation 166. Gods carry the body of Lord Mahavira 167. Gods perform the funeral ceremony of Lord Mahavira 168. In the illustration 166, Lord Mahavira whose skin looks golden coloured stands attentively in kayotsarga (standing erect) mudra with blue clouds above. Near the ears, there hangs two lotus flowers with a forest below his feet and tree on either sides. In illustration 167, four gods carry the dead body of Mahavira which is kept in a sitting posture in a well-designed palanquin. The Lord is illustrated wearing beautiful dress and rich ornaments besides holding a lotus flower in his right hand. The artist has erred in detailing the dress and the ornaments. Such a dress is seen only when a person goes out to take diksa (initiation in to monkhood). It seems that artist is unaware of the customs and conventions of the Jainas. Illustration 168., shows the sandalwood funeral pyre burning profusely. Such an incident is rarely seen in our illustrated KS. manuccripts. Jain Education Intemational

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OCKSACCOSS BOOKS ON JAIN PAINTINGS 1 Jain Miniature Paintings from Western India Rs. 600/By Dr. Motichandra M. A. Ph. D. (London) Size Demi 4 to 11" X 8 3/4", Page 211 41 Colour and 221 Monochrome Reproductions 2 Master Pieces of the Kalpasutra Paintings Rs 1000/By S. M Nawab Size Demi 4. to 11"X8 3/4", Pages 106 108 Colour and 304 Monochrome Reproductions 3 The Oldest Rajasthani Paintings from Jain Bhandars Rs. 300/ By S. M. Nawab Pages 120 60 Colour and 258 Monochrome Reproductions 4 Collection of the Kalaka Story Part I only Rs. 751By S. M. Nawab Pages 112 22 Colour and 66 Monochrome Reproductions 5 419 Illustrations of Indian Music and Dance Rs. 751By Vidya Nawab M. A. Pages 101 4 Colour and 419 Monochrome Reproductions of Indian Music and Dance 6 The Life of Lord Shri Mahavira Rs. 125/as represented in the Kalpasutra Paintings by S. M. Nawab Pages 108, 74 Colour 94 Monochrome Reproductions BOOKS TO COME JAIN PAINTINGS Part I and II By Sarabhai M. Nawab, Size Demi 4 to 11" x 8 3/4" Almost all the paintings from the Palm-leaf manuscripts and wooden banners are to be reproduced 394 in numbers in first volume, while more than 450 paintings from the paper manuscripts of pre-mughal period will be published in tne second volume. Mostly in colour with gold. Set Rs. 800/ REGISTER YOUR ORDER TO-DAY AND NOW Serving JinShasan M/s Sara Chhipamavjini Pole, 1 N. 045027" lal Nawab nedabad-380 001 (India) gyanmandir@kobatirth.org PRINTER QTISOSASTOPY,