Treasures of Jaina Bhandaras

Author(s): Umakant P Shah, Dalsukh Malvania, Nagin J Shah
Publisher: L D Indology Ahmedabad
Catalog link: https://jainqq.org/explore/001583/1

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TREASURES OF JAINA BHANDARAS
लालभाई,
दलपत भाई
नीच सस्कृति
अहमदाबाद
विद्यामंदिर 2
L. D. INSTITUTE OF INDOLOGY, AHMEDABAD 380 009.

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TREASURES OF JAINA BHANDĀRAS
L. D. SERIES 69
GENERAL EDITORS DALSUKH MALAVNIA NAGIN J. SHAH
EDITED BY UMAKANT P. SHAH
L D. INSTITUTE OF INDOLOGY
AHMEDABAD-380 009.

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First Edition
30th March 1978
© Printed in India
by
Creative Printers Private Limited Shree Industrial Mills Estate, Ahmedabad-380 021
and
Catalogue Printed by Swati Press, Rajaji's Street, Shahpur, Ahmedabad-380 001.
and Published by Dr. N. J. Shah
Director L. D. Institute of Indology
Ahmedabad-380 009
Price Rs. 250-00 U. S. Dollars Forty

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aver R
OWNER
For Private
Personal Use Only
463

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PREFACE
The L. D. Institute of Indology has great pleasure in publishing Treasures of Jaina Bhandāras'. Credit goes to Jaina Bhandāras for preserving, besides important Sanskrit, Prakrit and Apabhramsa works on all subjects - secular and religious, art pieces like miniature paintings, Vijñaptipatras (invitation letters to Jaina Monks ), scrolls, patas, artistic book-covers (pāthum), etc. Opportunity was seized to arrange an exhibition of all such antiquities from different Jaina Bhandāras of Gujarat on the occasion of the 2500th Nirvāṇa Celebrations of Lord Mahāvira under the auspices of Gujarat State Committee for the celebration of 2500th Anniversary of Bhagavān Mahāvira's Nirvāņa.' Exhibits were collected from different Jaina Bhandāras. But due to unfavourable circumstances we could not arrange the exhibition during the celebration year; it was postponed and was arranged in the L. D. Institute of Indology from 16.11.75 to 30.11.75. Visitors and scholars showed much interest in the exhibits and we had to extend the period which was originally of eight days. In order to make the material known to all interested in the subject, decision was taken to prepare and publish the catalogue of the exhibits, with the description of all and the photographs - coloured and black-and-white-of the selected ones. Dr. Umakant P. Shah, an expert in the field of Indian paintings and sculptures, gladly complied with our request and selected the items for photographs and prepared Notes on Art which bring out the importance of the items under description. We are grateful to him.
The importance of this work lies in the new vista that it opens. It reveals so many hitherto unknown paintings which throw a flood of light on the Art activities in Gujarat in Medieval period. It will fill up gaps and link up broken traditions.
We are extremely grateful to the Trustees of the following Jaina Bhandāras, who extended their kind cooperation to us in this task :
1. Jesalmer Collection, Jesalmer. 2. Hemachandra Jñāna Mandira, Patan. 3. Santinātha Jaina Bhandara, Cambay.
One

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Preface
4. Khetarvasi Jaina Bhandāra, Patan. 5. Dehlā Jaina Upāśraya Bhandāra, Ahmedabad. 6. Pārsvacandragaccha Upāśraya, śāmalā Pole, Ahmedabad. 7. Śri Kantivijaya Bhandāra, Chani. 8. Shri Samvegi Upāśraya, Ahmedabad. 9. Atmananda Jaina Sabha, Bhavnagar. 10. Śri Kantivijaya Bhandāra, Baroda. 11. Śri Hamsavijaya Bhandara, Baroda. 12. Vimalagaccha Upāśraya, Bhābhāno pādo, Patan. 13. Shri Dosabhai Abhechand Pedhi, Bhavnagar. 14. Pārsvacandragaccha Upāśraya, Mandal.' 15. Jaina Prācya Vidyā Bhavana, Paladi, Ahmedabad. 16. Sheth Anandji Kalyanji Pedhi, Ahmedabad. 17. Vijayanemisūri Collection, Cambay. 18. Devasānā Pādāno Upāśraya, Ahmedabad. 19. Sheth Narottam Mayabhai Collection, Ahmedabad. 20. L. D. Institute of Indology, Ahmedabad. 21. Shri Vijayanemi-Vijñāna-Kastūrasuri Jñānamandira, Surat.
We express our sincere thanks to the Government of Gujarat for bearing the entire expenditure on the exhibition and the publication of this work which no individual or educational institution can undertake. We are especially thankful to Sheth Kasturbhai Lalbhai who took active interest in promoting such academic activities and study and publication of Indian art and culture as a whole, and Jaina art and culture particularly. Our thanks are also due to Shri Bhupendra Thakore of Creative Printers Pvt. Ltd. for the excellent and prompt printing. We are thankful to Shri Ramesh D. Malvania for his ungrudging cooperation. Most of the photographs for this volume are taken by him.
L. D. Institute of Indology, Ahmedabad-380 009. 20th March 1978
Nagin J. Shah
Director
Two

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Introduction
Abbreviations
Notes on Art
Coloured plates I-XVI
Black-and-white plates No. 1-82
Catalogue
I Palm-leaf Manuscripts
Nos. 1-8
9-28
29-33
34-45
46-60
61-94
95
96-97
98-101
102-108
109-135
CONTENTS
Agama and Commentaries.
Non-Canonical Prakaraṇas.
Jaina Philosophy.
Carita and Kathā.
Jaina Stotras.
II. Paper Manuscripts :
Non-Jaina Works.
Ms. Copied by Vastupala.
Series of Jaina Canonical literature.
Jaina-Nigama.
Chanda, Vyakarana and Koşa Composed by Jainas. Jaina Kavya, Nāṭaka, Carita, Kathā, Alankara, Darśana, Stotras, Subhāṣitas etc.
136-140 Sangita, Jyotișa by Jaina Authors.
141-150
151-181
182-186 187-202
Works of Mandana Mantri and his son and of Maheśvara. Jaina Commentaries on Non-Jaina works..
Veda, Gitä, etc.
Non-Jaina Works on Vyakarana and Kosa.

1-60
1-100
1-12
33nor 2
5.
6
7
8
12
13-46
15 15
15
16
19
20
21
24
24
Three

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Contents
203-214 215-245
246-283 284-295 296-317 318-346 347-355 356-366 367-368
Non-Jaina Works on Śilpa, Sangita and Nộtya. Non-Jaina Works : Kāvya, Nātaka, Alankāra, Kāmaśāstra and Chanda. Non-Jaina Philosophical Works. Non-Jaina Works on Ayurveda, Jyotiņa, and Swapna etc. Mss. of Historical Importance. Mss. Copied by the Authors. Mss. Copied by Prominent Persons. Non-Jaina Works in Gujarati and Vrajabhāşā. Works in Gujarati with Commentary in Sanskrit.
47-50
49
51-56
53
54
57-84
III. Paper Manuscripts having Citralipi
369-372 Mss. with Citralipi and Riktalipicitra. IV. Book-Covers etc.
373-375 Wooden Book-covers.
376-387 Pāthum and Patali. V. Illustrated Mss.
388-416 Palm-leaf mss. 417-440 Illustrated mss. on paper using golden or silver ink. 441-517 Illustrated Mss. on paper.
518-525 Manuscripts copied on cloth, some with illustrations. VI. Painting on Cloth (Pațas), Mantra, Yantra etc.
526-550 Mantra, etc. Paintings on cloth. 551-564 Vijñaptipatras.
565-570 Paintings on paper. VII. Bronzes and other Art Articles 571-579 Bronzes
Tantric Armour 581-591 Wooden and other art articles.
82
85-92
580
Addenda
592-597
Four

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INTRODUCTION
Collections of manuscripts preserved by the Jaina Sangha and individual monks are found in India at various places in Gujarat, Rajasthan, Bihar, Karnataka etc. Now a days they are called Bhandāras but in olden days they were called Citkosas, Bhāratibhāņdāgāras, Sarasvatibhāndāgāras and Sarsvatibhandaras.' These collections are very rich in their contents and some of them preserve most ancient copies of manuscripts on palm-leaves, paper and cloth on all subjects, secular and religious. Not only that but mss. written in golden and silver ink and with illustrations are also found in good number in these collections. In view of these valuable treasures available in the Jaina mss. collections, the authority of the L. D. Institute of Indology wisely decided to arrange an exhibition of important mss., sculptures and other antiquities of Jaina Art during the celebrations of 2500th years of Lord Mahāvira's Nirvāṇa. Through the good offices of Gujarat State Committee for the Celebration of 2500th Anniversary of Mahāvira Nirvāna, the Govt. of Gujarat State gave liberal financial assistance of Rs. 1,50,000 for the purpose. Due to some difficulties the exhibition had to be postponed during the celebrations but it was held from 16-11-75 to 30-11-75 after the celebrations were over.
We were able to procure some of the best mss. and other material from the various collections and we are grateful to the trustees of all those collections. As the exhibition was postponed some of the mss. borrowed from these collections had to be returned before the exhibition. However, photographs and transparencies were prepared of several selected illustrations of antiquities for a future study. The present catalogue lists the thus exhibited antiquities and also some important ones which had to be returned after taking photographs, as they were originally borrowed for a limited time.
The present Catalogue therefore does not aim at a full study of all the manuscripts and miniatures once borrowed. But some notes are added from whatever
'Tripathi, Chandrabhal, Catalogue of the Jaina manuscripts at Strasbourg, Introduction, p. 4
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Introduction
study could be made of these antiquities, some of which the undersigned writer of Notes on Art had no occasion to examine in the original. The aim of this Catalogue is to bring to the notice of scholars the wealth and value of new material that could be collected and exhibited from various viewpoints. Still there are several important Jaina collections which, it is hoped, will be available to us in future for study.
Besides the texts of manuscripts on palm-leaf, paper and cloth and the pațas on paper and cloth, as also scrolls of Vijñapti-patras etc., there are in the Jaina Bhandaras of India, and especially of Rajasthan and Gujarat, several manuscripts of Jaina and non-Jaina works which, because of their antiquity and illustrations are very valuable to students of miniature paintings of Western India.
In one of his recent works, (entitled More Documents of Jaina Painting etc.), the. undersigned attempted a list of different Jaina texts whose manuscripts are known to contain book-illustrations. The present Catalogue further adds considerably to our knowledge of illustrated mss. available in Jaina collections.
This Catalogue could be published because the Gujarat State Government financed the whole project, including cost of publication of Catalogue. We are indeed very thankful to the Government of the Gujarat State for the liberal grant given for this cause to the L. D. Institute of Indology.
I am very thankful to my friends Prof. Dalsukhbhai Maivania and Prof. Nagin J. Shah for giving me an opportunity to study this rich new material. The whole staff of the L. D. Institute has extended whole-hearted cooperation in various ways. I am especially thankful to Shri Laxmanbhai H. Bhojak, the Keeper of all mss. etc. in the Institute for his valuable cooperation. Shri Laxmanbhai himself is a good student of Jaina texts and manuscriptology. The Catalogue appended here was kindly prepared by Prof. Malvania, Prof. Naginbhai Shah and Shri Laxmanbhai.
I must apologise for some photographs which are not upto the standard. Since the manuscripts had to be returned soon, the Institute had to seek services of different photographers and before I could check the results the originals had to be returned. I have not been able to study several miniatures in the original. I must especially refer here to the palm-leaf ms. of Kalpa-sūtra dated in V. S. 1439
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Introduction
from Pālitānā which I could not see in the original and the transparencies when processed turned out to be of an inferior quality.
My object in writing these notes is to emphasise the importance of this new material in the context of Western Indian Miniatures already published. I hope that I have been able to point out the need for a new history of Jaina Miniature Paintings from Western India. Unfortunately Dr. Moti Chandra who would have done justice to this material and would have revised his old work is no more with us.
Another object in writing these notes was to point out to the students of art that now we have with us enough new material to show the existence of various centres of arts, with their own peculiarities and styles, in different parts of Gujarat State, during the four centuries from sixteenth to twentieth centuries A. D.
I hope detailed studies in these directions will be undertaken in near future by scholars working in the field of Indian art.
Baroda
Umakant P. Shah
Seven

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ABBREVIATIONS
ASB. Atmanada Jaina Sabha Collection, Bhavnagar. DA. Dehla Jaina Upaśraya Collection, Ahmedabad.
ᎠᏴ.
Dosabhai Abhecand Pedhi Collection, Bhavnagar. DLP. Devacanda Lalbhai Pustakoddhara Fund Series, Surat. Fl. Folios
G.
Gujarati
GOS. Gaekwad's Oriental Series, Oriental Institute, Baroda.
HB.
Hamsavijayaji Collection, Śri Atmärāma Jaina Jñana-mandira, Baroda. Hiralal Hamsaraj. Jamnagar.
HH.
HJP. Hemacandracārya Jaina Jñanamandira, Patan.
HSL. A History of Sanskrit Literature, by A.B. Keith, Oxford, 1953.
JC.
Jesalmer Collection, L. D. Series No. 36, L.D. Institute of Indology, Ahmedabad-9.
JDPS. Jaina Dharmaprasaraka Sabha, Bhavnagar.
JGK. Jaina Gurjar Kavio, M. D. Desai, Jaina Śvetāmbara Conference, Bombay. Jinaratnakosa, Bhandarkar Oriental Research Institute, Poona.
JK.
JP.
Jaina Pracya Vidyabhavn, Paldi, Ahmedabad.
JSI.
Jaina Sahitya no Sankṣipta Itihāsa, by M. D. Desai, Śri Jaina Śvetämbara Conference, Bombay, 1933.
KB. Kantivijayaji Collection, Śri Atmārāma Jaina Jñana-mandira, Baroda. KBG. Kantivijayaji Collection (Gujarati), Sri Atmäräma Jaina Jäna-mandira, Baroda.
KC. Kantivijayaji Collection, Chani.
KHP. Khetaravasi Collection, Patan.
KP. Karl H. Potter, Bibliography of Indian Philosophies, Vol I
L.D. Institute of Indology Collection, Ahmedabad. Manuscript
Eight
LD.
MS.
NSP. Nirnaya Sagar Press, Bombay.
P., Pr. Prakrit

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Abbreviations
PTS. Prakrit Text Society, Varanasi-5 and Ahmedabad PUM. Parśvacandra-gaccha Upāśraya, Māndal. Ref. Refer to S. Sanskrit. SA. Šāmalā Pole, Pārsvacandra gaccha Upāśraya, Ahmedabad.
Catalogue of Palm-leaf MSS. in the śāntinātha Jaina Bhandara, Cambay.
G. 0. S. Baroda. SUA. Samvegi Jaina Upāśraya, Ahmedabad. VBP. Vimala-gaccha Upāśraya; Bhabhāno Pado, Patan. V.S. Vikrama Samvat. YJG. Yašovijaya Jaina Granthamālā, Bhavnagar.
Nine

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TREASURES OF JAINA BHANDĀRAS
NOTES ON ART
Jaina Bhandāras and temples have preserved for us rich treasures of Indian art and culture. The objects are both old and varied and include, besides manuscripts (palm-leaf, paper, etc.) on various subjects, painted manuscripts on palmleaf and paper, painted patas (on cotton as well as paper) of tantric worship (like the Vardhamāna-Vidyā-pața or the Sūrimantra-pata ), or patas with diagrams and illustrations of Jaina cosmographical concepts (like the Jambūdvipa-pata, the Lokapurușa and hell-scenes, the Adhāi-dvipa pata etc.), Citrapata, (like the Pañca-tirthi-pata, or the Vividha-tirtha pața ), scrolls with illustrations of texts on silpa (mainly Vāstu-pūjana etc.) and Jyotişa (mainly nimitta, astrology) or Vijñapti-patras ( letters of invitation to monks ), painted or embroidered pāțhāms!, painted wooden book-covers of palm-leaf and paper manuscripts, embroidered wall-hangings etc., painted wooden boxes for preserving manuscripts, as also, in shrines, images in stones, metals, semi-precious stones and costly jewels, woodwork, wall-paintings and so on. For any serious student of Indian art and culture, a study of such varied and old Jaina materials is indispensable.
This very valuable heritage of Indian art and culture preserved in Jaina Bhandāras (Libraries of manuscripts) and shrines was not much known till about 1914–1920 A.D. Since Coomaraswamy and W. Norman Brown published their pioneer articles and works on Jaina paintings of the Kalpa-sútra, the Kālaka-kathā, the Uttarādhyayana sūtra, etc., quite a large number of painted Jaina manuscripts, patas, book-covers etc., especially of Svetāmbara Jaina origin?, have been brought to light and published. Most of this material became freely available to art-histrorians
Muni Punyavijaya, Bharatiya Sramana-samskrti ane lekana-kalā (in Gujarati), Jaina Citrakalpadruma, Vol. I, pp. 1-136, esp. pp. 10, 99, 100, 111-113, 116 for explanations and for information on manuscriptology etc.,
*About two decades ago, Prof. Hiralal Jaina first published palm-leaf and book-cover miniatures, of Digambara Jaina patronage, from manuscripts of Dhavala, Jaya-Dhavala, Maha-Dhavala etc. from the Jaina Bhandāra at Müdabidri in Karnataka. Since then Dr. Sarayu Doshi explored and

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Treasures of Jaina Bhandāras
mainly through the generous cooperation of the late Agama-Prabhākara Muni Śri Punyavijayaji.3 This resulted in a wider and deeper interest in Jaina Art and culture and, with the main help and cooperation of the late Muni, Sarabhai Nawab published Jaina Citrakalpadruma, Vol, I (in 1935 A.D.). Moti Chandra's monumental work on Jaina Miniature Paintings from Western India (1949 A.D.) is still a standard scientific work on the art and technique of Western Indian miniature paintings. But even then, the Svetāmbara Jaina collections in Gujarat and Rajasthan were not fully explored, and fresh material has been steadily coming to light in the last quarter-century or so. With this new material, a new approach or rather emphasis in exploitation of Jaina sources is started by Moti Chandra and U. P. Shah in their New Documents of Jaina Paintings (Bombay, 1962) and in U. P. Shah's More Documents of Jaina Paintings (Ahmedabad, 1975) by trying to find out and publish especially those documents which bear a date and/or the name of the place of copying. With the help of the material so far published, and with several new documents discussed in the present work, one can now form a better idea of several centres of painting and styles in Gujarat and Rajasthan, especially from fourteenth to the twentieth centuries A.D. The present work aims more at presenting new material and pointing out their relevance in Indian art studies, rather than giving detailed discussions on every document and its illustrations.
brought to light, only a few years ago several Digambara Jaina illustrated manuscripts, mainly of Yaíodhra-Carita and Adi-purana from Dig. Jaina Bhandaras or temple collections at Karanja, Jaipur, Amber, Beawar, Delhi, Gwalior, Idar, Karamsad, Surat etc. Unfortunately, in her recent article in Jaina Art and Architecture, Vol. III pp 411-427, she has not given details of her sources and has usually referred to them as merely "private collections." Before Mrs. Doshi's new finds, Pramod Chandra, Moti Chandra and Karl Khandalawala discussed and published Mahāpurāņa from Digambara Jaina Naya Mandir collections at Delhi and from Dig. Jaina Bhandara at Jaipur, vide, Khandalawala and Moti Chandra, New Documents of Indian Painting : a reappraisal, pp. 69-78, colour pls. 17-19 & Figs. 141-145, 147, 148, 150-151 etc.; Moti Chandra, An Illustrated Ms. of Mahāpurāna in the collection of Digambara Jaina Nayā Mandir, Delhi, Lalit Kala no. 5, pp. 68-81.
Muni Sri Punyavijayaji was the main source of inspiration in the founding of The L. D. Institute of Indology, Ahmedabad, and was till death, the chief architect and guide of all projects of this Institute which was started with the precious gift of over ten thousand manuscripts etc. from his collections and with the very generous Trust founded by Sheth Kasturbhai Lalbhai. Later Sarabhai Nawab published, from Ahmedabad, Oldest Rajasthani Paintings from Jaina Bhandāras (1959 A.D.), Pavitra Kalpa-sutra ed. by Muni Punyavijaya (1952), Jesalmere Citrāvali, ed. by Muni Punyavijaya (1951), Jaina Citrakalpadruma, Vol. II (1958).

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Notes on Art
When the documents are not dated and when they do not name the place of copying, a study of script, style of writing, format of the manuscript, etc., would help to a considerable extent. Sometimes, especially in Jaina manuscripts we get the names of donors, and especially the copyists. A person like Vächāka of Patan whose name as copyist is inscribed in several manuscripts scattered in different and distant bhandaras, helps us in locating the style of miniatures in such manuscripts. The style or school of Patana can now be identified with confidence. The miniatures of Madhavānala-Kamakandala, for example, illustrated in New Documents of Jain Paintings, figs. 22-24 painted in Patan, are in this style. Also we know that the miniatures of the Jamnagara Kalpa-sutra, illustrated in Ibid., figs. 26-29 were painted in Patan. It will be seen that the Mandal Uttaradhyayana sūtra of V. S. 1505 = 1448 belongs to a different school. This document is one of the finest specimens of Western Indian miniatures, showing very delicately drawn graceful and lively figures in various actions. Details are minutely drawn with fine brush. The Mandal Uttaradhyayana is illustrated here for the first time in figs.42, 60. Colour fig. P. Of this tradition and somewhat later is another Uttaradhyayana recently found from Nemi-Vijñāna-Kastūrasūri Jnana-mandir, Surat. The treatment of themes as well as the style of drawings follow those of the Mandala Uttaradhyayana. A document of this school exists in the collections of Śri Karl Khandalawala.
Paintings of palm-leaf miniatures in the Santinatha Jaina Bhandara, Cambay, show a variety of 'schools' or 'sub-styles' of the Western Indian style, and need a more careful analysis along with other specimens from Patan, Jesalmere, Ahmedabad, etc. Several artist families worked in such centres and with the large number of palm-leaf and a far greater number of paper manuscripts discovered, a certain grouping and classification of different schools or sub-styles should now be attempted again since, after the classification attempted by W. Norman Brown, much more and varied material has come to light. Vadnagara and Kaccha artists, for example, discarded the traditional red back-ground and preferred a deep blue background. Also we find certain typical ethnological features reflected in different centres. The paintings of Subahu-katha show typical features and in this tradition several later miniatures are now available. Also, a closer scrutiny will show different textile patterns having been favourites of different centres and varying with different periods. Identification of some of these textiles again can now be under
3

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Treasures of Jaina Bhandaras
taken. Some of these textiles are imported in Gujarat and Rajasthan from other parts of India.
As a pre-requisite for all such studies knowledge of manuscript traditions and a certain judgement in approximately deciding the age of any undated manuscript are necessary. It is, therefore, necessary and perhaps overdue that we make a more scientific study of the format etc. of our manuscripts, not only from Western India, but also from other parts of India. It is advisable to collect and furnish data of format etc. and especially of scripts of dated manuscripts from different regions of this country, preserved in different collections. For a history of paper manufacture, the Jaina Bhandāras can provide several dated manuscripts for chemical analysis. Some very interesting material helpful in such studies of format etc. was presented in the Exhibition held in Ahmedabad, (L. D. Institute of Indology) in November 1975 towards the end of celebrations of 2500 years of Mahāvira's Nirvāna. At the end of this work is given a Catalogue of all the antiquities displayed in this exhibition.* Illustrations in this work are from this exhibition.
As a small beginning towards a study of scripts, format etc. of such manuscripts, we are illustrating here a few pages only from different palm-leaf and paper manuscripts from Jaina Bhandāras (figures 1 - 11).
Fig. 1 shows the last page of a paper manuscript of Káraka-sambandhodyota copied in V. S. 1286 = 1229 A. D. The size is 17.5 x 7.5 cms. It belongs to the Collection of Muni Punyavijaya, L. D. Institute, No. 27573. It will be seen that when paper was introduced for copying manuscripts the paper was not always cut according to the size of palm-leaf manuscripts used before. It would, therefore, be difficult to assign an age to a paper manuscript, merely on the evidence of its size.
Fig. 2 illustrates the last page of Vandanaka-cūrni, a palm-leaf ms. in Pravartaka Kāntivijayaji's collection, Sri Atmārāma Jñānamandira, Baroda. It is dated in V. S. 1178 = 1121 A. D.
Fig. 3 represents the last page of a palm-leaf ms. of Sri Sānti-Vșttam, copied in Patan in V. S. 1412=1355 A. D., preserved in the Ātmārāma Jñānamandira, Baroda.
Fig. 4 shows a part of a page from the palm-leaf ms. of Trișaștiśalākāpuruṣacarita, copied in V. S. 1297 = 1240 A. D., preserved in Sri Sāntinātha Bhandāra,
* Entries in this Catalogue are referred to here as Cat. no.

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Notes on Art
Cambay. The system of numbering folios by letters is noteworthy. Catalogue no. 391.5
Fig. 5 again is an important document on paper of a text called Ridattācariya in Prakrit language, and assignable to in c. V. S. 13th century. The size is 20 x 6 cms. Preserved in the L. D. Institute, Ahmedabad.
Fig. 6 shows the last folio of a palm-leaf ms. from Cambay, of Dharmabhyudaya-kavya. This is a document of historical importance as it was transcribed in V. S. 1290 1233 A. D. by the famous minister Vastupala of Gujarat who was a patron of learning. Script of Jaina manuscripts of this period is typical and can be well studied from this document. Catalogue no. 95. p. 12.
Some manuscripts are noteworthy as autograph copies prepared by authors themselves. Fig. 7 illustrates one such specimen of Kathamahodadhi copied by its author Pratiṣṭhāsoma in V. S. 1504 1447 A. D. Catalogue no. 318, p. 38.
Fig. 8 is another early document on paper of Santinātha-boli, copied in V. S. 1350 1293 A. D. The document is noteworthy both for its size ( 21 x 8 cms.) and for its script. Preserved in the collections of the L. D. Institute, Ahmedabad.
Fig. 9 again is an early paper ms. of Rudraṭālankāra, copied in V. S. 1455 1398 A. D. Size: 22.5 x 8.3 cms., preserved in the L. D. Institute, Ahmedabad. Cat. no. 239, p. 29,
In copying manuscripts, scribes sometimes displayed their artistic skill and taste. For example, in Fig. 10 we find some letters in each line written in red ink with the rest in black in such a way that the red ink portions form a letter or a motif or a design.
Sometimes lines and letters are written leaving some intervening blank spaces in such a way that the left out blank or white spaces go to form a design or a symbol. See fig. 11
Catalogue no, and p. refer to the entry no. and page no. in the Catalogue of antiquities printed at the end of this book. This is a list of exhibits in the exhibition referred to above. Fig. nos. unless specified refer to illustrations in this book.
Cambay Cat, no. refers to the number given to the manuscript described in the Catalogue of Palmleaf manuscripts in Sri Santinatha Jaina Bhandara, Cambay, edited in two volumes by Muni Sri Punyavijaya and published as G. O. Series, Baroda, nos. 135 and 145.

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Treasures of Jaina Bhandāras
Fig. 11 illustrates what is called a Pancapāțha manuscript. Here, the main text is written, as usual, in the central portion of a page while in the four marginal spaces are transcribed notes or commentary on the text, thus making a total of five pāfhas or written matter on a page. The main text is usually written in bolder characters. When only two margins (usually the upper and the lower ones) are transcribed, it is called a tri-pāha manuscript.
Often in Tripātha manuscripts, all the four marginal spaces are left blank and the usual space for writing is split up into three parts, the central having the original text and the other two parts containing commentary in somewhat smaller handwriting.?
Fig. 71 illustrating the last folio of Śrenika-Samyaktvarāsa, from Pravartaka Sri Kantivijaya collection, Jnānamandir, Baroda, no. 4565, gives data about the author of the text, the place and age of composition, along with a miniature painting of the author reading this text before devotees. Obviously, the manuscript seems to be one of the first few copies of the text, contemporaneous with the author. The view is further supported by the script of the manuscript. Cat. no. 470, p. 76.
Each palm-leaf ms. was tied with thread passing through three holes (one in centre and two in two margins on the sides) and a wooden board cut to size was placed on top and underneath; the thread passed through holes bored also into these wooden-boards. Paper manuscripts were also similarly protected between two wooden boards in the beginning with string but afterwards without string. The practice of using wooden pātalis has been replaced by the use of hard cardboards, often decorated with painted or printed cloth pasted on them. Some of these card-boards - pāíhām (plural, pāțhum, singular ) - are decorated with fine satin or mushrun or silken cover, and have embroidered representations of axļamar
For another specimen of Pancapatha as well as what may be called Rikta-lipi, sce, Coomaraswamy, A.K., Catalogue of the Indian Collections in the Boston Museum, Vol. IV (Boston, 1924) pl. XXXI.
For more exhaustive information on Manuscriptology (lekhanakala) see Muni Punyavijayaji's paper referred to in ft. note 1 above. The various implements for writing, and the symbols, etc. used by scribes are also discussed in the above paper.

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Notes on Art
galas (eight auspicious marks or symbols) or the fourteen dreams seen by a would be Jina's Mother. Fig. 165 (Cat. no. 378) is a specimen of fourteen dreams made of tiny pearls, while fig. 166 ( Cat. no. 386 ) shows the astamangalas also of tiny pearls. Palm-Leaf Manuscripts :
Of the illustrated palm-leaf manuscripts from W. India, the earliest dated, so far known, is the ms. of Ogha Niryukti from Jesalmer, dated in V.S. 1117 = 1060 A.D.10 Next in age are the decorative roundels filled up with floral and geometrical designs, in the palm-leaf ms. of Nisithacūrņi, painted in Bhrgukaccha, in V.S. 1157=1100 A.D., now preserved in the Samghavino Bhandāra, Patan. Then follows the Ms. of Jnāta and other Anga text from śāntinātha Bhandāra, Cambay no. 12 (Cat. No. 388, pp. 59-61), dated in V.S. 1184=1127 A.D., with miniatures of a Jina and Sarasvati which are well-known. There are some beautiful roundel decorations, one of which with a male and a female figure in it is illustrated here in fig. 1212, Cat. no. 388. Next in age are the partly preserved miniatures of Daśavaikālika Laghuvrtti, d.V.S. 1200 = 1143 A.D. 13 As we have shown elsewhere, 14 the Chāņi ms. of Ogha-Niryukti and other texts, assigned to 1161 A.D. by Brown, Nawab and Moti Chandra belongs to c. late 13th century, A.D. A ms. of Jivasamāsaprakarana-saţika from Cambay, no. 142, dated in 1165 V.S.=1108 A.D., contains on Folio 194 two nice decorative roundels (Cat. no. 11). Also, in the same Bhandāra at Cambay, no 87, in the ms. of Nihsesasiddhānta-paryāya, dated in V.S, 1212=1155 A.D. we have some notewrothy roundel decorations (Cat. no. 17). In
For astamangalas, see, Shah, U. P., Studies in Jaina Art (Banaras 1954), pp. 109-112.
'For fourteen dreams, see, Ibid., pp. 105-108,
10Shah, U. P., More Documents of Jaina Paintings, p.2-4 figs. 6-8, 10. These illustrations, as we have shown, do not exhibit, the style with pointed nose and projecting farther eye. For some eleventh century and earlier examples of this style with extended farther eyes, from copper-plate grants, see, ibid., pp. 1-4, figs. 2-5. 11 Moti Chandra, Jaina Miniature Paintings from Western India. pp. 27-28, figs. 13-14.
For our note on the miniatures of this ms. see, Catalogue no. 388. pp. 59-61. 19Jaina Citrakalpadruma, 1 figs. 10-11, Moti Chandra op. cit p. 29. 14Shah, U. P., Studies in Jaina Art, 32-33.

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Treasures of Jaina Bhandāras
the Cambay no. 160 of Yogaśāstra with Svopaj navrtti, dated in V.S. 1251=1194 A.D. (Cat. no. 18) and in the Bhuvanasundarikatha (Cat. no. 392, p. 62) of c. 1150-1200 A.D. (from Cambay no. 213) we have decorative roundels. The beautiful, but partly defaced figure of Sarasvati from the ms.of Siddha-Haima in Sarabhai Nawab's collection, has been rightly assigned by Moti Chandra to the first half of the twelfth century A.D.15 Nawab and Moti Chandra have referred to a Paryukaņā-kalpa (Cat. no. 406, pp. 64-65) ms. from Cambay giving two miniatures, one of which represents Jineśvara Sūri.16 This is not dated and is assigned by Moti Chandra to this period but seems to date from c. early fourteenth century A. D. Cambay Cat. no. 256 entitled Kätantra - panjikă etc., and dated in V. S. 1287 = 1230 A. D., and a ms. of the Bhagavatisūtra from Hemacandrācārya Jñanamandira, Patan, no. 4, also contain beautiful decorative roundels (Cat no. 8) The manuscript of Mahāviracaritra of Trişastiśalākāpuruşacarita, dated V. S. 1298=1241 A. D. from Patan, containing three miniatures, has been noticed by Nawab and Moti Chandra.17 The Nemināthacaritra of Trişasti from Cambay no. 186 (Cat. no. 391) dated in V. S. 1298 = 1241 A. D., contains four miniatures of better workmanship, 18 see fig. 4 and colour fig. A. Of about this period, are the five miniatures from an incomplete ms. of the Uttarādhyayana sūtra, from Cambay, no. 78 of Cambay Catalogue, assigned by Muni Punyavijayaji to the second half of the thirteenth century V. S.= c. 1200 = 1150 A. D. The paintings are of Sarasvati, Ambikā, Pārsvanātha, Cakreśvari (fig. 13 ) and a Jaina nun (fig. 16 ) and a female devotee. The last one seems to have been better drawn than the rest of the miniatures in this manuscript. It is interesting to note that against the usual practice of this period, there is no odhani on the back of the head of this Śrāvikā. This period
15 Moti Chandra, Miniature Paintings from Western India, p. 31 fig. 53. Sarabhai Nawab and Moti Chandra have listed in chronological order the known Jaina palm-leaf mss. with illustrations. We are here repeating some of these with additional information about others not listed by them, and displayed in this exhibition.
Moti Chandra, ibid., p.30; Nawab, op. cit., p.40, fig. 104.
1 Moti Chandra, ibid., p.30 figs. 43-45, Nawab, op. cit., p.40, figs. 12-14. 18 Also noticed by Moti Chandra, ibid. p. 30, figs. 46-47, and Nawab, op. cit., p. 40. For Ambikā from this ms., see, Shah, U. P., Iconography of the Jaina Goddess Ambika, Journ. of the Univ. of Bombay, Vol. IX, part 2, p. 156, fig. 15.

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Notes on Art
shows a new attempt at portraying lively figures, of small size, and with minimum use of pigments as can be seen from figs 16-17 and from the illustrations of the palm-leaf ms. of Kalpa-sūtra and Kālaka-kathā, d. in V. S. 1377 ( = 1320 A. D.) in the Pravartaka Sri Kantivijaya collection, Sri Ātmārāmji Jaina Jñana-mandira, Baroda. 19 The eyes are small and roundish, the lines are bold, and the figures are made lively with heads and limbs turned in different postures.
Paintings of Rsabhacarita dated in V. S. 1298 (= 1241 A. D.) from Hemacandrācārya Jñāna-mandira, Patan, no. 41 (Cat. no. 390, p. 61), and of an Uttaradhyayana, no. 83 of Cambay Catalogue, dated V. S. 1308 = 1251 A. D. (Cat. no. 393, p. 62) are however of superior workmanship (fig. 15). The partly defaced miniature of a teacher with the better preserved figure of his pupil is a beautiful painting on folio 2 of this document. The pupil's posture, his attentive facial expression, his young figure, etc., speak well of the skill of the artist.
Cambay Cat. no. 101, entitled Upadeśmālā-prakarana (Cat. no. 395, p. 62), dated in V. S. 1308 = 1251 A. D. has a miniature painting of Mahavira on folio 219 and one of Rşabha on folio 1, both without parikara, but showing dhoti upto a little above the knees as in Cambay Cat. no. 78 of the Uttarādhyayana. On folio 220 is a figure of Sarasvati in the same style as the Uttarādhyayana just referred to. The background colour in various miniatures of this age is in different shades of brown etc., instead of red of miniatures of other periods.
Paintings of the Kathāratnasāgara ms. d.=1256 A. D., from Sanghavi Bhandāra, Patan, are, as noticed by Moti Chandra, of inferior quality.20 The miniatures of Śrāvakapratikramana - Cūrni dated in V. S. 1327 = 1270 A. D., from Boston Museum Collection, are badly rubbed and hail from near Udaipur, Mevād. 21
Miniatures of two nuns and two Śrāvikās from Kalpa-Sūtra and Kalaka-kathā ms. of Samghavino Bhandāra, Patan, are good studies of Jaina nuns and laywomen,
19Shah U. P., More Documents of Jaina Painting, figs. 12-13. The acārya, in fig. 12, sits, on a chowki, with both legs hanging, in a what may be described as European fashion (Pralamba-pada posture). 20 Moti Chandra, Miniature Paintings from Western India, p. 30; Nawab, Jaina Citrakalpadruma, I figs. 46-47
31 Moti Chandra, ibid., p. 30; Norman Brown, Story of Kalaka, p. 18.

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Treasures of Jaina Bhandaras
achieved with few colours.22 The ms. is dated in 1335 V. S. = 1278 A. D. Five miniatures of another Kalpasūtra msfrom the same Bhandāra, Patan, noticed by Nawab and Moti Chandra, 23 are dated in 1336 V. S. = 1279 A. D.
Miniatures of Lakşmi, Sarasvati and Sri Deva sūri from the Cambay no. 94, entitled Yogašāstra (Cat. no. 405, p. 64), assigned to latter half of thirteenth century V. S. = c. 1200 - 1250 A. D., though of a narrow size like Cambay no. 78 of Uttarādhyayana noted above, are interesting. The figures of Lakşmi and Sarasvati bear a certain relation, in style, to the Chāņi Vidyādevis, but the figure of Deva sūri (from folio 198 ) is more interesting and realistic. He sits with right hand in Jñāna-mudrā, under a beautiful arch on a seat, but with the back-rest remaining on his left side. The broad borders of his two garments are noteworthy (fig. 17)
Paintings from Daśavaikälika - sūtra (Cat. no. 396, p. 62 ) from Cambay no. 80, dated in V. S. 1314 = 1257 A. D., of Neminātha and a Jaina monk, are some more good specimens of the style of the latter half of the thirteenth century A. D. To this period also belongs the ms. of Pārsvanātha-stotra (Cambay no. 101 / 14 ) d. in V. S. 1308 (1252 A. D.) which unfortunately the present writer could not see. (Cat. no. 394)
Miniature paintings of the palm-leaf ms. of Viveka-Manjari from the same śāntinātha Bhandāra, Cambay, no. 176 (Cat. no. 397, p. 63) are however more interesting. The document is securely dated in V. S. 1322 = 1266 A. D. The figure of Sarasvati, while on brick-red dull background, sitting under an arch is neatly drawn. She wears a coli of dull blue, a lower garment of white and black stripes, a scarf with broad flying ends of green borders, a crown, ornaments etc. The modelling of the face is different from those of figures in Cambay Cat, 'no. 78, Cambay Cat. no. 94 etc. referred to above. Here Sarasvati 24 shows almost all the features of fourteenth and fifteenth century style so far as the modelling of
?Moti Chandra, ibid., figs. 49-49, p. 30
23Moti Chandra, ibid., p. 30; Nawab, op. cit., figs. 48-49. 24Shah, U. P., Iconography of the Jaina Goddess, Sarasvati, Journal of the Univ. of Bombay Vol. X, part 2, p. 204, fig. 11.
10

Page #26

face and body are concerned. On folio 2 of this ms. we have a miniature with red background, divided into two panels, the upper showing an ācārya teaching his pupil, full of life and expression, and in the lower a śrävaka and a śrāvikā humbly attending to the discourse with folded hands. The modelling of the faces of the teacher and the taught in this miniature is nearer to the style of the famous Subāhu-kathā on the one hand and the Jesalmere palm-leaf Kalpa-sutra no. 82 (6) on the other. The red-complexioned figure of Padmavati on folio 239 of Vivekamañjari follows the style of the figure of Sarasvati on folio 240 just discussed. The Jina figure on folio 1 is also a good specimen. The lustrating elephants on top are painted green.
Notes on Art
Moti Chandra has discussed in detail the miniatures of Subahu-katha, dated - 1288 A. D.25 Several characteristics of these miniatures, including facial types, love of nature, etc., are later found continued and developed in the paper manuscript of Mahapurana in the Digambara Jaina Naya Mandir collection, Delhi. They are somewhat manifest in the Jesalmere palm leaf Kalpa-sutra no. 82 (6) just referred to (colour plate I, figs. B and C). The problem requires further investigation. It may only be noted here that the Subahu-katha seems to represent a "school" or "sub style" by itself.
-
Of this period is also the miniature of Sarasvati from Santinātha-CaritaMahākāvya (Cat. no. 399, p. 63), from Cambay Bhandara no. 201, copied in c. early fourteenth century V. S., i. e., in c. 1270-80 A. D. A ms. of the Uttaradhyayana dated in V. S. 1347 1290 A. D., now in Hemacandrācārya Jñana-bhaṇḍāra, Patan, no. 27, was copied in Patan itself and has three illustrations now badly damaged. No. 85 of Sri Santinatha Bhandara, Cambay, is manuscript of the Uttaradhyayana-sutra with Sukhabodha-vṛtti (Cat. no. 407, p. 65 where we have described some of its miniatures) containing a neatly executed miniature painting of Gaṇadhara Sudharma with Jambukumāra and Prabhava on folio 1 (figure 18).26 Another miniature from this ms., illustrated in fig. 19, represents the four-fold Jaina Sangha in devotional attitude. Besides the miniatures noticed on Cat. p. 65,

25 Moti Chandra, ibid. pp. 30-31, figs. 50-53; Nawab, Jaina Citrakalpadruma, I, pp. 40-41, figs. 52-59. 26Two miniatures from this ms. were published by Shah, U. P., More Documents of Jaina Paintings, figs. 17 and 17 A.

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Page #27

Treasures of Jaina Bhandāras
this document contains three miniatures on folio 439, one of them being ten-armed Mahişāsuramardini whom the Jainas are worshipping as Sacciyā-Mātā or Saccikādevi in a shrine at Osiã in Marwad.27 The figure of Pārsvanātha on this folio has plaintain trees represented on two sides whereas the representation of Satruñjayatirtha on folio 438 also shows another tree with small leaves, besides miniature representations of Jaina shrines. All the miniatures of this manuscript, dated in V. S. 1352= A. D. 1295, have red background, and are noteworthy for the style of late thirteenth century A. D.
No. 220 of śāntinātha Bhandāra, Cambay, is a manuscript of PāņdavacaritraMahākāvya (Cat. no. 404, p. 64), assigned to first half of fourteenth century V. S.c. 1245-1295 A. D., containing nine paintings-4 of Tirthankaras, 1 each of Ambikā, Padmāvati and Lakşmi and 2 of Pandavas. Miniatures of this manuscript, especially the one of Yudhisthira with Draupadi (figure 20) and the other of Bhima, Arjuna, Nakula and Sahadeva (on folio 263) show long eyes, narrow with pointed ends. Treatment of faces with typical noses is precursor of fourteenth century paper ms. of Kalpa-sūtra, such as the one dated in V. S. 1403 = 1346 A. D. in Muni Punyavijaya collection, L. D. Institute, published by Moti Chandra and U. P. Shah. In the thirteenth century miniatures, however, we also find another idiom of rendering the eyes as small and roundish, especially in representations of Tirthankaras.
Of perhaps the last quarter of the thirteenth century is preserved a page of Jñātādharmakathā in the late Sri Rajendra Singh Singhi's collection which he obtained from the late Muni Jinavijaya who possibly obtained it from Jesalmer. It is a beautiful miniature of Ambikā with mango trees on two sides. 28 A manuscript of Satapadi, copied in Pātana in V. S. 1328 = 1278 A. D., from Pravartaka Sri Kāntivijaya collection, Jñāna-mandira, Baroda, is recently described by U. P. Shah.29 The miniatures of this ms. are especially noteworthy since the place of copying is given which gives us definite idea of the style at Patan in the thirteenth century.
21Shah, U. P., Studies in Jaina Art, fig. 71 and p. 33 28 More Documents of Jaina Paintings, figs. 23-24 A. 39 Ibid., p. 8, fig. 18. Of about the same age there is one more ms. of Satapadi, in the Santinātha Bhandara, Cambay Cat. no. 199, having three miniatures.
12

Page #28

Notes on Art
Two bundles of Padmānanda-Mahākāvya, nos. 200 (1) and 200 (2) in Sri śāntinātha Bhandāra, Cambay, are assignable to c. 14th cent. V. S.= 1243-1343 A. D. Miniatures of these mss. may be regarded as dating from early fourteenth century A. D. (Cat. nos. 401-2, pp. 63-64). These miniatures, though partly damaged and defaced, are of a superior quality. The miniature of Mantri Padma requesting Amaracandra sūri, drawn on folio 99, is a beautiful work of art (figure 22 ). The attendant fly-whisk bearing yaksas in the different paintings of Tirthankaras (figure 21 ) are not stereotyped figures but lively and varied in both modelling and dress as also in their postures and expressions. Figures of Tirthankaras, with beautiful round faces are also well-executed and display the work of skilled artist. The background is painted red, body complexions are either white or yellow, the other colours used are usually black, green, yellow, pink and red.
of about this period is the boldly drawn miniature of Dvyāśraya-Mahākāvya (Cat. no. 403, p. 64 ) from Jesalmer Collection no. 340, representing Jineśvara sūri and Vimalacandra (Colour plate II fig. E). Of early fourteenth century A. D, there is a ms. of Dašavā ikālika-sutra (Cat. no. 408, p. 66) in the L. D. Institute, Ahmedabad. Paintings of the Mangala-kalasa and the caitya-tree in this manuscript are not finely drawn but the latter one is noteworthy as Caitya-tree is not yet known to have been a special separate subject of a miniature.
The Kalpasūtra-tippaņaka of Pșthvicandra sūri (Cat. no. 409, p. 66) in the Jesalmere Bhandāra, no. 82 (6) has been fully illustrated by Nawab.30 The place of copying is not known and even though Nawab has called these oldest Rajasthani paintings, the problem of origin of the style of these paintings should remain an open question (Colour plate I figs. B and C). The manuscript is assignable to c. 1300-1350 A. D. Miniatures of the palm-leaf ms. of Kalpa-sūtra from Sheth Anandji Mangalji Pedhi Collection, Idar, assigned to fourteenth century A. D. have been profusely illustrated and described by Moti Chandra.31 They show a more advanced style than the miniatures of the Jesalmere Kalpa-sūtra just referred to.
But a more attractive palm-manuscript of the Kalpa-sūtra
and Kälaka-katha
30 The Oldest Rajasthani Paintings from Jaina Bhandaras, pls. Q,R,S. figs. 24-29. 31 Moti Chandra, Jaina Miniature Pointings from Western India, pp. 33-34, figs. 59-78,

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Treasures of Jaina Bhandaras
has recently come to light. It was temporarily brought in the L.D. Institute, Ahmedabad and was very soon returned to the owner monk in Pālitānā (Cat.411,p. 67). It belongs to Nemi Darśana Jñānšālā, Pālitāṇā, and being securely dated in V.S. 1439 = 1382 A.D., it is a very important document for the history of Jaina miniature paintings in Western India, for several reasons. Firstly there are as many as 50 illustrations; the earlier palm-leaf manuscript so far known, have not shown so many illustrations of Kalpa-sūtra and Kālaka-kathā. Secondly they are all of superior workmanship. Thirdly, they represent the style of an age when we begin to get more and more paper manuscripts replacing the practice of copying on palmleaves. We have illustrated some of these miniatures in figs.23-28 and colour plate III. Fig. G.H.I. It will be seen that there is very little outside influence, except in the treatment of landscape in fig. 26 showing Mahāvira meditating in the Kāyotsarga pose and in the depiction of mountain in figs, 25 and 27, Whereas trees in fig,26 are stylised, the tree in fig 25, is thin, sparsely lowered and with practically no foliage, bent like a semi-arch over Jina's figure. The bulls in fig,27 are vigorously drawn. Brush work is fine and minute details of textile designs and ornaments are shown even in the limited space of a palm-leaf miniature. Representation of Harinegameşin under a mandapa in fig, 28 is originl and sets a new pattern. Figures 23 and 24 are shown enlarged. They remind us, along with other miniatures of this manuscript, of the miniatures of the Idar palm-leaf Kalpa-sūtra referred to above. But miniatures of the Pālitānā Kalpa-sūtra are more refined and better drawn, so also do we find a better selection of colour tones. In neat and finer drawing and in beautiful colour scheme, these miniatures compare favourably with those of the palm-leaf miniatures of the Kalpa-sūtra from the collections of Ujamphoi Dharmaśālā, dated in 1370.32 Even the treatment of Nativity-the newly born Jina with his mother-or in the representation of the Samavasaraṇa, we find close parallel between the two Kalpa-sūtras.
In the Pālitāṇā Kalpa-sūtra, 33 human figures in various postures and actions show
3? Nawab, Jaina Citrakalpadruma, Vol.I., p.41, figs. 67-72, 79-81; Moti Chandra, Ibid., pp. 33-35, figs. 54-59; W. Norman Brown, Stylistic Varieties of Early Western Indian Painting, Journ. of the Indian Society of Oriental Art, Vol. V. p.4. **Unfortunately this writer had no opportunity to study the miniatures in the original as the ms. had to be returned very soon. The colour transparencies made available for study were of a poor quality though a full set of photographs was useful.
14

Page #30

Notes on Arts
vitality and expression. Lines are fine or thick according to requirements. In the small space of a palm-leaf miniature the artist has been successful in compressing a number of figures in various attitudes and actions. Garments and hangings are nicely depicted with figures of hamsas, elephants, flower designs etc. Curves and angles are drawn with confidence and in a naturalistic way. Pointed ends of a sāris or paļkās appear in nativity scenes. Already in the latter part of the fourteenth century A.D. we see Western miniature painting at its best.34
The discovery of miniatures of this Pālitānā manuscript further supports our view that the date V.S. 1403 = 1346 A.D. given in the paper ms. of Kalpa-sūtra in Punyavijaya's collection must be correct. More use of gold is seen in the 1346 Kalpa-sūtra just referred to. We also find gold used in decorations in the Pālitānā manuscript, in the Idar Kalpa-sūtra and in the miniatures of Āvaśyaka-Laghuvștti, a palm-leaf ms., Cambay Cat. no.63, dated in V.S.1445 = 1388 A.D. Use of gold in the paper ms. of V.S. 1403 (1346 A.D.)35 is indeed much more but it may just be due to the fancy of a rich donor (Colour plate IV, fig.K),
Pāintings of the Palitāṇā Kalpa-sūtra are drawn against a bright red back-ground, very like the one used in Ävaśyaka Laghuvștti (Cat. no. 410, pp. 66-67). Drawings of Āvasyaka Laghuvștti are also of a superior quality (Colour plate II. fig. F). There is a long miniature of eleven ganadharas of Mahāvira in this manuscript which is typical for the various arches and jāli-patterns depicted in it.36
Miniatures of an earlier palm-leaf ms., dated in V.S. 1412=1355 A.D., of śāntinātha-Caritra from Pravartaka Sri Kāntivijaya Collection, Jnāna-mandira, Baroda, are, however, of inferior quality. The treatment of faces with typical noses and long eyes may be noted. Paintings of a paper ms. of Kalpa-sūtra and Kālaka-kathā dated=1381 A.D. from Motichand Khajanchi's collection,37 now in the National Museum, are better drawn and comparable with the V.S. 1403 Kalpa-sūtra and the V.S. 1439 Palitāṇā Kalpa-sūtra.
In this context see Moti Chandra's remarks on p. 33-36 of his Jaina Miniature Paintings in Western India *New Documents of Jaina Paintings, figs. 1-7, 9, pp. 17-18. **More Documents of Jaina Paintings, p. 9, fig. 22. *New Documents of Jaina Paintings, figs. 8, 8a; Khandalawala, Moti Chandra and Pramod Chandra, Miniature Paintings from Shri Motichand Khajanchi collection, figs. 1-4.
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Page #31

Treasures of Jaina Bhandaras
Paper Mauuscripts
Since Moti Chandra gave his chronological survey of palm-leaf and paper Jaina manuscripts, a number of important palm-leaf mss. have come to light as will be evident from a brief account given above. Also, a large number of manuscripts of fourteenth and fifteenth centuries have come to light which now give us a good idea of the development of the art of Jaina miniatures in these centuries. Since some of them show that they were painted at important centres like Patan, Ahmedabad, Gandhāra, Vadnagara, Broach etc., we now get a clearer picture of the art as practised in the various centres of Gujarat. It is impossible to list here all the known illustrated paper mss. of the fifteenth and later centuries but a brief survey of some of the dated early paper manuscripts is attempted to enable a future student to undertake a fresh critical analysis of the material now available. It is now quite clear that Patan was perhaps the most important centres of the style in the fourteenth and fifteenth centuries.
The earliest illustrated Jaina text on paper, so far known, is the Kalpa-sútra and Kālaka-kathā ms., Muni Punyavijaya Collection (now in the L.D. Institute, Ahmedabad), dated in V.S. 1403=1347 A.D., published by Moti Chandra and U. P. Shah.38
Sarabhai Nawab has referred to a Kalpa-sūtra on paper, written in V.S. 1410=1343 A.D. in the private collections of Sheth Kilachand Devchand, of Bombay, who originally hailed from Patan.39 Unfortunately Nawab has not published any painting from this document. The next ms. in chronological order, so far known, is the Kalpa-sūtra and Kālaka-kathā ms. of Khajanchi collection in the National Museum, New Delhi, dated=1381 A.D. already referred to. It seems that from about the middle of forteenth century A.D., there was a spurt in the paintings of the Kalpasūtra and Kālaka-katha and the number of the incidents and themes illustrated increased progressively. Fourteenth century has produced some very
* Moti Chandra and Shah, U. P., New Documents of Jaina Paintings, pp. 41-44, figs. 1-7, colour plate IA; Shah, U.P., More Documents of Jaina Paintings p. 9; also see, Shah, U.P., A Painted Wooden Book-Cover in the Oriental Institute, Journal of the Oriental Institute, Baroda, Vol. XXV, nos. 3-4, (1976), pp. 372-373 for a reply to the doubts expressed about the date. Khandalawala argued that the date V.S. 1403 given in margin of one folio is not reliable, and that the date V. S. 1503 on the last folio referring to its depositing in a bhandara is the date of the ms. But this date is also in a margin by another hand. The last page of original colophon is missing. "In his Nivedana (in Gujarati, Introduction), in Pavitra Kalpa-sutra, ed. by Muni Sri Punyavijayaji published with plates by Sarabhai Nawab.
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beautiful Jaina miniatures and many characterstics of the fifteenth century seem to have developed in the later half of the fourteenth century, except of course the Persian influence and the increase in the element of border decorations and use of many costly colours. A typical beautiful specimen of the end of fourteenth century is the paper ms. of Parsvanathacarita Mahākāvya dated 1398 A.D., (Cat.no.443, p. 73) from Patan. Colour reproductions of two miniatures from this ms. given by Sarabhai Nawab in Pavitra Kalpa-sutra (ed. by Muni Punyavijaya) figs. 60-61, are noteworthy. The figure of Padmavati (in fig. 61 of Pavitra Kalpa-sutra) is very important since it shows that this form and style had already developed in Patan as early as the end of 14th century A.D.
A paper ms. of Kalpa-sutra in the Bharatiya Vidya Bhawan, Bombay, Collection, noted by Nawab, was dated in 1424 V.S. as shown by the colophon published by Nawab.40 Nawab notes that the ms. contained ten paintings but published only one of a Jina which probably is not fully representative of the style.41 But the six minitures of the palm-leaf Kalpa-sütra from Ujamphoi Dharmaśälä, Ahmedabad, and the 1439 V.S. Kalpa-sutra from Pālitānā, the 1403 V.S. Kalpa-sutra of Punyavijaya collection, and the 1381 A.D. Kalpa-sutra from Khajanchi collection, referred to above, prove the well-advanced state of the fourteenth century A.D.
There is one more undated paper ms. of Kalpa-sutra, recently acquired in the L. D. Institute, as no. 27291, (See Cat no. 473, p. 77, where the age is printed as sixteenth century V.S. through mistake). This ms. has many beautiful miniatures. Since the script, format etc. agree with the 1403 V.S. ms. of Kalpa-sutra, it is reasonable to assign it to the end of fourteenth century A.D. or at the most to c. 1400-1405 A.D. (see figure 30).
Before we refer to some manuscripts listed in our catalogue of exhibition, we would further like to mention here an undated paper ms. of Kalpa-sutra from
Pavitra Kalpa-sutra, figs. 57-58. fig. 58 shows the last page with the colophon and date. There are two dates, 1424 and 1427 but a careful reading shows that 1424 V.S. is the date of copying of this ms.
41Some years back, when I went to see the ms., it could not be traced in the Bharatiya Vidya Bhawan. Probably Muni Jinavijayaji who seems to have owned it, took it away with him along with his Tärä bronze from Sirpur (now in Los Angeles museum) etc., when he retired from the Institution. The present whereabouts of the ms. are not known.

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Patan, Sri Sangha Bhandāra, referred to as Patan 2 by Sarabhai Nawab in his Pavitra Kalpa-sūtra (p. 18) and assigned to the end of the fourteenth century (Nawab, op. cit., figs. 62-71, 78-81). Treatment of arches in his figs. 62 and 67 (78 and 81 in colour), as well as in his fig. 65 of Surya, support Nawab's dating this manuscript in the end of the fourteenth century. Especially interesting is the rare treatment of trees in figs. 68-69 and 70-71 showing a few leaves and flowers and buds and branches of tall slightly bent trees with slender trunks. This reminds of the trend in Pālitāṇā Kalpa-sūtra of 1439 V.S. discussed above. The Moon-god in fig. 64 and 79 sits on the farther end of his elliptical seat.
Another manuscript, also from Patan, assigned to the fourteenth century (though bearing no date) by Nawab, and referred to by him as Patan 3 also from Sri Sangha Bhandāra, Patan, is still more remarkable, as can be seen from Nawab's figures 114--125, 150-159 and 186-187 in the Pavitra Kalpa-sūtra. But the ms. is probably a little later and may perhaps belong to the early fifteenth century A.D. In absence of photographs showing the script of Patan 2 and Patan 3, a final opinion about age may be deferred. 42
However, it may be noted that Patan 3 contains some of the best specimens of Kalpa-sūtra miniatures and deserves a critical study. 43 Treatment of trees with flowers in Nawab's figs. 152–153 (in Pavitra Kalpa--Sūtra) is new and rare in Jaina miniatures of the Kalpa-sutra.
Some of the finest miniatures assigned to c. 1380 A.D. are in the Kalpa-sūtra and Kālaka-kathā of the Prince of Wales Museum, Bombay, published by Moti Chandra and by Barrett and Gray.44 Miniatures of the Kalpa-sūtra dated 1415 A.D. in the collections of The Asiatic Society, Bombay, still await publication. 45 In the Hemacandrācārya Jñana-mandira, Patan, box no. 47, ms. no. 896 is a manuscript of Kālaka-kathā, d. V.S. 1463=1406 A.D. written at the instance of a
In his Gujarati publication of Pavitra Kalpa-sura, Nawab assigns both the mss. to the fourteenth century. In the English ed. of Masterpieces of Kalpa--süfra paintings he assigns them to the fifteenth century but does not specify V.S. or A.D.
In his Masterpieces of Kalpa-sūtra Paintings, Nawab refers to Patan 2 as HGP 1 (Hemacandracarya Jnana Mandir, Patan, no. 378) and Patan 3 as HGP 2 in the same collections, no. 758. **Barrett and Gray, Moti Chandra, An Illustrated Manuscript of Kalpa-sutra and Kalaka-katha, Prince of Wales Museum Bulletin, no. 4 (1953-54) pp. 40-48. 4Moti Chandra, Jaina Miniature Paintings in Western India, p. 37.
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resident of Salakhanapura (modern Becharaji near Harij, N. Gujarat)46. Ms. no. 577 in the Sheth Anandji Kalyanji collection, Limdi, is a Kālaka-kathā dated in V.S. 1473-1416 A.D. A beautiful miniature, very neatly drawn, illustrated by Nawab,47 shows dark wavy clouds with white lining comparable with similar treatment in the Mandu style Kalaka-katha of Muni Punyavijaya collection published by Pramod Chandra. 48 Of the same date are two Kalaka-kathās, one from Nawab's collection and the other in the collections of Śri Fulchandji Zābak of Falodhi (Rajasthan) both copied in Patan. 49 Nawab's figures 21-22, 27-43 (in Kālakācārya Kathā-Samgraha) from the ms. in his collection and figs. 23-26 from the ms. from Śri Zabak's collection are noteworthy for a critical study of the style of the early fifteenth century A.D. Nawab's fig. 21 shows Persian influence in the treatment of the horse, and the treatment of the landscape in the upper panel of the same miniature is possibly due to foreign influence. Trees are stylised as in other manuscripts of this period, c. 1400-1430 A.D. A Kalpa-sūtra copied in V.S. 1473-1416 A.D., at Patan, is also published by Nawab from the Jaina collections at Jira (Punjab).50 The Jira Kalpa-sūtra is another important document of the style of Patan. The Kalakacaryakathā, dt. in 1414 A.D., in the collections of Shri Premchand Jain, Bombay, is another important document copied in Patan.51 A comparative study of all these documents and the Kalpa-sutra of the India Office Library, London, 52 dated=1427 A.D. will show that the India Office Kalpa-sutra, though mainly following the Western idiom, yet belongs to another school or sub-style introducing a new pattern in the treament of border decorations and in the treatment of various figures and themes. Very similar in treatment and allied in style, is an undated Kalpa-sutra of similar format, in Hamsavijaya collection, Jñana-mandira, Baroda. 58. In minute treatment of details and in the selection of various shades of colours this Kalpasutra testifies to the skill of the artist. This Hamsavijaya collection Kalpa-sutra
Nawab, śri Külikācāryakathasangraha (Ahmedabad, 1949), p. 66, figs. 18-19.
"Nawab, ibid., fig. 20.
48 Bulletin of The American Academy of Banaras, Vol. I, no. 1 (Nov. 1967), pp. 1-10 and plates. Also, New Documents of Jaina Paintings, pp. 44-45.
49Nawab, Sri Kalikācāryakathasangraha, figs. 21-22, 27-43; and figs. 23-26; pp.
50 Masterpieces of Kalpa-sutra Paintings, figs. 72-77, 82-109, 112-113.
51Khandalawala and Moti Chandra, New Documents of Indian Paintings, pp. 15f., figs. 5-8. 51Coomaraswamy, A. K., Notes on Jaina Art, Journ. of Indian Art and Industry, no. 127 (July, 1914), pp. 90-91, figs. 9, 12, 45, 50, 51, pl. I

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must belong to c. 1415-1425 A.D. (Cat. no. 417, p. 68). We have reproduced two miniatures here in colour pl. V figs., L, M.53 The incomplete Kalpa-sutra in the Oriental Institute, Baroda, has beautiful miniatures of bright colours exhibiting fine brush work and steady draughtsmanship. It should be assigned to c. 1400-1420 A.D.54 Another landmark in the early fifteenth century painting is the Kalpa-sutra dated=1417 A.D. in the National Museum, from Motichand Khajanchi collection. 55 The Satrunjaya-Mahatmya of c. 1420 A.D., is another important document of this period discussed by Moti Chandra and U. P. Shah.56 The Damayanti-katha-Campu in the L. D. Institute is assigned to c. 1400-1425 by Moti Chandra and Shah.57 Perhaps its age is around c. 1400 A.D.
The Dehla no Upäśraya, Ahmedadad has some very interesting and important illustrated Jaina manuscripts, patas, painted wooden boxes for preserving manuscripts, etc. DA no. 14 is a manuscript of Pārsvanatha-Caritra copied in V.S. 1463-1406 A.D. (Cat. no. 444) at Raṇapur in Saurashtra. It has three illustrations on folios 1, 136 and 137. Of these the one on folio 1 of Pärśvanatha is illustrated in figure 29. Folio 137 has miniatures of Dharanendra and Padmavati, both partially damaged since pieces of brittle paper have been broken and lost. Both Dharanendra and Padmavati, green in colour, are depicted as bold and stout figures, unlike many other miniatures of the deities. Another Parsvanatha Caritra (Cat. no. 445) from the same Bhandara (DA no. 4) is dated in V.S. 1467-1410 A.D. The figure of Pārsvanatha from this ms., illustrated in fig. 31, may be compared with fig. 29. Parsva is painted green in these figures. This ms. has some beautiful miniatures illustrated in figs. 32, 33 and 34. Figure 34, on folio 213, represents a Gaṇadhara, probably of Parśvanatha, sitting in padmasana with one hand on the lap and the other carrying a rosary held in Pravacana or Vyakhyāna mudrā near the chest. Behind his head is the lotus halo and below the seat, a full-blown lotus. The ganadhara sits under a torana - arch decorated with lotuses. The back-rest has its borders
53 Masterpieces of Kalpa Sutra Paintings, p. 8, figs. 231, 279-286, 411, 413-415, 421-422. Moti Chandra, Jaina Miniature Paintings from Western India, figs. 139-147.
54Shah, U. P., More Documents of Jaina Paintings, p. 11, fig. 33.
55 New Documents of Jaina Paintings, figs. 9a, 16a, 16b.
56 Ibid., Colour Pl., IA., p. 46.
5 Ibid, figs. 17-18, p. 48.
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decorated with a flowering creeper-design. To his right is a small attendant pupil. On top of the torana are two peacocks painted blue. The back--rest is also blue. Figure 32, representing, in two panels, male devotees, nuns and Śrāvikās, each with folded hands, is another beautiful miniature from this manuscript with minutely drawn designs and details. Fig. 33 represents an ācārya giving lessons to his pupil sitting in front and holding a long palm-leaf ms. Very little colour is used in the complexions of the monks and a slight attempt at shading is visible. The painting is remarkable for delicacy, and fine drawing. This manuscript is an important dated document of the first decade of the fifteenth century A.D. Another ms. of Pārsvanatha-caritra, (old DA. no. 30, new DA. no. 74), dated in V.S. 1479=1422 A.D. shows profuse use of gold in body colours. The background is red, but the golden bodies are sometimes partly shown against blue. DA, no. 106 (old DA. no. 60) is a manuscript of Kalpa-sūtra and Kalaka-kathā copied in V.S. 1498=1441 A.D. in Ahmedabad, by one Somasimha, son of Mantri Kupā. DA. no. 45 of Candraprabha-caritra (Cat. no. 447, p. 73) is an interesting document copied in V.S, 1489=1432 A.D. at Patan. A figure of an ācārya (monk) giving discourse, and sitting on a stool with a back-rest, painted on folio 2, is executed by a skilled artist. The slightly bent head of the acārya (figure 35) very aptly conveys his action of giving a discourse. The painting is slightly damaged, possibly due to some water action on the colours. DA. no. 9 is a manuscript of Samyak tva-Kaumudi (Cat. no. 441, p. 72) copied in V.S. 1479--1422 A.D.58 The painting of a Ganadhara from this manuscript, illustrated in Colour pl. II, fig. D, is a good specimen showing the use of light reddish pink in body colour and ultramarine in the background. Two beautiful white swans appear on top of the stepped pyramidal roof of the shrine under which the Ganadhara is shown seated in Vyakhyāna mudrā, and Padmāsana. DA. no. 20 is a manuscript of Pāndava-caritra-mahakävya, copied in V.S. 1490=1433 A.D. at Selaguntha. The place of copying could not be identified. On folio 1 there is a painting of a Tirthankara, and on folio 2 is a miniature painting of Sarasvati or Śrutadevatā illustrated in figure 36. The goddess carries the book in her right upper hand, and the lotus in the corresponding left hand; the right lower hand is
58 In the Cat. no. 441, p. 72, given at the end of this book, the date of copying is printed as V.S. 1409 through mistake. It has been verified as V.S. 1479,

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held in the varada-mudrā while the left. lower one is in the vyākhyāna mudra. The painting does not show finer details and the colouring of her lower garment is not carefully done. Perhaps this is the local popular style of the age at Selaguntha.59
One of the finest examples of this period, dated V.S. 1480=1423 A.D., is however the Supā sanāha-cariyam, now in Hemacandrācārya Jñāna-mandira, Patan, but originally copied in Devakulavātaka identified with modern Delvādā near Ekalingji in Mevad, Rajasthan.Go (Cat. no. 446, p. 73). A number of paintings, (a few of them are full page illustrations) show beautiful representations of trees and foliage, mountains, etc. There is practically no Persian influence and illustrations of this manuscript are noteworthy as dated early specimens of painting in Mewad. A painting of 20-armed goddess (Kāli ?) is illustrated in figure 37. Figures in the lower panel, drawn in various actions are remarkable as work of a superior artist. A figure is shown flying or jumping with tremendous force. Of about the same age, and equally interesting with lively figures of monkeys, musicians, dancer, mountains, temples etc. is the Pañcatirthi scroll painted in A.D. 1433 at Cāmpāner (Panchamahal district, Gujarat), first published by N. C. Mehta and discussed again with colour reproductions by Moti Chandra.60Equally interesting and unlike most of the other known Jaina pațas is the pata of Jaitra-Yantra (Vijaya-Yantra), dated in V.S. 1504=1447 A.D., perhaps painted in Ahmedabad, now preserved in the Victoria and Albert Museum, London.606 Besides beautiful representations of several Jaina deities the pața has beautiful paintings of trees etc. which show the love of nature the painting of fifteenth century developed. Another well-known example is the Vasanta Vilāsa scroll in the Freer Art Gallery, Washington, 61 which gives us a glimpse of secular painting in the fifteenth century in Gujarat. A few miniatures illustrating a Brahmanical text called the Itihāsa-samuccaya, in the collections of the Oriental Institute, Baroda, are of the same age as the Vasanta-Vilāsa, but the
$It seems that the place name reads salāyudha-sthane and not Selaguntha-sthäne. If this reading is correct, then Salāyudha is perhaps the modern Salāyā in Saurashtra. coFor references to plates published from this manuscript, see, Cat. no. 446. 608N.C. Mehta, A Painted roll from Gujarat, Indian Art and Letters, Vol. VI (New Series), pp. 71-78. Moti Chandra, Jaina Miniature Paintings from Western India, pp. 48-51, 178-186. &ob More Documents of Jaina Paintings, figs. 30-32, pp. 12-13. 61This has been discussed by several writers. W. Norman Brown in his edition of Vasanta Vilāsa (Harvard Oriental Series ) has profusely illustrated with colour and monochrome plates.
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miniatures are largely worn out. 61. Amongst other Brahmanical texts, miniatures of fifteenth century manuscripts of Sapta-sati published by M. R. Majumdar 62 now in the Barodą Museum and the Prince of Wales Museum, and the Bala-Gopalastuti manuscripts in the Boston Museum and the Baroda Museum, are well-known.63
To revert to the review of Jaina miniatures, an undated Kalpa-sūtra in the Dehla no Upaśraya, Ahmedabad, DA, no. 69 (Cat. no. 449) is a beautiful manuscript showing all the characteristics of early fifteenth century A.D. Fig. 38 from this ms. shows the mother of a Jina fondling the son, and resting on a chowki. The treatment of this theme is reminiscent of a similar miniature in the Palitāņā palm-leaf Kalpa-sūtra dated in V.S. 1439=1382 A.D. The same may be compared with fig. 39 illustrating this theme from a gold-lettered Kalpa-sūtra d. V.S. 1516=1459 A.D., copied by Vāchāka of Patan, now in the Jaina bhandāra in Sāmalā ni pole, Ahmedabad, no. 25/5. (Cat. no. 418). The pointed end of lower garment of Jina's mother is pointing upwards in fig. 39 which is just the opposite of that in fig. 38. It would seem that the whole bed-spread is shown behind the back of mother in fig. 39 with a design of a flowing river with fishes in it. The presence of a tree in one corner would however suggest that the Jina's mother is shown sitting on a chowki by the side of an actual river while the scene in fig. 38 is laid in a palace room. Fig. 40 from the DA. 69 (Cat. no. 449) represents the birth bath of a Jina. Treatment of overhanging clouds may be compared with the treatment in mss. like the Kālaka-Katha in Mandu style, age, c. 1440, in the collections of Muni Punyavijayaji, or the Satrunjaya Māhātmya of the same age in the L.D. Institute. 64 Fig. 41 is another beautiful miniature from this ms. showing a neatly coloured drawing of a Sakra paying his homage to the Jina. The DA. 69 should date from the second quarter of the fifteenth century A.D., i. e. c. 1430-1440 A.D. The Śāmalā pole
613 Shah, U.P., More Documents of Jaina paintings, figs. 28-29. 62M. R. Majumdar, Earliest Devi Māhātmya miniatures with special reference to Sakti Worship in Gujarat, J.I.S.O.A. 1938; p. 128, fig. 168. 43Published by W. Norman Brown; in Eastern Art, Vol. II (1930), pp. 167-206; also see, J.I.S.O.A. 1942; p. 26, PI. III 2 and Pl. IV; BILI 1-2. Majumdar also published a fifteenth century Gita-Govinda ms, in the Journ. of the Univ. of Bombay, VI (May, 1938) p.124, Pls. IV-X.
Moti Chandra and Shah, U. P., New Documents of Jaina painting (Bombay, 1975); Colour pl. II fig. A, p.46; Pramod Chandra, A Unique Kālakācārya-Katha ms, in the Style of the Mandu Kalpasutra of A.D. 1439, Bulletin of the American Academy of Banaras, Vol. I, Nov. 1967, pp. 1-10,
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Kalpa-sutra (Cat. no. 418) is later, dated=1460 A.D. Fig. 47 represents a page from it with border decorations. Colour plate VI fig. O shows another page from the same ms.
DA. no. 70 (Cat. no. 420) is another ms. of Kalpa-sutra, dated in V.S. 1516=1459 A.D. copied at Gandharapura, i. e. Gandhara in Broach district, on the western sea coast, where the famous Devasānā Pāḍā Kalpa-sūtra was copied. Written in golden-ink, the ms. was copied by Soma, son of Mantri Kupa and has 21 illustrations. The manuscript is noteworthy for its departure from the more popular colour scheme. Shades of brown are favoured by the painter. Fig. 49 is a typical example, representing, in the upper panel, Pārśvanatha with Dharanendra and Padmavati, and in the lower panel, Kamatha practising the Pañcagni-tapa, and Parsvanatha rescuing the snake-pair being burnt in a log of wood. Figure sculpture, though following the usual characteristics of the main school, yet shows a departure from the more popular idiom of Patan and Ahmedabad. A comparison with this manuscript will also show that the Devasānā pāḍā Kalpa-sūtra, painted at Gāndhāra is later and by a different hand, with much more Persian influence. The Devasānā pāḍā Kalpa-sutra is now generally assigned to c. 1475 A.D.
Of the same date as DA. 70 noted above, is a Santinātha-Caritra (Cat. no 453), in the same bhaṇḍāra, DA. no. 11, painted in the usual style. Fig 52 is a painting of a Gaṇadhara from this manuscript.
In the Jesalmere bhaṇḍāra, ms. no. 425 of Kalpa-sutra and Kālaka-kathā, has 45 illustrations, published by Nawab,65 belonging to this period. Gold is used sometimes in body colours.66 Silvery wash on blue is given on some textile designs. The textile designs popular in manuscripts of fourteenth and early fifteenth century still continue along with later patterns of the fifteenth century. Perhaps more than one artists have painted this manuscript. Especially beautiful and in the early fifteenth century traditions is the miniature of Rṣabhadatta and Devānanda published in colour, by Nawab, from this manuscript.67 The ms. perhaps dates from c. 1430 A.D.
Mandu was one of the Jaina centres of the fifteenth century A.D. Several manuscripts painted at Mandapadurga are now known. They are in the usual style. But
65 Jaina Citrakalpadruma, Vol. II (Ahmedabad, 1958), figs. 20-57, 60, 65, 70, 75, 78, 83, 86. 66 libid., figs. 25, 30, 35
67 Ibid., fig. 20
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the Kalpa-sūtra dated in 1439 A.D., now in the National Museum shows a regional variety which is well-known as Mandu-style.68 of this style, but perhaps a better example, is the undated Kālaka-kathā of Punyavijaya collection in the L.D. Institute, described in detail by Pramod Chandra.69
A very richly decorated and typical example of the school of Patan is the Jamnagar Kalpa-sütra and Kalaka-kathā copied in Patan in V.S. 1558 = 1501 A.D. having beautifully decorated borders on each page, showing a large variety of themes of Jaina mythology, animals, birds, textile patterns, geometric and floral designs, mountains, etc., published by Moti Chandra and U.P. Shah.70 Border decorations of the Kalaka-katha in this manuscript are especially useful in showing costumes of soldiers of the saka army, the dress being obviously copied from that of the contemporary army of the Sultans of Gujarat. The paintings represent the full culmination of the fifteenth century style at Patan at the end of the century. The Devasāno Pāļo Kalpasūtra and Kalaka-kathā are generally assigned to c. 1475 A.D. and there are scholars who have suggested a much later date. Prof. Norman Brown who is said to have been able to see the now stolen last page giving the date, but who unfortunately could not remember it, suggested its date in the Akbar period on other grounds.71 The painter of the Devasāno Pādo Kalpasūtra72 did not fight shy of a drawing material for his decoration from carpets and textiles of Persian design. We must remember that the manuscript was copied (and therefore probably painted) at Gandhāra near Kāvi, Broach district, on the western sea-coast, where such
$8 Karl Khandalawala and Moti Chandra, A Consideration of an illustrated ms. from Mandapadurga (Mandu) dated 1439 A.D., Lalit Kaia, no. 6, pp. 886. 69Sce foot note 64 above. We hear that there was also a Kalpa-sutra with this Kalaka-kathā whose whereabouts are not known. It disappeared during Muni Punyavijayaji's life-time.
One more Kalpa-sutra in Mandu style was reported to have existed in a private collection at Calcutta. It is hoped that the owner will some day permit somebody to publish it.
To New Documents of Jaina Paintings, fig. 34.
Paining, pp. 24-26.55-57, figs. 26-29. More Documents of Jaina
"New Documents of Jaina Painting. p. 24. 1Moti Chandra and Khandalawala, New Documents of Indian Painting (Bombay 1969), pp. 29-43, pls. 5-7, figs. 45-96; Nawab, S.M., Masterpieces of Kalpa-sutra Paintings (Ahmedabad, 1956), figs. 1, 289, 338-366, 371, 220-223, 278, 354-357, 367-370, Illustrations from SMN4 in this book really seem to be those of the Davasāno Pado Kalpasūtra. Some pages of the Devasāno Pado Kalpa-sutra have recently been acquired in the National Museum while a few are in the Bharat Kala Bhavan, Varanasi and the Salar Jung Museum.
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influence could have been natural even before Akbar's Court painters utilized it. The Kalaka-kathā of Devasäno Pado is nearer to an Uttaradhyayana sūtra ms., in the same bhandāra, dated in Samvat 1529= 1472 A.D. (see, figs. 57, 58, 59, 45, 46) in its colour scheme etc. We have illustrated here in figs. some decorations and painting from this Uttarādhyayana sūtra. It would therefore appear that a date around c. 1475 A. D. is quite probable for the Devasāno Pādo Kalpa-sūtra. But the Jamnagar Kalpa-sūtra, painted at Patan in 1501 A. D. shows much less Persian influence and one might be inclined to regard it as almost contemporary or a little earlier than the Devasāno Pādo Kalpa-Sūtra according as one is inclined to regard Persian influence as later or earlier. Whatever the date of the Devasāno Pāļo Kalpa-sūtra might have been, it is quite clear that towards the end of the fifteenth century A. D., Jaina painting introduced a very large number of elements in decoration, and lavishly used costly colours. The Jamnagar Kalpa-sūtra has not only patterns and motifs known to us from Kalpasūtras like the India Office Kalpasūtra etc., but has also other patterns and motifs which we perhaps come across for the first time in Western India miniature paintings. It shows a number of elements which must have been already popular in secular art for a pretty long time. It also seems that scenes from Jaina stories appearing in border decorations of the Jamnagar Kalpa-sūtra were probably derived from some commentaries of the Kalpa-sūtra, Jaina story books and wall paintings in Jaina shrines.
Like the Devasāno Pāļo manuscript, the Jamnagar manuscript originally painted at Patan has taken recourse to elaborate compositions. So far as the Kālaka-kathā is concerned, the themes treated are of much greater elaboration than known hitherto and camp life of soldiers is a special interesting feature. The material is so profuse that one wonders whether an indigenous school synthesising the Persian and Indian elements had not come into being at least a century before the Mughal School.73
A very important feature of the Devasāno Paço Kalpa-sütra is the representation with labels, in marginal decorations, of the various caris, karanas, etc., of Bharata Nātyaśāstra. Dance traditions in Gujarat and Rajasthan, in the fifteenth century, deserve a special study, based on the evidence provided by this manuscripts. Music
13New Documents of Indian Painting, pp. 25-26.
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and Dancing seem to have been so very popular in Western India that even in the illustrations of texts like the Kalpa-sūtra and the Uttaradhyayana sutra, they were introduced in decorations of borders.74 A comparative deeper study for several centuries from eleventh century onwards is possible with the help of several reliefs of scenes of dancing and music, and representations of gods and goddesses in various dancing postures, obtained in Jaina and Hindu shrines like the Vimala Vasahi and the Luna Vasahi at Delvādā, Mt. Abu, the Ajitanātha temple at Tārangā built by Kumārpāla in the twelfth century (fig. 184), earlier Hindu shrines at Abaneri and Sikar and Kirāļu in Rajasthan, the Lakulisa temple on the Pāvāgadh hill, the Sürya temple at Modherā, etc. The Sarigitopanixad-säroddhāra of Sudhākalasa Gani, composed in the thirteenth century by a Jaina monk in Gujarat fortunately provides valuable literary evidence for such a study. A number of Jaina manuscripts contain several illustrations of dancing figures. We have illustrated here as specimens, a miniature in figure 42, from the Uttaradhyayana sūtra painted in V.S. 1505-1458 A.D. from Mandal, fig. 63 from another ms. painted at Patan in 1492 A.D., and a panel from Kalpa-sūtra painted in V.S. 1516-1459 A.D. from DB. no. 2991 (Cat. no. 459) in figure 43. The wealth of such evidence, available in Jaina paintings can further be demonstrated from a group of dancing Dikkumaris (Quarter-maidens), illustrated in fig. 44, from the Pārsvanatha Padmavati Vastra-Para, datable in the fifteenth century A.D., and the dancing figures from the Uttaradhyayana, dated 1529 V.S. illustrated in figs. 45–46, in the collections of Devasāno Pado, Ahmedabad. Over and above the evidence of sculptures from Jaina Hindu shrines, and paintings from Jaina bhandāras, we further have such evidence from wooden architecture of secular buildings as well as Jaina shrines in Western India, mainly Gujarat. Two small plasters from a Jaina shrine, illustrated in figs. 183-184, have small dancing female figures on three sides of each of them, the fourth being covered up being attached to a wall. These, along with some other interesting pieces, originally probably from Gujarat, were lying in the collections of the Mahāvira Jaina Vidyālaya, Bombay and are now transferred to the L. D. Institute, Ahmedabad. Assignable to c. sixteenth century A.D., some of the figures also suggest relations with Odissi dance traditions.
14 Also in miniature of full page size like the scene of Indra-Sabha in Masterpieces of Kalpa-sutra Paintings, fig. 278. Also see, Ibid., figs. 267, 273, 241, 1, pls. A-G. figs. 1-42, 279-284, 363-366.
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The Uattaradhyayana from Mandal, dated in V.S. 1505-1448 A.D., illustrated in figs. 42 and 60 is a very important dated document produced by a very superior artist. In the general treatment of human figures and even of themes of the text it discloses a new pattern. This style is also found in a newly discovered Uttaradhyayana from a Surat bhandara. A somewhat less refined imitation of the themes is seen in the Uttaradhyayana dated in V.S. 1549-A.D. 1492, painted at Patan, now in Punyavijaya Collection, L.D. Institute, a specimen from which is illustrated in fig. 63. However, so far as the style is concerned, the Patan manuscript belongs to a school or tradition different from that of the Mandal ms. The treatment of the horizon in fig. 60 from Mandal manuscript, is rather rare in Jaina miniatures. Another rare miniature, illustrated in fig. 61, is from a Kalpa-sutra in Muni Hamsavijaya collection, Jñäna-mandira, Baroda, and assignable to late fifteenth or early sixteenth century A.D. We do find such Persian influence in border decorations of Devasano Pädo Kalpa-sutra, but a mere landscape and a forest scene with animals, clouds etc., showing love of nature, forming theme of a separate miniature is hardly found in earlier manuscripts. The treatment of clouds showing Chinese influence is noteworthy in this miniature. This manuscript show several departures, from the stereotyped treatment of Kalpa-sutra miniatures, the depiction of the city of Dvārakā illustrated in fig. 64, from this manuscript may be noted. It is not possible to date this manuscript as late as the Akbar period.
Chinese or Central Asian influence in the treatment of landscape is found as early as 1382 A.D., in fig. 26 illustrated from the Palm-leaf ms. of Kalpa-sutra from Pālitāṇā. For a fuller appraisal of the fifteenth century style of Gujarat, and especially of the new trends and experiments carried out from about the middle of the fifteenth century a detailed study of the several miniatures of the Digambara Jaina manuscript of Yasodharacaritra painted at Sojitra (Central Gujarat) in V.S. 1551=1494 A. D. is necessary.75 We hope Mrs. Sarayu Doshi, who has published only a few
15 The ms. now belongs to a collection housed in a Digambara Jaina temple in Karamsad, near Sojitra. It was first brought to Surat by Sheth Mulchand K. Kapadia of Surat for an exhibition held at the time of an earlier session (fifth or sixth?) of Gujarati Sahitya Parisad held long time ago at Surat, and noted in the report of the same Parisad. Sheth Kapadia informed me about the same and spoke highly about the paintings with plenty of gold used in colours. Since Mrs. Doshi was working on Dig. miniatures I passed on the information to her and taking the aged Shri Mulchand Kapadia with us to Karamsad in Mrs. Sarayu Doshi's car, we could see the manuscript and with Sheth Kapadia's recommendations, Mrs. Doshi has borrowed it for study. See, the Chp. 31 on Miniature Paintings by Khandalawala and Mrs. Doshi in Jaina Art and Architecture, Vol. III, colour pls. 30A, 30B and Plates 276-277, figs. A & B.
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paintings from this manuscript, will publish a more detailed studies of the various miniatures from this manuscript, now property of a Dig. Jaina shrine collection at Karamsad, near Sojitrā. Since the illustrations refer to the story of Yaśodhara, they are not stylised as in the theological texts like the Kalpa-sūtra and therefore have a wider scope in reflecting the cultural life of the age.
A Kālakācārya-kathā, copied in V.S. 1516-1460 A.D. at Patan (Cat. no. 419), now in the Pārsvacandra Gaccha Upāśraya, śāmalā ni pole, Ahmedabad, is written in golden-letters and is another beautiful manuscript with fine and varied border decorations (fig. 47). Recently, the National Museum, New Delhi has acquired a richly decorated Kalpa-sūtra painted in the fifteenth century at Mandapadurga, which Shri Karl Khandalawala will be publishing in near future. These manuscripts are referred to here to show that in the fifteenth century there was a sudden progressively increasing activity to enrich the manuscripts with border decorations, to introduce illustrations of new themes and to assimilate foreign elements in painting while retaining the mainly Indian elements and character, Cf. Colour fig. P. from Mandal Uttaradhyayana powerfully depicting a Persian horse.
One of the finest examples of Kalpa-sutra, dated in V.S. 1560-1503. A.D., is DB. no. 2991, now in Bhavanagar, but copied at Alavalapura, a place we are not yet able to identify. Figs. 50, 51, 53, 54, 55 and colour fig. R, illustrated from this manuscript will show that the style is very much allied to the school of Patan, but the creative genius of the artist has produced several beautiful paintings demonstrating his love of nature, and the figures are full of action and appropriate expression. Colours are bright, details are minutely drawn and new themes are introduced. Ultramarine is used in backgrounds with a few small white flowers scattered in several cases. Gold is lavishly used for body-complexions, in architectural and other decorative motifs, in thrones, garments etc. Bright white, probably of chalk is used in garlands, borders of ornaments, decorative patterns of garments of monks and nuns and in various other ways. Other colours used are light parrot green, red, pink, black, magenta, brown and carmine. Treatment of ends of lower garments of ladies (and sometimes of males but excluding monks and nuns) in some fifteenth and sixteenth century manuscripts calls for special notice. The lower garment, reaching a little above the ankles, may be golden or with stripes of various
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colours, but it seems that an additional parkā (paryasatka) or scarf was attached from the centre with its lower end going straight and pointed and taking a big loop-like curve (balloon-like) on the other side, as if blown up with air (see, in this ms., folios 121a, 102a, the painting of a lady giving alms to a monk, folio 138b). Especially interesting in the nativity scene on folio 87a where the end of such a scarf points upwards. These parkās are sometimes of beautiful hainsa-duküla or padma-duküla type, black, with swans or lotuses painted (or embroidered) in gold. The colis of ladies are generally of very light green, or brown, red, white or pink colour. Trees, generally tall, with long slim trunks, of plaintain and other trees look beautiful, though stylised, the leaves are of beautiful light green, or of golden and red colours all used on one and the same tree. Sometimes they have black and white beaded borders, the foreground landscape is brownish, the flowers golden and tree-trunks and branches white (folios 1056, 133b).
The fine white garments (caddars) of monks and nuns are especially noteworthy. These show white woven designs of stripes, wavy lines, flowers etc. A monk either leaves his right shoulder bare or covers both the shoulders (folio 133b). These must be costly caddars of fine texture. A nun covers both the shoulders, the garment reaches upto the neck, and also partly covers the back of the head. The nun has hair on head, cf. folio 122a showing scene of nursing child Vajrasvāmi in a cradle.
The painter of this ms. hardly succeeds in the treatment of animals like the lion, but the horse, prancing or running, is admirably drawn, so also the stag or the elephant.
The use of costly colours, especially profuse use of gold, though very much seen in the fifteenth and later centuries, is a criterion which should be used with caution in deciding the age of a manuscript. Rich donors may spend for gold, lapis lazuli, carmine etc. But in the same age we come across manuscripts with only an economical use of gold etc.
This manuscript, however, is a typical example of the style of the age, and being dated in the beginning of the sixteenth century its format style etc. are noteworthy. The manuscript still retains much of the beauty of productions of the preceding century.
Differences in styles of the middle and late fifteenth centuries can be marked by
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comparing fig. 52 of a Ganadhara, from Santinatha caritra (Dehla, no. 11) dated1459 A.D., with fig. 51 of another Ganadhara from DB. no. 2991 discussed above and dated-1503 A.D. Similar differences in style and treatment of the same theme (of diksa of a Jina) can be observed by comparing fig. 56 from DB. no. 2992 (Cat. no. 430) with fig. 55 from DB. no. 2991 (Cat. no. 459). Fig. 67 of a Tirthankara from a manuscript of Bhagavati Curṇi (Cat. no. 462) d. V.S. 1582-1525 A.D. (DA.no.50) shows further deterioration. But the painting of Sarasvati riding on a big swan, from Bhagavati-sutra manuscript (DA. no. 46) is much more interesting and beautiful. The face of the goddess is shown, in three quarter profile, and the further eye does not much extend in space. The textile patterns and the design of the neck ornament have changed. Figure 68 of Sarasvati, riding on a peacock, with her face shown in complete profile shows further change in miniature painting. The small and partly shown figure at the back, carrying a big trident in one hand is a peculiar feature unknown to other representations of Sarasvati. This miniature is from a manuscript of Kirāt ārjuniya-mahākāvya, DA no. 141 assignable to c. 1700 A.D.
(cat. no. 488)
The Praśnaśakunavali (Cat. no. 472), assignable to c. 16th century A. D., illustrated in fig. 69, is in the usual tradition of showing the farther eye, extended in space, beyond the line of the face.
The Śrenika-Samyaktva-rāsa, Kantivijaya collection no. 4565, Jñanamandira, Baroda, is a new find (figs. 70-74) of considerable importance. The work was composed in V. S. 1603-1546 A.D. in Sri Santijina-Präsäda, on the Kumaragiri hill, built by Kumarapala, according to the colophon at the end of this manuscript, on folio 45 (see fig. 71). In the beginning, the author pays homage to Śri Hemavimala Sūri, in whose lineage he flourished, and then to 24 Tirthankaras, Sarasvati and Gautama Ganadhara. On the first folio of the text are found four small miniatures with labels of Śri Tirthankara-murti, Śri Gautamasvami, Śri Sarasvati and Śri Hemavimala Suri (see fig. 70). The background is in usual red of Jaina miniatures, while the body-colour in all cases is dull reddish yellow. The small figure of Sarasvati, with book, viņā, rosary and lotus in her four hands, is beautifully drawn. The format of the manuscript (size: 10.4 X 4.2 inches) shows that the manuscript belongs to the sixteenth century A.D., and the fact that at
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the end of the work, on folio 45, we have a small painted panel (size : 11 cms. x 2.5 cms.) showing the author) Somavimala Sūri reading the book before his devotees, suggests that this manuscript was copied and painted during the life-time of its author Somavimala Sūri. The marginal label for this panel, deciphered, says : Sri Somavimala sūri rāsa vamcai cha(i) Do. Kānhaji Sambhalai(?) tha.
The manuscript has 48 miniature paintings. The colours commonly used are brick-red for background, yellow for complexions, light blue, dark-blue, parrot green, black, pink and white. Faces are usually in three-quarters profile, with the further eye extended in space. Collyrium line in female faces extends from the eye upto the ear. Males sometimes have a red upright tilaka-mark on foreheads. Heads are flat and noses pointed. Males wear turbans, but princely figures wear small pointed crowns. Sky-line is plain blue, trees are stylised and green with black lines and yellow trunks. Horses yoked to chariots are forceful. They are green or white with red spots (folio 24a), so also are bullocks on folio 12b. The river is shown in dark-blue basket pattern on folio 7b. Human figures with small bodies have rather big heavy heads. Lower parts of bodies of monks in fig. 71 are treated in a rounded mango-shape.
Almost all paintings bear labels on top or in margins. They are all in Gujarati language. The painter, for whose guidances the labels were probably written, was perhaps from Gujarat. The manuscript, as shown above, was copied in the author's life-time (as suggested by the panel depicting the author reading it) and perhaps for the author himself in c. 1550 A.D., soon after it was composed.
This manuscript is important because the style of its paintings has characteristics which follow the style of the Digambara Jaina Mahāpurāna from Digambara Jaina Nayā Mandir, Delhi, discussed by Moti Chandra and others.76 This has also affinities with the ms. of Bhavisayatta-kahā published by Mrs. Sarayu Doshi.77 It may be noted that Dr. Moti Chandra's dating of Mahāpurāņa in c. 1450 is
**Moti Chandra, An illustrated Ms. of Mahāpurāna in the Collection of Sri Digambara Jain Naya Mandir Delhi, Lalit Kala, no. 5, pp. 68-81 and plates. Khandalawala & Sarayu Doshi, Jaina Art and Architecture, Vol. III, pp. 415 ff. Colour illustration 29 and plate 279 A & B. ** Ibid., colour ill.31, and plate 278 B. It would be better if Mrs. Doshi publishes colophon-pages of all her newly discovered Digambara manuscripts to enable us to arrive at a proper understanding of their format and age.
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preferrable in view of the later Śrenika-Samyaktva-rasa which is closely related to it. With the discovery of this Rása, probably copied in Rajasthan at Kumāragiri, it is now quite clear that the style of the Nayā Mandir Mahāpurāna had a wider provenance. It my be remembered that all the labels to the paintings of this Rāsa are in old Gujarati language. Paintings on folio 1, fig, 70, follow the usual Western Indian style and differ in style from other paintings (e.g. frig. 72, 73, 74).
Most commonly illustrated Jaina Āgamas (canonical works ) are of course the Kalpa-sūtra and the Uttarādhyayana sūtra. But we do find several more Āgamas illustrated with a few paintings. Of these, one very interesting manuscript of the Rāyapasenaiya sutta (Rajapraśniya sūtra) from Muni Punyavijiayaji's collection was published in the Chhavi by U. P. Shah.78 The manuscript is assignable to late sixteenth century A. D. A few years ago, the L.D. Institute of Indology, Ahmedabad, acquired another interesting Agama work, entitled, the Upāsakadaśārga sūtra (Cat. no. 474) with a few interesting illustrations (see Fig. 75 ). The treatment of face is peculiar, especially of the eyes and is in close agreement with the treatment of figures in a manuscript entitled Pārsavanātha Vivāhalu (formerly noted as Rayana sāra ) in the collections of the Museum of Fine Arts, Boston and assigned to 1576 A. D.79 The Upāsakadaśnāga sūtra dates from about the same age, or at best from the beginning of the seventeenth century A. D. It seems that both these manuscripts were painted in a region around Mandu in Malwa. Illustrations of this manuscript need a separate detailed treatment.
The Devaśānā pādā no bhandāra, has besides, the fleuarles Kalpa-sūtra and Kalaka-katha of c. 1475 A. D., and the beautiful Uttaradhyayana sūtra of V. S. 1529 = 1472 A. D. referred to above, another Uttarādhyayana sūtra without date, which is an important document of the new Gujarati style of sixteenth century started perhaps by Citārā Govinda of the Mātar Sarigrahani sūtra80 This Utta
18 Umakant P. Shah, Two New Documents of Paintings from Muni Punyavijayaji's Collections, Chhavi, Golden Jubilee Volume (Banaras, 1971). pp. 151-156. Also see, More Documents of Jaina Paintings, pp. 13 ff., figs. 38-40. 19See, W. G. Archer, Indian Miniatures (1960), figs. 7-8. * More Documents of Jaina Paintings, figs. 51-54, Cf. also for this style, Ibid., figs. 41-44 from Uttarādhyayan sutra, d. 1591; and figs. 45-48 from Balagopāla stuti Kankroli Collection; figs. 58, 60 from a page of Ratirahasya; also see, ibid, pp. 17 ff., 22 ff. New Documents of Jaina Painting, Colour plate VIII-IX-X and figs. 41-51.
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radhyayana sūtra (Cat no. 477 ) is unfortunately gradually deteriorating mainly due to chemical action of certain components of the black ink used in writing and the manuscript deserves immediate treatment for preservation. Paintings of this manuscript generally follow the usual popular pattern of the Uttaradhyayana miniatures insofar as the treatment of the themes is concerned. But the miniatures are noteworthy for two reasons : firstly for the elimination of the three-quarters profile and the farther eye and secondly for the treatment of the eye itself which is fishlike (figs. 76-77 colour fig. S). The style of paintings is folkish, use of colours is limited to green, yellow, rosy white and black on a red background. The artist has often erred in the proportion of limbs. Generally disproportionate big heads on small stunted torsoes catch the eye. Foreheads are short, nose are generally not pointed at the ends, and in a few cases they hardly rise above the surface of the face, thus rendering a typical physiognomy. Usually men do not wear an upper garment and only a scarf is shown. But when people wear jāmās, the artist generally prefers to paint them green. In a few cases, beautiful floral designs in red, on top or bottom of miniatures, remind one of Mughal influence,
There is no colophon giving the date of copying of this manuscript. But the format with circular big red dots in margins, and the script, suggest a date circa 1600-1650 A.D. Trees have long slim curved trunks and the foliage is white or green with yellow flowers, treated in a stylised manner with a thick black outline. The painter delights in painting trees, birds, animals, etc. but their treatment is folkish (colour figs. R and S).
of about the same age but more carefully drawn are the figures in paintings of a manuscript of Upadeśamala prakarana (colour fig. U) from Dehlā no bhandāra, Ahmedabad, no. 145 (Cat. no. 489), drawn with a very simple pallette on red background
The paintings bear certain affinities with those of the Uttaradhyayana sūtra dated in 1591 A.D. (now in the Baroda Museum) and Balagopåla stuti of Kankroli Collection.82 Though not so prominent as in the Devāsanā pädä undated Uttarādhyayana just discussed, the eyes are still fish-like. This tendency of
Especially in the treatment of loose hair at the back in one of the miniatures, cf. Ibid., fig. 45.
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drawing fish-like eyes had also been popular in Gujarat as is evident from the manuscript paintings of the Pancākhyāna discussed by U. P. Shah,83 This treatment of eyes, more prominently and beautifully drawn is found, in a manuscript Yasodhara carita from north Gujarat illustrated by Mrs. Sarayu Doshi,84 and dated in 1596 A.D. That this manuscript of Yasodhara-carita hailed from Gujarat and that its style was popular in Gujarat is proved by another such manuscript with beautiful similar paintings drawn perhaps by the same artist or his pupil, seen some years ago by me in Jaina collection in Surat. It has no colophon and seems to be somewhat later than the one published by Mrs. Doshi. The Yasodhara Carita published by Mrs. Doshi was painted by Citārā Nānji, probably at Idar. 86 It must be remembered that the territory of the old Idar State touched the Mewad border and had close cultural ties with Mewad. There does seem to be some relation of Nãnji's Yasodhara carita with the Rāgamálä set from Chawad dated in 1605 A.D.
Cosmographical charts of two and a half continents ( Adhai-dvipa-paças ) were very popular in Gujarat and Rajasthan, with Śvetāmbara Jainas, during the sixteenth and seventeenth centuries and probably a little earlier. A section from one such paya, assignable to c. 1600-1650 A. D., is published here in fig. 78. Drawings of the human pair seen in this figure are typical and in a set pattern, with faces with extended farther eye. In some pațas we occasionally come with a kulähdāra turban. A detailed comparative study of all such pațas from different collections would be interesting.
Jaina bhandāras have also disclosed illustrated
manuscrips of classical Sanskrit
83Jbid., figs. SA, 55, 56, and 57 (in colour). 34Khandalawala and Sarayu Doshi, in chp. 31 of Jaina Art and Architecture, Vol. III, colour fig. 37.
"probably north Gujarat," but she had shown me this manuscript when she brought it a few years ago from a Dig. bhandara in Rajasthan (probably Beawar or Amber) and the colophon gave the name of the painter as Citārā Nanji. So far as I remember Çitära Nanji is reported in the colophon as hailing from Idar (lladurga ?) or that the ms. is said to have been copied at Idar. Mrs. Doshi was requested to send me a photo of the last page giving the colophon and I am still awaiting the promised photograph to check up the reference to the place name. But the fact that Mrs. Doshi has said "probobly from north Gujarat," leads me to believe that my impression is correct. 85have a few coloured slides of this manuscript whose present whereabouts are not known. Unfortunately these could not be published in this volume but I hope to publish them later. See footnote 84above.

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Kavyas like the Kumarasambhava and the Meghaduta.87 The discovery of an illustrated copy of Kiratarjuniya Mahākāvya from Dehlā no bhaṇḍāra (no. 141) Ahmedabad (Cat. no. 488), lends further hopes of future discovery of many more illustrated manuscripts of Classical Sanskrit works. Figs. 68 and 79-81 illustrate a few paintings from the Kirātārjuniya mentioned above. Drawn in a popular folkish style, the figures show Mughal influence in costumes of fighting soldiers and in the face of Śiva as Kirata. The paintings may be assigned to the first half of the eighteenth century A. D. Arjuna is generally painted in light pink and Śiva as Kirāta is painted in blue with a red cap and a yellow tiger-skin on his person.
Fig. 82 represents a scene of fight from another manuscript of Kirätarjuniyam, recently acquired by the L. D. Institute, Ahmedabad. It is dated in V. S. 1825-1968 A. D. and was copied at Kharagona, modern Khargaun near Indore in M. P. The soldiers wear different costumes and Mughal as well as Deccani turbans are seen. Unfortunately there is only one painting in this manuscript (Cat. no. 496).
In the Pravartaka Śri Kantivijayaji collection in Śri Atmärāma Jaina Jñanamandira, Baroda, there is a beautifully illustrated manuscript of Śālibhadra-Caupai (Cat. no. 491) also called Salibhadra-catuṣpadikā88 which can be assigned to the first half of the eighteenth century A. D. (see figs. 83-86 and colour fig. ZC). The colours are bright, sometimes we have illustrations of the full length of the page, and almost every miniature bears a label in Rajasthani (Marwari). The colour scheme and turbans etc. suggest that the manuscript was painted in region of Marwar, perhaps in Bikaner. The turbans with white spots were also popular with the Maharao rulers of Kaccha but in Kaccha paintings the turbans are generally of a bright violet shade.
Fig. 87 represents a painting from another illustrated Jaina monuscript called Simhalakumara-Caupai, from Punyavijayaji's collections in the L.D. Institute, Ahmedabad, and dated in V.S. 1826-1769 A.D. It was copied in Bikaner as stated in the colophon.
87 New Documents of Jaina Paintings, colour plate VII figs. A and B from Meghaduta and Kumarasambhava respy., figs. 31-34 from Meghaduta and figs. 35-39 from Kumarasambhava; also see. fig. 40 from another ms. of Kumarasambhava from National Museum, New Delhi. ibid.,

88 Prof. Ernest Bender, Editor JAOS is preparing a critical edition of this text along with illustrations from this and other manuscripts of the Salibhadra story.
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Gradually, from Jaina collections more and more manuscripts illustrating Jaina stories and dating from sixteenth to nineteenth centuries are being discovered. These stories afford ample opportunities to the painter of introducing various new elements and themes from day to day life of the age. Further exploration of such illustrated Rasas, Caupaies etc. is likely to bring interesting results and throw light on the origin and spread of different schools in Rajasthan and Gujarat. An illustrated manuscript of Vijayaletha-Vijaya-Sethäni-räsa (Cat, no. 490), composed in old Gujarati, has been recently found, for the first time, in the collections of the Jaina Pracyavidya Bhavan, Paladi, Ahmedabad. Some of the miniatures from this work are illustrated here in figs. 88, 89, 91, 92 and colour fig. ZA. The costumes of ladies in figs. 88, 89 etc. suggest that this work was painted in Gujarat or Sauraṣṭra. Costumes of males with jāmās and occasionally with a very high cap like headress and some show Mughal influence in the dress of local population. Turbans of various types, similar to some Marwari types are also seen. The manuscript may be assigned to c. 1700 A.D. It must be remembered that these were all popular throughout Gujarat, especially in trade centres like Ahmedabad and Surat. It is known that during this period Surat population included a number of residents from Jodhpur area.
Another rare illustrated Räsa, found for the first time, is Śri Jambüsvāmi-Rāsa (Cat. no. 486), recently acquired by the L. D. Institute, Ahmedabad, and dated in V. S. 1775-1718 A.D. It has more than twenty illustrations, often on plain white background. The illustrations (see fig. 90) are less stylised and the narration of the story and the actions of various persons and animals are portrayed with considerable success. The manuscript seems to have been painted in Gujarat.
We have already stated that Surat like Ahmedabad was an important centre. This is further supported by two newly discovered manuscripts of Sripala-rasa giving the story of Sripala and his worship of the Siddha-cakra and the Pañca. paramesthins. Sripala-räsa has been very popular amongst Svetämbara Jainas and illustration in Popular Mughal style from one manuscript was published in Jaina Citrakalpadruma, Vol. 1, fig. 272.
Figures 95, 96, 97, 98, 99, 100 illustrated from a Śripāla-Rasa in the Vijaya-NemiVijñānā Kasturasuri Jñana-bhandara, Surat are in a popular style. The manuscript

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is dated in V. S. 1780=1723 A.D. Males wear long jāmās and turbans. The scenes of female dancers in figs, 95 and 100 are reminiscent of Mughal court influence. In fig. 96, the mahāvator elephant-rider weilding a sword wears a European helmet, The marriage scene in the lower panel of fig. 96 is typical, the two Brahmins wear only a dhoti and a dupattā while the bridgroom has a long plumage attached in front of his turban. Narration of events is simple. The foreground and background are offen covered with small shrubs, trees or flowering plants. Noteworthy is the typical two-storeyed building in the upper panel of fig. 98. Such structures were raised at the junction of four main streets and bazars and were sometimes called Mandapa or Māndavi. These have gates on four sides
Two embossed, golden-coloured Pāțhös illustrated in figures 101-102 show better Mughal Paintings of seventeenth century in Gujarat. These are preserved in the L. D. Institute, Ahmedabad.89
A more interesting and profusely illustrated Sripāla-Rāsa (cat. no. 503) was painted in Surat in V.S. 1886=1829 A.D. (see colophon in fig. 114). This is a very important document. Mughal influence is obvious in the treatment of various figures in fig. 116. But otherwise the paintings are in style of what Moti Chandra and U.P. Shah have called "Sirohi School" in the illustrations of Upadeśamālā from Devasānā pādā bhandāra.90 of this school were also published, by these authors, paintings from a Sapta-sati, dated=1719 A.D. and copied in Surat.91 The style continued in Surat in 1829 A.D. as demonstrated by this Sripāla-Rasa which is a very fine example of this style in the early nineteenth century (see figs. 115-120). Some of the paintings in this manuseript are of the full length of a page. There are several illustrations
* Still earlier Mughal Paintings of c. late sixteenth century on boxes for preserving manuscripts from the collections of Muni Punyavijayaji are illustrated by U. P. Shah in More Documents of Jaina Paintings, figs. 81-83.
3. New Documents of Jaina Painting, pp. 35-37, 71-95; figs. 62-69 and colour plates XI-XIV. 31 Ibid., fig. 71, also see fig. 70 from another Durgā-Saptašati. Many more examples of this school have since been identified and published including some of Rāgas and Rāginis. A few years back the Baroda Museum has purchased about three interesting Räga paintings of this school.
One interesting miniature, of a monk preaching, drawn in this style, now in the Los Angeles County Museum of Art, has marginal label in Gujarati language, see, More Documents of Jaina Paintings, fig. 70.
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of ships. It must be remembered that in this age Surat port had a flourishing trade and the East India Company had its Kothi at Surat. The ships in these paintings illustrate contemporary ships visiting the Surat port. In the treatment of trees, or forest scene (fig. 119), the love of nature as found in Upadeśamālā of this school, is obvious. The various drawings of persons playing on the viņa (figs. 115, 120) demonstrate popularity of music. Two cows stand still, charmed by the viņa played by a person in fig. 115, lower panel. The painter delights in various architectural settings. One of the long paintings portrays a scene of a big dinner party. Males wear jāmās and turbans or a dhoti, a dupatta (scarf) and a turban. Females wear a sări, a Coli etc., or a ghagharā (skirt), a coli and an odhani. Some of the ladies wear nose-rings.

Paintings of this Śripāla-Rasa prove that the "Sirohi style" was not confined to Sirohi and some of the paintings, like the one from Los Angeles County Museum of Art, referred to above, with a marginal label in Gujarati, and assignable to middle or late seventeenth century seem to have been done in Gujarat. The Upadeśamälä according to its colophon on folio 210a is dated in V. S. 1765 1708 A. D. while the Durgāsaptasati in the Price of Wales Museum, Bombay, painted in this style referred to above, dated in V. S. 1776 1719 A. D., is painted at Surat. As was stated by Moti Chadra and U. P. Shah, "the Vijñaptipatra of 1737 A. D.92 from the Khajanchi collection now in the National Museum forms the sheet anchor for suggesting the provenance of a group of paintings to which may be added the illustrations from a manuscript of the Devimähätmya in the collections of the Prince of Wales Museum, and a set of Ragini paintings distributed in the various collections including the Prince of Wales Museum," compare for example, the Vibhasa Ragini of c. mid-eighteenth century in the above museum.93 The problem of nomenclature of the "Sirohi School" should remain an open or unsettled question in view of the fact that whereas the Sirohi Vijñaptipatra is dated in 1737 A.D., the Derimähätmya (Durgasaptalati) painted
92 New Documents of Jaina Painting, p. 35 and fig. 74.
93See also, Ibid., p. 36, footnotes 37, 38.
Also see, Klaus Ebeling, Ragamala Painting (Basel, 1973), figs. C19, C32, C41, C45.

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in Surat is dated earlier in 1719 A.D.94 Now it must be remembered that the last folio, no. 210, of the Upadešamālā giving the date V. S. 1765 = 1708 A.D., is a replaced page, the quality of the paper is quite different from that of other folios of the text. In fact the first folio also, like the last one, is replaced. The date given in the last folio could therefore be the latest possible date when this manuscript came in possession of another monk and that the manuscript could be a few years earlier. Since the text of this manuscript, containing an old Gujarati commentary (Bālāvabodha) on the the Upadeśamālā, was composed in Surat in V. S. 1723 = 1666 A.D., it is just possible that this Upadeśamālā manuscript was painted a few years earlier than 1708 A.D., but in or immediately after 1666 A.D., and was probably painted in Surat.95 Whatever the origin of this school might have been, it is certain that Surat remained a centre of this school from almost the known beginning of this school and hance it is advisable to recognise this school as Gujarat School of (late seventeenth and/or) eighteenth century A.D. We must again emphasise that prior to India's independence and the merger of the old Sirohi State in Rajasthan, the official court language (used in State Gazetteer) of Sirohi was Gujarati. The presence of Marwari or Jodhpuri turbans in these paintings need not be an obstacle to this nomenclature since these turbans are found in miniatures painted at Surat and even centres like Ahmedabad.
Various shades of green, yellow, brown, pink, red, blue, etc. are used in the Sripala-Räsa. Jämäs of males are painted in green, pink, yellow, etc, Ladies wear blue, red or green säris. Sky is painted in light blue. Trees are in various shades
About an illustration from a Devimāhātmya dated in 1710 A.D. at Sirohi, now in the Prince of Wales Mnseum, published in New Documents of Jaina Paintings, fig. 70, it may be noted that so far as I remember only a few pages of this manuscript are in Bombay while the rest are reported to be in the National Museum, New Delhi. 95New Documents of Jaina Painting, pp. 72-73, where it was already stated : "For the present we can only say that the illustrated manuscript should date not from V. S. 1765 ( 1708 A. D.) but at least a few years earlier." It was also stated that, "Moti Chandra believes that the miniatures could not be much earlier than 1708 A.D. though Umakant Shah thinks that the last folio was possibly purposefully replaced when the manuscript came in the possession of other hands. A look at the last folio will convince that it is later replaced folio. The manuscript, according to Umakant Shah, could be about twenty-five years earlier." It may be added that the numbering of the last folio is by a different hand, that the date is written in different ink and different hand leaving some more space between two lines.
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of green, brown, grey etc. Blue, green, yellow, grey etc. are used for various ground colours. Ocean is painted blue with wavy lines and box pattern. Fort wall of city, is sometimes in pink. A rich variety of shades of different colours is presented. Gold is also used in a few cases. Forms and costumes are typical of the population of Surat in the last century and in the beginning of this century.
Surat was not only a flourishing trade centre during the Mughal and Maratha periods of Indian history but was also a cultural centre as is known to us from several rare manuscripts copied in Surat and literary works composed in Surat during this period.
One more Sripāla-Rāsa, painted in V.S. 1878=A.D. 1821 at Pethāpur, near Gandhinagar and Mānasă in North Gujarat, is illustrated here from collections of Dehlā no upāśraya (DA), Ahmedabad (Cat. no. 502). It is not profusely illustrated like the Sripāla-Rāsa from Surat just discussed. But the paintings are typical and represent the style current in this area in the nineteenth century.96 Figures 110, 111 and 112 illustrate three out of eight paintings of this Sripāla-Rāsa. They are beautiful paintings, carefully drawn, cf, for example the trees, the horse etc. in figs. 110. The female in fig. 111 wears a dark brown odhani and a red lower garment. Her complexion is of cream colour. Background is green while the landscape in foreground is pinkish. Fig. 112 is also drawn against green background. The person shooting an arrow wears a red turban, dhoti of crimson colour and the complexions of the male and the female figures are of cream colour.
Nawab published, in Jaina Citrakalpadruma, Vol. I figs. 288-297, paintings from a Sripāla-Rāsa in his collection, painted at Ahmedabad in V.S. 1895=1828 A.D.97 Nineteenth century painting of Ahmedabad centre can also be studied from a profusely illustrated Kalpa-sutra in Śāmalā ni pole collection, Ahmedabad (Cat.
"Dr. Jyotindra Jaina of Shreyas Museum, Ahmedabad, infroms me that he has seen paintings in this style at Pethapur. Wall Paintings and paintings on wood in private houses in various parts of Gujarat deserve a special study before they are demolished and lost. Such studies would enlighten us further regarding painting in Gujarat (including Saurashtra and Kaccha) from 17th to 19th centuries, e.g., wall paintings depicting the battle of Cittal, at Sihor near Bhavnagar, the paintings of A yanā Mahal at Bhuj in Saurashtra etc.
91 Jaina Citrakalpadruma, Vol. I, p. 60 and pp. 215-217.

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no. 501), illustarated here in figs. 105-109 and colour fig. ZF. It will be seen that figs. 108 and 105 can easily be regaraded as product of the so-called Sirohi school. The manuscript was copied in V.S. 1861-1804 A.D.
Floors of terraces in figs. 105-107. are paved with small flower designs or carpet designs. Men have long whiskers and long moustaches spread in fan shape on the cheeks, mingling with whiskers. Male figures wear angarkhās (jāmās) and big turbans of various shapes. They generally have long pointed big eyes, and sometimes pointed noses. Faces are big and squarish. Females wear cholis and saris orodhanis and a lower garment.
An important feature of this Kalpa-sūtra is its revolt against the set formulas of treatment of Kalpa-sūtra themes. Here we come across a very great variety of themes treated in a novel and diverse manner. The artist's creative genius has its full play and freedom. This Kalpa-sūtra is a good record of contemporary life and culture. The artist's treatment of nature and landscape is illustracted in colour fig. ZF. The place of copying of this manuscript is not known but it is some centre in Gujarat, perhaps Ahmedabad itself.
Already in the later part of seventeenth century such departures and varieties of Kalpa-sütra paintings were tried at Ahmedabad, as can be seen from another Kalpa-sūtra painted in Rajanagar (Ahmedabad) in V.S. 1727(=1670 A.D.), now in collections of the L.D. Institute of Indology, Ahmedabad.98
Even earlier, we have certain documents to show how Ahmedabad was an important centre of painting in new styles and kept pace with growth of different schools in Rajasthan. A long pața, painted on cloth in Ahmedabad in V.S. 16981641 A.D., and called Vividha-Tirtha-Para, (cat. no. 535] exists in the collections of Sheth Anandji Kalyanji ni Pedhi, Ahmedabad (see colour figs. V and W). Another Pața, known as Pata of 904 Tirthankaras and Vividha (different) Tirthas (places of pilgrimage), painted also in V.S. 1698=1641 A.D., exists in the collections of the Samvegi Upāśraya, Ahmedabad. A few sections from this Pața are illustrated in figures 131-133. These are beautifully painted long pațas deserving separate treatment
98 More Documents of Jaina Painting, fig. 77.
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A third pața, less refined and of a later date, painted in V.S. 1780=1723 A.D., illustrating a text of Pratistha-kalpa (installation ceremony), is preserved as no. 146 in the collections of the Jaina Pracya-vidyā Bhavan, Paladi, Ahmedabad (see colour figs. Z and ZA). European influence is seen in caps of two figures in Colour fig. Z; Mughal influence is obvious in the costumes of the figures in Colour fig. ZA (cat. no. 518). It was painted at Cambay.
Another interesting cloth painting of 17th century is the pata of Lokapuruşa and hells from Samvegi Upāșraya, Ahmedabad, illustrated in fig. 93. Fig. 94 illustrates only a section from Prāsāda-Pratisthā-yantra in Dehlā no upāśraya, assignable to C. 1650 A.D. (Cat. no. 538).
These new experiments in painting at Ahmedabad in the seventeenth century are reflected in the profusely illustrated manuscript of Lokaprakāśa copied in V.S. 1714=1657 A.D. at Rajanagara (Ahmedabad), now preserved in the collections of Dehlā no upāśraya (Cat. no. 482,) and illustrated here in figs. 103-104. Lokaprakāša, composed by Vinayavijaya in V.S. 1708=A.D. 1652 at Junagadh (Jirnadurga) near Girnar in Saurashtra afforded new scope and a variety of themes to the painter. It became so popular that another profusely illustrated manuscript was copied in V.S. 1837 = A.D. 1781 at Patana ( Cat. no- 498). A third manuscript copied in V. S. 1947 (A.D. 1890), very probably at Patana99 is preserved in the Hamsavijaya collection, Sri Ātmaramji Jaina Jñāna-mandira, Baroda (Cat. no. 513). This too is profusely illustrated. Fig. 163, possibly illustrating the Vijaya-dvāra of Jaina Cosmographical belief, is published from this manuscript in the collections at Baroda. Colour fig. ZE is from the Lokaprakāśa painted in Ahmedabad in 1657 A.D., noted above. 'Figures 103-104, also from this manuscript, show affinity with the style of paintings of what is known as Tulārām's Bhāgavata Paintings, now scattered in different collections in India and abroad. These Bhāgavata Paintings are assignable to c. late 17th or early 18th century A.D. 100
"We know that both Pravartaka sri Kantivijayaji and Muni Hamsavijayaji ordered copies of several old and rare texts and diposited them in the Jñanamandira collections at Baroda. The Lokaprakāśa copied in V. S. 1947 could be one such copy made at Patan.
10 More Documents of Jaina Paintings, p. 23.

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In the Lokaprakāśa miniatures several architectural drawings are available along with different paintings. Samgrahaņi-Sūtra dealing with cosmology had become very popular from at least the sixteenth century A.D. but Lokaprakāśa afforded more varieties of themes to the painter.
Fortunately we have one more document of Ahmedabad painting. It is a long scroll (Cat. no. 556), with several paintings, of a Paryuşanā-K şamāpanā-patrikā. sent from Rājanagara in V. S. 1853 = 1796 A.D. by the Jaina Samgha to Vijayalakṣmisūri at Haraji (Mārwāda).101 Like the Vijnaptipatras, such scrolls have several paintings including bazar scenes, paintings of astamarigalas, dreams seen by a Jina's mother and so on. Figures 134, 135, 136, 137, 138 and 121 illustrate some of the paintings from this scroll, now preserved in the L. D. Institute, Ahmedabad. Dancers with fan-shaped plumes overhead, in fig. 135, show Muslim influence in costumes. This influence is also seen in jāmās of some male figures. Females wear sāris and colis or odhani with a lower garment and colis. Especially noteworthy are the various types of turbans of males and the facial features with sloping foreheads, long straight noses and long moustaches curling upwards at the ends. Males often wear a dupatță ( scarf ) over angarakhās (jāmās) and tie an additional scarf at the girdle region. Elephants, horses and cows are well-drawn. Figures are not static. A bright red is used as background in certain cases. On the whole, this scroll is a beautiful representative of the painting at Ahmedabad towards the end of the eighteenth century.
Like the story of Sripāla, the story of Candarājā became popular with the Jainas and several manuscripts of Candarājā-no-Rāsa are found illustrated. One such manuscript, copied in Surat in V. S. 1716 = 1659 A. D. (Cat. no. 483) was publi-. shed earlier. 102 Another Canda--rājā-Rasă, copied in Vyāghrasenapura (probably Vaghasi between Anand and Nadiad in Central Gujarat), in V. S. 1712=1655 A.D. 103 shows a different style. Both the manuscripts are in folk styles, but the Surat manuscript of 1659 A. D. is of a superior quality. A profusely illustrated
101The Kşamāpanā-Patrikäs are letters sent, during Paryu şaņa day, asking for forgiveness for all misdeeds during the past year. 102 New Documents of Jaina Paintings, pp. 100-101, fig. 89, Colour pl. XV C, More Documents of Jaina Paintings, figs. 70-71. 103New Documents of Jaina Painting, pp. 99-100, fig. 87.
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Candarā jā-no-Rāsā, also in the Punyavijaya collection, L. D. Institute, Ahmedabad, has beautiful paintings in bright coloures. It was copied in Poona in V. S. 1869 = 1812 A.D., and shows a mixture of Deccani and Gujarati costumes. 104
The discovery of an illustrated Candarājā-no-Rāsa (Cat. no. 500) from Dosabhai Abhechand collection, Bhavnagar, has shown for us another style, prevalent in Bhavnagar in the end of the eighteenth century A.D. The manuscript was copied by Jitakusala in Bhavnagar ( Saurashtra ) in V. S. 1855 = 1798 A.D. A few miniatures, from this profusely illustrated document, are published here in figures 122, 123, 124, 125, 126, 127, 128, 129, 130. The last four figures (127-130) show the different rendering of trees. Fig. 126, an almost full page illustration, shows a female ascetic playing on veeņā and wearing a high conical cap with plumage in front. Such high caps are worn by three figures in fig. 123. One of these is a winged figure high up in the sky. A type of plumage ( with flowers ?) is worn by the bridegroom as well as the bride in a marriage scene in fig. 125. Such scenes reflect local contemporary customs and traditions. Fig. 122 has in the foreground a river or ocean with fishes and a boat in it. Backgrounds in most of the miniatures are plain white, and the viewer's attention is focussed on the characters and their actions in these miniatures. Paintings of this Rāsa as well as of the Candarāja-Rāsa painted at Surat in 1659 A.D. are in popular local styles, which were used in wall-paintings of private residences and temples. Paintings of the Canda-rājā-no-Rāsa are in the style of wall-paintings done by silāvats ( Salāts ) or masons and stone-cutters in this region.
The narration is made vivid with the help of various gestures of hands and feet of figures in action, shown in different postures and with faces in various attitudes turned upwards, downwards etc., as the mood and expression demand. Moods and expressions are usually suggested with subtle renderings of eyes and pupils, which has been one of the principal factors that contribute to the appeal of even earlier Western Indian miniatures. Birds and animals are usually rendered realistically.
10*Ibid., pp. 102 ff., fig. 91, Colour plates XVII A and XVII B.
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Animals are depicted in various actions, a few small shrubs and plants with flowers occasionally fill the foreground. Men wear three-peaked crowns, or turbans high and somewhat conical, with a feather-like attachment in front, and long jāmās, usually reaching somewhat below the knees but occasionally covering the legs completely; the jāmās are tied with a sash at the waist. Men have long thin whiskers widening fan-shaped on the cheeks and long moustaches, thinner and curved and pointed at the ends. Ladies either wear a long petti-coat (ghaghrā) and short-sleeved coli leaving the stomach region bare, and an odhani, with either a long plated braid of hair on the back, or the hair tied into a knot at the back of the head. Body colour is usually dull light pinkish, jāmās are often in red and sometimes in yellow, green, etc. Ladies often wear red lower garments. The colours used are red, green, yellow, grey, black, brown, white, pink, saffron etc. and are not very bright as in the case of the Candarasa copied in Poona referred to above. It is interesting to note that ladies sometimes have a horizontal doublelined tripunda-like red tilaka mark running across the forehead or have a circular red dot-like tilaka, 105
Mānatunga-Mänavati-Rāsa is another Jaina story which became popular in the seventeenth and eighteenth centuries. A manuscript of this work (Cat. no. 506) also preserved in Dosabhai Abhechand collection, Bhavnagar, has but few illustrations sometimes two on one page. One interesting miniature is of a Jogana (a Yogini, an ascetic lady), a wandering nun, illustrated in flg. 153. Fig. 154 shows a warrior, with a sword, shield and a lance, riding on a dark-brown running horse, and wearing a greyish jāmā and turban. Men wear long jāmās and turbans (fig. 155). Figures are long and not stunted as in the Candarasa from Bhavnagar. Body complexion of males and females is reddish. The drawings are smooth and neatly done without any background colour. The colours used in these miniatures are red, light blue, grey, yellow, black, violet, pink, light green and white. The
105Of different styles in Saurashtra so far known, one might also note the paintings of a Samgrahani-sutra, painted at Wadhwan in 1638 A. D., from Sri Motichand Khajanchi collection, now in the National Museum, New Delhi. More Documents of Jaina Paintings, figs. 67-68 p. 23; Miniature Paintings from Shri Motichand Khajanchi collection, figs. 97-98.
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manuscript was copied in V. S. 1760 = A. D. 1703 at Vyāhära in South Gujarat. Features of different figures are typical of the region in which it was painted though the general style seems to be the same popular style of Gujarat in the eighteenth century.
Fig. 142 is from a horoscope of one Haridāsa, son of Gulābdāsa, of Deesāvāla, caste; the horoscope was cast and written in scroll form in V. S. 1781=1724 A. D. at Ahmedabad. The illustrations contain representations of planets etc., of those which Mars (Mangala ) and Mercury (Budha ) are shown in fig, 142. The horoscope is preserved in the L. D. Institute, Ahmedabad (Reg. no. 27678 ), size 2425 x 15 cms.
Besides scroll paintings of Vijnaptipatras available on paper (or cloth) in Jaina bhandāras we also obtain other types of patas on cloth or paper in scroll form or otherwise. 106 Some of the less known and unpublished pațas and Vijnaptipatras are noted in Cat. nos. 518-564, pp. 82-92. One such interesting scroll is L.D. Institute, no. 27824 (Cat. no. 569) of Lokanālikā or Lokapuruşa, on paper, profusely illustrated with paintings of Devaloka (gods in heavens), Madhyaloka, Hells and nether regions. It was painted in V.S. 1858 = 1801 A.D. Fig 156 represents a section from it showing Devaloka, Vimānas of Jyotişka region, and part of the Madhyaloka This pața seems to have been painted in Gujarat.
Figs. 157-158 illustrate two sections from another big pața, with text regarding Šilpa and Jyotișa, from collections of the L. D. Institute (no. 6991, size : 493 x 21 cms.) painted in the nineteenth century with representations of asterisms (naksatras) signs of the Zodiac, planets, etc.
Fig. 159 is a diagram or chart on cloth of the Jambū-dvi pa circular in shape, surrounded by the ocean Lavaṇasamudra. Explanatory notes regarding continents, rivers, mountains, etc. of the Jambū-dvipa are written everywhere in the chart. The language is Gujarati. The chart was prepared in V.S. 1888 = 1831 A.D. size : 95 x 84 cms. It is preserved as no. 28068 in the L.D. Institute, Ahmedabad (Cat. no. 540).
108 For a list of several Vijñaptipatras and other patas, see More Documents of Jaina Paintings, pp. 26-27. Also see Hiranand Shastri, Indian Pictorial Art as developed in book-illustrations, Gaekwad's Archaeological Series, no. 1, Baroda, 1936; A pre-Mughal Citrapaļa from Gujarat, IHQ., Sept. 1938, pp. 425-431, Moti Chandra, Jaina Miniature Paintings from Western India, pp. 46-56.

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Figs. 139-140 illustrate a hitherto unpublished Vijnaptipatra written from Jodhpur in V.S. 1882 = 1825 A.D. This is a good specimen of Jodhpur painting of the first quarter of the nineteenth century. It is preserved as no. 200 in Dehlā no upāśraya, Ahmedabad (Cat. no. 559).
Two interesting Vijnaptipatras written at Sojat in Marwad, near Ajmer and Beawar, present to us beautiful paintings done at Sojat in the late eighteenth and early nineteenth centuries A.D. One in the Dehlā no upāśraya, Ahmedabad (DA no. 201) was written in V.S. 1895 = 1838 A.D. (Cat. no. 561). 107 The other, more beautiful and written in c. 1750-1800 A.D., is illustrated here in figs. 150, 151, 152 and 141. Figs. 151-152 show details of fig. 141. Paintings of this scroll may be compared with the paintings of the Upadeśamālā of Sirohi school earlier published by Moti Chandra and U.P. Shah.108 Even though the settings of Upadeśamālā stories are different, a certain relation is obvious in the treatment of horses (fig. 152) and the male and female figures. This Sojat Scroll is a beautiful specimen of art, there are obvious attempts at shading. Animal and human figures in various actions are vividly portrayed. This scroll needs chemical treatment to bring to light the beauty of original shades of colours used. However, a certain joy of life and grace and delicacy can be observed in these figures which have a charm of their own and the treatment of human figures is superior to that in the Upadeśamālā manuscript. Age of this scroll may tentatively be regarded as latter half of the eighteenth century A.D. Painting of Sojat awaits further exploration.
In fig. 150, we find red background, the Jaina monk wears a white caddar and a pinkish dhoti, his body is painted greyish. The Śrāvaka (Jaina lay worshipper) wears white turban and a white jāmā with gold used in borders etc. The Śrāvaka next to him wears a pink jāmā and a greenish turban. Of two more Śrāvakas in the next row, the first one wears a yellow jāmā and greenish turban with red dots and golden decorations, his body colour is brown. The next figure of brown complexion wears a green jāmā.
107 Unfortunately we could not photograph it. 108 New Documents of Jaina Paintings, Colour pls. XI-XIV and figs. 62-74.
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The nun below the figure of the monk has a brownish complexion, The second nun, on a lower plain, wears a yellow upper garment and a white lower one. The nuns sit on a rosy carpet with yellow border. The first lady, in front of nuns, wears a green coli, a yellow ghāgharā (skirt) with red spots, the second lady also wears a green coli and a greenish skirt with rosy spots, the third lady wears a green coli and a pink skirt. In the second row, the ladies wear green, yellow and blue colis and grey, green and yellow skirts.
Fig. 143 is a detail from a Vijnaptipatra from Jodhpur written in V. S. 1892= A. D. 1835 and addressed to Devendra sūri at Surat (Cat no. 560 ). It is preserved in the L. D. Institute, Ahmedabad (Reg. no. 27644), size is: 1110 x 29 cms. The Jina's mother rests on a cot with red bed and cushion. The Mother wears a yellow coli and orange coloured shirt with blue paryasatka in centre. She wears a blue odhani with yellow border. The attendant wears a yellow odhani. Behind the arches the walls are green. This may be compared with figures 139-140 from another Vijñaptipatra from Jodhpur in the collections of Dehlāno upāśraya, Ahmedabad, which is a more refined production of a superior artist.
Fig. 148 illustrates another detail of a portion from the Vijnaptipatra from Jodhpur noted above, and dated in V. S. 1892-1835. A. D. Here an ācārya is giving discourse to the fourfold Jaina sangha represented by figures of Jaina laymen, laywomen, monks and nuns. A lower small panel shows a female dancer in Muslim costume, accompanied by a group of musicians playing mrdanga etc. The drawing is somewhat crude with very thick lines. It will be seen that the Vijnaptipatra does not follow the style of Marwar represented by this Jodhpur Vijnaptipatra. The other Vijñaptipatra from Jodhpur in Dehlā no upāśraya collections no. 200 (Cat. no. 559) and dated in V. S. 1882 = A. D. 1825 shows more refined taste of the artist (fig. 139-140).
• Figures 145-146 are from a Vijnaptipatra on paper, from Krsnagadha (Kisangadh) near Ajmere in Rajasthan, written in V. S. 1874 = 1817 A.D. and addressed to Pandit Rūpavijayaji at Rajanagar (Ahmedabad). It is preserved as no. 202 in the collections of the Dehlāno upāśraya, Ahmedabad. The first picture (fig. 145) represents a gateway of the Kisangadh fort showing love of nature of Kisangadh
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artist. Fig. 146 illustrates part of a procession, with riders on elephants, horses and camels and an infantry carrying hand guns. This is a good typical example of Kisangadh painting of nineteenth century deserving further study.
Fig. 147 illustrates a few panels from a Vijñaptipatra from Surat (Cat. no. 555) addressed to Ācārya Vijayarddhi sūri residing at Bahedā Nagara. Baheļā is possibly Mori-Beda in Rajasthan. The scroll is 345 x 26 cms. in size and is preserved in L. D. Institute, Ahmedabad.
In the upper panel red and green backgrounds are used. The Jina is yellow in complexion. The śrāvikā on his right is dark in complexion and wears a yellow odhani and green lower garment. The Jaina monk in the lower penel is greyish in complexion and wears a yellow garments. The first Jaina layworshipper facing him wears a red jāmā, the second figure wears a red turban and yellow jāmā. The first Srāvikā behind him wears a green coli and brown skirt, the second lady a brown coli and a red skirt. In the third panel is a boat with a yellow mast. The sailor in front is pinkish and wears a reddish coat, the sailor on the other end wears a brown coat. Both of them wear blue caps which seem to be European caps. The boat is painted red. There is no date in this scroll but it is assignable to nineteenth century V. S. or to 1780-1820 A. D. The scroll needs chemical
treatment.
Figure 161 shows detail from a Hindu Pața entitled Gopicanda ki Sabadi. The size of the scroll is 970 x 15.5 cms. Preserved in the L. D. Institute as no. 6590, this scroll has paintings from the life of King Gopicand who turned an ascetic of the Nātha sect of Yogis. The text is written in Old Avadhi language. The text may be some popular account of Gopicand which mendicants might have been singing with instruments like the Rāvanahatthā. 109 Paintings of this scroll are in a popular style of wall-paintings, though it is difficult to ascertain the provenance of this style which may be Gujarat or Rajasthan. The scroll seems to have been painted in c. eighteenth century A. D. (This is not included in the Catalogue)
109About four decades back, many mendicants in Gujarat used to sing the story of Bharthari (another Natha-siddha), playing on this small simple string instrument.
50

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Notes on Art
Another interesting Hindu pața in the L. D. Institute of Indology is a big pata (Cat. no. 547) which seems to depict, in different partitioned sections, scenes of celebration of enthronement or installation of a Dharmaguru (religious head) of some Hindu sect. It is a very interesting pața with several attractive scenes as can be seen from figures 164 and 164 A. Figure 164 depicts an acrobatic dancer balancing herself on two hands with face downwards and legs upwards and shooting an arrow with her feet. Figure 164 A represents another dancer with several pots (one above the other) on her head balanced without help of hands and holding with one hand an object which looks like a flowering plant. She is followed by two more dancers playing with chains and then a male figure playing cymbals, a female figure beating a drum and another male playing on a sārangi-like string instrument. The males wear jāmās and turbans. Ladies in this pata are often seen wearing nose-rings along with other ornaments. The artist has drawn elephant, a chariot drawn by two bullocks, trees, thrones etc. in various scenes. The pata seems to have been painted, in some part of Saurashtra. An inscription painted in black gives the date as V. S. 1884 = A.D. 1827. The colours commonly used here are red, rose, grey, blue, yellow and black. Perhaps the Dharmaguru belonged to Kabira-sect as he is shown with a conical cap.
Figure 144 represents a page from the legend of King Vikramāditya and a clever thief known as Khāparā (Skt. Kharpara)-Cora ( thief). The illustrations are in very small panels, painted in a popular or folkish style in Gujarat. The language of the text is old Gujarati (Cat. no. 493). The manuscript dates from c. eighteenth century A.D.
Fig. 162 shows a page from Kurvarabăinum Mamerū composed by Gujarati poet Premānanda in V. S. 1739 = 1682 A.D. This manuscript was copied by Nāgaji at Sanavāgrāma. The colours are bright. The paintings seem to belong to c. nineteenth century A.D. 110
The various Jaina Bhandāras had their own system of cataloguing and preserving manuscripts. They were and are still often stored in different wooden or papermache
110 One more manuscript of Kurvarbāinu Mämeru was seen a few years back by me in the collections of The Bharatiya Vidya Bhavan, Bombay. Another illustrated ms. of this work is reported to have been in the collections of the British Museum, London. I have not checked this information.
51

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Treasures of Jaina Bhandaras
boxes painted on all sides from outsides. Several manuscripts of almost uniform size would be preserved in one box. In the catalogue or Register maintained, they would be given continuous numbers and entered under Box 1, Box 2, etc. One such old catalogue in scroll form was shown to me a few years back by the late Muni Sri Punyavijayaji.
Colour figures X and Y illustrate two beautiful paintings on two smaller sides of such a wooden box, now preserved in the Dehlāno Jaina Bhandāra, Ahmedabad. Painted on a bright red background, colour figure X, shows a scene of two persons sitting under a pavilion, one against a cushion seems to be some princely figure, the other in front of him and holding a wine flask and a cup could be a magician talking with him, or he may be another high ranking visitor. In the foreground are ducks in a small reservoir of water, small creatures like a mouse, a squirrel and a cat. One person plays on a musical instrument while another seems to be opening the lid of some box, and looking on one side, gesturing to somebody. The scene is not identified. Turbans of most of the persons remind us of Persian and Mughal tradition, so also the costume of the various persons. This is a lively scene, neatly painted and dates from the seventeenth century A.D.
In colour Figure Y, again with a bright red back-ground, we have a hunting scene with a royal figure shooting with a hand-guns riding on a well caparisoned elephant trampling on a horse. In the landscape in the foreground are some animals running out of fear.
Two beautiful boxes, of paper-mache, exist in the collections of Muni Sri Punyavijayaji, in the L. D. Institute, out of which, one with beautiful Mughal paintings was illustrated by U. P. Shah in the More Documents of Jaina Paintings, figures 81-83. These date from late sixteenth or early seventeenth century A. D.
After some direct Persian impact due to coastal trade in W. India (Gujarat) and after the rise of the Mughal School under Akbar, new experiments in painting had started in Gujarat. In fact some names of Gujarati artists in Akbar's atelier, like Bhim Gujarati and others, suggest that this new impact also brought about fresh activities in Gujarati painting which tried to free itself from the older traditions
52

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Notes on Art
of Jaina miniatures. Also with the growth of Rajasthani schools, there also grew, as might be expected, different schools in Gujarat, a proper study of which needs further exploration and research. The finds enlisted here, and in More Documents of Jaina Paintings as well as earlier in New Documents of Jaina Paintings point in this direction and we have now sufficient evidence111 to show the express need for further explorations and research.
Colour figures S, T, U, V, W, X, Y, Z, ZA, ZD, ZE and I are all results of this new activity. The various Sripālarāsas and Canda-rāja-rāsas painted in Gujarat are also continuing this new activity.
One more interesting document of this activity came to our knowledge after the exhibition (mentioned in Preface) was over. We are illustrating here only one painting, in Colour figure ZD from a Kalpa-sūtra from Nemi-Vijñāna-Kastūrasuri Jñanamandira, Surat. The manuscript is profusely illustrated and dates from c. seventeenth century A. D. The painting represents the Jala-kridā of Krșna and his queens from incidents from the life-story of his cousin brother Neminātha.
In this manuscript different background colours are introduced, the extended farther eye and the three-quarters profile are discarded. Figures are lean, but costumes show new elements including influence of Mughal costumes from contemporary society. In the treatment of three-peaked crowns contemporary Vaişnava influence 112 seems to have worked from Bhāgavata miniatures etc. Some of these miniatures show influence of what I once called "Sirohi school" from the beautiful Devasānā pādā Upadešamālā, the Devi-Māhātmya painted at Surat in the early eighteenth century, now in the Prince of Wales Museum. The problem of nomenclature of Sirohi school is already discussed in the preceding pages. It is quite certain that this school had a wider provenance in the whole of Gujarat and parts of Rajasthan, especially southern-Rajasthan, and that this was one of the best creations of this new activity.
11 Besides the Jaina manuscripts, we have evidence of Hindu manuscript like the Balagopala-stuti of N. C. Mehta's collection (c. 16th century) the Balagopāla stuti of Kankroli collection, the Gita Govinda of Kankroli collection etc. 111cf. Paintings of Visnupuri's Bhakti-Ratnāvali painted in Ahmedabad in 1750 A. D. published by M. R. Majmudar in Journal of the University of Bombay, Vol. VIII, part 2, September, 1939.
53

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There were many smaller schools or styles, localised possibly in smaller states who patronised different artists in Gujarat, just as it happened in other parts of India, e.g. the different "Thikānṇās" of Rajasthan or the different centres of Pahari schools. But much more exploration is necessary.
Treasures of Jaina Bhaṇḍāras
Figures 167 and 168 painted on a box for storing pens for writing manuscripts are pointers in this direction. Figure 168 representing a chariot-rider prince followed by his retinue of soldiers etc., the human figures show affinities with those in the Paryuṣaṇā-Kṣamāpanā-patrikā painted at Ahmedabad in A. D. 1796 and illustrated in figures 136-138. But the painting of Gaṇeśa with two female attendants and figures of Sarasvati and Ambika drawn with a fine brush in minute details (fig. 167) would not exclude the possibility of this box having been painted at some other place in Gujarat.
An interesting example of incised line-drawing on the outer surface of a bathing vessel of copper, called Tamba(copper)-kundi (a type of vessel) in Gujarat, is illustrated in figs. 179-180. The vessel is in the collections of the L. D. Institute of Indology. The provenance is not known but could be Gujarat because tămbakundis of this shape had been very popular in Gujarat. In order that the vessel could be purchased for use by a follower of any sect, the copper-smith incised figures of Brahma, Śiva-Pārvati (fig. 179), a Jain ācārya (fig. 180) possibly representing a ganadhara, figure of a Jina and a figure of the Hindu goddess Kali, and the goddess Gayatri on its outer surface. All the figures show good workmanship of a skilled artist. The vessel probably dates from late nineteenth century A. D. (Cat. no. 579).
Several bronze and brass images are preserved in the L. D. Institute of Indology Ahmedabad. Of these, a beautiful miniature brass shrine, open on four sides, with the image enshrined in it missing, is illustrated in fig. 178. The shrine was goldgilt. Size-height 45 cms. x maximum width at base, 24.5 cms. It has an inscription underneath (see Cat. no. 574) which shows that this Caturmukha-prāsāda was the gift of a Jaina Samgha. The place-name is not given. The shrine was cast by Sūtradhāras Bharmalla and Pratapamalla of Mevāḍā caste.
54

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Notes on Art
A Samavasaraṇa113 sculpture in brass, preserved in the L.D. Institute, is illustrated in fig. 170. An inscription on it shows that this was consecrated in V.S. 1534, size 23 cms. x 19 cms. (See also Cat. no. 590). The Samavasaraņa belongs to the Digambara sect of the Jainas, as suggested by the inscription on it.
An earlier bronze figure of a standing Jina, of Digambara tradition, unfortunately broken from below the knees, is a beautiful piece of art, hailing from south India and assignable to c. twelfth century A.D. (fig. 175). Its height at present is 16 cms. (cat no. 573). Stylistically the bronze is similar to a standing Digambar Jaina bronze in the National Museum, also of about the same age.114 Both the bronzes seem to hail from Karnataka.
The L. D. Institute preserves several Jaina bronzes which cannot be discussed here for want of space. But one very interesting old bronze from W. Khandesh is discussed below. A Brass Image of Adinātha from Sirpur, W. Khandesh
The late Agama-Prabhākara Muni Sri Punyavijayaji was presented with a brass image of Ādinātha by the Jainas of Sirpur (Śripur ?) in W. Khandesh. The image (Cat no. 571), along with all his other collections was given over to the L.D. Institute of Indology, Ahmedabad, according to wish of the late Muni.
The bronze is illustrated here in colour as frontispiece, with detail of Ādinātha in figure 181 while the inscription on the back of this image is shown in figure 181A. The bronze measures 28 cms. at base while its total height is 37 cms. It is in very good state of preservation excepting the fact that the paksa on the right and the yaksi on the left are mutilated and lost with only a part of yakșa-figure still remaining
The inscription on the back, incised in five lines, in Brāhmi characters of c. seventh-eighth century A.D., reads as under :Line 1 :- Gacche Vidyadharāņām nijakulatilakah śrāvakah
118 For Samavasarana, see, Shah, U. P., Studies in Jaina Art, pp. 85-95 and fig. 76; Jaina Bronzes from Cambay, Lalit Kalā no. 13, pp. 31 ff. fig. 1. 114Shah, U. P., A Few Jaina Bronzes From The National Museum, New Delhi, Journ of the Oriental Institute, Baroda, Vol. XXIV, nos. 1-2, (1974), pp. 238-242, fig. 15.
55

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Line 2: Sreshimukhyaḥ śrima[n] tirthaisva(theta)rāṇām niya(ja)-Jina
Line 3
Treasures of Jaina Bhandaras
(bhavana dadhi
cakardveva(ddeva)kośam115 kṛtaścam(s'ca) smatrahetoicaturu
samūna1 puṇyaparṇau(parṇā?) niddhi(dhi)nvām(nām) ṣashavā sam(sam)yutaulau(tosau) ja
Line 5 nanayanamanohārina(ṇam) Durggakakhyaḥ
There is some mistake in line 4, perhaps by one who incised the inscription, can we amend punyaparnau or punyaparṇā to punyasaranam punyasaram? Also perhaps nidhinvam can be read as nidhincam=nidhin ca.

The inscription says that Durggaka, the leader of merchants or the best of merchants, along with Saṣṭhavva erected a temple of Jinas and established a Devakośa i.e., an account of Devadravya, i.e., money to be spent for the Lord, and also he made a lake (?) (vast) like the four oceans, for bathing. Durggaka, an ornament of his family, was a Śrāvaka (pious Jaina lay worshipper) in the Vidyadhara gaccha.117
In front on the lower end of the pedestal, on the right side of the image, is shown a bearded male figure wearing a neck ornament of pearls or gems and holding his right hand over his head, as if in honour of the Jina above. In his left hand he holds an indistinct object. On the corresponding left front end of the pedestal is a female figure in similar posture and wearing ornaments. A small inscription on the side of the male figure reads - Durggamahattaro praṇamati (Durgga the headman bows or makes his obeissance). On the side of the female figure we have - Saṣṭvā pranamati (Saṣṭvā pays her homage). As shown in the inscription on the back of this image, Durgga and Sasthavva are the two donors. My friends Dr. K. V. Ramesh and Dr. Krishnan, of the Department of Government Epigraphist, who kindly read this inscription for me, inform me that Sasthavva is a name which suggests that the donor lady was from Karnataka. Of course we do not know whether the name was also current in W. Khandesh
115[Kuvam ca?] Kṛtam ca
116 metrically defective.
11The Vidyadhara gaccha belonged to the Svetambara sect.
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Notes on Art
and the Deccan. It is presumed that the bronze was installed in W. Khandesh where this image was found.
This is an exquisitely cast image. The figure of the Tirthankara, who can be identified as Adinatha from the hair locks on his shoulders, with his robust and gracefully modelled body and silver-inlaid eyes, is indeed a beautiful specimen of art (fig. 181). The typical arrangement of hairline on the forehead is known from bronzes and sculptures from Karnataka, of about ninth-tenth centuries A. D.118
The lower part of the yaksa figure, still preserved, suggests that he was a two-armed Kuber-like yakṣa, carrying a long purse with his left hand. The corresponding yakṣi, now lost, can be inferred to have been a figure of the twoarmed Jaina yakși Ambikā. Figures of both the yakṣa and the yaksi rested on fullblown lotuses, that of yakṣa is supported by a beautiful crouching elephant while a terrific looking lion supports the lotus-seat of the yaksi Ambika who has the lion as her mount. The Kuber-like yakṣa is the Sarvanha (Dig.) or Sarvanubhuti (Śve.) jaksa whose vahana is the elephant.
The general treatment of the lower half of this bronze, including the Simhasana and the pedestal, follows some of the traditions of Western Indian Jaina bronzes, 119 and to some of Jaina bronzes from Karnataka and the Deccan. 120 The small figures sitting in a row on the pedestal are the nine planets often seen on Jaina bronzes from W. India.
The modelling of the Jina figure is in a style different from the beautiful bronze from Chahardi, W. Khandesh, in the Prince of Wales Museum, Bombay. This bronze is earlier in the age than the Chahardi bronze as is clearly suggested by the script of the inscription (fig. 181A).
It seems, from all considerations, that this brass image was cast in W. Khandesh and dates from c. late seventh century A. D., or around c. 700 A. D. This was the period when W. Khandesh seems to have been under the Chalukyas of
11 Aspects of Jaina Art and Architecture, paper no. 26, fig. 60.
119 Cf. for example, Shah, U. P., Akota Bronzes
170 Shah, U. P., and Dhaky, M.A. (ed.), Aspects of Jaina Art and Architecture, paper no. 26, fig. 60.
57

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Treasures of Jaina Bhandaras
Navsari, a branch of the Chalukyas of Badami. Prior to this, the area was for sometime under the Kațaccuris and later under the Sendrakas.
From some more bronzes in the L. D. Institute, one more is illustrated here in fig. 185. Pārsvanātha here sits on a big lotus with a thick, long stalk, attended by a two-armed yaksa and the two-armed yaksi Ambikā. The bronze is rather worn out due to long worship. It dates from c. ninth century A. D.
A loose brass or bronze Caitya-tree was discovered in the Chausa hoard now in the Patna museum. It dates from the Kuşāņa period. 121 A Caitya-tree associated with Adinātha is worshipped at Śatruñjaya, but this is a real tree. Separate worship of Caitya-trees in stone or bronze is otherwise not known from Jaina shrines. However, an interesting rare example of a big Asoka-tree of brass or bronze, is preserved at Jesalmer in Rajasthan (fig. 177). This is placed on top of a big Caumukha shrine.
A very rare example of a conch with figures of Tirtharikara Mahāvira and his eleven ganadharas engraved, on its surface, each under a separate shrine symbolised by a niche with a trefoil-shaped arch above, is illustrated in figures 171-172. This unique find is preserved in the L. D. Institute, Ahmedabad, as a gift from the late Sri Acalmalji Modi of Sirohi. Sri Modi had told me personally that it was found by a farmer from a field in a village about 16 miles from Sirohi. The rest of the surface of this conch is filled up by lotus-leaf, creeper and other decorative motifs. The carving of figures of Ganadharas etc. appears crude but the decorative motifs suggest a date not later than c. 14th-15th century A. D.
A very late Caumukha carved out of wood in c. 19th century is illustrated in fig. 169. It is in the collections of the L. D. Institute, Ahmedabad. Four seated Jina figures of a bigger size are facing four directions in the shrine on top while on the lower portion are carved several small figures of Tirtharkaras on four sides numbering 10+18+30+4. All told there are 66 figures of Tirtharkaras in this wooden sculpture
121 Patna Museum Catalogue of Antiquities (Patna, 1967), pp. 116-117; pls. XVIII-XVI; H. K. Prasad, Jain Bronzes in the Patna Museum, Mahavira Jaina Vidyalaya Golden Jubilee Volume, Part I (Bombay, 1968), pp. 282-ff. Aspects of Jaina Art and Architecture, paper 26, fig. 4
58

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In the same Institute, there are several stone sculptures of various sizes, most of them brought from some Jaina temple at Ladol, North Gujarat. One such carly image of a small size (24 cms height, x 20 cms. at base) is illustrated in fig. 173. It dates from c. tenth century A.D. Most of these figures are of marble.
Two beautiful big standing Jina figures, also from Ladol, are preserved in this Institute. Of these, one earlier is illustrated in fig. 176. Here Pārsvanātha is standing in Kayotsarga pose with five snake-hoods surmounted by triple umbrella overhead. Above these are various heavenly figures met with in a Jina's parikara. On the side of the Jina are five small seated Jina figures with one more standing Jina. To the left of Pārsvanātha are five seated Tirtharkaras and a small standing attendant unidentified figure. Beside the legs of the Jina are two bigger figures of attendant fly-whisk bearers. This is a beautifully carved sculpture of c. eleventh century. A.D.
Jainas used to worship Tirtharikara122 images made of precious and semi-precious stones. Images made of crystal are more common. One such big crystal image is in worship in Śri Stambhana-Pärsvanātha temple, Cambay. A small crystal image of a Jina in padmāsana, dhyāna mudrā, from collections of the L. D. Institute, Ahmedabad, is illustrated in fig. 174. Age. c. 17 century, A.D. (Cat. no. 578), size 16x12.5 cms.
A very precious image of Pārsvanātha, made of light green jade has been gifted to the L. D. Institute, by Muni Śri Punyavijayaji (Cat. no. 575). It is a small image of 12x8 cms, size, with a figure of Pārsvanātha, surmounted by snake-hoods. Its age is c. 16th century. A.D. (See Frontispiece)
In Gujarat especially there were several beautifully carved wooden Jaina shrines.123 Some still exist and are in worship. Smaller wooden-shrines for household worship (Gpha-Caityas) also existed. Two pillasters, with miniature figures of dancing
112Shah U. P., Jaina Bronzes-A Brief Survey, in Aspects of Jaina Art and Architecture, p. 269 and foot-notes 1-6 on pp. 289-290 for references from Jaina texts about various materials from which Jaina images are made and worshipped. A silver image of a Jina installed by Hemacandra sūri is discovered in a Jaina shrine at Tharad by Dr. R. T. Parikh. It is said that there are images of precious stones in a Jaina collection at Mūdabidri in Karnataka. 128 For more information, see, Dwivedi, V. P., Jaina Wood-carvings in the National Museum collection in Aspects of Jaina Art and Architecture, pp. 415-422, and Jaina Art and Architecture, vol. III, chp. 32, pp. 428-438.

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females on three sides of each, from such a Grha Caityas are in the collections of the L. D. Institute, Ahmedabad (Cat. no. 581-582). These are illustrated in 182183. They date from c. sixteenth century A.D. and are important for study of history of dance traditions in Gujarat and W. India as a whole. Some of these postures are comparable with Odissi dance traditions.
Of about the same age there are beautifully carved wooden-panels in this Institute. fig. 187 illustrates a beautiful long panel with some unidentified scenes from Jaina mythology. Fig. 186 is a detail from this panel showing the Wheel (Cakra) of law (Dharma-cakra) of Jina being transported in a chariot. It probably respresents the cakra-ratna of a world-conqueror (cakravartin) of Jaina mythology. The panel (fig. 186) shows highly advanced skill in wood-carving in Gujarat. Fig. 160 illustrates a row of five Tirtharkaras enshrined in niches with Illikā-valaya-torana arches on top of decorated pillars. The panel is not later than c. 16th century A.D. and is probably earlier.
One more panel, representing perhaps a scene from the life of Neminātha is illustrated in fig. 149 from the collections of the L. D. Institute. It is later and might date from c. late seventeenth century A. D.
Umakant P. Shah

Page #76

A.
Tri a tisalakapuruşacarita, Cambay Cat.
no. 186, Folio 234. A donor lady.
A Jina's diksä. Palm-leaf ms. of Kalpasutra, Jesalmer Collection, c. first half of 14th cent A.D.
Teacher Preaching. Ms. same as B.

Page #77

co
Haag
INSTITUTE OSTATO
Palm-leal ms. of Dvyasrayavrtti, Jesalmere, tio. 340
Gaulama Ganadhara, ms.of Samyaktvu Kaumudi. DA. 10. 9. V.S. 1479=1422 A.D.
ore
F Teacher & Taught - from Palm-leaf ms. of Avašyuka Laghuvptti, Cambay Cat. no. 410. d. V.S. 1445=1388 A.D.

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OUT TOIVIU
Palm-leaf ms. Kalpasutra - Kalakakatha from Palitana, V. S. 1439=1382 A.D. A Jina's Nirvana. Jina sitting on Siddha-Sila
Ms. same as G. Gardhabhila king captured and brought before Kālaka.
Ms. same as G. Nativity of Jina.
A painting from Sripala-Räsa painted at Surat in 1829 A. D.

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O
GCGC
Paper-ms. of Kalpa-sutra dated V. S. 1403=1346 A. D. Collection of Muni Punyavijayaji, LD Nativity of Mahavira and Indra taking newly born Jina
for birth-bath.

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LUOROUS
Paper ms. of Kalpasūtra c. 1425 A. D. Fig. of a Jina. Hansavijaya Collection,
Jiliinamandira, Baroda.
KXXXXXXXXXX
M A Jina's diksi. Paper ms. of Kalpasūtra, Hansa vijaya Collection, Baroda,
e. 1425 A. D.

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O
नाणीउपर विलायतपदिक दिदावहिंज्ञावत विसाशनिक रिहानमा माछ

वाष्पतारा।।। रातच वसवंजाव दाणं दावा ऊस वा साग। पढाममात्मादाच वाहतस्य सावण सुहम्सा
यकणिए
सगाडगि नापदस
परितापता परकामा
बडी पारक
Nativity of a Jina. Gold-lettered Kalpa-sutra, Samala pole Collection no. 25 (5) Cat. no. 418
1179
P
Scene of hunting by a king and meeting of king and a monk, Uttaradhyayana Sutra, Parsvacandra gacchaupāsraya, Mandal, V. S. 1505 1448 A. D.

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M
Child-Play of Mahavira and Sangamaka's Upasarga. Paper ms. of Kalpa-sutra, DA. no. 70, V.S, 1516
Mahavira giving away his garment to a Brah. maņa. Paper ms. of Kapla-sutra, DB. no, 2991,
A.D. 1503

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1
From Uttaradhyayana Sutra. c. 17th cent. A.D. Devasinā padano Bhandara,
Ahmedabad
From Uttaradhyayana Sutra e. early 17th cent. A.D. Devasana padano
Bhandara, Ahmedabad.
From Paper ms of Upadešamala-prakarana, DA, no. 145.
c. 1650 A.D.

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।
AAP
MOGOKORXOXA जोममायागरचारपर्वत।
विजयातायात आ.का-पट/अमदावाद विविधतीर्थ वसपटले.सं.१६१
ISISTAN
Vividha-Tirtha-Vastrapata, Collection of Anandaji Kalyanji Pedhi,
Ahmedabad, d v. S. 1698=1641A. D.
माटेपर्वतमायाकमारवार कातिप्रामाबाबा मागाइदकारिता याममायाविहारमनामक
irtan
दीवाना
AAAEAA
writA
रासाजवादीया
CAPACIM
FARशेठ.आ-का-पटी अमदावाद विविधतीर्थ वसपट. ले.सं.१६८
FARIDASTE
FREE
Same as v

Page #85

KIGINT
X
Wooden box for storing manuscripts, DA. Collection, Ahmedabad c. 17th cent. A. D.

Page #86

MODOS
Same as fig. X.

Page #87

Z.
Pratisthakalpa-pata, Jaina Pracya Vidyabhavana, Ahmedabad, no. 146 d.V.S. 1780-1723 A.D.
ZA.
Same as fig. Z
जै-प्रा-१४६ प्रतिष्ठाकल्प ले .सं. १७८० 20
Cl

LAYA
FOOLEXEY

Page #88

MALALLAMA
ZB Vijaya setha-Vijaya-Sethani-Rasa, Jaina Pracya-Vidyabhavana, Ahmedabad, no. 166,
Age, c. 1700A.D.
कोरीव्यापारीयानलाघधनगर देखें
MAN
Zc
Salibhadra Catuspadika, Kantivijaya Collection. Baroda, no. 418. c. 1700 A. D.

Page #89

XIV

ZD
Jala-krida of Krisna from Kalpa-sutra of Nemi-Vijnana-KasturaSüri Jnanamandira Collection. Surat, c. Seventh Century A.D.
筒皮
ANCHUGO
WWW
@
2401444
ZE
From ms. of Lokaprakasa, DA. no. 165.
d. V S. 1714-1657 A. D. Painted at Rajanagara (Ahmedabad)

Page #90

ZF.
From Kalpa-Sutra painted in V.S. 1861-1804 A.D. SA. no. 27(13) Cat. no. 501.

Page #91

pocs DODEND DropDOSTOPNOooon
ZG. Detail of Colour fig. Adinatha, frontispiece-1

Page #92

यताप्रतयवशाहायवहार किसमालोर सिस्वय विपदसिद्धिमाकाश किंचिदमतालावयदान खित कारकसबंधाधोतमायादसासितवानानुदिश्वर अमिताछ ईमाविंशतिनामसामधिगम आवास सालोक संवोद्योतताउतिसाच. संवोद्योतममानाकालिवितमिदंधीकिनाननंदिया नितिक संवत्रत पदालाशnिua
I, Last page, paper ms. of Karakasambandhodyota, V.S.1286-1229 A.D.
L. D. Institute, Ahmedabad. No. 27573, Size 17.5 x 7.5 Cm.
यवनवणापडानातहवानारामचालउड बाजागारकसुमुहागासुरियावरियापरिक्कम रदियपरिक्करबासिरसनागजहानानपण
पपकाउसमकामागविवादणादासाउसमपरतापय. पत्तवाडयातााउबारंपासवागनमीपावासिरिजननननरिहाल---- नियामपरपावसायवरामदन वियापरिकापडियाईसुवि मम्रन१११८कार्मिका १५॥
2. Palm-leaf ms. of Vandanaka-cūrni, V.S.1178=1121 A.D. Sri Kantivijaya collection, Baroda
va
सकीयनकासाळाशवाहाडाशम निमयाकतिकमायाकानगावागावराज्ञताततपाईकविलाamumतः कामाका श्रीमतिदिवशरियततथी
शातिनादिवाकसमायमासिसहमिश्चत हिनायाबुहावयदाट मयित्वकटमद्यानात्वताशाप्ता
धिकामिाननद सामववाहिशाबतावासायंधाधाययावसामह दाधिानहाटानलगायाsunsal
ध्यागमाद्यश्रीभक्षणहिण्वानश्रीसाशतिमापदीयत्रीश्रलयकासराणा FN.
वयसकालवितामदियााकनाथिलम्बाला HINBILURRRRR R HETANATIONAIRamanTTA
3. Palm-leaf ms. Sri Santināthavrittam, copied in Patan in V. S. 1412=1355 A.D.

Page #93

4.
काथ अश्मपर्व नाथान्मीलदरव ला नरनाराद गणप्रकार कुरवादडप्रिया
8126
Palm leaf ms. of Trisastisalakāpurusacaritra, copied in Vs. 1297 = 1240 A.D. Size: 24 x 2.2 Cms. śāntinātha Bhandāra, Cambay.
II

मेगा मुडवासविद्यानाम्य काम पाह
jarati.
मानद। दिलाया यो धरम दिनमा उन
॥काला
सायद
परिणादिमिर
लागिर शाक्षीरूपेश है॥३॥ ०१ad गर ० मा कार्य
शाब
बालमनुपालयता लिखि॥॥॥३॥ कई पंचाय
तिरियन
नामाग‍
5. Paper ms. of Rṣidattacariya (New) (in Prakrit) c.V.S. 13th century Muni Punyavijaya collection, L.D. institute No. 10659 Size : 20 x 6 Cms.
म
पचका सायामध
वायर
२७ या से ora वाचा पुच
For Private Personal Use Only
पयास सात्यए हृदयमस
०१२३॥ वाखेलती |कमिदम
विरारला... आटाआ मण्यापासमश्रीयममकक्ष्य समाधारका
6. Handwriting of Mahamatya Vastupala. Palm-leaf ms. of Dharmaśarmabhyudaya-kavya, copied in V.S. 12901233 A.D. Size: 44.1 x 5.5 Cms. SC.

Page #94

निशादिमा काशिक्किायकवितायता कमानपक्षालासपचाबादधिकशतसेवाकयाधिका कयामाहादधियघोहगारविनिमीमा निरवराजधगद्यासरसवायसरायाअष्टादचाशतीमानहाविधकाशिवाय रामवनवाष्यमाथिा मईवयावा श्री
ArtigitaSESSINEERHI
7. Author's autograph copy of paper ms. of Kathāmahodadhi by Pratisthāsoma, V.S. 1504=1447 A. D.
Size : 26.2 x 11.2 cms. L. D. Institute, Ahmedabad.
पलमविरगुश्यरवासदलउकरदिसंसारुाताशि डिपदविणगसुरवातदोवद्यालयाचतिताससिहरे। वयेणीमगदरठवासतिहिंगणगायोतिषश्तावनपुन
वतीवडगुणवंतान सरपसाहसान्नातादोगुदियावंग हिमहिमकरावरिस्परायगवाहमाग्नतामामाल. मउदोहगयावाव हँडगुळणउलणेमारा ताल
हवंदहजम्वविशारदुपिपासाइरिटिशोतिना थवालासंय३0 वेवसादबारेमानहाथामिनन्ध मारहथेरपखिन्थसडमलदेवराजमुस्तेनमहाबरा
8. Paper ms., last page, of Santinātha-boli, copied in V.S. 1350 = 1293 A. D.
Size 21x8 cms. L. D. Institute No. 8484
Ram-ब्रमरिमभानिमगलाद बना मेकीसवमा जीवादनाची दमका पालामा विनाएपदयाविमथानम्मा मानचिएकादीशमान -8 डावयास नकाRARAMranceMasreakiym
जिजायमान बीमहीदिनेमुलीविगवाधिव्याधिनरावालझायाधालाकाराजासिवनी मनिवासीनयानीजयविनिन चितिव्यावविश्वाघरानियतिमा नक्कामावयम्पवमादाऽपरमतिसमक्षाविप्रवधिमः15तिक टोलकारमाध्या याममातगावनिरवरिशवाम्यानबुधा शुदाकयभवनातीनादि रेवास्था लिखनव्यारव्यादा मेनेवाला। धिमाललगाया। शुन्नवाशिममुमर्वनगत"डाया
पंचनाणममुडामतेविकमवममाघमामश्रणीतिमायझा मनात Iश्रीमदवशीचार्य शयथावक्रोकिद्राधीमलकारशिवमुरवारदा
9. Paper ms. of Rudratālankāra copied in V. S. 1455 = 1398 A.D. L. D. No. 10975
Size : 22.5x8.3 cms.

www.jairli brary.org

Page #95

IV

पिणेवायडाबकापलासबकीपदाविधकमासणायपठजनापागलूणाश्रीषटनाकटकापवासणाचनीयस्यपटाया विपापमुहपतिपवाटारगावीमानालवणसूकीपांववाणामुपकावानाबाक्तिसारोवादपंचमीतपासाल उपवासायबिलएकोतरका इदिनवसासासंदरतापवासापारणि प्रोबिलएकातरदिनानिजिगि तयानिजिगिश्तपानीबिलपारने बिहारएकासमा एकातरदिनध्धवाउसतिपार्मिमाश्यअपस्या रनगौतमप्रतिभातिबामदावारपतिमा॥धागालवालानावद्यश्लाउजमनुरुपानायम्याधारेतयोढाइए। गोमतमपन्यातयाअनुत्रालानोमधिनालिसा कामपवासपारणिएकामगाएव दिनविजमनुसोना नुपदमकुरा विपरिमदावार नापतिमाबाब सारिनिपिदमीतरतपशपदग्रहमश्या रनुकतकरावारमध्यकाबाबेदम मंदिनकामचउधतापदला ग्रहमपोरन कोतरोउपवासवसाहपबेत्र हमाबडाकर्मवादालतमा अवास३एकातरोग अपवासथाबला उ-उएकोतराजदपावासश्तपनाध्ययारणाशपालघुकर्मवाचालतमामवास३एकातरव उपबिंहमालधर्मशाप्रमहरपकातरवासघणेदाश्तूयमादिनष्पारणानसा वदिनउजमनुश्शामादकाधविश्वालतः प्रधाज्यवासयनिगएकोतारोउपवास३२नेदमश्ग्रेहम उरकल्पाणकसूपाउपवासण्याकतिराइमलाकरवीकमजतया उपवासंपारणेकाबिलमवारवाए।
10. Specimen of writing with
red and black inks to form a symbol or diagram V.S. 1673-1616 A.D. L. D. Institute No. 27541.

geuniorandee
ImminatandeihnahaturanjanनामविणाराषENangatalbumArasafifinitiadamaसान्निबालमSA
K ravaanaamaniशिामली Hande Juidarsj. पमा
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LRAHINDURIKARAN brj-arjaiantarmletrianitariabhiarpitattejsansarS A Translama
Paryatan MyIdiariasphe
a warva MANA E Ramund R ASW
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HOMhal PHEHReaunteasphirtee INCHENIMERENPraman LEASERAHAirtemperapeuretrorekNSERSITERA
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भाऊसायनामिकासकमायनिजमनसा दलामागारमूला मस्मिनकामलक्ष्य दिसालधनिद्रामस्वाम्यातूनवामीमनिमविमुनि । खयाममाघमनस मामदायटानिमविखनमकाapमाकंठ'चकनगुसलमानिगा
नसावयासमायतमाम पटेमा मसलकणिकाजीनला नानिमायाश्चमांशममनिनावलिकर्मालती। मागमश्रमदानामनिरा
विनाशाकिनीष विकाग्निमिनमानांजन्मनाव गवाक वारस्तानचानमानिनीषमता taचिनविकी पनघुमित्रपिनमविश्वविद्धिमाम बुवाद मादेवामन मिनिहितरागतंयममीये. बादानिरह्मनिपवित्राम्यताधाधिताना मंद शिवचनिनिरबलावणिमाकामुकानि INESत्यनयान पवनतमुद्यामशिनातानमुखीमा चामके चाचमितइदावीदासजायचैव यो बिबि भी साम्यस्मात्परमव दिनासाम्पसमेनिनीना कारुदितामहपइन-गेमाकिंचिइनमा तामाबुकाम
MINSAR मचवचनावानमनाचापकाबूद्यादेवनवमहारामनिमथिममःचान कुजामबलेनिन
र भिवाविनासायसुलनविपदापाणिनामेनेदेवाअंगनांगंजतनुतनुनमगादतनेननमा कान learinaafaiबबदलना ग्रामविना कंकलितेन वीसममधिकतरावामिनाइश्वनीमकताममिवातिथि।
वागमनमा पार aur
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कयामावर
11. Specimen of Rikta-lipi
writing (leaving blank spaces) forming diagrams etc., V.S. 1615 = 1558 A.D. L. D. Institute No. 27537
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.

Page #96

12. Decorative roundel showing a
couple, Palm-leaf ms. of Jnātā sūtra and other texts, d. V. S. 1184=1127 A. D. SC no. 12.
बया
i to
u talih
13. Cakreśvari, Palm-leaf ms. of Uttarādhyayana
sutra, SC. no. 78, c. 1200-1250 A. D.
14. Sarasvati, Palm-leaf ms. of
Upadešamālā, SC. no. 101, V. S. 1308=1251 A. D.
महीना prachup
CRITIE
15. A Tirthankara (Dig. form), with a male and a female cama
radhara, Palm-leaf ms. of Uttarādhyayanasutra, SC. no. 83, V. S. 1308-1251 A. D.

www.jainelibry.org

Page #97

धमायार
NAT
वार्य।
वैधता રિવારની
वा
16.
A teacher nun, SC. No. 78 ms. of Uttara. su., 1200-1250 A.D.
17. Sri Devasūri, SC. No. 94, Yogaśāstra
ms. c. 1250-1290 A.D.
साम्मा
वाम ma
18. Sri Jambukumāra, Sri Sudharmma
svāmi & Sri Prabhava. Ms. of Uttarā dhyayana with vrtti, palm-leaf ms. SC. no. 85, V.S. 1352 = 1295 A.D.
जीतायता
यम
हादसानिक विसमा दायमा कवलना। वामीतिज्ञ काहायला
Rianad
जादाज
19. Fourfold Jaina Samgha - monk, nun,
layman, laywoman - worshipping,
Uttarādhyayana ms. SC. No. 85, 1295 A.D.
VI

,

Page #98

पिन
पस
1414
20. Yudhisthira & Draupadi,
Palm-leaf ms. of Pandavacaritra, SC. no. 220, age, c. 1250-1290 A.D.
सौदादर भकापित ਸ਼ਬਦ पतिविश्व
21. A Jina with attendants,
Palm-leaf ms. of Padmānanda Mahakavya, SC.no.200, age, c. 1300-1350 A. D.
22.
Mantri (minister) Padma before Amaracandrasuri preaching. Same ms. as fig. 21. C. 1300-1350 A. D.
VII

Page #99

VITI

23. Father and Mother of a Jina. Palm-leaf ms. of
Kalpasūtra, Pālitānā, d.V.S. 1439 = 1382 A.D.
24. A Teacher giving discourse, Palm-leaf ms. of
Kalpasūtra, Palitānā, d. V.S. 1439 - 1382 A.D.

Page #100

25. A would-be Jina plucking his hair
with Indra in front. Ms. same as fig. 23. 1382 A.D.
26. A Jina in meditation. Ms. same as
fig. 23. 1382 A.D.
200D
TOOL
27. Birth-bath of the newly born would
be Jina, by Indra on Mt. Meru. Ms. same as fig. 23. 1382 A.D.
28. Harinegamesin, the Commander of
Indra's army. Ms. same as fig. 23 1382 A.D.

www.jaldbrary.org

Page #101

Bahan
30. Ms. of Kalpa-Sutra, paper, L.D.
no. 27291. Age, c. 1400 A.D.
29. Pārsvanātha, from paper ms, of Pārsv
nātha Caritra, DA. 14, V.S. 1463 = 1406 A.D.
&
31. Paper ms. of Pārsvanātha Caritra,
DA. no. 4, d.V.S. 1467=1410 A.D. Parsvanātha.
32. Catūrvidha-Samgha. Ms. of Parva
nätha Caritra. DA. no. 4 V.S. 1467 = 1410 A.D.
X

Page #102

TELUT
34. A Ganadhara. Ms. same as fig. 33
33. Teacher and the taught, Pārsvanatha
caritra, DA. 4, V.S. 1467 = 1410 A.D.
35. Acārya and pupil, Candraprabhacaritra,
DA. 45. V.S. 1489=1432 A.D.
36. Srutadevatā from Pandavacaritra, DA.
20, V.S. 1490=1433 A.D. Copied in selaguntha

www.jan Ibrary.org

Page #103

37. Sixteen-armed Käli-devi.
Supāsanāhacarita painted at Devakulavätaka (Mevād) in V.S. 1480 = 1423 A.D. Cat. No. 446.
XII

Page #104

3
TESTEUILLE WANAWAWARENENUNEA
naak
संङ mua
गादा पासा
Tas सऊ SER
PATASHA WWWANONTWMVANA NAZIVUVAAKU ANIMAL
299
38. Nativity of a Jina. gold lettered Kalpa Su., SA. no. 25(5)
Copied by Vāchāka in V.S. 1516=1460 A. D.
39. Nativity of a Jina, Kalpa Sutra,
D.A. 69, c. early fifteenth cent. A. D.
TE
SITE
TET
MINIMIVIVIMIMIN
5
EZ AEss23
40. Birth-bath of Jina.
Ms. same as fig. 38
41. Sakra Praying to the Lord.
Ms. same as fig. 38.

XIII

Page #105

71
E
XIV

197

42. Temptation of a monk, Uttaradhyayana painted in V.S. 1505 A.D. 1448. From Märdal.
43. A dancing Scene panel in Kalpasūtra, DB. no 2291. V.S. 1516 A.D. 1459.
TATTUNG

Page #106

SY

44. Dancing Dikkumāris ( ? ), Parśvanatha-Padmāvati-Pata, Cloth painting, 15th cent, A. D. Gift of Sheth Kasturbhai Lalbhai to L. D. Institute, Ahmedabad.
वच्चायतिनि लापद्ययंत रिसिंघाड
महिलाक महंनिसामन दिलापाव‍
याएवाप
तारक गा।प इचवी ॥21॥
CAAA
45-46 Border decorations
showing
various dancing postures, Uttarādhyana, Devasāno Pado, V. S. 1529 = 1462 A.D.
For Private
Personal Use Only
XPOT
सीम दिम हियंशयत
ताछ स्याधिपथ मन्त्रवी॥जमि बऊ छाणस आपतकं देति रसिदविदा सांनाया
010101071
320
XV www.jainenbrary.org

Page #107

XVI
HA
पणासमाणतावमहावीराङसम्हाणावबाबमासाग्रहामपारका आसाढसाहातरमणासासह स्मनहादिवासणीमनाविडयम नरपवरखंडरायाधमदाक्षिमाण बनानासंसागाराचमहायाघावरका पणातवरक्षाणाविकाणीय तरंचियंवरुनाइददडनुहावदा (वातारादवामाइमासनसणि जासुसमससमापसमावहताण (सुसमाएसमापवावंताणास असमऽसमा समाएवश्वनापासा सुसमाएसमापबऊवश्वनापान वदनीयामक्षिशहावामहिया

47. A page from gold-lettered Kalpa-Sūtra, Sāmalā ni pole, Ahmedabad, no. 28 (5). V.S. 1522 = 1465 A.D.

Page #108

शा था।
पदापा
छातिश्चानधाराधारमण्यवासिराजा किलसातयानघाटातायापरमादतः पराज्ञानादापचिससासमपाताकद डोषणाविषयायाएंचमीसाइपदसाथदिक्तस्पातक्षितामुपद्वीपरपावदा दंदडामहासवत्यवसनीयवासाम गम्यासवालाकनात्यामाधादियाउका।
घाम
दावा
शंसाधपाययहाविपर्याय शाकानिक्षमजगामहमादधा यामकालिकसरयाविरतरखा। सिमितफहलासंपाल्पपतिपद्याची त्यसमाटाततपतिज्ञामुदायह ध्यानविक्षनलीवमनसोलयर रयगताासकल्याणगंशत धरायचायनाघाायाकालि कावार्थवधानकंसमाना ॥SA आतंसवाडा कल्याणमसाशा संवनायवधाचा सदितमीमारमशीपत्तालयाक्षमायाचगाब श्रीयमाणंदसारविनिमीबाई माईकल्पासिकालवाचितगा
48.
Kalakācārya katha, copied at Patan in V. S. 1516 = 1459 A. D. Samala pole, Parsvacandra gacca upaśraya, Ahmedabad, Cat. no. 419. Size = 26.7 x 11 cms.

wwxYAlibrary.org

Page #109

AN
AGIC
49. Scenes from life of Pārsvanātha DA
no. 70. Kalpasūtra, gold-lettered. V. S. 1516 = 1459 A. D.
50. Mahavira giving away his devadusya
garment DB. no. 2991. Kalpa-sūtra V. S. 1560 = 1503 A. D.
wwwwwww
BACAU
52. Ganadhara, Santinātha Caritra, DA.
no. 11. V. S. 1516=A. D. 1459
51, Ganadhara, Ms. same as fig. 50
XVIII

Page #110

20
54. From Kalp-sutra, DB. No. 2991 V.S. 1560 1503 A.D.
WwwwwBARU TARYFLing

SA
56. Dikṣa of a Jina. Kalpa-sutra,
DB. No. 2992
13
53. Padma-draha (Lotus lake) Kalpa Su, DB. No. 2991 copied at Allavalapura, 1503 A,D,

55. Dikṣa of a Jina Ms. same as
fig. 53.
XIX www.jahelibrary.org

Page #111

XX
रसातवा हाणाय यकिाल
(काडासदियकम्मतवसारधनियशी
विशदाबानाएवज्ञप्तारान्तावाणा रिया।तिरकायरियायसपरिबानका (सासलीगणयायवासातवादाशा यमशाकालायअगसणाऽविदाता! टासारखानिरवकरवातविधिया साइनरियतावासासमासmalar हिनावाथथरतादायएगायतदादा श्यतातायवानवामानयवासानना
वस्त
जो दामा वानाथ पता

।
20
NYUMUNWIN
NEWTOS

57-59. Paintings from Uttarādhyayana sūtra, Dev
sáno pādo, Ahmedabad, V.S. 1529 - 1472 A.D.

Page #112

wwwX.XJlibrary.org
CURRE
60. Uttaradhyayana sutra, d. V.S. 1505-1449 A.D., from
Mandal, Gujarat.
60220
61. Kalpa-sutra, No. 1401, Hamsavijaya Collection, Baroda. Late 15th or early 16th cent. A.D.

Page #113

希腊只限预LE匹配到航顺说訊@
62. A Jina with parikara, Uttara
dhyayana sūtra, DA. No. 32. V.S. 1519=1463 A.D.
63. Uttarādhyayana sūtra painted at Patan in
V.S. 1549=1492 A.D. Punyavijaya Collection, L.D. Institute.
64. City of Dvārakā, with Samudravijaya and
his queen in palace, Kalpasūtra, Hamsavijaya Collection, No. 1401. Baroda. c. late 15th Cent. A.D.
XXII

Page #114

u11111
THE
66. Sarasvati. Bhagavatisūtra ms. DA.
no. 46. V.S. 1652=1595 A.D.

68. Sarasvati. Ms. of Kirätarjuniya, DA.
no. 141. c. 1700 A.D.
65. Vijayacandakevalicaritra painted at Patan in V.S. 15561499 A.D. L.D. Collection.

OO
FALC
67. A Tirthankara from ms. of Bhagavati curni, V.S. 1582-1525 A.D. DA. 50.
wwXXIIIary.org

Page #115

॥मतार्यमुनिः काटनगरपछा घनतराहानिमानुपानिविनतिनगंतव्य २तयप्रछा। यात्मरक्षाउपायनकार्यातीवलयोनवति। ३सासराय राजद्वारगतव्यसीवानीकवानयास्पति। ४परचक्र-संधिर्तवनिकिचिडव्यव्यायातवतिपश्चाहलग ५ वष्यश्न खगेनपातितवतिकर्तव्यपवमवलेदोन
धर्मकाये किंचिडापचाराससयतवतिमात्मरक्षणीय ७बिंबप्रतिष्टाप-कार्यसिदितवनिपुनःकिंचिकष्टसवति।
उहारि छ। ग्रहणाकात्यरिसमर्पणाय अन्यायातिनदातर एवापणिछा नास्ताप्याश्हविस्वासानकर्तव्यविनाशास्तूवात २५ विहारपछा सुमहर्जशुकगंतव्येलातशेष्यप्राक्षिा
69.
A page from Prasnasakunavali, L. D. no. 27206c. 16th cent. A. D.
श्रीनाकरभूजी ॥श्रीगौतम स्वामिा
70. First page, Srenikasamyaktvarisa,
__KB. no. 4565, c. V.S. 1605-1548 A.D.
पाया मादा गुरुत सना
श्रीद
श्रीमरस्वताचादमधमलाया
मिमा रंडक
शा रसवित
71. Last page of Srenikasamyaktva Rasa, K.B.
no. 4565, Age, c. V. S. 160521548A. D.
सामविमलरितासया टिम यासम गुरुपसाय साश्रीवारमिनवरमदिमघाएम० गाडाणिकराय सपना ग्राकाशक्ष्मिकरकलापमंगमंचरण्३णिदिनाणिसावशक्षिसाहामणी मप पडावडे
प्रमाणिसय २०य कमरयालरोयघाणायाम ऊमरगिरिधरसारणसयसमिहिरणदया सालयमयश्चाउरासमदारमा
दाईक्सगीतमदाल मामिलापमा नामयसपकाशामागला एमदा लता
जासहजाणामुप २२ अक्षिकं33 मिनगिंयामा नऊश्रासमझारिनुपातमित सविसाधान्य द्यागमयसारिस २०३ जनरनारीगाइसिएमवासणसिश्याणीरंगा सिपक्ष्यांमसिप लागसलीपरिचय सु२। ४जीलगशमसामदाय मय जालगश्मशिहरतारातालगश्यसपविराए म तिवमंगलमयका २२०५इतिश्रीश्रेणिकराजमविसम्पकसारगासचखेडसंगीतं सनसन adaa
सिमनाच दोपकामजप कनाथा
श्रिीमामत्वमान
XXIV

Page #116

यालिमाहिपालाप निपानीलमा किन पाईना करा
NNA
manमरणजा
72. First panel, a bhilla-girl in a village
requesting Srenika. Second panal, king Śrenika in a forest grove. Ms. same as fig. 70
वेवानवारणवाधनयष्टिइंलीभग
विशाचा रतिनवि
दीक्षा
ली।
aap पारस ६वरमा रंगाब
समा
73. Ships arriving on banks of Bemnā
river. Merchant Dhana receives them. Ms. same as fig. 70.
XXV

Page #117

उपास
XXVI

कम
रा
का
वा
कूव
ला
एम
爬
1211
रुह
अमेणिक आनिता इनखारे क
74. First panel - Srenika is shown figure of Cillana drawn on a board. Second panel - Maid-servant of Sujyestha coming to Abhayakumara for purchasing clarfiied butter. Ms. same as fig. 70
Anit
htt
जयकुमारदा
टिलिक रूप र अन्य टोटात नावी ॥
हिंग हिमादिसुरवासामlassium
तस्समदासयया बातावारणमाचउसस राहिविक faaraagaaras
मरा
संविहरसारखामतालिय कसा ज
यविकास यासीनाम
गावास गाऊ म्माजmmsमगर याईsaताबा उवासमा सयरी सम वासिय। एवं वयासी। कलामदास याममा वामका मयाका कामया४६मविया विधा वासिया किनेादवाप्पियाम वाजे मासलाई जा नादिर्शाती महासय परवईया एमई नादानानि यागाणादापायरिया मम्मावयव हातामहाय एवं क्यासी नारववत
75. A Scene from Upāsakadaśānga sūtra, L. D. no. 27290. c. early 17th cent. A. D.

20

Page #118

76. Uttaradhyayana-sutra, Devasāno pādo
collection, Ahmedabad c. 1600-1650 A.D. Gujarat.
77. Ms. same as fig. 76.
XXVII

Page #119

याबका रतसरवाया २०१५ नरवमया १२५
नारक्ष
विलंधरायाय मन सुरवा
२१२
मारायाम
-न-1 प्रश्न
मारमादिra
रतसरवविसतिशय जन
पुकरवरजस्तन खावणयावरच
ना
78. A section from cloth-painting of "Adhi-dvipa" (two and a half islands-continents).
Collection of Sheth Narottam Mayābhāi, Ahmedabad. Age, c. 1600-1650 A.D.
XXVIII

Page #120

HISZET
A Wea
TIDA
R
지 전
AN
::
AVEA
80. Ms. same as fig. 79.
79. Arjuna and Siva as Kirāta. Ms.
of Kirātārjuniyam, DA. no. 141. c. 1700-1750 A. D.
(
81.
Fight between Arjuna and Siva, Ms. same as fig. 79.
XXIX

Page #121

XXX
धरिखी।३७) यविदार्यानवाणयुगेससारखागायुगलोधनस्पाघनविदार्या निवारण गेससारबाणयुगलोचनस्पपिसानहरेश्मधामपानिनोम

82. Scene of fight from Kirātārjuniyam, L.D. no. 41816. Copied in V.S. 1825=1768 A.D. Kharagona
(Khargaun in M.P. near Indore).

Page #122

maasdanaginanmaal aaundheam.
83. Salibhadra in palanquin, with family, going to take diksā.
Ms. of Salibhadracatuspadikā, KBG. no. 418 c. 1700-1750 A.D. Mārwad or Gujarat.
uaautica e
dashurit R.
84. From Salibhadracatuspadikā.
Ms. same as fig. 83
85. Dharma pälaka and Salibhadra.
Ms. same as fig. 83.
XXXI

Page #123

* राजाश्रेषकरी यसवारी रोजाद।

XXXII
86. Royal procession of king
Śrenika. Ms. same as fig. 83.
देअनुमानरे कोऽगिनगानामधामणीपारामाघश्याटोरे मनाये । सवायोरियालवधायोमणकमोतीयार सोनवारीडोरमाटेवरदीडोरे
87. A scene from Simhalakumāra Caupäi. Punyavijaya
collection, L. D. Institute. Copied at Bikaner in V.S. 1826-1769 A.D.
कमर स्त्रीयासुदन्नदाजोलेनेसाघमांगे राजापचावण्ने
बहसासूरेपमेनाग

यापोराजकुमरन आपायो। धिरराजाछाप हाईवासियापीटा राजा योगामारगिलीयमरोगि दलतमुगतिमारगनो अंगि। मासूझापरिसिह लसुतराज करेअनोपम धर्ममाकाज मित्तगुरु यासितिबुध श्रावकना

Page #124

BY TEETED INDE

88. Scenes from Vijaya-şetha-Vijaya-ṣethäni-Rasa, Jaina Pracya-Vidya Bhavan, Paladi, Ahmedabad, no. 166. c. 1700 A.D.
पूग्र
REDE SWEENECES
39
COXO
तेम
89. Ms. same as fig. 88.

ચારિત્રવિજયજી–જ્ઞાનમંદિર
XXXIII

Page #125

जालोलछालालासाहोदयापकाल बातेहनीकछाकहिएतेहविजापासवान बताकाहामुंदरियाविशाटालाटा || लासियानीदनाकनकसना तक्ता परि मुसिवीसमाधार यति लासिंधीमुधमविपामा हिमघणमेस्किरण हाणामुवातविकारीघातामयादोलिन हाइकेमिकल्याणासुबाश्राकाणी एकक बिकसुरपुरमाया विशवकरणका क्षमुपातिकमावणकलकामा बिदकरिलीधामुम्बइकमिपावननिश्वास कामाचाही अवनिंगसामाजीससम दनिमगीतामासिव्यापिकाकोशव्यायाम
ACCION
90. Sri Jambūsvāmi-Rāsa,
L.D. no.34209 V.S. 1775=A.D. 1718
INTERASHTRUTHI
91. Sri Vijayasetha-Vijayā
Sethäni-Rāsa, c. 1700 A.D.
३७.मा.१६६वजयाउ-विजयावरास. (5m
92.
Marriage-scene, Ms. same as no. 88
XXXIV

Page #126

93. Vastrapata (Cloth painting)
showing Lokapurusa
(cosmos) and hells. Samvegi Upäśraya, Ahmedabad. c. 17th cent. A.D..

निकदेवी.
A
उँसो मे
777
94.
A section from Präsäda-pratistha-Vastrapata,
DA no. 186. c. 1650 A. D.
For Private Personal Use Only
XXXV

Page #127

हाइव देशेक ताहर
हमोट
मोकल गामी बेदाप रमादि अहनि
नीबेबी
95. A dancing scene, Sripāla-Rāsa,
Nemi-Vijnana-Kastura-suri collection Surat. V.S. 1780-1723 A.D.
जावंत nga रानाम श्याम यण
शा माका
OsU
-होर्षित प्राऊ साय
96.
First panel - battle seene. Second panel-marriage. Ms. same as fig. 95.
97. Scenes from story of Sripāla.
Ms. same as fig. 95.
XXXVI

Page #128

डीने खंति
श्रम वह
मोक
॥२७॥
याणा
98. Scenes from Sripāla-Rāsa. Ms. same as
fig. 95
99.
Ms. same as fig. 95.
100.
Ms. same as fig. 95.
XXXVII

Page #129

XXXVIII
101. A Jaina monk giving discourse. Pāthum, L.D. no. 28152. size 28x13 cms. C. 17th cent. A. D.

102. Dancing and music before a royal presonality. L.D. no. 28152. Pathum, Size : 28x13 cms. C. 17th cent. A.D.

Page #130

TITULUCULLILLLEBILLEDE VINUS VUNNEN
AN
DOBIÉNESIS
DUDESIUSIES SEX
BEREDELSE
103. Lokapra kāśa, copied in V. S. 1714=
1657 A. D., in Ahmedabad. DA. no. 165, Folio 144.
104. Lokaprakāśa, copied in V. S.
1714=1657 A. D., DA, no. 165, Folio 290
XXXIX

Page #131

V. S. 1861-1804 A. D.
105. From Kalpasūtra copied in
Sāmalāni pole, Ahmedabad.
1
24
$$
71
*
107. Ms. same as fig. 105
-
1
*
*
106. Ms. same as fig. 105
XL

Page #132

"लकी"
108. From Kalpa Sūtra, date V. S. 1861 = 1804 A. D. SA no. 27 (13)
डोगमुरागं आरोमा आरोगंदा रोपटयाट्या ऊम्म्ण समुद्दविडया लिला
विपनेतवं कावतं। कुकमारे रिह। नमीनामे होऊ
109. From Kalpa-Sutra, Ms. same as fig. 108
MAN
For Private Personal Use Only
त श्र
XLI

Page #133

श्रीपालरासनात्रीजामिनीपांवमेटिालथालिष्पताटवागएकदि मीचड़ो। रमवानश्रीपाल साथबकतिहीनतस्योदावोरीहविशाला यवादलेइलेट श्राध्याऊंग्ररयायातक्तेदनेऽ ऊंरकरीसुपः
कोपादेवाधीश्राविटा किटानातावानातासार्थवाहनवीनवें कर
ar
110.
From Sripāla-Rasa, painted at Pethāpur v. S. 1878=1821 A. D.
111. Ms. same as fig. 110
112.
Ms. same as fig. 110
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Page #134

श्रापाल कलकलेसरोसीय वंगानगरीतेवनीमुविसेसरि मी यस्कूलबायाश्देस २२० रेमो जयजयनोनरनाशिध्यानाशाकिरकधजातिहाधिबंदिस
रेलाल यरिश्ताटारंनरसोग मारतिसोवनयचरेसोम गावइंगोरीप्रदजरे
113.
From Sripāla-rāsa, painted at Surat in V.S. 1886%D1829 A. D. KBG. No.4512
राझीधोतासक्वनसतरंजीतावलीसमकितनश्तेदवाइंहिता दतडीयाडोनाaएनएस्पइंगणापतसछरिमंगलमालाजीबिंधारसिंह
रसुंदरमंदिशमणिमयमाक जमालाजी देदसबलमसने हरिदरंगअनंगसाला जी अनुक्रमितेदमदाटया यशीलदस्यज्ञान विशार
लाजी॥३६॥ इतिशीयाल राससंपूर्ण श्रावटाखासमाघासंस्तएछ। श्रारहत्यीखरतरजहारका
यासरितबिदरसंवेगहीयांश्रीसंयचंदलामणिततूनियाालालवदनात घ्यामुरादाबचंदpaasaaश्रीप्रधिरशालायादातश्चातालाबालापोल६मसाजा
114. Colophon of Sripäla-rāsa, copied in V. S. 1886=1829 A. D. Ms. same as fig. 113
XLIII

Page #135

MUNTIITRIT TIIMIIIIIII
115. From Sripäla-rāsa painted at Surat in 1829 A.D.
Ms. same as fig. 113
XI
CORAL
945 = EN
MASKOVANYES
116. Ms. same as figs. 114-115.
XLIV

Page #136

SK
MINIO
117. A ship at port. Ms. same as figs. 113-116. Painted at Surat in 1829 A.D.

XLV

Page #137

INTEK
ERRURILE
118. Ms. same as figs. 114-117.
119. Ms. same as figs. 114-118.
XLVI

Page #138

SAMMAL
120. Ms. same as Figs. 114-119.
121. A Panel of procession of Jaina monks, from
V.S, 1853=1796 A.D. from Ahmedabad,
Paryuşanā kşamāpanā Patrika, written in
XLVII

Page #139

Doorvoud
123.
Ms. same as Fig. 122.
122. From Candarājā no-rāsa copied at
Bhavnagar in V.S. 1855–1798 A.D.
रहावकन्नुकतमनाया रदिवाकउभगदा रावीनाकविंधाविनिया गतीविधावाकोनदा मिकाप्रयुजश्या पीऊघरममनहायाचदा पाबुतामुमा करवाय्याएपकारदाः५ हिनिकही माजीजाउसामनीशारदाद६
रवाला
नाa
निनवर रनिकल श्रोता गना जि वाविर विदास
लाधि या यो कंचन नृपमस
शेतीव
शिष्य कंतनि जिया
124.
Ms. same as Figs. 122-123.
125. Marriage scene, Ms. same as
Fig. 122-124
XLVIII

Page #140

Un
126. Candarājāno-rāsa, copied at Bhavnagar in 1798 A.D. DB. no. 2488
127. Ms. same as figs. 122-126
XLIX

Page #141

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129. Ms. same as figs. 122-128
128
Ms. same as figs. 122-127
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130. Ms. same as figs. 122-129

Page #142

131. Samvegi Upāśraya, Ahmedabad. A section from 904 Jina Pata or Vividha-Tirtha
Vastra-pata, painted in V.S. 1698-1641 A.D. and text written in V. S. 1769 = 1692 A. D. Gujarat, probably Ahmedabad.
132. Same as fig. no. 131
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Page #143

LII

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133. Same as fig. no. 131

42
.

Page #144

本人11

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134. Paryusanā-Ksamāpanā-Patrikā on cloth, painted in Ahmedabad,
in V.S. 1853=1796 A.D. L.D. Institute, Ahmedabad
135. Same as fig. 134.

LIII

Page #145

Jain Education
LIV

www
20-00‌‌‌
136.
Paryuṣaṇa-Kṣamāpanā Patrika, written at
Ahmedabad
in V.S. 1853-1796A.D.
137. Same as fig. 136
WWW.DO

Page #146

VINE
138. Same as fig. 136
LV

Page #147

DE CROCON.02.2002
139. From Vijñaptipatra from Jodhpur written in
V.S. 1882=1825 A.D. DA. no. 200.
140. Same as no. 139.
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Page #148

याइन्स वामामुयस्तरमा मुवमसेव नेत्रत्रयमालो वाकवाकयुम्मके कवेक्ष्य हदयात्रय युक्षेतिपदेशमुख रोगोधननेवाय शानिधनादीनि
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विचाराने:पूयोरानमा बुधोयवनवेदके दादीविलि वक्रमात मुखेशानायपेचस्पः ने राति पंचम्मु पंचकसुखराब यादयकानायपवाकयायवाद योःपंचाकरयोनिदेयं च कयु संचनक्षत्र क्षयदंपरिकीनितिमिद
90
नियनकमलविनामुमानापानमा
स्वादिषाकारबक्रन्यास
1929
रORRED
141.
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From Vijnaptipatra wrritten from Sojat (Rajasthan)in c. 1750 A.D. size of the scroll, 205x22 cms. L. D. No.27647
KEDA
1858
142.
Horoscope painted in V.S. 1781 = 1724 A.D.
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Page #149

143. Detail from Vijnapti
patra written from Jodhpur in V.S. 1892-1835 A.D. L.D. no. 27644, Size 1110 x 29 cms.
कारवालसरदेशरिराने) यापरवो हरविनथको चमकदेधिगनाइरेरा एनावाननलीकदीमाहरेस्त्रा
वीदारे रा ८मनमानसाथल्याक्चनकोपरमापर रासावाले श्कवानमीत्राहीमनापरेराकमदीयोकारवाने श्रीवा कमपालर राकहेलावरधनएथईपूरायांचमीदार राम हामहदिरावेसहरमे कोटवालसुविचार पारगयारजनापोकि २सिनरनारिचारकीयोपकमानामि मारीसिभिरधार मसंमिसन फुकानिजघरे बैमिरमामुविचार कोटवाजफिरतोकहनेहमी हिवहिनसकरपियो सं-नली मनहिक्विोरखचिशमककहनि बीमगलाकाज काश्कलिलकारवालमे
कलेकळगाप्रामघमधिनविनिहाजाविने करिविर यासंकेत मंत्रीच्याषाभाषीया काटवालनेहन वसभा मधमहापण्या आईनंदाघार प्राधादीगण्य लमुझगयेभिचारत्रातसमेपुरमनसकनहष
अकारवालगनसुजयसवारयन्थीतकर।
144. A page from Vikramaditya-Khāprā-Cora-Caupai, copied in c. 18th cent. A.D. LD. no. 4586.
LVIII

Page #150

1800
145. Vijñaptipatra written in V.S. 1874-1817 A.D. at Krsnagadh (Kisangaḍh) in Rajasthan. DA. no. 202.

LIX

Page #151

LX
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DOS
INIO
146.
same as fig. 145
147. Vijñaptipatra written from
Surat, c. 19th century A.D. L.D. no. 12382

Page #152

POSLOUCO
148. Vijñaptipatra from Jodhpur written in V.S. 1882=1825 A.D. DA.
no. 200.
149. Wooden Panel scene
from life of Neminäth c. 17th Cent. A.D.
568
NOULUKU ELER

LXI

Page #153

150.
From Vijnaptipatra written from Sojat (Rajasthan) in c. 1750 A.D. Size scroll, 205x22 cms. L.D. no. 27647.
LXII

Page #154

151 Detail of fig. no. 141

152 Detail of fig. no. 141

LXIII

Page #155

माना समा५
नात
जागर
क
लाव
मुषे सल संघा
153. A Jogana (mendicant lady). From
Mānatunga-Mänavati-rāsa, copied at Vyārā, S. Gujarat in V.S. 1760-1703 A.D.
ना
यज
तंटा जामा १२
ANHAISAT--म.
154.
Ms. same as fig. 153
155.
Ms. same as fig. 153
LXIV

Page #156

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156. From Pata (paper) of Lokapurusa, d.V.S. 1858-1801 A.D. L.D. no. 27824.
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Page #157

T
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158. Same as fig. 157.
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L.D. no. 6991
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Page #158

159. Jambudvipa-pata, L.D. no. 28068. Painted in V.S. 1888-1831 A.D.

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160. A wooden panel of a row of five Tirthankaras seated under shrines with arches. Gujarat. c. 16th cent., A.D. L.D. Institute, Ahmedabad.
HAALAYS

LXVII www.jalnelibrary.org

Page #159

पजामारा नाहारण माजा शारदा
Ta
होफिर कर देखल मेरे मामा मूईपीजी थारी ताशामा जाई ||४१६॥ यक घर खोया मामाच्या
162. Kumvarbainu Māmeru, Cat. no. 511 c. 19th cent. A.D.
LXVIII

*******
तटनेत्री कमजीतजीयेंनदी २ बीचमीमवा याव्यानाथ माटेकीपाडा दाथ जंमध्यरा त्रे तर स्पांडली कारीलइनें पाया पाली ३४ मुंनें। सानो दावीको । बीवाल मी सकारी श्रीगो पाल अनुतेरी तेमोसालुंक गलीचावसो । नयनराश्य
For Private
WIF
Personal Use Only
163.
161. From Gopicand ki Sabadi. Pata on cloth.
L. D. no. 6590. Size: 970 x 15.5 cms. Probably Saurashtra; c. 18th cent. A.D.
From Lokaprakāśa, d. V. S. 1947 - 1870 A. D. Hansavijaya collection, Baroda.

Page #160

164. Acrobatic dancer. From a cloth Pata depicting
festival in honour of a religious teacher of some Hindu sect. Dated in V. S. 1884=1827 A. D. Probably from Saurashtra.
164. A. Same as no. 161.
LXIX

Page #161

CARTID
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2007
165.
Pathum embroidered with tiny pearls. Fourteen Dreams seen by a Jina's mother. c. 20th cenetury A. D. L. D. Institute, Ahmedabad.
166. Pathum embroidered with tiny pearls. The Astamangals. c. 20th century A. D. L. D. Institute,
Ahmedabad.
LXX

Page #162

LXXI
ww.jainelibrary.org
167.168. Box for storing pens for writing mss. c. 19th century. A. D.
0
167.

Page #163

LXXII
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169. Caturmukha shrine, wooden.
c. 19th century A. D. L. D. Institute, Ahmedabad.
170. Samavasarana of a Jina. Brass.
Dated V. S. 1534=1477 A. D. L. D. Institute, Ahmedabad.

Page #164

171. Carved Conch, decorated with figures of
Mahävira and his cleven ganadharas. c. 15th century A. D. From a village-field near Sirohi; gift of late Shri Achalmalji Modi, L.D. Institute, Ahmedabad.
172. Same as fig. 171.

LXXIII

Page #165

173. Stone Image of a Tirthankara from Lādol,
N. Gujarat. Size : 24 x 20 cms. C. 10th century, A.D. L.D. Institute, Ahmedabad.
473
174. Crystal-image of a Tirthankara, Gujarat,
Size : 16 x 12.5 cms. C. 17th Century, A. D., L. D. Institute no. 475 (M).
LXXIV

Page #166

473
175. Mutilated Bronze of a standing Jina, probably from Karnataka, c. 12th century, A. D. Style Cola. Size: 16x5.5 cms.
176. Standing Image of Pärśvanatha, stone, from Ladol, North Gujarat. Size: 142x54 cms. Age, c. 11th cent. A. D.

LXXV

Page #167

LXXVI
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177. Caitya-tree of metal, on top of a Samava
sarana structure, Lodravā, Rajasthan.
178. Miniature Caturmukha Jaina shrine, inscribed
in V.S. 1462= A.D. 1402. L.D. Institute, Ahmedabad, no. 27930

Page #168

179. Copper vessel for storing water for bathing. Incised figure of Siva and Parvati, c.
18th century A.D. Gujarat. L.D. Institute, Ahmedabad.
180. Copper vessel for storing Bath-water. Incised figure of a Jaina Acārya, c. 18th
Century, A.D. Gujarat. Same as no. 179.
LXXVII

Page #169

181. Detail of colour fig. of Adinātha, from Sirpur, W. Khandesh. c. 7th cent. A.D.
Sem je cPLTS
8120 By Rock! HIŠO FAN13 Cat 25.111517 GÀDESDA NANTE **8.6153NLIar
181A. Inscription on back of fig. 181
LXXVIII

Page #170

182
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182-183. Wooden Pillasters of a small Jaina shrine, Gujarat, showing
females in various dancing postures. C. 16th century, A.D. L.D. Institute, Ahmedabad.
LXXIX

Page #171

BUJAR
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SPY
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184. Dancing Vidyadevi on the outer wall of Ajitanatha temple, Taranga, built by Kumarapala in 12th Century, A.D.
Laske MSMIS

Page #172

185. Bronze image of Pārsvanātha with yaksa
and yaksi, Gujarat, c. ninth century A.D.
186. Detail from wooden-panel in fig. 187. Cakra of a Cakravartin (world-conqueror) or the
Dharmacakra of a Jina, being carried in a chariot, Gujarat, c. sixteenth or seventeenth century A. D.
LXXXI

Page #173

Fig. 187 Procession of Dharmacakra or of a Cakra-ratna of Cakravartin.
LXXXII

Page #174

PALM-LEAF MANUSCRIPTS

Page #175

Page #176

AGAMA AND COMMENTARIES
1. VIPĀKASŪTRA-Commentary in Sanskrit by Abhayadevasūri,
composed in V. S. 1120, SC. No. 13 (12), folios 450-472, size
31.5"x2.5''; copied at Anabillapātaka in V. S. 1295. 2. DAŠAVAIKĀLIKASŪTRA of Sayyambhava in Prakrit with a
commentary by Sumatisuri in Sanskrit, HJP. No. 88, folios 162,
size 15"x2"'; copied in V. S. 1248. 3. KALPASŪTRA of Bhadrabāhu in Prakrit, SC. No. 49 (3), folios
56-156, size 13.5''x2.2''; copied in Bhrgukaccha in V. S. 1247. 4. KALPASŪTRA of Bhadrabahu in Prakrit, HJP. No. 85, folios
107, size 12'x1.8''; copied in c 14th century. 5. PĀKSIKASUTRA in Prakrit, with a commenatry in Sanskrit by
Yaśodevasūri who composed it in V. S. 1180, SC. No. 65, folios
199, size 17.5"x2.2"'; copied at Āghata in V. S. 1309. 6. OGHANIRYUKTI of Bhadrabahu in Prakrit; SC. No. 70 (2),
folios 79-174, size 13.7"x2"; copied in V. S. 1284. 7. VIŠESÄVAŚYAKAMAHĀBHĀSYA (Pr.) of Jinabhadra, JC. No.
116, folios 284, size 16.5''x2"'; copied in c first half of the 10th
century; published by L. D. Institute, Ahmedabad. 8. BHAGAVATĪSŪTRAVRTTI of Abhayadevasuri in Sanskrit,
composed in V. S. 1128, HJP. No. 4, folios 501, size 28-5''20-3''; copied in V. S. 1187 at Aşahillapataka.
NON-CANONICAL PRAKARANAS
9. KARMAPRAKRTI-PRAKARANA of Sivašarmasūri, SA., folios
75, size 27x4.7 cms.; copied at Madhumati in V. S. 1313. 10. SAPTATIKĀ-PRAKARANA CŪRŅI (Pr.) of Candrarşimahattara,
HJP. No. 96, folios 116, size 11.9''X2''; copied in c the beginning of the 12th century.

Page #177

Palm-Leaf Manuscripts
11. JĪVASAMĀSA-PRAKARAŅA with a commentary by Maladhari
Hemacandrasūri. The text is in Prakrit and the commentary in Sanskrit, SC. No. 142, folios 194, size 9''x1.5"; copied in
V. S. 1165. 12. PANCASANGRAHA-DIPAKA of Indra-Vamideva in Sanskrit,
SC. No. 139, folios 104, size 9.7"x2.5''; copied in c first half of
the 13th century. This is the gist in Sanskrit verses of . Nemicandra's PANCA-SANGRAHA which was in prose. 13. SUKHABODHĀSĀMĀCĀRĪ etc. of Śrī Candrasūri, KC. No.
1123, folios 172, size 30"x5". It is in Prakrit and Sanskrit;
copied in c 15th century. 14. SĀMĀCĀRĪ etc., KC. No. 1121, folios 315, size 38.2x5.2 cms.;
it is in Prakrit and Sanskrit; copied in c 15th century. 20
leaves are broken. 15. ĀGAMIKA-VASTU-VICĀRASĀRA-PRAKARANA (Pr.) of
Jinavallabhagaội with a commentary in Sanskrit by Aśokacandra. sūri, HJP. No. 95, folios 181, size 13''x1.3". Many kings of Gujarat are mentioned in this work; copied in c the first half
of the 14th century. 16. DVĀDAŠAVRATĀLĀPAKĀDI, HJP. No. 168(55), folios 103–120, wie size 13"x1.8''; copied in c 13th century. 17. NIHŚESASIDDHÄNTAVICĀRA of Candrakirti, composed in
V. S. 1212, SC. No. 87, folios 24-111, size 14''X2''; copied in
V. S. 1212. 18. YOGAŚĀSTRA of Hemacandrācārya in Sanskrit with auto
commentary, SC. No. 160, folios 393, size 30-2''x2.2"; copied
in V. S. 1251. 19. DHARMARATNAPRAKARAŅA of Santisūri in Prakrit, No.
91 (7), folios 151-160, size 16-2"x2"'; copied at Vizapur in V. S.
1325. 20. DHARMOPADEŠAMĀLĀ-PRAKARANA in Prakrit, SC. No.
127 (1), folios 33-39; author's name not known.

Page #178

Jaina Philosophy
21. UPADESA-KANDALI (Pr.) of Kavi Asada with a commentary by Balacandrasüri in Sanskrit, HJP. No. 36, folios 284, size 32-5"x2-5"; copied in V. S. 1296.
22. DÄNÄDIKULAKA in Apabhramsa, HJP. No. 168 (33), folios. 58-60, size 13"x1-8"; copied in e 13th century.

5
23. DHARMADHARMAVICARAKULAKA of Jinaprabhasüri in Apabhramsa, HJP. No. 168 (32), folios 56-58, size 13"x1-8"; copied in c 13th century.
24. MAHASATIKULAKA in Apabhramsa, HJP. No. 168 (29), folios 49-52, size 13"x1-8"; copied in e 13th century.
25. DHARMOPADESAKULAKA in Apabhramsa, HJP. No. 168 (28), folios 46-47, size 13x"1-8"; copied in e 13th century.
26. BODHAPRADIPA in Sanskrit, SC, No. 264 (2), folios 14-19, size 33x4-4 cms.; copied in e the first half of the 15th century. 27. JINAPŪJADYUPADESA (RATNA - CŪDĀDIKATHA) of Nemicandasuri in Prakrit, Khetarvasi Bhandara, Patan (Now in Simandhara Mandira, Mehsana), No. old 40, new 28(1), folios 172, size 14"x2"; copied in V. S. 1208.
28. SNATRAVIDHI of Jivadevasüri with a commentary of Samudracarya and ABHISEKAVIDHI of Santisüri with a commentary by Silacarya, KC. No. 1122, folios 87, size 34x4-8 cms.; copied in e 15th century.
JAINA PHILOSOPHY
29. SAMAYASARA of Kundakunda in Prakrit with Sanskrit commentary ATMAKHYATI by Amṛtacandra; SC. No. 275, folios 189, size 37-3x5 cms.; copied in e second half of the 13th century.
30. NYAYAVATARASUTRA of Siddhasena with Vrtti of Siddhasadhu and Tippani by Jñanasri Aryika; JC. No. 364 (1), folios 137, size 15-5"x19"; copied in V. S. 1490,

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Palm-Leaf Manuscripts
31. ANEKĀNTAJAYAPATĀKĀ-TIPPAŅAKA of Muni Candrasūri,
a commentary on ANEKĀNTAJAYA-PATĀKĀ of Haribhadra sūri; JC. No. 352, folios 131, size 12.5"x1.9"; copied in V. S.
1171. Published in GOS., Baroda. 32. PRAMĀLAKŞMALAKŞAŅA with auto-commentary of Buddhi
sagarasūri; JC. No. 369, folios 272, size 11.9"x2.3''; copied in
V. S. 1201. Published. 33. LAGHUTATTVASPHOTA of Amrtacandrasuri in Sanskrit; DA.
No. 205, folios 53; copied on palm leaves in c 15th century; to be published by L. D. Institute.
CARITA AND KATHA
34. TRISASTIŚALĀKĀPURUŞACARITA of Hemacandrācārya in
Sanskrit, SC. No. 195, folios 280, size 17"x2"'; copied in V. S.
1318. 35. MAHĀVĪRACARITRA (Pr.) of Nemicandrasūri composed in
V. S. 1139, Khetarvasi Bhandāra, Patan (now at Sīmandhara Mandira, Mehsana ), No. old 37, new 7, folios 204+2, size 14"x2";
copied in V. S. 1238 in the times of Karnadeva. 36. MAHĀVĪRACARITRA of Abhayadeva:ūri in Apabhramba, SC.
No. 127(2), folios nos. 39-47. 37. PRATYEKABUDDHACARITA in Apabhramsa, Khetarvasi
Bhandara, Patan (now at Sīmandhara Mandira, Mehsana), No.
old 60(5), new 32, folios 37-54, size 11"x1.3". 38. VAIRASVĀMICARIU of Varadatta in Apabhraíía, SC. No.
94(14), folios No. 236-256, size 32-3x5.1 cms., copied in c first
half of the 14th century. 39. PRTHVICANDRAÇARITA of Santisūri in Prakrit, SC. No. 218
folios 183, size 70-3x6.5 cms.; composed in V. S. 1161 and copied
in V. S. 1212. Published by P. T. S. 40. NĀGAKUMĀRACARITA of Ratna-Yogindra in Sanskrit, SC.
No. 236, folios 14, copied in c 14th century.

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Jaina Stotras
41. SIDDHAJAYANTI-PRAKARANA or JAYANTĪCARITRA of
Manatungasūri with a commentary by Malayaprabhasüri in Prakrit and Sanskrit, SC. No. 153, folios 172, size 31"x2.2";
composed in V. S. 1260 and copied in V. S. 1261. 42. AKHYANAKA-MANIKOSA of Nemicandrasuri with a commen
tary by Amradeva; composed in V. S. 1199, SC. No. 233, folios 483, size 76.7x5.5 cms. The text is in Prakrit and commentary is in Prakrit-Sanskrit-Apabbraṁsa. It was copied on palm leaves in c the first half of the 13th century. This is the only copy
and is published by P. T. S. 43. RATNACŪDAKATHĀ of Devendragani (Nemicandrasūri), in
Prakrit, SC. No. 216, folios 109, size 67.8x5.5 cms.; copied in
V. S. 1221 at Aşahillapāțaka. 44. CANDRALEKHĀVIJAYA-PRAKARANA of Devacandramuni,
pupil of Hemacandrācārya, JC. No. 361, folios 203, size
9.3"x1.5''; copied in c 13th century. 45. ANARGHARĀGHAVARAHASYĀDARŚA (S) of Devaprabha
cārya, being a commentary on Murāri's drama called ANARGHARAGHAVA, Khetarvasi Bhandara, Patan (now at Sīmandhara Mandira, Mehsana), No. old 65, new 25, folios 217, size 13"x2".
JAINA STOTRAS
46. VĪTARĀGASTUTI in Apabhraíba, HJP. No. 168(54), folios
99-102, size 13"x1.5"; copied in c 13th century. 47. COVĪSAJINASTUTI in Apabhraíía, HJP. No. 168(53), folios
98-99, size 13"x1.9"; copied in c 13th century. 48. SADHARANAJINASTAVANA in Apabhraíía, HJP. No.
168(10), folios 19-20, size 13"x1.8"; copied in c 13th century. 49. RŞABHADEVASTUTI-ARBUDAGIRIMANDANA in Apabhra
mśa, HJP. No. 168(13), folios 23-24, size 13"x1.8"'; copied in c 13th century.

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Palm-Leaf Manuscripts
50. ANANTANĀTHASTOTRA-PAÑCAKALYANAKAMAYA in
Apabhramśa, HJP. No. 168(14), folios 24-25, size 13"x1.8";
copied in c 13th century. 51. ANANTANATHASTOTRA in Apabhramsa, HJP. No. 168(14),
folios 24-25, size 13"x1.8"'; copied in c 13th century. 52. SANTINĀTHA-PANCAKALYANARASTAVANA, HJP. No.
168(12), folios 21-23, size 13"x1.8"'; copied in c 13th century. 53. SANTIJINASTUTI of Viraprabhasūri in Apabhramsa, HJP. No.
168(11), folios 20-21, size 13"x1.8"; copied in c 13th century. 54. MAHĀVĪRAJINASTOTRA in Apabhramsa, HJP. No. 167(15),
folios no. 25th, size 13"x1.8"; copied in c 13th century. 55. MAHAVĪRA-PĀRAŅU of Vardhamanasūri in Apabhramsa,
HJP. No. 168(64), folios 153-156, size 13"x1.8"; copied in c
V. S. 13th century. 56. STHÜLIBHADRASTUTI in Apabhraíía, HJP. No. 168(46),
folios 84-87, size 13"x1.8"; copied in c 13th century. 57. DHARMAGHOŞASŪRISTUTI of Raviprabhasūri in Sanskrit,
HJP. No. 119(18), folios 209-216, size 14.8"x2"'; copied in c
14th century. 58. DHARMASŪRISTUTI in Apabhraíía, HJP. No. 119(19), folios
216-221, size 14.8"x2"'; copied in c 14th century. 59. BHAYAHARASTOTRA of Jinaprabhasűri in Apabhraíśa, HJP.
No. 168(26), folios 40-41, size 13"x1.8"; copied in c 13th century. 60. KALYĀŅAKASTOTRA in Apabhraíša, HJP. No. 168(25), folios
38-40, size 13"x1.8"; copied in c 13th century.
NON-JAINA WORKS
61. BHAGAVADGĪTĀ with a commentary by Śankarasvāmi, JC.
No. 388(2), folios 130, size 24.5"x2.3''; copied in c end of the 13th century. Ref. KP., p. 89.

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Non-Jaina Works
62. ISTASIDDHI of Paramahamsa Vimuktatmacarya with autocommentary, JC. No. 388(1), folios 89, size 24-5x2-3"; incomplete; copied in e end of the 13th century. Ref. KP., p. 145.
9
63. PATANJALAYOGADARSANABHASYA of Vyasarsi, JC. No. 395(2), folios 161-217, size 12-5"x2-3"; copied in c first half of the 12th century; incomplete. Ref. KP., p. 17.
64. PATANJALAYOGADARSANA-BHASYA-VṚTTI of Vacaspati Misra, JC. No. 395(1), folios 160, size 12-5x2-3 cms.; copied in e first half of the 12th century. Ref. KP., p. 17.
65. NYAYAPARISISTA-TIPPANAKA (S) of Vamadhvaja, LD. No. 18802, folios 93, size 37.7x4-5 cms.; copied in e 14th century. Ref. KP., p. 272. This is published at Tirupati-Central Sanskrit Vidyapitha. Author's another work is a commentary on Nyayakusumañjali and is being edited by Dr. Nagin Shah for L. D. Series, Ahmedabad.
66. TATTVASANGRAHA-PAÑJIKA of Kamalasila, JC. No. 378, folios 313, size 25-5x2-5 cms.; copied in e second half of the 13th century. Ref. KP., p. 129.
67. NYAYABINDU of Dharmakirti, JC. No. 364(5), folios 350-359, size 16.5"x19"; copied in V. S. 1490. Ref. KP., p. 68.
68. DHARMOTTARA-TIPPANAKA of Mallavadisuri, HJP. No. 144, folios 83, size 14"x1-5"; copied in V. S 1231. It should be noted that Tippant of Mallavadi on Nyayabindutik edited by Th. Stcherbatsky (1909) is wrongly ascribed to Mallavadi. This MS is being edited by Dr. Kamalesh Bhattacharya. Ref. JK., p. 220.
2
69. KHANDANAKHAṆDAKHÄDYA's Com. SISYAHITAIŞINI by Anubhutisvarūpacarya in Sanskrit, HJP. No. 143, folios 304452, size 14"x2-2"; copied in e the first half of 13th century. Ref. JC., p. 162; for its Tippani see KP., p. 203.
•

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Palm-Leaf Manuscripts
70. KĀTANTRAVYĀKARANA-PANJIKOPAYOGI-PARA-SŪTRA
KADAMBA, SC. No. 256, folio nos. 1-52, size 39.3x3.1 cms.; copied in V. S. 1287.
71. KĀTANTROTTARA (S) of Vijayananda, KHP. (Now at
Sīmandhara Mandira, Mehsana), No. old 7, new 113, folios 31,
size 12"x2"'; copied in V. S. 1178(?). 72. KĀTANTRA-UŅĀDI, SC. No. 256, folio nos. 53-62, size 39.3x3-1
cms.; copied in V. S. 1287. 73. LINGĀNUŚĀSANA of Vāmana, SC. No. 256, folio nos. 63-66,
size 39.3x3.1 cms.; copied in V. S. 1287.
74. VAKROKTIJĪVITA (Kavyalankara) with a commentary (S) of
Kuntaka, JC. No. 327, folios 234 (incomplete ), size 16.5"x2.3";
copied in c 13th century. 75. VAKROKTIJĪVITA (Kavyalankara) with a commentary of
Kuntaka, JC. No. 328, folios 300 (incomplete ), size 12.9"x1.9";
copied in c 14th century. 76. RUDRATĀLANKĀRA-TIPPAŅAKA of Namisadhu, JC. No.
332, folios 46, size 13"x2.3"; copied in V. S. 1206. 77. KAVIŚIKȘĀ of Jayamangalācārya, SC. No. 261, folios 13, size
35.5x5 cms.; copied in c 14th century.
78. KAVIRAHASYA of Halayudha with a commentary by Ravi.
dharma, JC. No. 337, folios 74, size 11.5"x2-3"; copied in V. S.
1216. 79. KĀVYAPRAKĀŚA-SANKETA (Kavyadarśa) of Someśvara in
Sanskrit, HJP. No. 141, folios 101-122, size 14"x2"'; copied in c 13th century.
80. KĀVYĀNUŚĀSANA of Vagbhata with auto-commentary ALAN
KĀRATILAKA, HJP. No. 139, folios 187, size 12.3"x1.9"; copied in c 13th century.

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Non-Jaina Works
81. NĀGĀNANDA of Harsa, HJP. No. 140, folios 90 (many folios
missing in-between ), size 12.5"x1.9"; copied in V. S. 1258 at
Anahillapāțaka. 82. KĀDAMBARIŠEŞA (Uttarārdha) of Pulindra, Khetarvasi
Bhandāra, Patan (now at Simandhara Mandira, Mehsana),
No. old 42, new 33, folios 148; copied in V. S. 1282. 83. GAUDAVAHO-MAHĀKĀVYA of Vakpatiraja in Prakrit, HJP.
No. 134, folios 204, size 13"x1.5"; copied in V. S. 1264. 84. GAUDAVAHO of Vakpatiraja, in Prakrit SC. No. 263, folios
232, size 31x4.4 cms.; copied in V. S. 1289.
85. RĀVANAVAHO in Prakrit, Khetarvasi Bhandara, Patan (now at
Sīmandhara Mandira, Mehsana), No. old 66, new 1, folios 13,
size 12"x2". 86. KUTTANĪMATA-ŚUMBHALIMATA of Damodaragupta, SC.
No. 272, folios 93, size 36x5 cms.; copied in c second half of
the 13th century. 87. SUBHĀȘITASANGRAHA in Sanskrit, SC. No. 265(2), folios nos.
37-97, size 33x4.4 cms.; copied in c the first half of the 15th
century. 88. SUBHĀŞITĀVALI (LOKASAMVYAVAHĀRAVRTTI-KĀVYA)
of Raviguptācārya in Sanskrit, SC. No. 266(1), folios nos. 1-25, size 31x4.4 cms.; copied in c second half of the 12th century.
89. SUBHĀSITĀVALT in Sanskrit, SC. No. 266(2), folios nos. 26-33,
size 31x4.4 cms.; copied in c second half of the 12th century.
90. SŪKTASANGRAHA of Lakşmaņakavi in Sanskrit, HJP. No.
160(3), folios 66, size 13.5"x15"; copied in c 13th century.
91. SŪKTIRATNAKOSA of Laksamana in Sanskrit, SC. No. 265(1),
folios nos. 1-37, size 33x4.4 cms.; copied in c first half of the 15th century.

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12
Palm-Leaf Manuscripts
92. SUBHĀSITARATNAKOȘA of Mummunideva in Sanskrit, SC.
No. 264(3), folios nos. 20-39, size 33x4.4 cms.; copied in c the
first half of the 15th century. 93. SŪKTĀVALI in Sanskrit, SC. No. 264(1), folios 13, size 33x44.
cms.; copied in c the first half of the 15th century. 94. SŪKTASANGRAHA in Sanskrit, SC. No. 264(4), folios nos.
39-58, size 33x4.4 cms.; copied in c the first half of the 15th century.
MS. COPIED BY VASTUPĀLA
95. DHARMĀBHYUDAYA-MAHĀKĀVYA (SAM GHAPATI
VASTUPĀLACARITRA) of Udayaprabhasūri in Sanskrit, SC. No. 230, folios 385, size 44.1x5.5 cms.; copied in V. S. 1290. This MS. is copied by Vastupala himself. Published in Singhi Jain Series, no. 4.

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PAPER MANUSCRIPTS

Page #187

Page #188

SERIES OF JAINA CANONICAL LITERATURE
96. JAINĀGAMA SERIES, HJP. Nos. 9986 to 10094. These nos.
include series of all Jaina Āgamas. Size 13.5"x5-3". The first folios of most of them are illustrated. They were copied during V. S. 1569–1574. Only Sumati's commentary of Daśavaikalika
was copied in V. S. 1499. 97. RĀYAPASENIASUTTA in Prakrit, SUA. No. 2752, folios 39,
size 29-4x10-4 cms.; copied in V. S. 1572. This is one of the complete canonical set of Anga and Upanga got written by Sanghavi Pasa and his family by the advice of Nandivardhanasūri.
JAINA-NIGAMA 98. NIGAMAVĀKYAVIVARAŅOPANIŞAD in Sanskrit, Kanti
vijayaji collection, Chaņi, No. 719, folios 164, size 26x11.2 cms.;
copied in c 16th century. 99. NIGAMAPRAVACANE NAYASĀRODDHĀRI ŠĀSANI (Eighth
Chapter ), ASB. No. 262, folios 24, size 29.1x11.1 cms.; copied
in c 17th century. 100. DARŠANARATNĀKARA (Nigama) of Siddhantasara in Sans
krit, HJP. No. 2612, folios 508, size 10.9"x5"'; composed in V. S.
1570 and copied in c 20th century, 101. CATURVARGACINTAMANI ( NIGAMOPANIŞAD), KB. No.
2200, folios 18, size 30x12 cms.; copied in c 20th century. It is in Sanskrit.
CHANDA, VYÄKARAŅA AND KOȘA COMPOSED BY JAINAS 102. CHANDOMANJARI in Sanskrit, HB. No. 1068, folios 17, size
25.7x11.5 cms.; copied in V. S. 1647 by Bhānuprabha. 103. SYĀDIŚABDASAMUCCAYA of Amaracandra Muni in Sanskrit,
SUA. No. 3116, folios 39, size 25.9x10-7 cms.; copied in c 17th century. It deals with Vyakaraṇa.

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16
Paper Manuscripts
Ch
104. VĀKYAPRAKĀŚA of Udayadharma, composed in V. S. 1507,
with a Vārtika by Jinavijaya who composed it in V. S. 1694;
SUA. No. 2886, folios 34, size 25.1x11.4 cms. 105. ABHIDHĀNACINTĀMAŅI of Hemacandrācārya with a commen
tary by Vallabhavacaka, SUA. No. 84, folios 162, size 26x11.5 cms. The MS. was copied at Pattanapura in V. S. 1767. It deals with Sanskrit Koşa. The text was published in YJG. Series (No. 41), Bhavnagar and at NSP., Bombay by Mahāvīra Jaina
Sabha, Cambay. 106. ABHIDHĀNACINTĀMAŅI 'of Hemacandra with a commentary
Dipika by Caritrasimha Gani, SUA. No. 92, folios 163, size
26.5x10.8 cms. The MS. was copied at Lahoranagar in V. S. 1649. 107. ABHIDHĀNACINTĀMANI of Hemacandra with a commentary
by Devasagara Vacaka who composed it in V. S. 1686 at
Cambay, SUA. No. 94, folios 481, size 24.8x10.9 cms. 108. SUNDARAPRAKĀŠA of Padmasundara in Sanskrit, HJP. No.
2734, folios 96, size 10-3"x4.5"; copied in V. S. 1610. It is a Koșa. Ref. JK., p. 445.
JAINA KĀVYA, NĀTAKA, CARITA, KATHA, ALANKĀRA,
DARSANA, STOTRAS, SUBHASITAS, ETC. 109. KALYĀŅASĀRASAVITĀNAHAREKŞAP-KĀVYA - ŚATĀR
THIVRTTI (S) of Somaprabhasūri, LD. No. 24099, folios 16; copied by Sri Vallabhagani, the author of Vijayadevamahatmya, in c 17th century. It gives one hundred meanings of the
said padya. 110. DOSASAYAMĀLAJĀLAM'-GĀTHĀ-ŚATĀRTHĪVRTTI (S)
of Udayadharmagani; composed in V. S. 1605 and copied in c 17th century. LD. No. 24098, folios 12. It gives one hundred
meanings of the said Prakrit Gatha. 111. RĀGHAVA-PĀNDAVIYA-DVISANDHĀNA-MAHĀKĀVYA
of Dhanañjaya in Sanskrit, HJP. No. 7113, folios 34, size 10.5"x5.9"; copied in V. S. 1517. Published in NSP, Kavyamala

Page #190

Jaina Kävya, Națaka, Carita,... Subhāşitas etc.
17
in 1895 with a commentary. It narrates simultaneously the
stories of Rāmāyana and Mahabharata. 112. RĀGHAVA-PĀNDAVĪYA-DVISANDHĀNA-MAHĀKĀVYA
of Dhanañjaya Kavi in Sanskrit, with a commentary by Nemi. candra, HJP. No. 7114, folios 216, size 10.5">5.9''; copied in
V. S. 1518. 113. MAHĀVĪRACARIYAM of Gunacandra in Prakrit, composed
in V. S. 1139, HJP. No. 7029, folios 309, size 10.9" x 4.9";
copied in c 15th century. Published in DLP Series, No. 75. 114. VILĀSAVATT-NĀTIKĀ (S) of Devacandrasūri, LD. No. 3662,
folios 9-36, size 26x11 cms.; copied in c 16th century. 115. TILAKAMANJARI-LAGHUVRTTI of Padmasagaragani, HB.
No. 1707, folios 220, size 26x11 cms.; copied in V. S. 1635.
Published in NSP Kavyamālā, Bombay. 116. TILKAMAÑJARĪKATHĀSÄRA (Padya) of Laksmīdhara Sveta
mbara in Sanskrit, HJP. No. 2658, folios 19, size 10.3"x4.5";
composed in V. S. 1281 and copied in V. S. 1474. 117. CANDRALEKHĀVIJAYA-PRAKARANA of Devacandrasūri,
in Sanskrit, HJP. No. 6637, folios 19, size 12"x4.9''; copied in
c 15th century. Ref. JK., p. 120. 118. KANAKAVATI-AKHYĀNA of Hemaśrı Sadhvi in Gujarati,
HJP, No. 16818, folios 11, size 9.9"x4.3"; copied in V. S. 1644. 119. DASA-ŚRĀVAKACARITRA of Sukhavardhana, composed in
V. S. 1546, SUA. No. 1576, folios 22, size 29.6x12 cms. It is in
Prakrit and was copied in V. S. 1567. 120. ŚRIDHARACARITA-MAHĀKĀVYA (S) of Māņikyasundara.
sūri with Tippani, LD. No. 569/1, folios 28, size 29.7x1.2 cms..
copied in V. S. 1489. 121. MANORAMĀKATHĀ (P) of Vardhamānasūri, LD. No. 76,
folios 265, size 32-1x12.1 cms.; copied in c 15th century.

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18
Paper Manuscripts
122. CAMPAKAVATĪ-ŠĪLAPATĀKĀ-CATUṢPADĪ
of Dharma
bhūṣaṇa of Digambara tradition, KB. No. 768, folios 20, size 25.5x11cms.; copied by Hirakusala at Porbandar in V. S. 1759. 123. UPADEŠASATA-MAHĀPURUSA-CARITA (S) of Merutungasuri, LD. 1239 (K), folios 70, size 25-0x100 cms.; copied in V. S. 1468.
124. UPADEŠAMĀLĀ-PRAKARANA (P) of Dharmadasagani with Balavabodha (G), LD. No. 2296 (K), folios 90, size 26.5×11.2 cms.; copied in V. S. 1519 by Tilakakalyāṇagaṇi at Karṇapuragrama.
125. DRSTANTASATAKA-AVACURI (S) of Narendraprabha, LD. No. 19882, folios 6, size 26-2x11-0 cms.; copied in c 17th century.
126. KAVYAKALPALATĀVṚTTI (Makaranda) by Subhavijaya, LD. No. 11621, folios 57, size 25-1x10-5 cms.; copied in c 17th century. 127. APTAMĪMĀṀṢĀLANKĀRA-AȘTASAHASRI of Vidyananda in Sanskrit with tippaṇī, HJP. No. 4285, folios 141, size 12"x4.9"; copied in V. S. 1454.
128. AṢTAKĀNI and SUBHAȘITAŚLOKA-SANGRAHA in Sanskrit, HJP. No. 8688, folios 8, size 9.9"x4.5"; copied in c 18th century.
129. DHANADA-TRISATI (S) of Dhanada alias Sanghapati Dhanaraja, HJP. No. 6793. folios 26, size 12"x4-9"; copied in V. S. 1504. Published in Kavyamāla Guccha 13, NSP. Ref. JK., p. 370 (Śatakatraya).
130. JÑANASĀRA-AṢṬAKĀNI of Yasovijaya in Sanskrit, HJP. No. 7862, folios 5, size 9.9"x4.3"; copied in c 17th century by Ravivardhana.
131. JAYATIHUANASTOTRA of Abhayadevasuri in Prakrit with Bālavabodha in Gujarati by Merusundara, HB. No. 859, folios 12, size 26-2×11.1 cms,; copied in V. S. 1529; Ref. JK., p. 133.
For Private Personal Use Only

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Sangita, Jyotişa by Jain Authors
19
132. VIVEKAVILĀSA of Jinadattasūri with a commentary by Bhanu
candra Vacaka who composed it in V. S. 1678, SUA. No. 3013, folios 200, size 25.5x11 cms.; copied in c 17th century.
133. NAVATATIVAVICĀRA in Gujarati, KB. No. 141, folios nos.
2-153, size 25.8x10.8 cms.; copied in V. S. 1468. It is in old Gujarati prose.
134. AȘTAPRAVACANAMĀTĀ-SVĀDHYAYA, KBG. No. 572, folios
6, size 25,2x12,2 cms.; copied at Bombay in 19th century.
135. HITĀCARAŅAPRAKARANA with auto-commentary by Sakala
candragani in Prakrit, HJP. No. 1460, folios 271, size 9.9"x4.3"; copied in V. S. 1630.
SANGITA, JYOTIŞA BY JAIN AUTHORS
136. SANGĪTASĀRODDHĀRA of Sudhakalasa with a commentary,
HB. No. 1442, folios 20, size 27-8x12.5 cms.; copied on paper in V. S. 1612 at Hindigrāma. Published in GOS., No. 133 as SANGĪTOPANISATSĀRODDHĀRA.
137. PRAŚNAPADDHATI by Hariscandragani in Sanskrit, KB. No.
2110, folios 6, size 28x12.2 cms.; copied in c 12th century,
138. RAMALA-TANTRA, KB. No. 2765, folios 55, size 25.8x11.5
cms.; composed by Vijayadayāsuri in V. S. 1798 and copied in V. S. 1820. It is known from the MS. that its first copy was made by Bhojasāgara.
139. KOSTHAKACINTĀMANI by Vācanācārya Śīlasimha Āgamika,
in Prakrit, HJP. No. 2782, folios 11, size 10"x4.3"'; copied in c 18th century. Ref. JK., p. 96. It is on Jyotişagaạita.
140. KOSTHAKACINTĀMAŅIVRTTI in Sanskrit by Vacanācārya
Śilasiṁha Āgamika, HJP. No. 2783, folios 62, size 10-35x4.5"; copied in V. S. 1705. Ref. JK., p. 96.

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Paper Manuscripts
WORKS OF MANDANA MANTRI AND HIS SON AND OF MAHESVARA
141. CANDRAVIJAYAPRABANDHA of Mandana Mantri in Sanskrit,
HJP, No. 9492, folios 4, size 13.3''*5.5"; copied in V. S. 1504. Published by Hemacandra Sabha, Patan, Series No. 10, Ref.
JK., p. 120. 142. SANGĪTAMANDANA of Maņdana Kavi in Sanskrit, HJP. No.
6795, folios 22, size 12"x4.9"; copied in V. S. 1504. Ref. JK.,
p. 409.
143. KĀVYAMANDANA of Mandana Kavi in Sanskrit, HJP. No.
6797, folios 29, size 12"x4.9"; copied in V. S. 1504. It is the
story of Pandavas. Ref. JK., p. 90. 144. CAMPŪ-MANDANA of Mandana Kavi in Sanskrit, HJP. No.
6800, folios 17, size 12"x5"'; copied in V. S. 1504. It is the story of Draupadi and Padavas as is in Jain version. Ref. JK.,
p. 121. Published in Hemacandra Sabha, No. 9, 1918. 145. ŚRNGĀRAMANDANA of Mandana Mantrī in Sanskrit, HJP.
No. 9488, folios 4, size 13.3"x5.9"'; copied in V. S. 1504. Ref.
JK., p. 386. 146. KĀDAMBARI-DARPAŅA of Mandana Mantri in Sanskrit,
HJP. No. 9487, folios 10, size 13.3''*5.9"; copied in V. S. 1504. Published by Hemacandra Sabha, No. 8. Also known as
KĀDAMBARĪMAŅDANA. Ref. JK., p. 84. 147. ALANKĀRA-MANDANA of Mandana Mantri in Sanskrit, HJP.
No. 9491, folios 9, size 13.3''*5.9"'; copied in V. S. 1504. Pub
lished by Hemacandra Sabha, No. 11. Ref. JK., p. 17. 148. UPASARGA-MANDANA of Mandana Kavi in Sanskrit, HJP.
No. 6802, folios 11, size 12"x5"'; copied in c 16th century. It
deals with propositions. Ref. JK., p. 54. 149. KĀVYA-MANOHARA of Maheśvara Kavi in Sanskrit, HJP.
No. 6804, folios 10, size 12"x4.9''; copied in V. S. 1504. It deals with the life of Mandana Mantrī. Published by Hema

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Jaina Commentaries on Non-Jaina Works
21
candra Sabha, No. 7. Ref. JK., p. 90. There is also another
copy of this work in HJP., No. 9493. 150. KĀMASAMOHABANDHAKĀVYA of Ananta, son of Mandana
Mantri in Sanskrit, composed in V. S. 1541, SUA. No. 961, folios 46, size 24.2x10.7 cms.; copied in c 17th century. It deals with Kamaśāstra.
JAINA COMMENTARIES ON NON-JAINA WORKS 151. RAGHUVAŃŚA of Kalidasa with a commentary by Dharma
meru, SUA. No. 2718, folios 196, size 25.7x10.7 cms. The MS.
was copied by Raghupatha in V. S. 1687. 152. RAGHUVAMSAKĀVYA-TĪKĀ of Dharmamerugani in Sanskrit,
HJP. No. 9884, folios 166, size 11"x5:3''; copied in c 17th
century. 153. RAGHUVMSAMAHĀKĀVYA - TĪKĀ - CĀRITRAVARDHINI
of Caritravardhana in Sanskrit, HJP. No. 2687, folios 183, size
10.3"'x4.3"; copied in V. S. 1702. 154. RAGHUVAMSA-SUKHABODHIKĀ of Vijayagani, HJP. No.
17640, folios 199, size 10"x4.5"; copied in V. S. 1744. 155. RAGHUVAMŚA of Kalidasa with a commentary by Guņavinaya.
gani, composed in V. S. 1646 at Vikramanagara, SUA. No.
2706, folios 167, size 26x10.5 cms. 156. RAGHUVAMSA of Kalidasa with a commentary by Samaya.
sundaragani, composed in V. S. 1692, HB. No. 1048, folios 116,
size 25.6x10.6 cms.; copied in c 18th century. 157. RAGHUVMŚA'S SUGAMANVAYA PRABODHIKĀVRTTI (S)
of Sumativijaya composed in V. S. 1699 at Vikramapura, LD. No. 2325(K), folios 186, size 25.5x11 cms.; copied in V. S.
1817 at Ghadasīsara by Mahesadasa. 158. KUMĀRASAMBHAVA of Kalidasa with a commentary Subo
dhika by Vijayagani, SUA. No. 1013, folios 72, size 25.4x11.2 cms.; copied in Rajanagara (Ahmedabad) by Muni Nemavijaya in V. S. 1714.

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159. KUMARASAMBHAVA of Kalidasa with a commentary by Jinasamudrasüri, SUA. No. 1009, folios 29, size 26x11 cms. The MS. contains 1-7 sargas and was copied in e 17th century. 160. MEGHADŪTA-VṚTTI (S) of Merutungasüri, LD. No. 27925, folios 10, size 26-8x11-3 cms.; copied in e 16th century. 161. MEGHADUTA-SUKHABODHIKA-VṚTTI (S) of Sadhu Megharaja, LD. No. 8978, folios 43, size 22x11 cms.; copied in c 18th century,
22
162. MEGHADŪTA of Kalidasa (S) with AVACURI(S) of Kanakakirtigani, LD. No. 1480 (K), folios 27, size 26x11-7 cms.; copied in V. S. 1751 at Manara Bandara by Somanandana Muni.
163. MEGHADUTAKAVYA-VṚTTI (S) of Kṣemahamsagani, LD. No. 6279, folios 21, size 24-3x10-2 cms.; copied in e 18th century. 164. MEGHADŪTAKÄVYA-VRTTI (S) of Sumativijaya, LD. No. 7434, folios 69, size 27-9×12-3 cms.; copied in c 19th century. 165. KIRĀTĀRJUNIYA-Commentary of Vinayasundara in Sanskrit, KC. No. 902, folios 93, size 26-3x10-6 cms.; the commentary was composed in V. S. 1513 and was copied in V. S. 1643.
166. KIRÄTÄRJUNIYA'S DIPIKA-VṚTTI (S) of Dharmavijayagani, LD. No. 1993. folios 172; size 25x11-5 cms.; copied in V. S. 1799. 167. MAGHAKAVYA-VṚTTI (S) of Lalitakirtigani, LD. No. 2633, folios 62, size 25-2x10-7 cms.; copied in 18th century.
168. NAISADHA-MAHAKAVYA of Sriharsa with a commentary by Ratnacandragani, composed in V. S. 1674, SUA. No. 1871, folios 302, size 25x10-9 cms.; copied in V. S. 1711.
169. ŞÜRYASATAKA of Mayura with an AVACORI by Hemasamudragani in Sanskrit, HJP. No. 10700, size 10-3"x4-5"; copied in V. S. 1487.
170. DAMAYANTIKATHACAMPO-VRTTI by Guṇavinaya composed in V. S. 1464 in Sanskrit, HJP. No. 6758, folios 135, size 12.9"x5.9"; copied in e 15th century.

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Jaina Commentaries on Non-Jaina Works
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171. ANARGHARAGHAVANĀTAKA-TĪKĀ of Jinaharsa in Sanskrit,
HJP. No. 2742, folios 68, size 10-3"x4.5''; copied in c 17th century. 172. ANARGHARAGHAVANATAKAȚĪKĀ, HJP. No. 14030, folios
31, size 10.5"x4.3; copied in c 16th century. 173. ANARGHARAGHAVANĀTAKA with a commentary called
ĀDARSA, HJP. No. 8634, folios 55, size 10.5"x4.5''; copied in
V. S. 1556. 174. SARVĀRTHASIDDHIMAŅIMĀLĀ TĪKĀ-PRAŠASTI (S) by
Jinasamarasűri, LD. No. 4854, folios 5, size 24.8x10.6 cms; copied in Karnapur in c 18th century. The Țikā was on Bhar
tshari's Vairagyaśataka. 175. RASIKAPRIYA-VĀRTIKA (G) of Upadhyāya Kušaladhira
composed in V. S. 1724 at Jodhaņo (Jodhapur), LD. No. 779(K), folios 69, size 24.5x10.8 cms.; copied in IV. S. 1735. The
text is in Hindi. 176. TARKABHĀŞĀ of Keśavamišra with a commentary VĀRTIKA
by Subhavijaya who composed it in V. S. 1665 at lladurga,
SUA. No. 1415, folios 29, size 25.5x10.8 cms.; copied in V. S. 1668. 177. TARKABHĀSĀ of Keśavamisra with a commentary CANDRIKĀ
by Siddhicandragani, SUA. No. 1428, folios 13, size 24.8x11.1
cms.; copied in V. S. 1722. 178. TARKABHĀŅĀ of Keśavamiśra with a commentary composed in
V. S. 1665 by Subhavijaya, SUA. No. 1416, folios 27, size 27x10-8 cms. The commentary was composed at Iladurga and was copied
in c 17th century. Tarkabhāṣā is text on Vaišeşikadarśana. 179. SAPTAPADĀRTHĪ of Sivaditya with a commentary by Jina.
vardhanasūri, KC. No. 595, folios 25, size 26-3x11.2 cms.; copied
in 17th century, published by L. D. Institute, Ahmedabad. 180. SAPTAPADĀRTHI by Sivaditya with a commentary by Siddhi.
candragani, SUA. No. 3465, folios 31, size 25.5x11.2 cms.; copied in c 17th century. Saptapadarthi is a Vaiseșikadarśana Text.

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Paper Manuscripts
181. TARKASANGRAHA of Annambhatta with Fakkika (S) by
Kşamakalyana, LD. No. 1764, folios 9, size 24.8x11.2 cms; copied in c 19th century.
VEDA, GİTĀ, ETC. 182. YAJURVEDA (1-4 Kāņda) in Sanskrit, HJP. No. 849, folios 87,
size 13.3''x4.9". 183. GAYATRĪVIVARAŅA (S) of Jinaprabhasūri, LD. No. 3428,
folio 1, size 26-1x11.2 cms.; copied in c V. S. 16th century. 184. BHAGAVADGĪTĀ in Sanskrit, HJP, No. 6849, folios 26, size
12.5"x5"'; copied in V. S. 1478. 185. BHAGAVADBHAKTIRATNĀVALI of Vişņupuri in Sanskrit,
HJP. No. 15137, folios nos. 2-69, size 11"x4.9''; copied in V. S.
1571. 186. RUKHAMÄNGADAPURI-VARNANA-EKĀDASI-MĀHĀ.
TMYA of Pujo in Gujarati, HJP. No. 3198, folios 69, size 10"x4.3" ;copied in V. S. 1705.
NON-JAINA WORKS ON VYĀKARANA AND KOSA
187. PĀŅINI-VYĀKARANA-MAHĀBHĀŞYA (Caturthadhyāya) of
Patañjali in Sanskrit, HJP. No. 939, folios 54, size 14''x4.3''; copied in V. S. 1543. There are other Adhyayas also in the collection having nos. 940-943 and 950, and also Pradipa
commentary having nos. 944-949. 188. VĀKYAPADĪYA of Harivrsabha with a commentary in Sanskrit
(Kanda Second), HJP. No. 7311, folios 21, size 10''x4.5'';
copied in c 17th century. 189. VĀKYAPADIYA with a commentary by Helārāja, (Caturtha
Samuddeśa), HJP. No. 7312, folios 55, size 10"x4.5"; copied
in c 17th century. 190. VĀKYAPADĪYA of Bhartshari in Sanskrit, with a commentary
by Helaraja (8th and 9th Samuddesa), HJP. No. 7313, folios 19, size 10"x4.5''; copied in c 17th century.

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Non-Jaina Works on Vyakarana and Koşa
25
191. VĀKYAPADIYA of Bhartshari in Sanskrit with a commentary
by Helaraja (Samuddesa 11 to 14), HJP, No. 7314, folios 32,
size 10"x4.5"; copied in c 17th century. 192. KĀTANTRAVYĀKARAŅA-AVACŪRI (S) of Merutungasūri,
LD. No. 1362, folios 22, size 29.1x11.9 cms.; copied in c 16th
century. 193. KĀTANTRAVIBHRAMA with a commentary composed by
Caritrasimha in Sanskrit, KC. No. 607, folios 5, size 26-2x10.5
cms.; copied in 17th century. 194. RĀMAKALASA-VYĀKARAŅA (S) of Ramakalaśa Bhatta,
LD. No. 2101, folios 9, size 25.5x11.5 cms.; copied in c 16th
century. 195. KRIYĀSANDOHA of Halāyudha in Sanskrit, SUA, No. 1001,
folios 14, size 25.5x11 cms.; copied in V. S. 1669 by the advice
of Pandit Siddhicandra at Agra. It deals with grammar. 196. JNĀPAKASAMUCCAYA of Puruşottamadeva in Sanskrit, HJP.
No. 7315, folios 23, size 10"x4.5"; copied in V. S. 1684. 197. PHĀRASI-PRAKĀŚA (Persian ) - grammar by Bihari Krşņadasa,
LD. No. 2860, folios 43, size 27.4x11.1 cms.; copied in V. S.
1662. 198. ŚABDĀMBODHI (SABDA -SANCAYA), SUA. No. 3115,
folios 22, size 25.8x11.1 cms.; copied at Jesalmer in V, S. 1672
by Manavijaya. It is a book on Kośa. 199. MADANA-VINODA-NIGHANȚUKOŞA (S) of Madanapala,
LD. No. 443, folios 27, size 27.5x12.3 cms.; copied in V. S.
1877. 200. YAVANANĀMAMĀLĀ in Sanskrit and Persian, HJP. No. 995,
folios 14, size 11.5"x5.5". 201. YAVANANĀMAMĀLĀ (S) of Pratāpa Bhatta, LD. No. 8311, . folios 9, size 25.9x11 cms.; copied in c 17th century.

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Paper Manuscripts
202. TORUŞKI-NĀMAMĀLĀ-YAVANANĀMAMĀLĀ (S) of the son of Somamantri, LD. No. 8115, folios 6, size 21-7x127 cms.; copied at Samala-Khana-Dera by Mahimasamudra in V. S. 1706.
NON-JAINA WORKS ON SILPA, SANGITA AND NRTYA
203. APARAJITAPṚCCHA (incomplete) of Bhuvandevacārya in Sanskrit, HJP. No. 2807, folios 253, size 10"x4.3"; copied in c 17th century.
204. APARAJITAPRCCHA (incomplete) of Bhuvanadevācārya in Sanskrit, HJP. No. 2590, folios 291, size 10.9"x4.9".
205. MANDAPANIRNAYA of Viśvakarma, LD. No. 3063 (K), folios 17, size 25x9 cms.; copied in V. S. 1912.
206. VĀSTUSASTRA-VĀSTURĀJA (S) of Rajasimha, LD. No. 339, folios 26, size 28.6x13.2 cms; copied in c 17th century.
207. VĀSTUSASTRA-SILPASASTRA (S), LD. No. 23997, folios 54, size 30×12.7 cms.; copied in c 18th century.
208. KUNDAKALPADRUMA (S) of Madhava, LD. No. 8237, folios 18, size 28x11-7 cms.; copied in V. S. 1827 at Suryapura by Kāśīnatha Sukla. It was composed in V. S. 1712.
209. KUNDĀDHANAŚASTRA (S) of Ramacandra, LD. No. 8212, folios 12, size 18.2x9.7 cms.; composed in V. S. 1506 and copied in c 18th century.
210. SANGĪTACŪDĀMAŅI of Jagadekamalla (incomplete), SUA. No. 3835, folios 20, size 28-5x11-5 cms.; copied in c 17th century. 211. SANGĪTARATNĀKARA-NARTANĀDHYAYA (S) of Sarṇgadeva, LD. No. 2270, folios 44, size 26-8x11 cms.; copied in V. S. 1626.
212. SANGITARATNĀKARA-SVARAGATADHYAYA (S) of Śarngadeva, LD. No. 2268; folios 21, size 26.8 x 11.4 cms.; copied in c 17th century.

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Non-Jaina Works : Kāvya, Näțaka,... Chanda etc.
27
213. SANGĪTARATNĀKARA-TĀLAPRAKARANA (S) of Śārnga
deva, LD. No. 2269; folios 14, size 27.0 x 11.4 cms.; copied in
c 17th century. 214. NARTANANIRNAYA of Pundarika Vitthala (Karnatakajñātiya)
in Sanskrit, HJP. No. 8635, folios 8, size 9.9''x4.5"; copied in 18th century.
NON-JAINA WORKS: KÄVYA, NATAKA, ALANKĀRA,
KAMASASTRA AND CHANDA 215. RAGHUVAMSA of Kalidasa with a commentary by Pandita
Udayakara of Medapata caste, SUA. No. 2705, folios 294, size 26xil cms.; copied in V. S. 1653 at Hariharpur by Krşqa,
son of Divākara. 216. RAGHUVAMSA-TĪKĀ (S). HJP. No. 11716, folios Nos.
15-54, size 10.5"x4.5"; copied in c 16th century. 217. RAGHUVAMŚA of Kalidāsa, VIVARANA by Udayakara and
PAÑJIKĀ by Anandadevāyana Vallabhadeva, HJP. No. 2686,
folios 283, size 10.3"x4.3''; copied in c 16th century. 218. MEGHADŪTAKĀVYA-VRTTI (S) of Rāghava Śarmā, LD.
No. 6555, folios 57-115, size 25.0x10-5 cms.; copied in V. S. 1685. 219. KIRĀTĀRJUNĪYA-MAHĀKĀVYA of Bharavi with VRTII,
HJP. No. 10693, folios 188, size 10-3"x4.9"'; copied in V. S. 1587. The name of the commentator is given at the end of all the sargas as Prakāśa Varșa. It is also mentioned in the first
padya of prasasti but in the 4th padya Jarādatta is mentioned. BHATTĪKĀVYA of Bhatti Kavi in Sanskrit. HJP. No. 6625.
folios 33, stze 12"x4.9"'; copied in V. S. 1488. Also called
RĀVANAVADHA. 221. KĀDAMBARI-KATHĀ of Mahākavi Bana Bhatta and Pulindra,
HJP. No. 6642, folios 95, size 12"x4.9''; copied in V. S. 1486. 222. TRIŚATĪ of Bhartshari with VRTTI of Dhanasāra Pathaka, LD.
No. 357, folios 63, size 28.1x13.5 cms.; copied in V. S. 1879.

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Paper Manuscripts
223. SIŚUPĀLAVADHAKĀVYA of Magha in Sanskrit with a
commentary by Vallabha, son of Anandadeva, HJP. No. 13638,
folios 246, size 103"x4.5"; copied in c 19th century. 224. DAMAYANTĪKATHĀ-CAMPU by Trivikrama Bhatta, HJP.
No. 6789, folios 38, size 12"x4.9"'; copied in c 15th century. Also called NALACAMPŪ. Edited by Durgāprasād and Śiva
datta, with a commentary of Candapala, NSP., Bombay, 1921. 225. DAMAYANTĪCAMPŪ-KATHĀ-TIKĀ by Candapāla Kavi,
HJP. No. 6722, folios 31, size 11.9"x4.9'';. copied in c 15th
century. 226. RĀMACARITA-MAHAKĀVYA of Abhinanda Kavi, HJP. No.
6640, folios 89, size 12"x4.9"'; copied in c 15th century. Edited
by K. S. R. Shastri, GOS., 1930. 227. TILAKASUNDARĪ-KATHA and BILHANA-PANCĀŠIKĀ in
Sanskrit, KB. (Sanskrit ) No. 2961, folios 8, size 13-3x10 cms.; copied on paper in V. S. 1470. PANCASIKA is also known as CAURA( CAURI SURATA PANCĀŠIKĀ, Ref. A Companion
of Sanskrit Literature' (S. C. Banerji), p. 177. 228. NAISADHACARITA-MAHĀKĀVYA of Śrīharșa with a comme
ntary VIDYĀDHARI in Sanskrit by Vidyadhara, HJP. No.
10400, folios 75, size 11.9"x4.5"; copied in c 15th century. 229. NAIŞADHAKĀVYA-ȚIKA (S) of Nārāyaṇa Pandita, LD. No.
21942, folios 217, size 24.5x11.0 cms.; copied in V. S. 1705 by
Vidyadhara. 230. GĪTAGOVINDA of Jayadeva, HB. No. 1190, folios 27, size
25x11.2 cms.; copied in c 18th century. 231. GĪTAGOVINDA-Commentary RASAMANJARI by Salinātha,
HB. No. 1318, folios 10, size 24.5x11.3 cms.; copied in c 18th
century. 232. CHANDOGOPĀLA-KĀVYA of Kāšīnatha in Sanskrit, HJP.
No. 8662, folios 5, size 10"x4.5"; copied in V. S. 1734.

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29
233. GĀTHĀSAPTAŚATĪ of Satavāhana in Prakrit with a commer
tary in Gujarati, HJP. No. 9482, folios 30, size 14.9"x5''; copied
in V. S. 1454. 234. VASANTAVILÄSA in Prakrit, Sanskrit and Gujarati, HJP. No.
3183, folios 6, size 10.3"x4.3"'; copied in c 17th century. 235. DARPADALANA of Ksemendra in Sanskrit, HJP. No. 8660,
folios 13, size 10.5"x4.5"; copied in V. S. 1486. Published in
Kavyamālā, NSP., Vol. V. 236. VIDAGDHAMĀDHAVANĀTAKA of Rūpagosvāmī with
TIPPANI (S) by Gokula Pandita, LD. No. 5328, folios 51; composed in V. S. 1579 and copied in V. S. 1693. Published
in Kavyamala, NSP., 1937. 237. DHANANJAYAVIJAYA-VYĀYOGA of Kancanacārya in Sans
krit, HJP. No. 14027, folios 7, size 10.3"x4.5"; copied in V. S.
1690. 238. DŪTÄNGADA-CHĀYA-NATAKA of Subhata Kavi in Sanskrit
and Prakrit, HJP. No. 2739, folios 5, size 10.3"x4.3", copied in
c 16th century. 239. RUDRAȚĀLANKĀRA (S), LD. No. 10975, folios 49, size
22.5x8.3 cms.; copied by the pupil of Devaguptasūri in V. S.
1455. 240. DASARŪPAKĀVALOKA of Dhanika, SUA. No. 1581; folios
41, size 27.1"x11.6"'; copied in V. S. 1450. Edited by Prof. T.
Venkatācharya, Adyar Library. 241. KĀMARĀJA-RATIŚĀSTRA of Mahārajā Kumbhakarņa, SUA.
No. 960, folios 7, size 26-2x11 cms; copied in c 18th century.
It deals with Kāma Šāstra. 242. KĀMARATNA (S) of Prāṇanātha Bhatta, LD. No. 1008, copied
in c 19th century. 243. KALĀVILĀSA (S) of Kşemendra, LD. No. 7144, folios 27, size
28.2x9.7 cms.; copied by Rāmacandrasūri in V. S. 1462 at Anahillapura. Ed. Kavyamala, NSP, Vol. I.

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Paper Manuscripts
244. ŚRUTABODHA (S) of Kalidasa with VRTTI by Harsakirti
Upadhyaya, LD. No. 20401, folios 7; copied in V. S. 1659. 245. VRTTARATNĀKARA of Kedara Bhatta with a commentary by
Sulhana, HJP. No. 10384, folios 21, size 12"x4.9"; copied in V. S. 1528.
NON-JAINA PHILOSOPHICAL WORKS
246. SĀNKHYASAPTATIKĀ of Isvarakršņa with a commentary by
Mathara, LD. No. 15134, folios 10, size 26-2x11.3 cms.; copied
in V. S. 1485. Ref. KP., p. 75. 247. PRASASTAPĀDABHĀSYA of Prasastapādācārya, HJP. No.
6684, folios 12, size 12"x4.9"; copied in c 15th century. Ref.
KP., p. 60. 248. NYĀYAKANDALI'S NYAYAKUSUMODGAMAVYĀKHYA
by Yommideva, HJP. No. 6687, folios 62, size12"x4.9"; copied in c 15th century. NYAYAKANDALI is the commentary on PRAŠASTAPĀDABHĀSYA. Ref. KP., p. 60.
249. KAŅĀDARAHASYA of Padmanābha in Sanskrit, SUA. No.
871, folios 16, size 26x10.8 cms.; copied by Lalaji in V. S. 1643.
It deals with Vaišeşikadarśana. Ref. KP., p. 266. 250. NYAYASĀRA of Bha sarvajña in Sanskrit with Tippaņi, HJP.
No. 10100, folios 5, size 13.5"x5.3"; copied in V. S. 1474. Ref.
KP., p. 143. 251. NYĀYABHUSANASĀRASANGRAHAVĀRTIKA of Bhāsar
vajña with Tippaņi in Sanskrit (incomplete), HJP. No. 10717, folios 149, size 10.3"x4.5''; copied in c 15th century. Ref. KP., p. 143. Published by Şaddarśana-Prakāśana-Pratisthana, Vara.
ņasī, 1968. 252. NYĀYAKUSUMĀNJALI of Udayanacarya, HJP. No. 6683,
folios 36, size 12"x4.9"'; copied in c 15th century. Ref. KP., pp. 156-159.

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Non-Jaina Philosophical Works
3/
253. NYĀYAKUSUMĀNJALI-PARIMAL (first stabaka ) of Maho
pādhyaya Sri Divakara, HJP. No. 6685, folios 16, size 12"x4.9";
copied in c 15th century. 254. TATTVACINTĀMANI (PRATYAKȘA KHANDA) of Gangesa
in Sanskrit, HJP. No. 6850, foios 24, size 12.3"x5"; copied in
c 16th century. Ref. KP., pp. 215-221. 255. TATTVACINTAMANI (ANUMĀNA and UPAMĀNA KHAN.
DA) of Gangesa, HJP. No. 6851, folios 41, size 12.3"x5"!
copied in c 16th century. 256. TATTVACINTĀMANI (SABDAKHANDA) of Gangesa, HJP.
No. 6852, folios 48, size 12"x5''; copied in c 16th century. 257, TATTVACINTĀMAŅI (PRATYAKSA) (S) of Rucidatta, LD.
No. 2865, folios 22, size 26.7x11.5 cms.; copied in c 17th century. 258. TATTVACINTĀMAŅI-ANUMĀNAKHANDA-VRTTI (S) of
Rucidatta, LD. No. 2866, folios 189, size 26-7x11.5 cms.; copied
in V. S. 1650. 259. TATTVACINTĀMAŅI-UPAMĀNAKHANDA-VRTTI of Ruci.
datta, LD. No. 5753, folios 9, size 25.8 x 11 cms.; copied in
c 16th century. 260. TATTVACINTĀMANI (S) of Rucidatta (incomplete), LD. No.
16204, folios 104, size 28.5x11.8 cms.; copied in c 17th century. 261. TARKABHĀŞĀ of Keśavamiśra with a Tippaņi by Gaurikānta
Mahopadhyaya, SUA. No. 1421, folios 98, size 25.5x11.4 cms.;
copied in c 17th century. Ref. KP., p. 187. 262. SAPTAPADĀRTHIKHANDANA of Naganatha, SUA. No.
3467, folios 8, size 25.5x11 cms; copied in c 17th century. This work is a criticism on SAPTAPADĀRTHI of Sivaditya. For
Saptapadārthi ref. KP., p. 179. 263. PADĀRTHARATNAMANJUSĀ of Krsna pandita in Sanskrit,
HJP. No. 6687, folios 6, size 12"x4.9''; copied in c 15th century. Ref. KP. p. 323.

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32
Paper Manuscripts
264. NYĀYARATNADĪPĀVALĪ-PRAPANCAMITHYĀTVASŪTRA, ASB. No. 264, size 26.1x11 cms.; copied in V. S. 1510 at Yoginipura. Ref. KP., p. 197.
of
265. NYAYAMAKARANDA-NYAYOPADESAMAKARANDA Anandabodha in Sanskrit, HJP. No. 6686, folios 29, size 12"x4.9"; copied in c 15th century. Ref. KP., p. 196.
266. KHANDANABHAKTIKĀVIBHAJANA-KHANDANA-TĪKA by Anandapūrṇa, HJP. No. 6694, folios 191, size 12"x4.9"; copied in c 15th century. Ref. KP., p. 208.
267. PADARTHATATTVANIRNAYA-TATTVAVIVEKA-VIVARANA of Anandajñāna, HJP. No. 6693, folios 61, size 12"x4.9"; copied in c 15th century. For PADĀRTHATATTVANIRNAYA see KP., p. 197.
268. ADVAITĀMṚTA (S) of Jagannatha Sarasvati, LD. No. 13549 folios 34, size 27.5×11.9 cms.; copied by Hariraya Miśra in V. S. 1793. Ref. KP., p. 243.
269. KAMARUPA-PAÑCASIKA of Yogendra in Prakrit, HJP. No. 3996, folios 4, size 10.3"x3.9"; copied in c 15th century. It deals with Yoga.
270. PRAMĀŅAVĀRTIKA of Dharmakirti with auto-commentary (Chapter I only), VBP. No. 53, folios 40, size 30-3×11.5 cms.; copied in c V. S. 15th century. Ref. KP., pp. 68-71.
271. NYAYABINDU-TĪKĀ of Dharmottara in Sanskrit, HJP. No. 6681, folios 28, size 12"x19"; copied in c 15th century. Ref. KP., p. 136.
272. TATTVASANGRAHA of Santarakṣita, HJP. No. 6679, folios 66, size 12"x4.9"; copied in V. S. 1492. Ref. KP., pp. 125–126. 273. TATTVASANGRAHA-PANJAKĀ by Kamalaśīla, HJP. No. 6680, folios 260, size 12"x4.9"; copied in V. S. 1492, Ref. KP., p. 129.
For Private
Personal Use Only

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Aśvasástra, Hastiśástra, Ratnaśāstra and Pakaśästra
AŠVAŠĀSTRA, HASTIŠĀSTRA, RATNAŠĀSTRA AND PĀKAŚĀSTRA 274. ŚĀLIHOTRA (S) of Nakula, LD. No. 1501(K), folios 10, size
25-5x10.7 cms.; copied in V. S. 1634 at Khadirapur by Lakşmi
dasa, the pupil of Vinayasāgara. Ref. HSL., p. 465. 75. AŠVACIKITSĀSĀSTRA of Nakula, LD. No. 4159(K), folios
37, size 18.0x11.8 cms.; copied in c 17th century. Ref. HSL.,
p. 465. 276. VĀJI-VAHANAŚĀSTRA (AŚVAŚĀSTRA) (S) of Garga, LD.
No. 1807, folios 79-93, size 26.2x11.2 cms.; copied in V. S.
1767; not mentioned by Keith. 277. SĀRASAMUCCAYA (AŚVAŚĀSTRA) (S) of Kalhanaa, LD.
No. 1807, folios 1-79, size 26-2x11.2 cms.; copied in V. S. 1767;
not mentioned by Keith. 278. RATNAKOSA (S) of Vāgbhata, LD. No. 337/2. It deals with
the dreams regarding the ornaments etc., folios 4-8, size 29.0x12.5 cms.. Ref. HSL., p. 465, but this is not mentioned.
Ref. · A Companion to Sanskrit Literature,' p. 300. 279. RATNAPARIKŞĀSĀSTRA of Agasti Rși in Sanskrit, Kanti
vijayaji Collection, (Chani) No. 100, folios 11, size 30x11.8
cms.; copied in V. S. [14]62. Ref. HSL., p. 465. 289. RATNAPARĪKŞA-SAMUCCAYA (S) with a commentary in
Gujarati, LD. No. 2835(K), folios 46, size 25.4x10-8. cms.; copied by Joși Baka in V. S. 1673; not mentioned by Keith.
281. RATNAPARĪKSĀ-SAMUCCAYA of Agasti Rși with BĀLĀVA.
BODHA (G), LD. No. 1895, folios 45, size 24.8x11.1 cms.; copied in V. S. 1730.
282. RATNADĪPIKĀ (S) of Bhadeśvara, composed at Jesalmer, LD.
No. 8605/1, folios 1-5, size 15.2x12.8 cms.; copied by Purohita Sahasamalla in V. S. 1687; not mentioned by Keith.

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.......
..
Paper Manuscripts
283. KSEMAKUTUHALA-PĀKAŚĀSTRA (S) of Kşemasarma, LD.
No. 1417(K), folios 77, size 26x11.8 cms.; composed in V. S. 1405 (?) and copied in V. S. 1854 by Khuśālacanda Muni.
NON-JAINA WORKS ON AYURVEDA, JYOTIŞA AND SVAPNA ETC.
284. GADANIGRAHA of Sohala Kavi in Sanskrit, HJP. No. 15672, kom f olios 355, size 10.5"x4.5"; copied in V. S. 1549. 285. ŚIVĀNUBHAVA-NĀMA-VAIDYAKAŚĀSTRA of śivamiśra,
. No. 1118, folios 512, size 29x14 cms., leaves missing here
and there; copied in V. S. 1699. 286. CANDRAKALĀŠATAKA of Bopadeva Kavi in Sanskrit on
medicine, SUA, No. 1228, folios 8, size 25.5x10-8 cms.; copied
in c 18th century. 287. HASTIGHATA (S) on Ayurveda, LD. No. 7821, folios 127;
size 23x9.2.cms; copied at Nauvvānagara in V. S. 1507 by
Rohigadatta Pandita. 288. TRAŅASOSĀTHA-KARIYĀŅĀ-NĀ NĀMA (G), LD. No.
22081/1, folios 1-3, size 25.1x11 cms.; copied in c 19th century. 289. LAGHUJĀTAKA-VRTTIVĀRTIKA (S) with VIVARAŅA of
Matisagara, LD. No. 5234, folios 29, size 25-2x10.8 cms.; copied
at Balotara by Punyaharsa in V, S. 1747. 290: SVAPNACINTAMANI (S) of Jagaddeva, LD. No. 337/1, size
29x125 cms.; copied in c 17th century. 291. - VASANTARĀJAŚAKUNA (S) of Vasantarāja with a commen
tary by Bhanucandragani, LD. No. 586K), folios 163, size
26x11.2 cms.; copied in V. S. 1731. 292. PAVANAVIJAYA-SVARODAYA (S), LD. No. 337/3, folio
Nos. 8-11, size 29x12.5 cms.; copied in c 17th century. 3. TĀJIKATANTRASĀRA (S) of Samarasimha, LD. No. 7660,
folios 13, size 23.5x11 cms.; copied in V. S. 1588.

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Mss. of Historical Importance
294. BHADALĪGRANTHA (G), LD. No. 6688, folios 9, size 27x11-4
cms.; copied at Sri Pattana in V. S. 1609. 295. BHADALĪDUHĀ (G) of Bhadali, LD. No. 7091, folios 5, size 25.9x10.2 cms.; copied in c 18th century.
MSS. OF HISTORICAL IMPORTANCE 296. KĀVYAMANOHARA-MANDANA-MANTRI-CARITRA of
Maheśvara, HJP. No. 9493, folios 9, size 13.3"-5.9"; copied in V. S. 1504. For Mandana's works see this Catalogue, Nos. 141148. Mandana was the minister of Alamshah (1462-1486 V. S.) at Manda padurga (Mandu). He was the contemporary of Jinabhadrasūri (V. S. 1456 - ) who established many Jina
Bhandāras. Ref. JSI., pp. 475-484. 297. AVAŚYAKASUTRA in Prakrit with a commentary in Sanskrit
- Sisyahita- of Haribhadra, BJP. No. 743, folios 119, size 12"x4-3"; copied in V. S. 1515 at Kumbhalameru when Kumbha. karna was the king. For Haribhadra (V. S. 757) see Introduc
tion to 'Anekantajayapatakā' (GOS) and JSI., pp. 153-170. 298. KALPASŪTRABĀLĀVABODHA, LD. No. 8741, folios 116, size
30-8x10-8 cms.; copied in V, S. 1425. The MS. is important for
the study of the form of old Gujarati Language. 299. JĀVADA-BHĀVADA-RĀSA and SONAPĀLASANGHADHIPA
RĀSA (incomplete) of Depāla in Gujarati having trend of Apabhraíía, HJP. No. 9532, folios 12, size 7"x4"'; copied in c 16th century. For Depāla's' other works see JSI., pp. 522–523.
Depala's works were composed during V. S. 1501 to 1534. 300. TĪRTHAMĀLĀ of Municandra in Prakrit, SUA. No. 1448,
folios 5, size 25.8x11 cms.; copied in c 17th century. Also called PRATIMĀ-STUTI. It praises many Jaina holy places. Ref.
JK., p. 160. 301.
UPADEŠACINTĀMAŅI-PRAKARANA of Jayasekharasūri in Prakrit, HJP. No. 1612, folios 20, size 10"x4.5'; copied in V. S. 1612 at Rajagadha when Humāyu was the king. It was composed in V. S. 1436. Ref. for other works JSI., pp. 441-442.

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36
302. GURUGUNARATNĀKARAKAVYA of Somacaritragani in Sanskrit composed in V. S. 1541, SUA. No. 1091, folios 13, size 26-1x11-1 cms.; copied in e 17th century. Life of Lakṣmisagarasuri is composed. For its summary ref. JSI, pp. 496-520. Published in YJG. No. 24. SUA. No. 1092 also is the copy of this work.
Paper Manuscripts
303. KIRTIKALLOLINT
of
(VIJAYASENASURI-VARNANA) Hemavijayagani in Sanskrit, SUA. No. 997, folios 15, size 25.4x11.1 cms.; copied in e 17th century. The MS. is damaged by termites. Famous Vijñaptipatra painted by Jahangir's courtpainter Salivahana is addressed to Vijayasenasuri. For further details of his life see JSI., p. 555. Hemavijayagani had also composed VIJAYAPRAŠASTI-KAVYA (YJG., 23) describing the life of Vijayasenasūri.
304. PRABANDHARAJA of Ratnamandiragani, composed in V. S. 1517 in Sanskrit, SUA. No. 2254, folios 67, size 25-6x11 cms.; copied in V. S. 1683. It is also called BHOJAPRABANDHA because it deals with the life of King Bhoja. Published by Pandita Bhagavandas, Ahmedabad in V. S. 1978.
305. SANTINĀTHACARITA of Ajitaprabhacārya in Sanskrit, HJP. No. 2049, folios 133, size 10.9"x4-3". It was composed in V. S. 1317 and was copied in V. S. 1538 at Sakaria when Patas ha Gyasudina was reigning. Published by JPS. in V. S. 1973. Ref. JK., p. 379.
306. GAUTAMAPṚCCHAPRAKARANA with VRTTI by Śritilaka in Prakrit and Sanskrit, HJP. No. 1532, folios Nos. 4-121, size 10-3"x4-3"; copied in V. S. 1506 at Mandalakaradurga when Kumbhakarna was the king. Published by Rameshchandra K. Shah, Devsano Pado, Ahemedabad in 1957.

307. PEKA(GA)MBARI BĀTA (Raj.) of Jati Dhanaraja, composed in V. S. 1547, LD. No. 4176(K), folios 6, size 14-5x9 cms.; copied in V. S. 1847. This is the story of Sulemana Pegambara. 3C8. DASTĀVĒJA (Document) (G) for a building done in S. S. 1633, LD. No. 12855/1, folio 1, size 67 x 2.5 cms.

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Mss. of Historical Importance
309. UPADEŚAKUŚALA-KULAKA (G) of Brahora, LD. No. 14663,
folios 2, size 26-8 x 11.4 cms. It contains the report in its Prasasti about the earthquake in Ahmedabad, etc. in V. S. 1682 - संवत् १६८२ वर्षे फागण वदि ६ बुद्धे जंबूद्वीपे भरतखण्डे गुजरदेशे फागुण वदि ६ न शा घडी ५ तथा ६ नि माझनि भूमिकंप हुउ, धरती हाली तेहनु कालमान घटिका १ प्रमाण आश्रिइ अहमदाबादि श्रीनगरि विषि बिबीपुर मध्ये । ...... पाटणमां पणि घर घणा पड्या, माणसनी पणि केतलीएकनी उपघात थई । रेबा नदी माहिनु पाणीमां शाप उपना सांभल्या । For Kulaka see 'Sanskrit Dictionary' by M. M. Williams,
p. 295. 310. KHANDAPRAŠASTI-KĀVYA (Khanda I) (S) of Hanumat,
LD. 16435, folios 7, size 30x 11.7 cms.; copied at Jodhapura by Muni Devakalasa in V. S. 1562. Ref. JK., p. 101 for its
commentaries. 311. VIMALAŚĀHA-CARITA-PRABANDHA (S) of Saubhāgya.
nandisūri, LD. No. 5693, folios nos. 29-58, size 26.2 x 11.2 cms.; copied in c 16th century. It was composed in V. S. 1578. Ref. JK., p. 358. VIMALAMANTRĪŚVARA-RĀSA (G), LD. No. 16757/4, folios nos. 7-11, size 17.8 x 8.4 cms.; copied in 15th century by
Sadhuratna. 313. ABU-TĪRTHA-YĀTRĀ-VARŅANA (G) of Sevaka who
composed it in V. S. 1642, LD. No. 24744, folios 3, size 25.5x 11 cms.; copied in c 18th century. It describes the
Tirthayatra organised by Mandana Saha in V. S. 1642. 314. LĪLĀDHARARĀSA (G) of Sura Muni, LD. No. 24836, folios
17, size 24.5 x 11 cms.; composed in V. S. 1710 and copied in c 19th century. This is the description of the Sanghayātrā
from Ahmedabad. 315. PĀȚAŅACAITYA-PARIPĀȚIKĀ (G) of Lalitaprabhasūri, LD.
No. 683, folios 12, size 27 x 10.9 cms.; copied in V. S. 1648. 316. AKABARAŚĀHA-PĀTASĀHA-SAHASRANĀMA (S), LD.
No. 4963, folios 5, size 25.2 x 11 cms.; copied in c 18th century.

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Paper Manuscripts
317. AJITASANTISTOTRA-BALAVABODHA (G), LD. No. 15854, folios 8, size 26.5 × 10-9 cms.; copied at Stambhatīrtha for Sadhvi Amaralaksmi in V. S. 1578 at the time of Patasaha Mudafar (Mujaffar ). अजितनाथ किसिउ छइ । जिअसन्वभय । जिअ कहिं जीता सव्व कही सघलाइ भयछ जी संतिं च शांतिनाथ फिसिट छह पसंत सम्यगयपाये । पसंत कहीइ क्षय गया। सव्य सघलाई । गय कहीइ रोग अनिइ पाव कहीद पाप छइ जेहना ......।
38
MSS. COPIED BY THE AUTHORS
318. KATHAMAHODADHI (S) of Pratisthasoma composed in V. S. 1504, LD. No. 9181, folios 31, size 26-2x11-2 cms.; copied by the author in V. S. 1504. Pratisthasoma is also the author of SOMASAUBHAGYA composed in V. S. 1524. Ref. JSI., p. 453, note No. 440 and p. 516. Pub. by HH., Jamnagar, 1916, Ref. JK., p. 66.
319. JAMBŪSVĀMĪRĀSA (G) of Vinayaraja, pupil of Ratnasimbasüri, size 28x 11 cms.; composed and copied by the author in V. S. 1516, LD. No. 7268/1, folios 1-4, size 28x11 cms. Ref. JSI, p. 523.
320. VINAYADEVASŪRI-VIVAHALO (G) of Manaji, LD. No. 15800, folios 4, size 26-5x 11 cms.; composed and copied by the author in V. S. 1639. VIVAHALO is a type of song sung at the time of marriage. The author conceived 'pravrajya' or 'mukti as a bride and composed songs for these occasions also, and such songs were called vivahalu. For Vinayadevasuri see JSI., p. 527.
321. KALPASŪTRĀNTRAVĀCYA (S) of Ratnacandragani, LD. No. 11654, folios 82, size 20×10-7 cms.: composed and copied by the author in V. S. 1646 at Surat. The author was the pupil of Santicandra who was the teacher of Akbar. This fact is mentioned in the prasasti' of this MS.
322. KALPANTARVACYA of Nagarsi in Prakrit, HJP. No. 7551, folios 47, size 10-3"x4-9"; composed and copied by the author in V. S. 1675 at Vatapalligrama. For his other work STHANANGADIPIKA, ref. JSI, p. 594.

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Mss. Copied by the Authors
39
323. GRAHABHĀVA-PHALA (S) of Mahadeva, LD. No. 4983, folios
12, size 25.8x11.3 cms.; the author himself copied the MS. in
V. S. 1658. 324. PRAŚNAPRABODHA-KĀVYĀLANKĀRA of Vinayasagara
composed in V. S. 1667 and copied also in the same year by
the author himself, KB. No. 1675, folios 9, size 25.8x11 cms. 325. PRAJNĀPANĀSUTRAVRTTI-UDDHĀRA (S) of Lāvanya
vijaya, HJP. No. 16854, folios 57, size 10''x3''. The author has copied the MS. in V. S. 1668. The author seems to be the pupil of Meruvijaya as he has corrected KĀVYAKALPA.
LATĀVRTTI-MAKARANDA in V. S. 1665. Ref. JSI., p. 594. 326. RŪPASENARĀJARŞI-RĀSA (G) of Bhavasekharagani, LD.
No. 8869, folios 30, size 25.5x10.5 cms.; copied by the author
in V, S. 1684. It was composed in V. S. 1683. 327. SAPTASMARANA-VRTTI (S) of Samayasundara who compos
ed and copied it in V. S. 1695 at Jalorapura, LD. No. 6578, folios 40, size 25 x 11.8 cms. Samyasundara is a famous Jain author. Ref. JSI., pp. 578, 588 and Jaina Gurjar Kavio'
(M. D. Desai), Vol. I, pp. 331-391. 328. SATTARABHEDI-PŪJĀ of Sakalacandra, KB. No. 348, folios
8, size 24 x 10.7 cms.; copied by the author in 17th century. His date is given as c V. S. 1618. Ref. JSI., p. 608. His other work is VĀSUPUJYA-STAVAŅA which is composed in many rāgas, JSI., p. 616. His pupil is famous Bhānucandra of the Akbar-Jahangir's court and his preceptor is Dānavijaya, JSI.,
pp. 554, 595. 329. NYĀYASIDDHĀNTA-MANJARĪ-TIPPAŅA of Siddhicandra
gani in Sanskrit, ASB. No. 886, folios 5, size 25x11.2 cms.; copied in V. S. 1706 by the author at Vadagrāma. The author is famous for his connection with Akbar and Jahangir, JSI.,
p. 554. 330. VIHARAMĀNAJINA-GĪTO (G) of Kamalavijaya who
composed and copied it in V. S. 1712 at Syahapura, LD. No.

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40
331. SIMHASANA-BATRIST (S) copied by the author Devavijayagani in V. S. 1721, LD. No. 3170, folios 8, size 25.5 x 11 cms. For another Simhasanadvatrimśika of Kṣemamkargani ref. JSI., p. 469. For these stories included in Vikramacaritra of Devamarti ref. JSI., pp. 467-468. There are many authors having name Devavijaya, but this Devavijaya most probably was the pupil of Manavijaya, ref. JSI., p. 658.
Paper Manuscripts
6580, folios 2-6, size 24-7x 10-7 cms. He is the preceptor of Meghavijaya, the author of various works, Ref. JSI., p. 651. This work praises 20 Tirthankaras of Mahāvideha.
332. RĀJASĀGARASŪRINIRVĀŅA-RĀSA (G) of Tilakasagara who composed and copied it in V. S. 1722, LD. No. 15283, folios. 19, size 25-2x4-4 cms. Ref. JSI., p. 664 where it is mentioned that he existed after V. S. 1715. Ref. Jaina Gurjar Kavio', Vol. II, p. 183.
333.
ROHINI-ASOKACANDRA-CAUPAI (G) of Karamast of Parsvacandra Gaccha who composed it in V. S. 1730 at Jalora and copied it in V. S. 1732, LD. No. 20811, folios 13, size 25-7x10-7 cms. This author must be Karmasimha mentioned. by M. D. Deasi, ref. JSI., p. 664 and Jaina Gurjar Kavio", Vol. II, p. 271.
334. RATNASIMHARĀJARṢI-RĀSA (G) of Jinaharṣa, HJP. No. 17578, folios 23, size 9.9" x 4.5"; composed in V. S. 1741 and copied by the author in the same year. Ref. Jaina Gurjar Kavio, Vol. II, p. 87.

335. SADHUVANDANA (G) of Nayavimala (Jñanavimala), HJP. No. 16296, folios 17, size 10" x 4-5"; copied by the author in V. S. 1742. Ref. Jaina Gurjar Kavio', Vol. II, p. 310.
336. MANATUNGA-MANAVATI-RASA (G) of Mohanavijaya who composed it at Anahillapura in V. S. 1760 and copied it at Darbhavati, LD. No. 11613, folios 49, size 24-9x 10-5 cms. Ref. Jaina Gurjar Kavio', Vol. II, p. 435.

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Mss. Copied by the Authors
337. ŞASTIŚATAKA (P) of Nemicandra Bhandari with BĀLĀVA.
BODHA (G) of the pupil of Yasasoma who composed and copied the Balavabodha at Masudānagara in V. S. 1761, LD. No. 7916, folios 28, size 26-8 x 11.2 cms.; edited by Dr. B. J.
Sandesarā, Prācīna Gurjara Grarthamala, Baroda, No. 1. 338. MANGALĀCĀRYACATUSPADI (G) of Labdhivijaya, com.
posed in V. S. 1761 and copied by the author in the same year,
KB. Guj. No. 414, folios 8, size 24.5x10-5 cms. 339. CANDRAPRABHASŪRISVARA-RĀSA (G) of Bhavaratna
who composed it in V. S. 1754 at Tatana, LD. No. 4771, folios 8, size 25.7x10.8 cms.; copied by the author at Pațaņa
in V. S. 1769. 340. KAPILAKEVALI-RĀSA (G) of Devasāgaramuni, LD. No.
2200, folios 5, size 26x11 cms.; composed and copied by the
author. Ref. 'Jaina Gurjar Kavio', Vol. III, p. 971, 341. PRATIMĀŠATAKA of Yasovijaya with LAGHUVRTTI of
Bhavaprabha, LD. No. 4989/1, folios 1-42, size 25-5x11.3 cms.
Bhāvaprabha composed the Vrtti and copied this MS. in V. S. * 1793. Yośovijaya was a great Jaina philosopher. "Ref. JSI.,
p. 625; also KP., pr. 318-319. About Bhavaprabha and his works
ref. JSI., pp. 658 and 650. 342. ĀRĀDHAKA-CATURBHANGĪ with AVACŪRI of Yašovijayaji
in Sanskrit, HJP. No. 17353, folios 3, size 10" x 4.5". The
author has copied this MS. 343. CATURVIMŠATIJINASTAVANA of Hemavijaya, KB. No. 402,
folios 5, size 24.5 x 11 cms.; copied by the author in c 18th
century. Ref. for other MS., JK., p. 115. 344. LAKSMAŅOTSAVA (S) of Laksmanamuni on Ayurveda. It was
copied at Jesalmer by the author in c 18th century. LD.
No. 5770, folios 29, size 25.2 x 10-8 cms. 345. PRĀYAŚCITTA-VICĀRA, PRATIMĀHUNDI and some HIS
TORICAL RECORDS (G) of Vinayavijaya who composed 6

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Paper Manuscripts
and copied it in c 18th century. LD. No. 1388(K), folios 8, size 25.5 x 11.5 cms. Different prāyaścittas for various sins are mentioned in PRĀYAŚCITTA-VICĀRA. In PRATIMĀHUNDĪ image-worship is established rejecting the arguments of nonidolators. In HISTORICAL RECORDS mention is made of the various deeds of Vastupala-Tejapāla and also mention is made of the kings, Jainācāryas and others upto Jagadu who lived
after Mahavira. 346. COSATHA-PRAKĀRT-PŪJĀ (G) of Vīravijaya who composed
it in V. S. 1874 at Rājanagara (Ahmedabad ) and copied the MS. in V. S. 1878 at Pattananagar, LD. No. 12949, folios 26, size 25.8 x 11 cms. The work deals with 64 types of Jaina rituals of worship.
MSS. COPIED BY PROMINENT PERSONS
347. ABHIDHĀNACINTĀMANI by Hemachandräcārya with auto
commentary, SUA. No. 89, folios 27, size 20.5 x 7.3 cms.; copied in V. S. 1428 by Devendrasūri. Devendrasūri was of Rudrapalliya Gaccha. He has commented Praśnottararatnamala of Vimalacandrasūri in V. S. 1429 and composed Dānopadeśamala in
Prakrit with a commentary in Sanskrit. Ref. JSI., p. 441. 348. PUSPAMĀLĀPRAKARAŅA of Maladhārī Hemacandra in
Prakrit, HJP. No. 1580, folios 9, size 10-3'' 4.3"; copied by Pratisthāsoma, the author of Somasaubhagya (V. S. 1491 ). This Acārya Hemacandra is different from famous Hemacandra. He
was also the contemporary of Siddharaja. Ref. JSI., p. 244. 349. PUNYASĀRACAUPĀL (G) of Gaņi Sadhūsumeru, composed in
V. S. 1501 and copied in V. S. 1504, KB. Guj. No. 1143, folios 16, size 28.5 x 11.5 cms.; copied by Sadhu Candragani at Gwalior. Ref. JSI., p. 523 where his name is given as Sadhu Meru; also
ref. 'Jaina Gurjar Kavio', Vol. III, Part I, pp. 452 and 571. 350. VIJAYACANDRAKEVALI-CARITRĀNTARGATA-ASTAPRA.
KÄRI-PŪJĀ (Gathābaddha) of Candraprabha Mahattara in Prakrit, HJP. No. 2112, folios 23, size 11" x 4.5". It was com

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Non-Jaina Works in Gujarati and Vra jabhasa
posed in V. S. 1127 and was copied by Parsvacandrasüri in V. S. 1508. This copyist is other than the founder of Payacanda Gaccha,
43
351. KHANDANA-KHANDAKHADYA-VIBHAKTI-VIDYĀSĀGARIVYAKHYA by Ananda in Sanskrit, HJP. No. 2474, folios nos. 102-383, size 10.5" x 4.5". It was copied by Kamalasamyamopadhyaya in V. S. 1573. Ref. JSI., p. 503 for Kamalasamyamopadhyaya. The MS. is the copy of famous Sriharṣa's Vedantic work. Ref. KP., p. 208, where its name VIBHAKTI is mentioned. 352. VICĀRARATNĀKARA with BIJAKA of Kirtivijaya in Prakrit and Sanskrit, HJP. No. 16413, folios 233, size 10-3" x 4-5"; copied by Vinayavijayajt in V. S. 1690. Ref. JSI., p. 648 for Vinayavijaya. Vicararatnakara deals with problems regarding canonical theories and its other name is HIRAPRAŚNA, ref. JȘI., p. 590.
353. PRATAPASARAKAVYA of Jivamdhara composed in V. S. 1686, SUA. No. 2291, folios 13, size 26 1x 11 cms. This MS. was copied at Udaipur by Josi Nathu in the same year i. e. V. S. 1686, in which it was composed by the author.
354. AŚCARYAYOGAMĀLĀVṚTTI of Guṇakarasuri in Sanskrit, composed in V. S. 1296, SUA. No. 410, folios 17, size 27-5 x 12.9 cms; copied by Muni Abhayasagara in e 18th century. Its other name is YOGARATNA-MĀLĀVṚTTI. The text is by Nagarjuna Ref. JSI., p. 397.
355. RAGHUVAMSA of Kalidasa with AVACORI in Sanskrit, HJP. No. 4845, folios 55, size 10.9" x 4.5"; copied by Somadharma in V. S. 1511 at Campakadurga (present Campaner). For Somadharmagani ref. JSI., p. 513.

NON-JAINA WORKS IN GUJARATI AND VRAJABHĀṢĀ
356. MADANAJUJHA by Budharaja in Gujarati, HJP. No. 11757, folios 10, size 10-3 x 4-9"; copied in V. S. 1589. There are 160 chandas in this work. Ref. Jaina Gurjar Kavio, Vol. III, Part I, p. 579.

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Paper Manuscripts
357. KRSNAVELI of Pșthvírāja in Gujarati composed in V. S. 1638,
with BĀLĀVABODHA ( Commentary) in Gujarati by Kušaladhira composed in V. S. 1696, SUA. No. 1032, folios 28, size 261 x 11 cms.; copied in V. S. 1706 at Ugrasenapurī by Lālendu,
Ref. for Kušaladhira JSI., p. 664. 358. MAIPURANA-COPAI of Govinda in Gujarati, HJP. No. 9584,
folios 5, size 9.9" x 4.5"; copied in c 17th century.
359. PRĀKRTA-TANTRA-SĀRA-CAUPAI in Gujarati by Kavi Dāna,
HJP. No. 9025, folios 5, size 9.9" x 4.5"; copied in c 18th century.
360. AKHE-GĪTĀ in Gujarati, composed in V. S. 1775, Ātmānanda
Jaina Sabhā, Bhavnagar, No. 1212, folios 19, size 23.3 x 11.3 cms.; copied in c 19th century. Ref. 'Gujarati Hastapratoni Sankalita Yadi' (K. K. Shastri), p. 49.
361. RATNĀBĀINA REMTIA-NUM GĪTA (G) of Ratnābai, LD.
No. 2073/1, folios 13, size 23.8 115 cms.; composed in V. S.
1635 and copied in c 19th century. 362. LAKHAPATIMANJARĪ-NĀMAMĀLĀ of Lakhapati Mahāraula
in Vrajabhāṣā, HJP. No. 13031, folios 9, size 9.5" x 4.3"'; copied in V. S. 1796.
363. LAKHAPATI ŚRNGÄRA of Lakhapati Mahārāula in Vraja
bhāṣā, HJP. No. 13222, folios 33, size 9.5"x4.5''; copied in
V. S. 1902. 364. LAKHAPATI-PINGALA in Vra ja of Lakhapati Raula, HJP.
No. 13284, folios 71, size 9" x 4"; copied in V. S. 1807. 365. SUNDARA-ŚRNGĀRA of Sundaradasa in Vrajabhaşā with a
commentary RASADIPIKĀ by Lakhapati Mahāraul, HJP. No. 13224, folios 55, size 8.5" x 4.0"'; copied in c 19th century.
Ref. Jaina Gurjar Kavio ', Vol. III, Part II, p. 2154. 366. BHANGĪPURĀŅA in Vrajabhāṣā, HJP. No. 13295, folios 27,
size 10.3" x 4.9"'; copied in V. S. 1857.

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Works in Gujarati with commentary in Sanskrit
45
WORKS IN GUJARATI WITH COMMENTARY IN SANSKRIT 367. KRŞŅA - RUKMIŅĪVELĪ = PRTHVIRĀJAVELI of Pșthviraja
Rāthoda in Gujarati composed in V. S. 1637 with a commentary SAMBODHAMANJARI in Sanskrit, KB. No. 1730, folios 36, size 24.4 x 10-6 cms.; copied in V. S. 1702. For the text ref.
* Jaina Gurjar Kavio', Vol. III, Part II, p. 2134. 368. PRTHVĪRĀJAVELI in Gujarati with a commentary in Sanskrit
by Sāranga Vacaka, HJP. No. 14113, folios 39, size 10" x 4.5"'; composed in V. S. 1676 and copied in V. S. 1823.

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PAPER-MANUSCRIPTS
HAVING CITRALIPI
For Private Personal Use Only

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369. DAŠAVAIKĀLIKASUTRA of Sayyambhava in Prakrit with AVACURI in Sanskrit, HJP. No. 796, folios 25, copied by Bhuvanakirti in Citralipi style at Mandapadurga when Gyasasaha was the king in V. S. 1546 (A. D. 1419-90).
CITRALIPI is the writing in such a way that some space is left blank or some letters are written in different ink so that a decorative design or motif is visible with the aid of this device. Sometimes this method is called RIKTA-LIPL. Such a motif can be described as RIKTA-LIPI-CITRA.
370. UTTARADHYAYANASŪTRA with AVACŪRI (S), LD, No. 4572 (K), folios 61, size 25-7 x 11.2 cms.; copied in V. S. 1551 at Dadhalianagara. It has rikta-lipi-citra.
371. SURYASAHASRANAMA-STOTRA of Vacaka Bhanucandragani in Sanskrit, LD. No. 4336 (K), folios 5, size 25-5x 11-2 cms.; copied in V. S. 1675 in rikta-lipi-citra style.
372. DHULEVAMANDANA-RSABHADEVA-CHANDA of Vrddhivijaya in Gujarati, LD. No. 4571(K), folios 2, size 24-5x 10-8 cms.; copied in V. S. 1722 at Javara in rikta-lipi-citra style.
7

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IV BOOK-COVERS, ETC.

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373. TWO PAINTED WOODEN BOOK-COVERS having illustrations of Siva etc. and a creeper with flowers, LD. No. 28169 (Reg.), size 18-0x9-0 cms.; age e 19th century A. D.; probably belong to a paper-manuscript of some Brähmanical text.
374. PAINTED KÄSTHAPAṬṬIKA-a wooden book-cover for some palm-leaf MS. with an illustration of Jinadattasüri, e 12th century, LD. No. 28036 (Reg.), size 29-5x5-2 cms.; Ref. Western Indian Art,' spacial issue of Journal of Indian Society of Oriental Art,' New Series, Vol. I, article by Muni Punyavijayajt & U. P. Shah on Some Painted Wooden Book-covers from Western India, pp. 34-44 and plates.
375. TWO PAINTED BOOK-COVERS illustrated with Vidyadevis, c 10th-11th century, LD. No. 28033 (Reg.), size 58-5x6-5 cms.

These book-covers belonged to some Jaina palm-leaf manuscript. The style, though it may look like Pala especially on account of the rendering of the arches behind each goddess. and the frontal pose of the deities, is not Pala. The rendering of the eyes, the somewhat heavy heads etc. is not strictly Pala. Perhaps the book-covers were painted by an artist who belonged to a territory bordered on the areas of the Eastern and Western idioms. Especially noteworthy are the two female-devotees at the end of the second book-cover, i. c. figuring after the last or sixteenth Vidyadevi. Ref. Western Indian Art' (JISOA, New Series, Vol. 1), paper of Punyavijayaji and U. P. Shah, op. cit. p. 34 ff. and plates.
Khandalawala and Saryu Doshi have discussed these covers again in Jaina Art and Architecture, (ed. by A. Ghosh, New Delhi, 1975), Vol. III, ch. III, pp. 397 ff. For a refutation of some of their arguments by U. P. Shah see Journal of the Oriental Institute,' Vol. XXV, Nos. 3-4, (March-June, 1976), p. 318 ff.
Khandalawala and Saryu Doshi are obviously wrong in assigning the two female-devotees to an age A. D. 1122-54. The form of the two figures, especially their faces and eyes and the

Page #227

Book-Covers etc.
designs of their garments etc., are not seen in later miniatures of Western India. The two figures, as well as the figures of the Vidyādharīs, have no parallel in later Western Indian miniatures. Besides, the designs in the inner sides of these two pațţikäs also support an earlier age, c later tenth or early eleventh
century A. D. The earlier date is more likely. 376. PATHUM (BOOK-HOLDER) having 14 dreams embroidered
with golden threads, LD. No. 28128 (Reg.), embroidered cloth covering the two boards, size 30.5x10.5 cms.; c 20th centnry A. D.
PĀTHUM is used for keeping in the folios of the MSS. It is made up of two boards held together as in a file of papers. Its one board has the size equal to that of the MSS. and the other portion used like a flap to press the loose folios is little less than half of the size of the other board.
In each of such Pathum, the embroidered cloth, etc. are pasted over the boards. Usually Pathum is used by a monk to hold the manuscript in his hand while reading it and giving a discourse on it before the laity. The boarder side with the painting, embroidery etc. faces the audience.
377. PĀTHUŃ having 14 dreams engraved, LD. No. 28148 (Reg. ),
size 27.0x15.5 cms.; c 20th century A. D. 378. PATHUM having 14 dreams embroidered with the pearls, LD.
No. 557(M), size 28.5x14,5 cms.; c 20th century A. D. 379. PATHUM of the Sandalwood having 14 dreams engraved on it,
LD. No. 28117 (Reg.), size 28-5x14.5 cms. This has no cloth
covering on it, c 20th century A. D. 380. PĀȚALĪ having illustrations of Aştamangala, LD. No. 28168
(Reg.), size 26.5x11.0 cms.; c 16th century A. D. PĀTALIS are kept on both the end of the Mss. Pāțals can be called
book-cover. 381. PĀTHUŃ having Nandyavarta motif embroidered with pearls,
LD. No. 28137 (Reg.), size 29-0x15-0 cms.; c 20th century A. D.

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Book-Covers etc.
382. PATHUM having illustration of the procession, LD. No 28158 (Reg.), size 29-0x13-5 cms.; e 19th century A. D.
383. PATHUM having dancing and singing figures embossed, LD. No. 28152, size 28-0x13-0 cms.; c 19th century A. D.
55
384. PATHUM attached with the ivory chips, LD. No. 28121 (Reg.), size 29-0x15-0 cms.; c 20th century A. D.
385. PATHUM prepared from the chips of shells, LD. No. 28124 (Reg.), size 27-5x12-5 cms.; e 19th century A. D.
386. PATALI (Book-cover) having Aştamangala embroidered with pearls, LD. No. 558( M), size 29-0×15-5 cms.; e 20th century.
This Patali and Pathum (No. 378 of this Catalogue) are meant to cover one MS. and the Patali is put at the end of the MS. 387. PATHUM having glass attachment, LD. No. 28147 (Reg.), size 28.5x14.5 cms.

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ILLUSTRATED MANUSCRIPTS

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PALM-LEAF MANUSCRIPTS
388. JNĀTĀDHARMAKATHA AND OTHER TEXTS, śāntinātha
Jaina Bhandara, Cambay, MS. No. 12 texts 1 10 8 in one bundle as shown below), folios 1 to 331, size 28.2"x2.2"'; copied on palm-leaves at Patapa in V. S. 1184 (A. D. 1127).
Catalogue of Palm-leaf MSS. in the Santinātha Jaina Bhandara, Cambay' (GOS. no. 135, Baroda, 1961 ), Part I, pp. 20-77 refers to a bundle of palm-leaves containing eight texts bound together, numbered and written containing in all 331 folios.
The texts written by one Desala at Pațaņa in V. S. 1184 (1127 A. D.) according to the Prasasti (post-colophon entry) at the end of the volume which contains in order texts of (1) JNATĀDHARMAKATHĀNGASŪTRA (folios 1 to 142), (2) UPĀSAKADASANGASŪTRA (folios 143 to 165 ), (3) ANTAKRDDAŚĀNGASŪTRA ( folios 166 to 187), (4) ANUTTARAUPAPĀTIKADAŠANGASŪTRA (folios 187 to 193).
Three beautiful painted roundels are seen on folio 193, two in the two margins and one in the centre. The marginal decorations show, in the roundels, figures of a mithuna and a lotus, while the central roundel has a figure of a swan drawn in it. All these decorations are painted in black lines only.
The small roundel with figures of a mithuna (a male and a female ) is illustrated here in an enlarged form since these figures are amongst the earliest dated specimens of Western Indian Jaina miniature paintings. As expressly stated on folio 331, the MS. was copied in Anahilapāțaka in V. S. 1184 (1127 A. D.) when Mahārājadhirāja Jayasinghadeva was ruling.
Thus decorations of roundels in margins, as well as the figure of a Jina on folio 194, and of Sarasvati on folio 330 are securely dated and are therefore important landmarks in the history of Western Indian miniatures.

Page #233

Illustrated Manuscripts
The other four texts copied in this bundle are the (5) INĀTĀDHARMAKATHANGA-SŪTRA-VRTTI, i. e. commentary of the text (1) above (folios 194 to 297 ), (6) UPĀSAKADAŚĀNGASŪTRA-VRTTI, commentary on (2) above (folios 298 to 319 ), (7) ANTAKRDDAŠANGASŪTRA-VRTTI commentary on (3) above (folios 319 to 326), and (8) ANUTTARAUPAPĀTIKADAŚĀNGASŪTRA-VRTTI, commentary on (4) above (folios 326 to 331 ).
Text No. (5) above has on folio 194 a figure af Tirthařkara sitting in padmāsana in the centre, with a standing attendant fly-whisk bearer yakşa figure on each side. The figures set against the natural back-ground colour of the palm-leaf itself appear beautiful. Lower garments of attendant figures are in red; the caitya-tree over Jina's head and the scarfs of attendants are in green. (For reproduction see ‘JAINA CITRAKALPADRUMA', Vol. I, edited by Sarabhai Nawab, Ahmedabad, fig. 8.]
In the right margin of folio 330 is a figure of a swan in a roundel, while in the left margin is an elephant surrounded by lotuses. In the centre of folio 330 is now a well-known miniature of standing Sarasvati with two sitting devotees on her sides, the one on the right is labelled Śre. Deśala, while the figure on the left is called Subhankara in the miniature itself. Ref., 'JAINA CITRAKALPADRUMA', Vol. I, (Sarabhai Nawab), fig. 9; STUDIES IN JAINA ART' (U.P. Shah), fig. 66. U. P. Shah suggested that the typical elongated forms of Sarasvati in this miniature, and of the attendant yakşas on folio no. 194, as also the somewhat oblong face of Sarasvati, show Deccan-Karņātaka influence. This is very likely since the mother of Siddharāja (in whose reign the MS. was copied and painted), Minaldevī by dame, hailed from the region around Goa (U. P. Shah:
MORE DOCUMENTS OF JAINA PAINTINGS ', p. 4, L. D.
Series no. 51, Ahmedabad, 1976). 389. UTTARĀDHYAYANASŪTRA, śāntinātha Jaina Bhaņdāra,
Cambay, No. 78, folios 190, size 13"x2.2"; copied in c second

Page #234

Palm-leaf Manuscripts
half of the 13th century V. S. or < 1200-1250 A. D. The manuscript contains six miniatures in fairly good condition.
Folio 1 shows a miniature (1:5"x2.2") showing Tirthankara Pārsvanātha, in green, sitting in the padmasana.
Folio 2 has a miniature (1.5"x2.2") of Sarasvati, the goddess of learning, sitting on a lotus, with her swan vehicle shown beside her left leg. She shows the lotus and the varada mudrā with her two right hands and carries the vīnā and the book in the left ones. Yellow in complexion, she wears a black bodice and a yellow lower garment.
Folio 189 contains a miniature (1.5"x2.2") of the Jaina goddess Ambikā, four-armed, sitting under a mango tree. Her two right hands show the mango-bunch and the varada mudrā, while she carries the citron and her child with her two left hands. The lion vehicle is sitting on her left.
Another miniature (1.2"x2,2") on folio 189 represents the goddess Cakreśvarī seated on a lotus, carrying a cakra (disc) in each of her two upper hands and showing the varada mudra and the kalasa (water.jar) with the two lower ones.
Two miniatures (1.7"x2.2") on folio 190 show a Jaina nun and a frāviká (a female lay follower). In front of the nun is
the thavani (a cross-legged stand). 390. RŞABHACARITA (P.) of Vardhamānācārya, composed in V. S.
1160, HJP. No. 41, folios 297 (last two are missing ), size 32"x2.3"; copied on palm-leaves in V. S. 1289. On the first leaf
there is a painting of Rşabhadeva which is mutilated. 391. TRIŞASTIŚALĀKĀPURUŞACARITA of Hemacandracarya in
Sanskrit, śāntinātha Jaina Bhandāra, Cambay, No. 186, folios 234, size 24"x2.2"'; copied on palm-leaves in V. S. 1297 (A. D. 1241). It has illustrations on leaves nos. 1, 2, 233 and 234 of Neminātha, Ambikā, a śråvaka and a śrávika. The last two seem to be donors of this manuscript.

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Illustrated Manuscripts
392. BHUVANASUNDARĪKATHĀ of Vijayasimhasuri in Prakrit,
Santinātha Jaina Bhandāra, Cambay, No. 213, folios 271, size 69.8 x 5.5 cms. The manuscript was copied on palm-leaves in V. S. c 13th century. It has three decorative designs on leaf no. 1.
393. UTTARĀDHYAYANASŪTRA (P) with a commentary by
Devendragani (Nemicandrasūri) in Sanskrit, composed in V. S. 1129, śāntinātha Jaina Bhandara, Cambay, No. 83, folios 413, size 32.5"x2.5". It was copied on palm-leaves in V. S. 1308. It contains illustrations on leaves nos. 1, 2 and 411.
Folio 1 and 411 contain in each of them a beautiful miniature painting of a Tirthankara with attendant male and female chourie-bearers. Folio 2 has a beautiful painting of a Jaina monk preceptor giving lessons to a disciple. Parts of all these three miniatures are rubbed off.
PĀRSVANĀTHASTOTRA in Prakrit. Säntinātha Jaina Bhandara
Cambay, No. 101(14), folios nos. 219-220, size 13.2" x 2.2"'; copied on palm-leaves in V. S. 1308 (A. D. 1252). Leaves nos. 219 and 220 have illustrations of Mahāvīra and Sarasvati respectively; size of each miniature is 2.2" x 2.2".
395. UPADEŠAMĀLĀ-PRAKARANA of Dharmadasa in Prakrit,
Santinātha Jaina Bhandara, Cambay, No. 101 (1), folios 1-64, size 13-2"'x2.2"; copied on palm-leaves in V. S. 1308 (A. D. 1242). It contains one illustration of Rsabhadeva on folio no. 1;
size of the miniature is 1.7"x2.2". 396. DAŚĀVAIKĀLIKA-SŪTRA of Sayyambhava in Prakrit with a
commentary by Tilakācārya in Sanskrit, Santinatha Jaina Bhandara, Cambay, No. 80, folios 272, size 22.5"x2.2"'; copied on palm-leaves in V. S. 1314 (A. D. 1258).
Folio 1 contains a miniature painting of Tirthankara Neminátha, folio 2 has a painting showing a Jaina monk giving lessons to a disciple; size of each miniature is 2.5"x2.5".

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Palm-leaf Manuscripts
397. VIVEKAMAÑJARI-PRAKARANA of Asadha in Prakrit and
Sanskrit, śāntinātha Jaina Bhandāra, No. 176, folios 242, size 32.7"x2.5"; composed in V. S. 1248 and copied on palm-leaves in V. S. 1322 (A, D. 1266). There are illustrations on leaves
nos. 1, 2, 239, 240 and 269. 398. KĀLAKAKATHĀ (Pr ), HJP No. 78/2, size 15.5"x1.5"; copied
on palm-leaves in V. S. 1336 (A. D. 1280). There is an illu.
stration on leaf no. 152. 399. ŚĀNTINĀTHACARITA-MAHĀKĀVYA of Municandrasūri in
Sanskrit, śāntinātha Jaina Bhandara, Cambay, No. 201, folios 246, size 27.7''X2''; copied on palm-leaves in c early 14th century V. S. (c 1270-80 A. D.).
Folio 2 has a miniature painting of the goddess Sarasvati with a viná and a book in her upper and lower hands respectively. She carries a lotus in her upper right hand, while her
lower right hand is held in the varada mudrä. 400.
UTTARĀDHYAYANA (P) with a commentary by Santyacarya
in Sanskrit having Prakrit portions here and there, HJP No. 27, folios of the text 1-34 and of the commentary 1-368, size 31"x2.3"; copied on palm-leaves in V. S. 1347 (A. D. 1290 ) at Anahillapataka (Pāțaņa). It has three illustrations which
are badly mutilated. 401. PADMANANDA-MAHĀKĀVYA (Part II) of Amaracandrasūri
of Vayada Gaccha, composed in Sanskrit, Santinātha Jaina Bhandara, Cambay, No. 200 (2), folios 99, size 32.5"x2.2"; copied on palm-leaves in c 14th century V.S. There are two illustrations on leaf nos. 98 and 99. Folio 98 has a miniature (3-3"x2.2") of Mahāvīra. On leaf no. 99 there is a miniature ( 3.2"'~2.2") of Mantrī Padma requesting Amaracandrasūri to compose this work.
402. PADMĀNANDA-MAHĀKĀVYA (Part I) of Amaracandra
sūri of Vayada Gaccha, composed in Sanskrit, Santinātha Jaina Bhandara, Cambay, No. 200(1), folios 319, size 32-5"x2.2";

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copied on palm-leaves in c 14th century V.S. There are two illustrations : one (of 3.1"x2" size) of Rşabhadeva on leaf no. 1, and the other (of 2.9"x2" size) on leaf no. 2 of Mantri
Padma requesting Amaracandrasūri to compose the work. 403. DVYĀŚRAYA-MAHĀKĀVYA of Hemacandrācārya with a
commentary by Abhayatilakagani, Jesalmer Collection No. 340, folios 273, size 18.9''X2''; copied on palm-leaves in c 14th century V. S. On leaf no. 273 there is a painting of Jineśvarasūri and Vimalacandra.
404. PĀNDAVACARITA-MAHAKĀVYA of Maladhārī Devaprabha
sūri in Sanskrit, Sāntinātha Jaina Bhandara, Cambay, No. 220, folios 263, size 32.5"x2.5''; copied on plam-leaves in c the first half of 14th century, V. S. i. e. in c 1244-1294 A. D. It contains illustrations on folio nos. 1, 2 and 263.
Folio 1 contains three miniatures, one each, of Rşabhadeva, Neminātha and Pārsvanatha. Folio 2 has paintings of Lakşmi, Ambikadevī and Padmavati yakşī. Folio 263 contains three miniatures : (1) Neminātha, (2) Yudhisthira and Draupadi,
(3) Bhima, Arjuna, Nakula and Sahadeva. 405. YOGAŚĀSTRAPRAKĀŚA of Hemacandrācārya in Sanskrit,
Santinātha Jaina Bhandara, Cambay, No. 94, folios 105-198, size 12.7"x2.2"'; copied on plam-leaves in c first half of the 14th century V. S., i. e. c 1244-1294 A. D.
Folio 105 has a miniature of goddess Lakşmi, folio 106 bears a miniature of a Tirthankara, folio 197 of the Sarasvatī,
and folio 198 contains a miniature of the Jaina monk Devasūri. 406. KALPASŪTRA of Bhadrabahu in Prakrit, Santinātha Jaina
Bhandāra, Cambay No. 51(1), folios 87, size 14"x2.2"'; copied in c first half of 14th century A. D. It contains illustrations on pp. 86a, 866 and 87a.
Folio 86a contains a miniature depicting the Samavasarana of Mahavīra; folio 86b has two miniatures : one (1.7"x2.2")

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represents, according to the label in it, the temple of Pārsvanătha at Jesalmer (Śrī Jesalamerau Pārsvanātha-vidhicaityam); the second miniature represents Jineśvarasuri (Ref. 'JAINA CITRAKALPADRUMA,' Vol. I, fig. 104, and p. 143 of notes on plates). Folio 87a has a miniature, with labels, representing Sa. Yasodhavala, Sre. Madhala, Să. Sundarī and Śre. Lakhi. All the paintings are done on brick-red background. The colours used are red, light blue and black.
407. UTTARĀDHYAYANASŪTRA with a commentary by Nemi
candrasūri who composed the commentary in V. S. 1129, śāntinatha Jaina Bhandara, Cambay, No. 85, folios 440, size 33''x2.5". It was copied on palm-leaves in V. S. 1352. It has illustrations on leaves nos. 1, 2 and 438.
Folio 1 of this long-sized palm-leaf manuscript contains three miniatures. One represents Mahāvīra with his full parikara, the other miniature shows Mahāvīra in his Samavasarana, while the third miniature represents, according to its labels, Jambūkumāra, Sudharma Svāmī (a ganadhara of Mahāvīra ) and Prabhava. All the three miniatures are of the size of 2.5"x2.2 each.
Folio 2 has three more miniatures, roughly each of the size of 2.5"x2.2". One miniature shows a monk teaching his desciple, another shows several lay Jaina male devotees (șrävakas ) listening to the discourse while the third shows lay Jaina ladies ( Sravikās) and Jaina nuns in rows, attending the discourse.
Folio 438 also has three miniatures : (1) Labelled Śrī Santruñ jaya Adinatha, raiņi Pundarika.pădukā, Palhnapurāt Sanghaḥ, with a labelled figure of Să. Asadhara standing in front of the Jina. (2) Represents a Jaina ācārya with pupil and Sanghapati Āsādhara with his wife, while in the (3) miniature are the Jaina Śrāvrka and Siavikās worshiping Parsvanatha, size 2.7"x2.2".

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408. DAŠAVAIKĀLIKA-SÜTRA of Sayyambhava in Prakrit, LD.
No. 18805/1, folios 60, copied in V. S. 1365. It has two illustrations on folios 1 and 2.
On folio 1 is a painting of a Mangala-kalasa red on green background, and on folio 2 is a stylised Kalpa-tree on red background. On 138 is a partly rubbed out tree again while on folio 139 is a mangala-kalaśa. The paintings are not finely done, and date from 14th century A. D.
KALPASŪTRATIPPANAKA (S) of Prthvicandrasūri, Jesalmer Collection No. 82(6), folios 323–338, size 33.3"x2.5"; copied on plam-leaves in c second half of the 14th century V. S.
There are three illustrations each on leaves nos. 337 and 338. On folio 337 there are miniatures of renunciation of Paráva, of upasrga of Pārsva by Kamatha ( Meghamāli) and a preceptor giving discourse to a pupil. On folio 338 there is a representation of Samavasarna, of the nirvana of Parsva and a miniature showing the group of aștamangalas. Ref. Nawab, THE OLDEST RĀJASTHĀNI PAINTINGS FROM JAINA BHANDĀRAS, (Ahmedabad, 1959) plate Q, figs. 24-25; plate R, figs. 26-27;
plate S, figs. 28-29. 410. ĀVAŠYAKASUTRA in Prakrit with a commentary called ĀVA
ŚYAKASUTRA-LAGHUVRTTI composed in V. S. 1296 by Tilakacārya in Sanskrit, śāntinātha Jaina Bhandara, Cambay No. 63, folios 290, size 34.5"x2.5"'; copied on palm-leaves in V. S. 1445 (A. D. 1388-89) at śri Stambhatīrtha (Cambay). There are illustrations on leaves nos. 1, 2 and 81.
Folio 1 contains a miniature painting (2.5"x2.2'') of Mahavira, folio 2 (2.5"x2.2'') of a Jaina preceptor giving lesson on the text to a disciple. Folio 81 is a long painting (7.5"x2.2") of Vardhamana Mahavira in the Samavasaraṇa, with his eleven Ganadharas (chief disciples ) shown on two sides, in two rows, each sitting in padmasana, vyākhyāna-mudrā, under an arch in separate sections.

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67
411.
Paintings of this manuscript are of superior quality, the lines drawn with a fine brush. On folio 2 the painting of the preceptor giving lessons is especially beautiful. Painting of the 14th century A. D., though done with very few pigments and almost free from Persian influence, reached a high stage. Figures are not static. With the help of curves and angles, and flexions of the face and body, the painter has succeeded in making the figures lively. Even without shading, landscapes and perspective, the painters of this school made their figures more lively and were successful in maintaining our interest in the story or in the scene depicted. KALPASUTRA of Bhadrabahu with KĀLAKAKATHA, private collection, size 39 x 6 cms.; copied in V. S. 1439. It contains KALPASŪTRA in folios 1-110 and KĀLAKAKATHA in folios 111-145. It has following illustrations - FI. 1 A Tirthankara, Fl. 2 Devānandā, Fl. 3a 14 Dreams, Fl. 3b Rşabhadatta and Devā. nanda, Fl. 5 Svapnapathaka, Fl. 6 Sakrastava, Fl. 7 Indra and Harinegamesi, Fl. 9 Garbhāpaharana, Fl. 10 Harinegameşi with the embryo, F). 13 Garbhasankramana, Fl. 16 Dreams, Fl. 20 Siddhartha and Trišala, Fl. 32 Trišala's sorrow and delight, Fl. 33 Birth of Mahāvīra and moving him to Meru by gods, Fl. 40 Abhişeka on Meru by Indra, Fl. 42 Donation, Fl. 47 Sibikā, Fl. 48 Sibikā, Fl. 50a Removal of hair (loca ), Indra takes the hair, Fl. 50b Kayotsarga by Mahāvīra, Fl. 53 Samavasa. raņa, Fl. 55 Liberation of Mahāvīra, Fl. 56 Gautama becomes Kevali, Fl. 60 Mahāvira as Siddha, Fl. 62a Birth of Pārsva, Fl. 62b Sibika and loca, Fi. 63 Kevala jñāna, Fl. 66 Moksa of Paráva, Fl. 67 Nemi's birth, Fl. 71 Kevala and mokşa, FL 76 Birth of Rsabha, Fl. 78 Diksa, and Kevela, F). Sla Moksa, Fl. 816, FI. 82 ganadharas, Fl. 93A Samavasarana, Fl. 93b Caturvidha Sangha, Fl. 109 Samavasaraṇa, Fl. 110 Caturvidha Sangha.
Fl. 111 Parents of Kalaka, Fl. 113 The preceptor and his pupils, Fl. 118 Sahi's court, Fl. 124 Kalaka, Fl. 126 Gardhabilla, Fl. 128a Gardhabilla as prisoner, Fls. 128b, 133a Kālaka as preacher, Fl. 133b Kālaka with sangha, Fl. 139 two monks

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Illustrated Manuscripts
infront of the king, Fl. 140 two monks, Fl. 142 the pupil bows down before his preceptor, and the preceptor and king, FI.143 Samavasarana, Fl. 144 Indra in guise of a Brahmin, Fl. 145 Indra,
412. PARSVANATHACARITRA of unknown author, LD. Collection No. 27626, size 34.5 x 7 cms.; only two leaves nos. 156 and 157, both illustrated, c 15th century V. S. On FL. 156 Samavasaraṇa and on Fl. 157 Caturvidha Sangha are illustrated.
413. GITAGOVINDA of Jayadeva, LD. No. 4578 (K), folios 28, size 28.5 x 4-5 cms.; copied in Śaka 1757 (A. D. 1835). It is in Oria Script and has 54 illustrations.
414. MATHURAMANGALA, LD. No. 27615, folios 197, size 25×3.5 cms.; Oria Script, 57 illustrations of e 19th century V. S.
415. GITAGOVINDA of Jayadeva, LD. No. 4581 (K), in Oria script, in the form of folding screen, having 26 leaves connected together, size 99 x 35 cms.; copied in Saka 1786 (A. D. 1864).
416. RASA MANJARI (KRSNALILA) in Sanskrit, LD. No. 6026(K), folios 18, size 27-8 x 45 cms: copied on plam-leaves in Saka 1627 (V. S. 1762 A. D. 1705) at Barma in Oriya script by Damodara Upadhyaya. It has 28 illustrations.
ILLUSTRATED MSS. ON PAPER USING GOLDEN OR SILVER INK
417. KALPASŪTRA of Bhadrabahu, Hamsavijayaji Collection, Baroda, No. 1402, folios 140, size 29 x 8-5 cms: copied with golden ink in e 15th century V. S.
418. KALPASŪTRA of Bhadrabahu, Pārśvacandragaccha Upaśraya, Samala Pole, Ahmedabad, No. 25(5), folios 118, size 26-7 x 11 cms.; copied in V. S. 1516 (A. D. 1460), written in golden ink and having illustrations on border, copied by Mantri Vachaka.
419. KALAKACARYAKATHA (S), Parsvacandragaccha Upairaya, Samala Pole, Ahmedabad, No. 28 (1;, folios 10, size 26-7x 11 cms.; copied at Patana in V. S. 1516 (A. D. 1460) and written with

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69
golden ink, has 10 illustrations. There are illustrations also in margin.
420. KALPASŪTRA of Bhadrabahu in Prakrit, Dehla Jaina Upaśraya,
Ahmedabad, No. 70, folios 121. It was copied with golden ink by Mantri Kupa's son Soma at Gandharapura in V. S. 1516 (A. D. 1460). It has illustrations on folios nos. 1, 2, 15, 17, 21, 34, 37, 46, 51, 54, 57, 61, 63, 69, 74, 79, 82, 88, 93, 99 and 119.
421.
KALPASŪTRA of Bhadrabahu in Prakrit, Dehla Jaina Upaśraya, Ahmedabad, No. 74, folios 102 + 2. It was copied with golden and silver ink in V. S. 1516 (A. D. 1460). It has illustrations on folios nos, 1, 8, 17, 32, 39, 43, 47, 51, 53, 57, 69, 75, 76, 78, 84 and 101.
422. KALPASŪTRA of Bhadrabāhu in Prakrit, LD. No. 21561, folios
86, copied in V. S. 1517 (A. D. 1461 ) with golden ink at Patana by Vachaka Mantrī. It has 41 illustrations
423. KALPASOTRA of Bhadrabahu, Hansavijayaji Collection, Baroda,
No. 1400, folios 86, size 27 x 11 cms.; copied with golden ink at Yavanapur (i. e. Jaunpur in Uttara Pradesh) in V. S. 1522 (A. D. 1466). It has 40 illustrations and beautifully painted borders. This is one of the best illustrated MSS Ref. Khandalavala and Moti Chandra, 'AN ILLUSTRATED KALPASŪSRA PAINTED AT JAUNAPUR IN A. D. 1465,' Lalit Kala, no. 12 (1962), pp. 9-16 and plates; Moti Chandra, ‘JAINA MINIATURE PAINTINGS IN WESTERN INDIA,' pp. 148 ff. and p. 38, figs. 91-105.
We now agree with Khandalavala and Moti Chandra that “sahu Sahasarājaputrikaya" in the colophon of this Ms., does not refer to the painter of this manuscript, as formerly suggested by us in STUDIES IN JAINA ART. But the new suggestion of Khandalavala and Moti Chandra, in Lalit Kala, no. 12, pp. 12-13, that Kayastha Venīdāsa was the painter is not correct.

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The relevant line of the colophon, read and published by them (on ibid, p. 12) is as under:
xxxx Kalpapustakam likhapitam vihäritam ca Śrt Kharatara gacche Sri Jinabhadrasuri patalamkara-Sri-Jinacandrasūrirājādesena Sr Kamalasam jamopadhyāyānām likhitam ca Gaudanvaya-pam-Karmmasthätma-ja-Veydäsena || chha || Subhamastu [
This is interpreted as "revised by Upadhyaya Kamalasam yama by the order of Sri Jinacandrasuri; an ornament of the sacred seat of Sri Jinabhadrasüri of Khrataragacca; it was painted by the Kayastha Venidasa, son of Pandita Karmasimha Gauda. For the welfare of all."
But viharitam above does not mean revised by but means was gifted to and likhitam does not mean painted by but means written (or copied) by. So the interpretation of the colophon has to be that this Kalpa-text was got written by wife of Sam(Sanghavi) Kalidasa, (who was) the daughter of merchant (Sadhu) Sahasaraja, Harsini Śravika (by name) along with her son Dharmadasa, got this Kalpa-text copied (likhapitam) and gave as gift (viharitam ca) to Sri Kamalasamyama Upadhyaya. on the advice of Sri Jinacandrasuri adoring the seat of Sri Jinabhadrasuri in the Kharataragaccha. Copied (likhitam) by Venidasa, son of Kayastha Pandita Karmasimha of Gauda lineage (Gaudanvya)
434. UTTARADHYAYANASUTRA, Devasano Pado Collection, Ahmedabad, folios 120, size 27 x 11-1 cms; copied in V. S. 1529 (A. D. 1472). It has beautifully decorated borders and copied with golden ink. It has 37 illustrations copied at Sripattana by Mantri Vachaka.
425. KALPASUTRA of Bhadrabahu in Prakrit, LD. No. 4563 (K), folios 150, Size 26-5 x 11-5 cms.; copied in V. S. 1544 (A. D. 1488). It has illustrations on folios 1, 2, 4, 5, 8, 11, 15, 19, 20, 22, 23, 40, 44, 45, 52, 53, 54, 55, 58, 60, 61, 62, 63, 68, 69, 73, 75, 77, 82, 84(2), 85(2), 86(2), 87, 90, 91, 93(2), 94, 95, 97, 98, 99, 100, 101,

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104, 105(2), 106(2), 108, 109, 112, 113(2), 114, 115, 117, 119(2), 127, 147 and 148.
426. KALAKACARYAKATHA (S) of Harsakallola, Kantivi jaya ji Collection, Baroda, No. 2190, folios 13, size 30×12-4 cms.. It was composed in V. S. 1566 (A. D. 1410) and copied with golden ink. It has 10 illustrations.
427. KALPASŪTRA of Bhadrabahu, Jaina Pracyavidya Bhavana, Paldi, Ahmedabad, No. 90, folios 107, size 28-5x8-6 cms. With 32 illustrations it was copied in e 16th century V. S., with golden ink. In all the four margins it has coloured paintings on each folio. The condition of this paper manucript is very bad. 428. KALPASUTRA of Bhadrabahu, Samvegi Upasraya, Ahmedabad, size 30-2x11 cms., written with golden ink in e 16th century. V. S. Only 8 illustrated folios, size 30-2x11 cms.
429. KALPADHYAYANAVACŪRŅI,
71.
Vijayanemisūri Vijayanemisūri Collection, Cambay, copied in V. S. 16th century. It has only one illustration.
430. KALPASUTRA of Bhadrabahu, Dosabhai Abhecanda Collection, Bhavnagar, No. 2992, folios 90, size 26-6x10-9 cms.; copied on paper in 16th century V. S. and having 33 illustrations in golden ink.
431. KALAKACARYAKATHA in Sanskrit, Dehla Jaina Upasraya, Ahmedabad, No. 43, folios 11; size 11"x4-5" copied in e 16th century V. S. in golden ink and has illustrations on folio nos. 1, 2, 4, 6, 7 and 10.

432. AVASYAKA-NIRYUKTI of Bhadrabahu, Jaina Pracyavidya Bhavana, Paldi, Ahmedabad, No. 89, folios 117, size 32x11-8 cms.. With 2 illustrations copied in e 16th century. Each folio. contains painted border and the condition of the MS. is very bad. It is written with golden ink.
433. KALPASUTRA of Bhadrabahu, Hamsavijaya ji Collection, Baroda, No. 1401(1), folios 131, size 27x115 cms.; copied in e V. S. 16th century in golden ink and has 46 illustrations.

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434. KĀLAKĀCARYAKATHA in Sanskrit, LD. No. 21563, folios 9, size 24-8x10-8 cms.; copied in e 16th century V. S. in golden ink and has illustrations on folio nos. 1, 2, 5, 7 and 9.
72
435 KALPASUTRA of Bhadrabahu in Prakrit, LD. No. 21562, folios 108, size 24-8×10-8 cms.; copied with golden ink in c 16th century. It has 32 illustrations on folio nos. 1, 2, 4, 5, 8, 10, 17, 20, 21, 28, 31, 33, 40, 44, 46, 49, 53, 58, 59, 62, 64, 65, 68, 70, 71, 74, 75, 78, 79, 84, 91 and 107.
436. KALPASŪTRA of Bhadrabahu, Vijayanemisuri Collection, Cambay, folios 56, size 26-2x16 cms.; copied on paper with silver ink in e 16th century.
437. DASAVAIKĀLIKASUTRA of Sayyambhava in Prakrit, HJP. No. 14017, folios 33, size 10-5"x4-5"; copied in e V. S. 17th century. It has golden lines in the margin and in the middle. of the folios,
438. KALPASOTRA of Bhadrabahu in Prakrit, LD. No. 6405(K), folios 87, size 25x21-5 cms.; copied with golden ink. Illustrations. are in popular Mughal style of e 18th century V. S.
439. KALPASŪTRA-SUBODHIKĀ (S) of Upadhyaya Vinayavi jaya ji, Kantvijayaji Collection, Chani, No. 929, folios 306, size 25-7x13-7 cms.; copied on paper with silver ink in V. S. 1814 (A. D. 1758).
440. KALAKACARYAKATHA, SUA. (without number), only three illustrated folios, size 30-4x11 cms.; with golden ink, copied in 16th century V. S.
ILLUSTRATED MANUSCRIPTS ON PAPER
441. SAMYAKTVAKAUMUDI (S), DA. No. 9, folios 69, size 12"x4-5"; copied by Parsvacandracarya in V. S. 1409 (A. D. 1352). There are illustrations of Tirthankara on leaves no. 1
and 2.

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73
442. SĀNTINĀTHACARITA in Sanskrit of Ajitaprabhasūri, LD. No.
21356, folios 156, size 26.4x11.2 cms.; composed in V. S. 1307 and copied in V, S. 1453 (A. D. 1396 ). It has 10 illustrations. Ref. Moti Chandra and U. P. Shah, NEW DOCUMENTS OF JAINA PAINTINGS, pp. 46 ff.; p. 19, figs. 13-16, colour-plate
II B. 443. PĀRŚVANĀTHACARITRA-MAHĀKĀVYA of Kalakacārya
Santānīya Bhāvadevasūri in Sanskrit, HJP. No. 2107, folios 218, size 11"x4.8''. It was copied in V. S. 1455 (A. D. 1398 ). It has illustrations on folio nos. 1 and 2.
444. PĀRSVANATHACARITRA of Muni Mānadeva in Sanskrit,
DA. No. 14, folios 140, size 12"x4.5"; copied in V. S. 1463 (A. D. 1406) at Rāņapur. It has three illustrations on folio
nos. 1, 136 and 137. 445. PĀRŚVANĀTHACARITRA (in verse) of Māņikyacandrācārya
in Sanskrit, DA. No. 4, folios 215, size 13.3''x4.3''; copied in V. S. 1467 (A. D. 1410 ). There are illustrations on leaves
nos. 1, 2, 213 and 214. 446. SUPĀSANĀHACARIYA (in Prakrit) of Laksamanagani who
composed it in V. S. 1199, HJP. No. 15069, folios 443, size 11.5"x4.5". It was copied in V. S. 1480 (A. D. 1423) at Devakulavataka (Delvāda) in Mewad. It has 30 illustrated folios containing 37 illustrations. Ref. Muni Punyavi jaya jî, SUPĀ. SANĀHACARIYAM NI HASTALIKHITA POTHIMAMNĀ RANGINA CIRTO', ĀCĀRYA ŚRĪ VIJAYAVALLABHASŪRI SMĀRAKA GRANTHA, Bombay, 1956, pp. 176-180, colour plates I-IV; Nawab, “THE OLDEST RAJASTHANI PAINTINGS FROM JAINA BHANDĀRAS, (Ahmedabad, 1959), pp. 28 ff., figs. 58-59, 61-64, 66-69, 71-74, 76–77, 79-82, 84, 85, 87-95, 106, 127, 140, 145; Moti Chandra and U. P.
Shah, op. cit., p. 20 and pp. 69 ff. and plate III. 447. CANDRAPRABHASVĀMĪCARITRA of Devendrācārya in
Sanskrit, DA. No. 45, folios 167, size 11"x4.5". It was composed 10

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Illustrated Manuscripts
and 2.
in V. S. 1264 at Someśvarapura and was copied at Pattana in V. S. 1489 (A. D. 1432). It has illustrations on folio nos. 1
and 2. 448. PĀNDAVACARITRA of Devaprabhasūri in Sanskrit, DA. No.
20, folios 105, size 11"x4.6''; copied in V. S. 1490 (A. D. 1433 )
at Selagudhā. It has illustrations on folio nos. 1 and 2. 449. KALPASŪTRA of Bhadrababu in Prakrit and KĀLAKĀCĀRYA
KATHA in Prakrit, DA. No. 69, folios 69. It was copied in c 15th century V. S. It has illustrations with profuse use of gold on folio nos. 1, 2, 4, 11, 20, 21, 25, 26, 29, 32, 34, 36, 40, 44,
62, 63, 65, 66 and 67. 450. CANDRAPRABHASVĀMĪCARITA with BĪJAKA (i. e.
Contents) and PARYAYA (other words ), in Sanskrit by Devendrasūri, HJP. No. 804, folios 213, size 12.9"x4.9"; copied
in c 15th century V. S. There are 4 illustrations. 451. GAUTAMAPRCCHĀPRAKARANA in Prakrit with a commen
tary by Śrītilaka in Sanskrit, HJP. No. 6837, folios 121, size 11.9"x5"'; copied in c 15th century V. S. A folio contains an
illustration of Padmāvati. 452. UTTARĀDHYAYANASŪTRA, PUM. No. 5, folios 77, size
26-1x11 cms.; copied in V. S. 1505 (A. D. 1448). It has 77
illustrations. 453. ŚĀNTINĀTHACARITRA (in verse) of Muni Devasūri in
Sanskrit, DA. No. 11, folios 263, size 12"x4.5". It has five illustrations on folios nos. 1, 2, 175, 176, 263 and was copied
in V. S. 1516 (A. D. 1459 ). 454. YOGAŚĀSTRA (Chapter 4) of Hemacandrācārya in Sanskrit,
DA. No. 34, folios 12, size 10.5"x4.5"; copied by Jñanatilakagani in V. S. 1518 (A. D. 1461 ). It has illustrations on folio
nos. 1 and 2. 455. UTTARĀDHYAYANASŪTRA in Prakrit, DA. No. 32, folios
35, size 11.3''x4.5"; copied in V. S. 1519 (A. D. 1462). It has illustrations on folio nos. 1, 2 and 34.

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75
456. KALPASŪTRA, LD. No. 4561 K), folios 130, size 26x11 cms.;
copied by Mantri Vachaka of Pātana in V. S. 1547 (A. D. 1460) under the patronage of a någara named Ambā of Vadanagara. Ref. Moti Chandra and U. P. Shah, op. cit., pp. 20 f. colour plate IV B; Pandita Amritlal Mohanlal Bhojak, 'SHRI MAHAVIRA JAIN VIDYĀLAYA SUVARNA MAHOTSAVA GRANTHA
(Bombay, 1968), pp. 78 ff. 457. UTTARĀDHYAYANASŪTRA, DB. No. 49, folios 78, size
26-2x11.2 cms.; copied in V. S. 1555 (A. D. 1498 ) at Mandapa
durga (Mandu). It has 37 illustrations. 458. VIJAYACANDAKEVALĪCARITRA (P.) of Viradeva, LD. No.
9962, folios 95, size 29.5x11 cms.; copied in V. S. 1556 (A. D. 1499) at Śrīpattana. It has 36 illustrations.
459. KALPASŪTRA of Bhadrabahu, DB. No, 2991, folios 145, size
3.5x11.8 cms.; copied in V. S. 1560 (A. D. 1503) at Allāvala.
pura. Illustrated. 460. KALPASŪTRA of Bhadrabahu, ASB. folios 244, size 26x11
cms. It was copied at Śrī Pattan (Pāțaņa) in V. S. 1569 (A. D. 1512). It has 59 illustrations out of which 2 are fullpage illustrations.
The manuscript has been referred to in NEW DOCUMENTS
OF JAINA PAINTING, p. 57 and colour plate VI. 461. NIRAYĀVALIKĀ-VRTTI in Sanskrit by Śrīcandrasūri, HJP.
No. 14861, folios 12, size 13.5"x5.3". It was composed in V. S. 1228 and copied in V. S. 1571 (A. D. 1514); the first folio
is illustrated. BHAGAVATĪSŪTRA-CŪRNI by Jinadasa (?) in Prakrit, DA.
No. 50, folios 335, copied in V. S. 1582 (A. D. 1525). It has illustrations on folio nos. 1 and 335.
Few manuscripts of commentaries of Jaina Āgamas are found illustrated. When illustrated they generally give in the beginning miniatures of a Tirthankara with full parikara, and sometimes

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Illustrated Manuscripts
another miniature of Ganadhara (Sudharma ?). Most of such paintings are in the set pattern. However, this manuscript is interesting in so far as it has a beautiful miniature of Sarasvati the goddess of Learning, on folio 335. Besides the Sarasvati
is not painted in the set pattern. 463. PRAŚNAVYĀKARANA-VRTTI by Abhayadevasūri in Sanskrit,
HJP. No. 14844, folios 87, size 13.5''*5.3''; copied in V. S. 1585 (A. D. 1528 ). The first folio contains an illustration.
464. KĀKARUTA in Gujarati, KBG. No. 104, folios 5, size 26x11
cms.; copied in V. S. 1568 (A. D. 1531 ) and is illustrated. Ref. M. R. Ma jmudar, Gujarati Secular Paintings of Kakaruta and Citrapraśna,' ACHARYA DHRUVA SMĀRAKA GRANTHA,
Part III, pp. 165 ff, Ahmedabad, 1946. 465. KALPASŪTRA of Bhadrabāhu, JP. No. 93, folios 135, size
26-4x 11.5 cms.; copied in c 16th century V. S. It has 48
illustrations. 466. KALPASŪTRA of Bhadrabahu, JP. No. 92, folios 143, size
26x10-8 cms.; copied in c 16th century V. S. It has 42
illustrations. 467. UTTARĀDHYAYANASŪTRA (Pr.) with a commentary in
Sanskrit, HB. No. 1021, folios 61, size 26x11.1 cms.; copied in
c 16th century V. S. and has 36 illustrations. 468. KALPASŪTRA of Bhadrabahu, DB. No. 3374, folios 143, size
25.4x10.7 cms.; copied in c 16th century V. S. and has 55
illustrations. 469. SANGRAHANI-PRAKARANA of Sricandrasūri in Prakrit, LD.
No. 4557(K), folios 21, size 26.5x11.0 cms. copied in c 16th
century V. S. and is illustrated. 470. ŚREŅIKASAMYAKTVASĀRA-RĀSA by Somavimalasūri, KBG.
No. 4565, folios 45, size 26.6 x 10.9 cms. It was composed in V. S. 1603 (A. D. 1546 ) and copied in c late 16th century A. D. It is illustrated.

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Illnstrated Manuscripts on Paper
471. ŠīLOPADEŠAMĀLĀ of Jayakīrtisūri in Prakrit, LD. No. 27215,
folio 24-44, size 26x11 cms.; copied in c 16th century A. D.
It has only one illustration on the last folio. 472. PRAŚNASAKUNĀVALI, LD. No. 27206, folios 25, size 26.2x11.2
cms.; copied in c 16th century A. D. It contains 24 illustrations. Folios 9(2), 10(2), 11(2), 12(2), 13(2), 14(2), 16(2), 17(2), 19(2),
21(2), 23(2) and 25(2) are illustrated. 473. KALPASŪTRA of Bhadrababu in Prakrit, LD. No. 27291, folios
109, size 28.0x8.5 cms.; copied in c 16th century A. D. It
contains 34 illustrations, 474. UPĀSAKADASANGA, LD. No. 27290, folios 23, size 26x10 cms.;
copied in c 17th century A. D. It contains 11 illustrations on folios 1, 7, 8, 11, 13, 14, 15, 17, 20, 21 and 23.
475. SANGRAHANI-PRAKARANA of Sricandrasüri, HB. No. 3746,
folios 42, size 25-3x10-6 cms.; copied in V. S. 1696 (A. D. 1639).
It has 24 illustrations. 476. KALPASŪTRA of Bhadrabahu in Prakrit with BĀLAVABODHA
in Sanskrit, LD. No. 4573(K), folios 179, size 26x11.2 cms.; copied with illustrations in V. S. 1698 (A. D. 1641).
477. UTTARĀDHYAYANASŪTRA, Devaśāno Pado Collection,
Ahmedabad, folios 149, size 25.4x11 cms.; copied in c 17th century V. S. Condition of paper and paintings gradually deteriorating. It has 64 illustrations.
478. KALPASŪTRA of Bhadrabahu in Prakrit, DA, No. 86, folios 86,
size 10''x4-5". It was copied in c 17th century V. S. It has illustrations on folio nos. 1, 2, 7, 12, 15, 27, 33, 39, 40, 41, 44,
46, 50, 54, 60, 63, 65, 76 and 84. 479. VIVEKAMANJARI (P) and NĀRĪNIRĀŚA-FĀGA (G), DA.
No. 182, folios 9, size 10-2"x4.3''. It was copied at Mandapadurga (Mandu) in c 17th century V. S. It has illustrations on folio nos. 1, 2 and 9.

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78
Illustrated Manuscripts
480. SÜRYASAHASRANĀMA (S) of Kirtivimala, LD. No. 4554(K),
folios 8, size 25.7x11 cms.; copied in V. S. 1707 (A. D. 1651 ).
It has an illustration of the sun. 481. SANGRAHANI-PRAKARANA (P) with STABAKA (G),
LD. No. 4565(K), folios 65, size 26x11 cms.; copied in V. S. 1707 (A. D. 1651 ) at Navaharanagara. There are several illustrations. Ref. Moti Chandra and U. P. Shah, ' NEW DOCU
MENTS OF JAINA PAINTINGS,' p. 98, fig. 88. 482. LOKAPRAKĀŚA of Vinayavijaya ji in Sanskrit, Dehlā Jaina
Upāśraya, Ahmedabad, No. 165, folios 481, copied in V. S. 1714 (A. D. 1654) at Rajanagara (Ahmedabad) by Hirasagara. It has illustrations on folio nos. 1, 2, 26, 53, 56, 57, 109, 113, 115, 136, 141, 142, 144, 145, 146, 147, 151, 153, 157, 160, 162, 164, 172, 181, 187, 226, 270, 287, 289, 290, 297, 298, 300, 302, 304, 306, 307, 309, 312, 313, 315, 367, 370, 377, 382, 398, 406
and 439, 483. CANDARAJANO RĀSA (G) of Darsanavi jaya composed in
V. S. 1689 (A. D. 1633) at Burhanapura, LD. No. 4560(K), folios 78, size 24.5x11.5 cms.; copied in V. S. 1716 at Surat. It has 61 illustrations. Ref. Moti Chandra and U. P. Shah, NEW
DOCUMENTS OF JAINA PAINTINGS,' p. 29, fig 87. 484. BHĀGAVATAPURANA-DAŠAMASKANDHA (Māru-Gurja.
ra), LD, No. 6421(K), folios 49, size 22.7x13 cms.; composed in V. S. 1744 (A. D. 1688) and copied in V. S. 1785 (A. D.
1728). It has 51 illustrations. 485. GAJATHAMBHA-HASTIROGA-CIKITSA (R), LD. No. 4551
(K), folios 14; copied in V. S. 1747 (A. D. 1681 ). There are 11 illustrations of elephants. This is a work on treatment of
diseases of elephants. 486. JAMBŪSVĀMI-RĀSA, composed by Nayavimala, LD. No.
34209, folios 47, size 26x11.5 cms.; copied in V. S. 1775 (A. D. 1719). It has 57 illustrations on folios 1, 3, 4, 5, 6, 7, 9, 10, 12, 13, 14, 15, 16, 17, 19, 21, 22, 23, 25, 26, 27, 29, 31, 32, 34, 36, 43, 44 and 45.

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Illustrated Manuscripts on Paper
79
487. KALPASŪTRA, JP. No. 91, folios 144, size 25.5x11 cms. It has
62 illustrations. This manuscript was donated to Dharmavimalagani by Bhaņasāli Asakaravilāsagani at Jesalmer in V. S. 1791
(A. D. 1735). 488. KIRĀTĀRJUNIYA-MAHĀKĀVYA (S) of Bharavi, DA. No.
141, folios 131, size 10"x4.4"'; copied in c 18th century V. S. It has illustrations on folio nos. 1, 92, 105, 111 and 127.
489. UPADEŠAMĀLÄ-PRAKARANA (P) of Dharmadāsagani, DA.
No. 145, folios 50, size 9.9''x4.4"; copied in c 18th century V.S. It has illustrations on folio nos. 11, 19, 28, 35, 38 and 49.
490. VIJAYASETHA-VIJAYAŚEȚHĀŅI-RĀSA of Harsakirtisūri,
JP. No. 166, folios 7, size 24.5x9.8 cms.; copied in c 18th century V. S. It has 14 illustrations.
491. ŚĀLIBHADRACATUŞPADIKĀ composed in V. S. 1678 (A. D.
1622) by Jinarā jasūri, KBG. No. 418, folios 47, size 26.4x12.2 cms.; copied in c 18th century V. S. It has 55 illustrations.
492. KALPASŪTRA with STABAKA, VBP, No. 1638, folios 85, size
256x11.1 cms.; copied in c 18th century V. S. It has 4 illustrations.
493. VIKRĀMĀDITYA-KHĀPARĀCORA-CAUPAT (G) of Lābha
vardhana, composed in V. S. 1727 (A. D. 1670) at Jaitārana Nagara Rajasthan), LD. No. 4586(K), folios 30, size 26-5x11 cms.; copied in c 18th century V. S. It has 56 illustrations. Ref. JGK., Vol. II, pp. 210-213; Vol. III, Part 2, p. 1218; JSI.,
p. 664. 494. RĀMĀYAŅA (Hindi) of Tulasidāsa, LD. No. 7417(K), folios
2-676, size 30.5x19.5 cms. It is copied in Devanagarī as well as in Urdu script in c 18th century V. S. It has 83 illustrations.
495. MADANAKUMĀRA-RATISUNDARĪ VĀRTĀ (G), LD. No,
4577(K), folios 14, size 22x9.5 cms.; copied in c 18th century V. S. It has 21 illustrations.

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80
Illustrated Manuscripts
496. KIRĀTĀRJUNIYA-MAHĀKĀVYA of Bharavi, LD. No. 41816,
folios 74, size 25.5x11.3 cms.; copied at Şaragona in 1825 V. S.
It has only one illustrated folio and that is No. 62. 497. SANGRAHANĪSŪTRA (P) of Śrīcandrasūri, DA. No. 157, folios
38, size 10.1"x4.5"; copied by Pandita Padmavijaya in V. S. 1836 (A. D. 1780 ) at Aşahillapattana. It has illustrations on folio nos. 1, 3, 4, 5, 6, 7, 8, 9, 15, 16, 17, 18, 19, 21, 22, 23, 24, 25, 27, 31 and 38.
498. LOKAPRAKĀŚA of Vinayavi jayaji in Sanskrit, composed in
V. S. 1708 (A. D. 1652) at Jīrnadurga (Jūnāgadha ), DA, No. 164, folios 536. It was copied by Padmavi jaya in V. S. 1837 (A. D. 1781) at Pātaņa. It has illustrations on folio nos. 1, 2, 30, 31, 62, 63, 121, 122, 126, 127, 129, 152, 160, 162, 163, 164, 165, 170, 172, 176, 180, 182, 184, 193, 196, 203, 209, 242, 248, 251, 252, 301, 320, 322, 323, 331, 333, 334, 336, 339, 340, 341,
344, 347, 348, 351, 409, 413, 426, 444, 452 and 490. 499. HITOPADEŠA-PAÑCĀKHYĀNA-BHĀSĀ (R) (GUŢAKĀ),
LD. No. 4585(K), folios 113, size 19.5x15.5 cms.; copied at Devagarh by Brahmaņa Radhā in V. S. 1849 (A. D. 1793). It
has 108 illustrations. 500. CANDARĀJĀ-NO RĀSA of Mohanavi jaya, composed in V. S.
1783, DB. No. 2488, folios 131, size 25.5x12 cms.; copied in V. S. 1855 (A. D. 1799) by Jitakusala at Bhavnagar. It has
95 illustrations. 501. KALPASŪTRA of Bhadrabahu, SA. No. 27(13), folios 148, size
25.8x12.2 cms.; copied in V. S. 1861 (A. D. 1805). It has 81 illustrations.
502. SRĪPĀLARĀSA of Upadhyāya Vinayavi jaya with STABAKA by
Gaņeśaruci who composed it at Ranera in V. S. 1738 in Guja. rati, DA. No. 83, folios 90, size 10-8"x4.6". It was copied at Pethapura (Gujarat) by Pandita Uttamavijayagani in V. S. 1878 (A. D. 1822 ). It has illustrations on folio nos. 1, 10, 16, 26, 29, 65, 68 and 82.

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Illustrated Manuscripts on Paper
81
503. ŚRĪPĀLARĀSA of Vinayavijaya and Yasovijaya in Gujarati,
KBG. No. 4512, folios 151, size 276x12 cms.; copied at Surat in V. S. 1886 (A. D. 1830). It has 211 illustrations. This is an
important document profusely illustrated. 504. KALPASŪTRA with STABAKA in Gujarati, LD. No. 4574,
folios 137, size 26.0x11.5 cms.; copied in c 19th century V. S.
by Vinayavi jaya at Devaka Pattana. It has 49 illustrations. 505. KALPASŪTRA of Bhadrabāhu, JP. No. 164, folios 95, size
28x11.8 cms.; copied in c 19th century V. S. It has 32 illustra.
tions, which are not in good condition. 506. MĀNATUNGA-MĀNAVATI-NO RĀSA (G) of Mohanavi jaya
composed in V. S. 1760 (A. D. 1704), DB. No. 2499, folios 43, size 25.2x11 cms.; copied in c 19th century V. S. at Vyä hara (probably Vyārā in South Gujarat) by Premacanda. It has 10
illustrations. 507. PAKSIŚAKUNĀVALI (H). LD. No. 4579(K), folios 5, size
25x10.8 cms.; copied in c 19th century V. S. There are small
illustrations of birds on folio nos. 2-5. 508. DHOLĀMĀRU-RĀ DŪHĀ (R), LD. No. 4582(K), folios 58,
size 18x15.7 cms., bound in Gūtaka form; copied at Vikamnera (in Rajasthan) by Devacanda. It has 70 illustrations. Its cover
also contains an illustration copied in c 19th century V. S. 509. DEVĪBHAGAVATI-MAHĀTMYA-CANDĪPĀTHA (Mārkan.
deyapurāṇāntargata), LD. No. 4564, folios 48, size 26x11 cms.; copied in c 19th century V. S. at Navānagara (modern Jamanagara in Saurashtra, Gujarat State). It has 48 illustrations. Chapters 73-85 of Markandeyapurana (Bareli, 1967) and some other prayers ascribed to Markandeyapurana are found in
this MS. 510. RAJAPATI AUR KĀMARŪPAKĀ KISSĀ (Urdu), LD. No.
4584(K), folios 135, size 27x17 cms.; copied in 19th century
A. D. It has 36 illustrations. 11

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82
Illustrated Manuscripts
511. NARASAI MEHTĀNUM MAHĀMERU (G) of Premānanda
Caturvedi Brahmana composed in V. S. 1739 (A. D. 1683) at Vadodara, LD. No. 4550( K), size 24.5x12.5 cms.; copied by Nāgaji, son of Rājaguru Bhavanaji at Sanavāgrāma in c 19th
century V. S. It has 20 illustrations. 512. DEVĪBHAGAVATI-MĀHĀTMYA (Mārkandeyapurāṇāntar
gata ), LD. No. 4555(K), folios 37, size 21-5x108 cms. It has
29 illustrations. Copied in c 19th century V. S. 513. LOKAPRAKĀŚA of Upādhyāya Vinayavijaya, HB. No. 2371,
folios 422, size 30.2x14 cms.; copied in V. S. 1947 (A. D. 1890).
It has several illustrations, 514. SANGRAHANI-PRAKARANA (P) of Śricandrasūri, JP. No.
160, folios 140, size 25,3x11.8 cms.; copied in c 20th century V. S.
The manuscript contains a commentary in old Gujarati. 515. SANGRAHANI (P) of Śrīcandra with STABAKA (G), LD.
- No. 4576(K), folios 62, size 24x12 cms.; copied in c 20th
century V. S. It has 14 illustrations. 516. MADHUMĀLATI, LD. No. 5988(K), folios 86, size 26x23.5
cms.; copied in c 19th century A. D. It contains 82 illustrations. 517. MADHUMĀLATĪ, LD. No. 5912, folios 123, size 30.5x31.5 cms.;
copied at Palanpur in c 20th century A. D. It has 234 illustrations.
MANUSCRIPTS COPIED ON CLOTH, SOME WITH ILLUSTRATIONS 518. PRATIŞTHĀKALPAVIDHI of Gunaratnasūri in Sanskrit and
Gujarati, JP. No. 196, size 471x27.5 cms. It was copied on cloth in scroll-form in V. S. 1780 (A. D. 1723) at Cambay. In the beginning (30x27cms.) it is illustrated and there are illustra
tions in between the text also. 519. KACCHŪLĪRĀSA in Old Gujarati, composed in V. S. 1363,
HJP. No. 2, folio no. 79th, size 26"x5.3"'; copied on cloth in scroll form in V. S. 1408 (A. D. 1352). Kacchuli is a village near Mt. Āburoad station. This work describes mainly the religious performances of Udayasimhasūri.

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MSS. Copied on Cloth, Some with Illustrations
83
520. DHARMAVIDHIPRAKARAŅA-VRTTI - text of Śrīprabhasūri
in Prakrit and Vịtti in Sanskrit by Udayasimhacarya, HJP. No. 1, folios 1-79, size 26"x5.3''; copied on cloth in V. S.
1408 (A. D. 1351 ) 521. DOCUMENT (BĀNĀKHAT) of a building in Sānkadi Serī,
Rāvala Dhasaka ni Pole, Ahmedabad; sale deed for Rupaiya 551; text in Gujarati written in V. S. 1771 (A. D. 1714) on
cloth; LD. No. 12853. 522. VAMŚĀVALI (GENEOLOGY) (scroll on cloth ) - Details of
some families are given in Sanskrit, LD. No. 6018(K), size
2280x37 cms.; copied in V. S. 1622 (A. D. 1565) 523. VAŇŚĀVALĪ (scroll on cloth ) - Details of some families are
given in Sanskrit, LD. No. 6020(K), size 1155x23.5 cms.; copied
in c 18th century. 524. VAMŚĀVALI (scroll on cloth ) - Details of some families beginn
ing from V. S. 502 are given in Sanskrit, LD. No. 6019(K),
size 1237.5x25.2 cms.- copied in c 18th century V. S. 525. ŚILPASĀSTRA (Scroll on cloth ) - There are illustrations of
grahās etc., LD. No. 6991(K), size 493x51 cms.; copied in c 19th century V. S.

Page #257

Page #258

VI
PAINTINGS ON CLOTH
(PATAS), MANTRA,
YANTRA ETC.
For Private Personal Use Only

Page #259

Page #260

526. HRINKĀRAMANTRA, illustrated on cloth with Parsva in the
centre, age c 14th century V. S., LD. No. 27305( Reg.), size
46x43 cms.. 527. VARDHAMĀNAVIDVĀ-PAȚA, illustrated on cloth in V. S. 1532
(A. D. 1475), LD. No. 27302( Reg. ), size 50-5x50 cms. 528. HRINKĀRA-MANTRA, illustrated on cloth with a sixteen-arm.
ed goddess painted in the centre, age c 15th century, LD. No.
27300( Reg. ), size 25.5x25.5 cms. 529. SŪRIMANTRA-VASTRAPATA, painted on cloth in c 15th
century V. S., LD. No. 27301( Reg. ), size 51x50 cms. For the text and sādhana of Sūrimantra see Sūrimantra Kalpasamuccaya
Ed. by Muni Jambuvijaya. (Bombay, 1969 A. D.) 530. CINTAMANI-PĀRŚVANĀTHA-PATA, JP. No. 148. size 68x68
cms.; painted on cloth in c 16th century. 531. ADHĨDVĪPA, illustrated on cloth in c 17th century, Sheth
Narottambhai's Collection, Ahmedabad.
Adhidvīpa map or chart represents two and a half island continents of Jaina cosmography. Ref. Tattvärthasūtra, 3.9-14, L. D. Series (Ahmedabad ). These representations on Patas, i. e. cloth or paper paintings were very popular, though hardly any such pațas prior to c 14th century A. D. have survived. The two and a half continents are Jambu, Dhataki and Puşkarārdha.
532. HRINKĀRA YANTRA-PATA in Sanskrit on cloth, DA. No.
191. It was drawn in c 17th century. 533. SŪRI-MANTRA-PATA, JP. No. 149, size 73 x 76.5 cms., paint
ed on cloth in c 17th century V. S. 534. VARDHAMĀNA-VIDYA-MANTRA-PAȚA, JP. No. 151, size
49.5x47-5 cms., painted on cloth in c 17th century V. S.
For Vardhamāna-Vidyā, an ancient Jaina tantric charm, and an earlier cloth painting of it, see Shah U. P., Vardhamana

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88
Paintings on Cloth ( Pațas ), Mantra, Yantra, etc.
Vidyapata, 'Journal of the Indian Society of Oriental Art,' Vol.
IX (1941). 535. VIVIDHATIRTHA-PATA in Collection of Sheth Anandaji
Kalyanaji Pedhi, Ahmedabad, painted on cloth in V. S. 1698 (A. D. 1641), size 320x120 cms. This was prepared by Sheth Shantidasa of Ahmedabad depicting all the Tirthankaras of Manuşyaloka of past, present and future and also depicting Tirthas such as Satrunjaya, Taranga, Girinagara, Abu, etc.
स्वस्ति श्री विक्रम सं. १६९८ वर्षे ज्येष्ठसितपंचमी...... [पं. १ ]धिराजपादशाह श्रीअकब्बर प्रतिबोधक......[पं. २] हीरविजयसूरिपट्टोदयगिरिदिनकरपादशाहश्रीअक घर......[पं. ३ ] मक्षजीतवादीबृदभट्टारक श्रीविजयसूरीश्वरागा......[पं. ४ ]लगभरितभट्टारकश्रीराजसागरसूरिचरणानां युवराजभट्टारक [पं. ५] श्रीवृद्धिसागरसूरिप्रमुखानेकवाचनादिचतुरपरिचरणानां पं ६] उपदेशादहिमदाबादवास्तव्ये ओसवालज्ञातियश्रीचिंतामणि [पं. ७ ] पार्श्वनाथप्रसादादिधर्मकर्मनीर्माणनिष्णात सा. श्रीशांतिदाशे[ पं. ८]न सकलमनुष्यक्षेत्रीय पंचभरतपंचेरवतपंचमहाविदेहातीता[पं. ९ ]नागता वर्तमान २० विहरमान ४ शाश्वता जिना साश्वता जिनतीर्थ [पं. १० ] शाश्वततीर्था पट्टः श्री शेव्रुज्य गीरिनारि तारिंगार्बुद चंद्रप्रभ मुनि[ पं. ११ सुव्रत श्रीजीराउलापार्श्वनाथ श्री नवखंडापार्श्वनाथ देवकुलपा पं. १२ टकमथुराहस्तिनागपूरकलिकुडफलवृद्धिकरहाटक...[पं. १३ ] वीर संखेश्वरादि
महातीर्थयुतः सप्तति......[ पं. १४]...... यंत्ररत्नकृतश्च कारितः......[पं. १५]. 536. PANCATIRTHA-PATA, illustrated on cloth in c 18th century,
LD. No. 28057(Reg.), size 51.5x52.5 cms. 537. LOKAPURUSA, illustrated on cloth in c 18th century, LD. No.
28077, size 36x26 cms.; from Gujarat. 538. PRASADA-PRATISTHA-YANTRA on cloth; text in Sanskrit,
DA. No. 186. It was drawn in c 18th century. Gold is used
in illustrations. 539. ADHIDVIPA-PATA on cloth, LD. No. 28066, size 93x98 cms.,
illustrated in c 18th century V. S. 540. JAMBUDVIPA-PATA on cloth, LD. No. 28068, size 75x84 cms.,
illustrated in V. S. 1888 (A. D. 1831). 541. SOHAMAKULAKALPAVRKSA-PATA-It was prepared for
Sheth Hemacandra Vakhatacanda of Ahmedabad by Dipavijaya Kaviraja in V. S. 1890 (A. D. 1833). It gives the list of preceptors upto Vijayalaksmīsūri, the 67th preceptor.

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Paintings on Cloth (Patas), Mantra, Yantra, etc.
542. SIDDHACAKRA illustrated on cloth, e 19th century V. S., LD. No. 28039( Reg.), size 71-5x77 cms. Ref. for explanation of Siddha-cekr, Shah U. P., STUDIES IN JAINA ART, pp. 97-103.
543. VIDYADEVI-PATA, JP. No. 152, size 36-5x34 cms., painted on cloth, copied in e 19th century V. S. Sixteen Vidyadevis are depicted on it.
544. TIRTHAMALA-PAȚA, JP. No. 87, size 571x51 cms., painted on cloth in c 19th century V. S. Places of Jaina pilgrimage such as Taranga, Ranakpur, and others are depicted on it.
546
89
545. ADHĪDVĪPA-PATA on cloth painted in c 18th century V. S., LD. No. 5629, size 67-5x63-5 cms.
548
For the sixteen Vidyadevis see Shah U. P., Iconography of the Sixteen Jain Mahavidyas, Journal of the Indian Society of Oriental Art, Vol. XV, pp. 114-177.
547. DHARMAGURU-ABHISEKA-PATA on cloth, depicting the celebration of enthronement of a Mahanta (Dharmaguru), LD. No. 28059, size 129x68 cms.; painted in V. S. 1884 (A D. 1827). SŪRIMANTRA - illustrated on cloth, e 20th century V. S., LD. No. 27821, size 96×109 cms.

12
TIRTHANKARA NEMI'S VARAYATRA (Marriage-procession) painted on cloth in e 19th century V. S., LD. No. 28051(Reg.), size 800x65-5 cms. Probably Mewad.
549. VARDHAMANAVIDYA-VASTRAPATA, illustrated on cloth in V. S 1946, size 72x72 cms,, belongs to SA.
Such patas, especially of the Vardhamana Vidya and the Surimantra have been very popular for several centuries past and have been worshipped for tantric sadhana even to day by many a Jina monk. All known patas hail from Svetambara collections.

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90
550.
Paintings on Cloth (Patas), Mantra, Yantra, etc.
MERU-PARVATA-JINAPRĀSĀDA YANTRA, JP. No. 154, size 71-5x16 cms. This yantra is on cloth and in Gujarati language. Date of illustrations is not given.
VIJNAPTIPATRAS
551. VIJNAPTIPATRA (from Patana), scroll on cloth. It was addressed to Lokahitacarya at Ayodhya by Jinodayasuri from Patana in V. S. 1446 (A. D. 1390), LD. No. 6466(K), size 620x30 cms. It is not illustrated but gives details of religious performances during Jinodayastiri's stay at Patana. (Date can be read as V. S. 1431 also).
552. VIJAYASENASURI-VIJNAPTIPATRA from Agra on paper, to Vijayasenasûri, at Prabhasa Patana informing him of the proclamation of non-killing for certain days by Jehangir, LD. No. 26487, size 391 x 33 cms., painted by Salivahana, a court painter of Jehangir, in 1667 V. S. (1610 A. D.). Refer to Ancient Vijñapti-Patras by Hiranand Shastry, Baroda, 1942 A. D, and Prabodh Chandra, Lalit Kala No, 8, Oct. 1960.
553. VIJNAPATIPATRA (from Ghanerava), JP. No. 147, size 194-5"x2-5". This is an invitation letter on paper addressed to Dayasuri at Surat by the Jaina community of Ghaṇerava (Ghranapura) in V. S. 1796 (A. D. 1739).

Ghanerava (formerly in Godavad district of old Jodhpur State, now in Rajasthan) is the wellknown Svetambara Jaina tirtha (e 10th century A. D.) of Mahavira.
554. VIJNAPTIPATRA (from Vadanagara) on paper, LD. No. 4562 (K), size 88"x9". This was a letter from Nagara Jaina Sangha of Vadnagara addressed to Vijayaprabhasūri who was at Nārāyaṇanagara (incomplete) of c 18th century V. S. Ref. 'Mahavira Vidyalaya Suvarna Mahotsava Grantha', pp. 79-94. 555. VIJNAPTIPATRA (from Surat) addressed to Acarya Vijayarddhisüri residing at Baheda Nagara by the Jaina Sangha of Surat.

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Vijñaptipatras
91
in about 19th century V. S., LD, No. 12382( Reg. ), size 345x26 cms. It is illustrated.
Behda is possibly the Mori-Beļa in Rajasthan. 556. VITÑAPTIPATRA (from Ahmedabad) on paper, LD. No. 27645,
size 1124x2) cms. It is an illustrated letter for Khamaņā addressed to Vijayalaksmisūri at Haraji (Mārwāda) from the Jaina
Sangha of Rajanagara ( Ahmedabad) in V. S. 1853 (A. D. 1796). 557. VIJNAPTIPATRA (fram Jodhpur) on paper, JP. No. 76, size
39''x125". This is an illustrated letter for Khamana (i., e., a request to forgive one's misdeeds ) addressed to Devendrasuri at Radhanpur sent from Jodhpur by Jaina Sangha in V. S.
1868 (A, D. 1811 ). 558. VIJNAP TIPATRA (from Kishangach) on paper in Sanskrit and
Gujarati, Dehiä Jaina Upaśraya, Ahmedabad, No. 202. It was written in V. S. 1875 (A. D. 1817) to Pandita Rüpavijayaji at Rājanagara (modern Ahmedabad) by the Jaina Sangha of
Kisnagadh (modern Kishangadh in Rajasthan). 559. VIJNAPTIPATRA (from Jodhpur) on paper in Sanskrit and
and Gujarati, DA. No. 200. It is illustrated and is addressed to Sri Rūpavijaya at Rājanagara (modern Ahmedabad ) and was forwarded by Jodhpur Jaina Sangha in V. S. 1882 (A. D.
1825). 560. VIJNAPTIPATRA (from Jodhpur) on paper addressed to Vijaya
devendrasuri at Surat by the Jaina Sangha of Jodhpur in V. S. 1892 (A. D. 1835), LD. No. 27644( Reg. ), size 1110x29 cms.
It is illustrated. 561. VIJNAPTIPATRA (from Sojat) on paper, DA, No. 201. It was
written in V. S. 1895 (A. D. 1838 ) and addressed to Devendrasägara at Khambhāta (Cambay) by the Jainas from Sojat
(Rajasthan). It is illustrated. 562. VIJNAPTIPATRA (from Kishangadha ) on paper, JP. No. 77, size
108"x12.5". It is a letter for Khamana - a request to forgive -

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92
Printing on Cloth (Pațas ) Mantra, Yantra, etc.
addressed to Rūpavijayagani at Pali from Kishangadh in V. S. 1899 (A. D. 1843). It is illustrated.
563. VIJŇAPTIPATRA (from Sojat) on paper, LD. No. 27647( Reg. ),
size 205x22 cms. It is a letter addressed to Udayasagarasūri at Surat by the Jaina Sangha of Sojat, in c 19th century V. S. It is illustrated.
564. VIJNAPTIPATRA (from Bilada) on paper, JP. No. 78, size
64.5x16.8 cms. This is a Khamanāpatra - a letter asking to forgive - addressed to Pramodavijaya and Mohanavijaya at Nayasahara ( Beawar-Rajasthan ) from Bilada ( Rajasthan) in V. S. 1949 (A D. 1892). It has no illustration.
PAINTINGS ON PAPER
565. A PAINTING OF SATI SĪTĀ'S AGNI-PARĪKSĀ on paper,
LD. No. 27913/3, c late 18th century V. S, size 26x14 cms. 566. A PAINTING OF SATI SUBHADRA on paper, LD. No.
27913/2, с late 18th century V. S. The scene represents Subhadra drawing water from the well by a vessel having holes and having only a thread as the rope in order to give the test of her pure character (chastity, sila), size 26x14 cms.
Sixteen such pious ladies are famous in Jaina mythology. Subhadrā is one of them.
567. A PAINTING OF SATĪ SULASA'S TEST of her faith in
Jainism by Ambada Parivrājaka, LD. No. 17913/1, c late 18th
century V. S., size 25.5x14 cms. 568. RĀGA-RĀGIŅI, 32 illustrations, JP. No. 137, size 13.5x11.5
cms.; copied in c 19th century. 569. LOKAPŪRASA, illustrated on scroll of paper, LD. No. 27824
(Reg.), size 288x56 cms.; dated V. S. 1858 (A. D. 1802).
570. THREE LADIES, LD. No. 27895, size 23x19 cms.; c 19th century,
size 23x19 cms.

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VII BRONZES AND OTHER
ART-ARTICLES

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Page #268

BRONZES
571. IDOL OF RSABHADEVA, LD. No. 463 size: height 37 cms.,
width at base 28 cms., c. 7th century A. D. It has an inscription
on the back. 572. PARIKARA or back stela of a Jina image, LD. 27972( Reg. ),
size : height 24.5 cms., age c 12th century A. D.; probably from Karņătaka. On the stela there are in all 19 Jina (Digamabara )
images. 573. BRONZE IMAGE OF A STANDING JINA (Digamabara ),
LD. No. 27971( Reg. ), size: height 16 cms., age c 12th century A. D.; probably from Karņāțaka. This is a beautiful Digam-. bara Jaina bronze of a standing unidentified Tirthankara.
574. CATURMUKHAPRĀSĀDA of metal, LD. No. 27930( Reg.),
size : height 45 cms., maximum width at base 24.5 cms. Inscribed underneath, on the lowest rim. The inscription is dated V. S.1462 (A. D. 1407). The Inscription reads as under:
संवत १४६२ वर्षे मार्ग वदि ८ रखौ हस्ते साक्षाज्जगचंद्रसदृक्षश्चतुर्मुखप्रासादः श्रीसंघेन कारितः ॥ साधुधर्मकेन सुवर्णरूप्यैरलंकारितः ।। श्री पूर्णिमापक्षमुख्य श्रीरत्नसागरसूरिणामुपदेशेन श्राद्धकालाकेन विधिना प्रतिष्ठितः ।। मेवाडा सूत्रधार भारमल्ल प्रता[प]मलाभ्यां ।। आ चंद्राके नंदतात् ॥.
This is a beautiful example of a 15th century Caumukha. shrine with śikhara. The sanctum alone is shown. The shrine was gold-gilt.
The bronze was cast by Sūtradhāra Bharamalla and
Pratapamalla of Mewāda caste. 575. PĀRŚVANĀTHA IDOL made of jade (green), LD. No. 476(M),
size 12x8 cms., age c 16th century. A. D. 576. PANCATĪRTHA-PARIKARA of metal, LD. No. 27931( Reg ),
size: height 34 cms., width at base 25 cms. Inscribed at the back in V. S. 1616 (A. D. 1560 ). The inscription reads as follow:
अर्द ॥ संवत् १६१६ वर्षे । शाके १४८२ प्रवर्तमाने चैत्र वदि १२ सोमे अद्येह श्रीपत्तने हंढेरपाटके श्रीश्रीमालज्ञातीय दोसी नाका भा० कसूराइ पुत्र दो० पना पुत्री सप्तटबकायुतेन दोसी

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Bronzes and Other Art-Articles
नाकाख्येन स्वश्रेयोर्थ श्रीपद्मप्रभनाथबिंब कारितं । श्रीपूर्णिमापक्षे प्रधानशाखायां भ० श्रीभुवनप्रभसूरिश्त. त्पट्टे भ० श्री कमलप्रभसूरि । तत्प? श्रीपुण्यप्रभसूरिस्तत्पट्टे भ० श्रीविद्याप्रभसूरिभिःप्रतिष्ठिता। पूज्यमानं चिरं नंदतु ।। शुभ भवतु कारकपूजकयोः मंगलं भवतु ।।
The bronze is a beautiful example of finely wrought (cast) parikara of a Jina. According to the inscription the main figure in this image was of Jina Padmaprabha. It was installed in
Dandhera-pataka locality at Pāțaņa (North Gujarat ). 577. PARICĀRIKĀ (Female attendant), LD. No 27937( Reg. ), size :
height 17 cms., age c 17th century A. D., of bronze or brass,
perhaps decoration of a simhasana, Gujarat 578. JAINA TĪRTHANKARA IDOL made of crystal (sphatika
white), LD. No. 475(M), size 16x12,5 cms., age c 17th
century A. D. 579. TĀNBĀKUNDI (A copper vessel for water for bathing). LD.
No. 5900(K), Gujarat, age c late 19th century A. D. This has Siva-Parvati, Mahavīra (Jaina Tirthankara) and his pupil Gautama Ganadhara, Brahmā and Gāyatri embossed on the
outer side of it. 580. TRĀNTRIKA-ARMOUR etc. (Buddhist) made from human
bones comprising the main armour (to cover chest ), necklace, armlet and wristlet. All these have figures of Buddhist gods and godesses. It is used in Nepal and Tibet. LD. No. 6041(K), age 14th century V. S.
581. PILLAR of the home-temple made of wood, size 131x20 cm.,
LD. No. 575(M). 582. PILLAR of the home-temple made of wood, size 128x20 cms.,
LD. No. 576 M). 583. WOODEN PART of a home-temple having a panel of 4 Tirthan.
karas, LD. No. 564(M), size 97x35 cms.
584. WOODEN PART of a home-temple having a panel of 5 Tirtha
nkaras, LD, No. 563( M ), size 113x35 cms,

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Other Art- Articles
585.
CONCH (Sankha) on the surface of which Lord Mahavira and his eleven Ganadharas are engraved, LD. No. 351 (M), size 20 x 9 cms., age c 15th century A. D.
This is a rare engraved conch hailing from Sirohi district, presented to the L. D. Institute by the late Shri Achalmalji Modi of Sirohi.
586. A WOODEN BOX for preserving the mss., belonging to DA.
On one of the sides is painted a hunting scene of some prince. 587. A BOX for preserving the mss., belonging to DA. It has paint
ing on its sides. It is made of paper-mache. It has paintings on its sides, some of which have become very dark and cannot be illustrated properly unless they are chemically treated and
cleared. 588. A PEN-HOLDER (Kalamadāna) belonging to DA. It has
piantings and is made of paper-mache.
Artistic boxes were used as pen-holders for keeping reedpens used for writing. The outer surfaces were sometimes painted when such boxes are made of wood or paper-mache. Pen
holders of metal, usually brass, are also known. 589. CĀMARA (fly-whisk, chowries) made from sandal-wood hav
ing a decorative handle and cover, LD. No. 28001, size 80 x 12
cms., modern. 590. SAMAVASARANA of a Jina, LD. No. 464 (M). It is Catur
mukha temple made of brass, dated V. S. 1534, size 23 x 19 cms. 591. WOODEN SAMAVASARANA OF JINA, LD. No. 536 (M),
size 40 x 24 cms., c. 19th century V. S.

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ADDENDA
592. VASTRAPAȚA OF 904 JINAS, belonging to Samvegi Upaśraya,
Ahmedabad, size 446 x 120 cms. It was prepared in V. S. 1698
and was described in V. S. 1769 by Gambhiravijaya Gani. 593. KALPASŪTRA from Shri Nemi-Vijñāna-Kastüra-sūri Jñana
Mandir, Surat, no. 2675, size 11.7 x 26 cms. It has 41 illustrations. 594. ŚRĪPALARĀSA, from Shri Nemi-viñāna-Kastūrasūri Jñana
Mandir, Surat, No. 1308, fls. 24, size 11.7 x 26 cms. There are
24 illustrations. 595. JANMA-PATRIKĀ-Horoscope of Haridasa on paper, LD. No.
27678, size 2425 x 15 cms., V. S. 1781. 596. SIMHALKUMĀRA-CAUAPAI of Samayasundara (G) on
paper, LD. No. 27251, folios 22, size 23 x 10.5 cms. It contains 24 illustrations, copied in V. S. 1826 at Bikaner.
597. PHOTOGRAPHS-Besides manuscripts, cloth paintings, bronzes
etc. displayed in this exhibition, a few enlarged photographs of Jaina temples, stone sculptures, wood-work in Jaina shrines and metal images were exhibited. Just a few photographs were selected from amongst those, only those which were readily available with some local photographers, the objective being to show a few assorted specimens suggestive of the rich variety of fine specimens of art patronised by the Jainas.
Six photographs of Jaina bronzes from the Vasantagadh hoard were selected including the two standing Tirthankaras cast by Śivanāga in A. D. 687 and the elaborately cast tri-Tirthika bronzes dated in Samvat 726 and 746. A beautiful metal image of Sarasvati and another of a male and female standing, with Jina on top (parents of a Jina ?) were shown from the Rajnakin Khinkhini hoard in the Nagpur Museum. Photographs of three bronzes of horse-riders from Achalgadh and a tenth

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100
Addenda
century Ambika in the Vimala Vasahi, Delvāda, Mt. Abu, were displayed. Two beautiful photographs of the big metal image of a Jina (c. seventh century) from Mahudi, N. Gujarat, a beautiful big pañcatirthika Jain bronze with full parikara, from a shrine in Jesalmer and two photographs of bronzes, each with figures of 72 Jinas, from Boman Behram's collection were also displayed. A photograph of a rare Asoka tree, of metal, from Lodrava near Jesalmer was also exhibited.
Thirty-eight enlargements of wood-work from Santinatha temple, Ahmedabad, Cintamani temple, Ahmedabad, Dhanadhervādā Jaina temple, Kumbhārià Pādā temple and Ghia Pādā temple in Pāțan, from Rāmji mandir pole Jain temple and a Ghara Derasara in Santinātha pole in Ahmedabad were exhibited. These rare photographs (some of them published ) of wood-work included figures of elephants, horses etc., of the Sun and the Moon (Sürya and Candra), decorations of wooden ceilings, carved pillars, figures of dancing girls, of females carrying water-jar, of bow and arrow, of the fly-whisk, of a figure of the goddess of wealth ( Śri-devī, Lakşmi) and so on. The wooden specimens range from about the sixteenth to the nineteenth century.
Seventy-five photographs of Jaina stone-sculptures, rock-cut images, temples, sculptures on walls of temples, door-frames, pillars, ceilings, and interiors of Jaina temples, figures of donors, Tirthankara images, monks, scenes from Lives of Tirthańkaras etc. These were selected from sites like Jesalmer; Delvadā Shrines, Mt. Abu; Jaina shrines at Kumbhāriā, N. Gujarat; the Ajita. nātha shrine at Tārangā, Gujarat; the Jaina Caves at Ellora; Jaina temples at Khajuraho; the famous Jaina temple at Rāņakpur, Rajasthan; the Sarasvaji from Pallu; the Jaina temples at Nadia, and Mirapur-Hamirgadh in Rajasthan, the Jaina Kirtti. stambha at Chitod; and the less knowa Jaina temples at Polo, Sabarkantha district, North Gujarat.

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