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

Page #1
TREASURES OF JAINA BHANDARAS lAlabhAI, dalapata bhAI nIca saskRti ahamadAbAda vidyAmaMdira 2 L. D. INSTITUTE OF INDOLOGY, AHMEDABAD 380 009.

Page #2
TREASURES OF JAINA BHANDARAS L. D. SERIES 69 GENERAL EDITORS DALSUKH MALAVNIA NAGIN J. SHAH EDITED BY UMAKANT P. SHAH L D. INSTITUTE OF INDOLOGY AHMEDABAD-380 009.

Page #3
First Edition 30th March 1978 (c) 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

Page #4
aver R OWNER For Private Personal Use Only 463

Page #5

Page #6
PREFACE The L. D. Institute of Indology has great pleasure in publishing Treasures of Jaina Bhandaras'. Credit goes to Jaina Bhandaras for preserving, besides important Sanskrit, Prakrit and Apabhramsa works on all subjects - secular and religious, art pieces like miniature paintings, Vijnaptipatras (invitation letters to Jaina Monks ), scrolls, patas, artistic book-covers (pathum), etc. Opportunity was seized to arrange an exhibition of all such antiquities from different Jaina Bhandaras of Gujarat on the occasion of the 2500th Nirvana Celebrations of Lord Mahavira under the auspices of Gujarat State Committee for the celebration of 2500th Anniversary of Bhagavan Mahavira's Nirvana.' Exhibits were collected from different Jaina Bhandaras. 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 Bhandaras, who extended their kind cooperation to us in this task : 1. Jesalmer Collection, Jesalmer. 2. Hemachandra Jnana Mandira, Patan. 3. Santinatha Jaina Bhandara, Cambay. One

Page #7
Preface 4. Khetarvasi Jaina Bhandara, Patan. 5. Dehla Jaina Upasraya Bhandara, Ahmedabad. 6. Parsvacandragaccha Upasraya, samala Pole, Ahmedabad. 7. Sri Kantivijaya Bhandara, Chani. 8. Shri Samvegi Upasraya, Ahmedabad. 9. Atmananda Jaina Sabha, Bhavnagar. 10. Sri Kantivijaya Bhandara, Baroda. 11. Sri Hamsavijaya Bhandara, Baroda. 12. Vimalagaccha Upasraya, Bhabhano pado, Patan. 13. Shri Dosabhai Abhechand Pedhi, Bhavnagar. 14. Parsvacandragaccha Upasraya, Mandal.' 15. Jaina Pracya Vidya Bhavana, Paladi, Ahmedabad. 16. Sheth Anandji Kalyanji Pedhi, Ahmedabad. 17. Vijayanemisuri Collection, Cambay. 18. Devasana Padano Upasraya, Ahmedabad. 19. Sheth Narottam Mayabhai Collection, Ahmedabad. 20. L. D. Institute of Indology, Ahmedabad. 21. Shri Vijayanemi-Vijnana-Kasturasuri Jnanamandira, 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

Page #8
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 Prakaranas. Jaina Philosophy. Carita and Katha. Jaina Stotras. II. Paper Manuscripts : Non-Jaina Works. Ms. Copied by Vastupala. Series of Jaina Canonical literature. Jaina-Nigama. Chanda, Vyakarana and Kosa Composed by Jainas. Jaina Kavya, Nataka, Carita, Katha, Alankara, Darsana, Stotras, Subhasitas etc. 136-140 Sangita, Jyotisa by Jaina Authors. 141-150 151-181 182-186 187-202 Works of Mandana Mantri and his son and of Mahesvara. Jaina Commentaries on Non-Jaina works.. Veda, Gita, 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

Page #9
Contents 203-214 215-245 246-283 284-295 296-317 318-346 347-355 356-366 367-368 Non-Jaina Works on Silpa, Sangita and Notya. Non-Jaina Works : Kavya, Nataka, Alankara, Kamasastra and Chanda. Non-Jaina Philosophical Works. Non-Jaina Works on Ayurveda, Jyotina, and Swapna etc. Mss. of Historical Importance. Mss. Copied by the Authors. Mss. Copied by Prominent Persons. Non-Jaina Works in Gujarati and Vrajabhasa. 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 Pathum 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 (Patas), Mantra, Yantra etc. 526-550 Mantra, etc. Paintings on cloth. 551-564 Vijnaptipatras. 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

Page #10
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 Bhandaras but in olden days they were called Citkosas, Bharatibhandagaras, Sarasvatibhandagaras 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 Mahavira's Nirvana. Through the good offices of Gujarat State Committee for the Celebration of 2500th Anniversary of Mahavira Nirvana, 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 Five

Page #11
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 patas on paper and cloth, as also scrolls of Vijnapti-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-sutra dated in V. S. 1439 Six

Page #12
Introduction from Palitana 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

Page #13
ABBREVIATIONS ASB. Atmanada Jaina Sabha Collection, Bhavnagar. DA. Dehla Jaina Upasraya Collection, Ahmedabad. ayv. 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, Sri Atmarama Jaina Jnana-mandira, Baroda. Hiralal Hamsaraj. Jamnagar. HH. HJP. Hemacandracarya Jaina Jnanamandira, 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 Svetambara Conference, Bombay. Jinaratnakosa, Bhandarkar Oriental Research Institute, Poona. JK. JP. Jaina Pracya Vidyabhavn, Paldi, Ahmedabad. JSI. Jaina Sahitya no Sanksipta Itihasa, by M. D. Desai, Sri Jaina Svetambara Conference, Bombay, 1933. KB. Kantivijayaji Collection, Sri Atmarama Jaina Jnana-mandira, Baroda. KBG. Kantivijayaji Collection (Gujarati), Sri Atmarama Jaina Jana-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

Page #14
Abbreviations PTS. Prakrit Text Society, Varanasi-5 and Ahmedabad PUM. Parsvacandra-gaccha Upasraya, Mandal. Ref. Refer to S. Sanskrit. SA. Samala Pole, Parsvacandra gaccha Upasraya, Ahmedabad. Catalogue of Palm-leaf MSS. in the santinatha Jaina Bhandara, Cambay. G. 0. S. Baroda. SUA. Samvegi Jaina Upasraya, Ahmedabad. VBP. Vimala-gaccha Upasraya; Bhabhano Pado, Patan. V.S. Vikrama Samvat. YJG. Yasovijaya Jaina Granthamala, Bhavnagar. Nine

Page #15

Page #16
TREASURES OF JAINA BHANDARAS NOTES ON ART Jaina Bhandaras 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 Vardhamana-Vidya-pata or the Surimantra-pata ), or patas with diagrams and illustrations of Jaina cosmographical concepts (like the Jambudvipa-pata, the Lokapurusa and hell-scenes, the Adhai-dvipa pata etc.), Citrapata, (like the Panca-tirthi-pata, or the Vividha-tirtha pata ), scrolls with illustrations of texts on silpa (mainly Vastu-pujana etc.) and Jyotisa (mainly nimitta, astrology) or Vijnapti-patras ( letters of invitation to monks ), painted or embroidered pathams!, 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 Bhandaras (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-sutra, the Kalaka-katha, the Uttaradhyayana sutra, etc., quite a large number of painted Jaina manuscripts, patas, book-covers etc., especially of Svetambara 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-kala (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 Bhandara at Mudabidri in Karnataka. Since then Dr. Sarayu Doshi explored and

Page #17
Treasures of Jaina Bhandaras mainly through the generous cooperation of the late Agama-Prabhakara Muni Sri 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 Svetambara 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 Yaiodhra-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 Mahapurana 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 Mahapurana in the collection of Digambara Jaina Naya 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 Bhandaras (1959 A.D.), Pavitra Kalpa-sutra ed. by Muni Punyavijaya (1952), Jesalmere Citravali, ed. by Muni Punyavijaya (1951), Jaina Citrakalpadruma, Vol. II (1958).

Page #18
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 Vachaka 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 Madhavanala-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 sutra 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-Vijnana-Kasturasuri 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 Sri 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

Page #19
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 Bhandaras 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 Mahavira's Nirvana. 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 Bhandaras (figures 1 - 11). Fig. 1 shows the last page of a paper manuscript of Karaka-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-curni, a palm-leaf ms. in Pravartaka Kantivijayaji's collection, Sri Atmarama Jnanamandira, Baroda. It is dated in V. S. 1178 = 1121 A. D. Fig. 3 represents the last page of a palm-leaf ms. of Sri Santi-Vsttam, copied in Patan in V. S. 1412=1355 A. D., preserved in the Atmarama Jnanamandira, Baroda. Fig. 4 shows a part of a page from the palm-leaf ms. of Trisastisalakapurusacarita, copied in V. S. 1297 = 1240 A. D., preserved in Sri Santinatha Bhandara, * Entries in this Catalogue are referred to here as Cat. no.

Page #20
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 Ridattacariya 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 Pratisthasoma in V. S. 1504 1447 A. D. Catalogue no. 318, p. 38. Fig. 8 is another early document on paper of Santinatha-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 Rudratalankara, 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. 5

Page #21
Treasures of Jaina Bhandaras Fig. 11 illustrates what is called a Pancapatha 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 pafhas 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-paha manuscript. Often in Tripatha 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 Srenika-Samyaktvarasa, from Pravartaka Sri Kantivijaya collection, Jnanamandir, 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 patalis has been replaced by the use of hard cardboards, often decorated with painted or printed cloth pasted on them. Some of these card-boards - paiham (plural, pathum, singular ) - are decorated with fine satin or mushrun or silken cover, and have embroidered representations of axlamar 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.

Page #22
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 Nisithacurni, painted in Bhrgukaccha, in V.S. 1157=1100 A.D., now preserved in the Samghavino Bhandara, Patan. Then follows the Ms. of Jnata and other Anga text from santinatha Bhandara, 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 Dasavaikalika Laghuvrtti, d.V.S. 1200 = 1143 A.D. 13 As we have shown elsewhere, 14 the Chani 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 Jivasamasaprakarana-satika 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 Bhandara at Cambay, no 87, in the ms. of Nihsesasiddhanta-paryaya, 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.

Page #23
Treasures of Jaina Bhandaras the Cambay no. 160 of Yogasastra 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 Paryukana-kalpa (Cat. no. 406, pp. 64-65) ms. from Cambay giving two miniatures, one of which represents Jinesvara Suri.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 Katantra - panjika etc., and dated in V. S. 1287 = 1230 A. D., and a ms. of the Bhagavatisutra from Hemacandracarya Jnanamandira, Patan, no. 4, also contain beautiful decorative roundels (Cat no. 8) The manuscript of Mahaviracaritra of Trisastisalakapurusacarita, dated V. S. 1298=1241 A. D. from Patan, containing three miniatures, has been noticed by Nawab and Moti Chandra.17 The Neminathacaritra of Trisasti 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 Uttaradhyayana sutra, 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, Ambika, Parsvanatha, Cakresvari (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 Sravika. 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 Ambika 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.

Page #24
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-sutra and Kalaka-katha, d. in V. S. 1377 ( = 1320 A. D.) in the Pravartaka Sri Kantivijaya collection, Sri Atmaramji Jaina Jnana-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 Hemacandracarya Jnana-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 Upadesmala-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 Rsabha on folio 1, both without parikara, but showing dhoti upto a little above the knees as in Cambay Cat. no. 78 of the Uttaradhyayana. On folio 220 is a figure of Sarasvati in the same style as the Uttaradhyayana 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 Katharatnasagara ms. d.=1256 A. D., from Sanghavi Bhandara, Patan, are, as noticed by Moti Chandra, of inferior quality.20 The miniatures of Sravakapratikramana - Curni dated in V. S. 1327 = 1270 A. D., from Boston Museum Collection, are badly rubbed and hail from near Udaipur, Mevad. 21 Miniatures of two nuns and two Sravikas from Kalpa-Sutra and Kalaka-katha ms. of Samghavino Bhandara, Patan, are good studies of Jaina nuns and laywomen, 19Shah U. P., More Documents of Jaina Painting, figs. 12-13. The acarya, 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.

Page #25
Treasures of Jaina Bhandaras achieved with few colours.22 The ms. is dated in 1335 V. S. = 1278 A. D. Five miniatures of another Kalpasutra msfrom the same Bhandara, Patan, noticed by Nawab and Moti Chandra, 23 are dated in 1336 V. S. = 1279 A. D. Miniatures of Laksmi, Sarasvati and Sri Deva suri from the Cambay no. 94, entitled Yogasastra (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 Uttaradhyayana noted above, are interesting. The figures of Laksmi and Sarasvati bear a certain relation, in style, to the Chani Vidyadevis, but the figure of Deva suri (from folio 198 ) is more interesting and realistic. He sits with right hand in Jnana-mudra, 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 Dasavaikalika - sutra (Cat. no. 396, p. 62 ) from Cambay no. 80, dated in V. S. 1314 = 1257 A. D., of Neminatha 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 Parsvanatha-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 santinatha Bhandara, 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 acarya teaching his pupil, full of life and expression, and in the lower a sravaka and a sravika 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 Subahu-katha 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 Vivekamanjari 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 Santinatha-CaritaMahakavya (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 Hemacandracarya Jnana-bhandara, 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-vrtti (Cat. no. 407, p. 65 where we have described some of its miniatures) containing a neatly executed miniature painting of Ganadhara Sudharma with Jambukumara 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. 11

Page #27
Treasures of Jaina Bhandaras this document contains three miniatures on folio 439, one of them being ten-armed Mahisasuramardini whom the Jainas are worshipping as Sacciya-Mata or Saccikadevi in a shrine at Osia in Marwad.27 The figure of Parsvanatha on this folio has plaintain trees represented on two sides whereas the representation of Satrunjayatirtha 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 santinatha Bhandara, Cambay, is a manuscript of PandavacaritraMahakavya (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 Ambika, Padmavati and Laksmi 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-sutra, 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 Jnatadharmakatha 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 Ambika with mango trees on two sides. 28 A manuscript of Satapadi, copied in Patana in V. S. 1328 = 1278 A. D., from Pravartaka Sri Kantivijaya collection, Jnana-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 Santinatha Bhandara, Cambay Cat. no. 199, having three miniatures. 12

Page #28
Notes on Art Two bundles of Padmananda-Mahakavya, nos. 200 (1) and 200 (2) in Sri santinatha Bhandara, 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 suri, 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 Dvyasraya-Mahakavya (Cat. no. 403, p. 64 ) from Jesalmer Collection no. 340, representing Jinesvara suri and Vimalacandra (Colour plate II fig. E). Of early fourteenth century A. D, there is a ms. of Dasava ikalika-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 Kalpasutra-tippanaka of Psthvicandra suri (Cat. no. 409, p. 66) in the Jesalmere Bhandara, 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-sutra 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-sutra just referred to. But a more attractive palm-manuscript of the Kalpa-sutra and Kalaka-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,

Page #29
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 Palitana (Cat.411,p. 67). It belongs to Nemi Darsana Jnansala, Palitana, 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-sutra and Kalaka-katha. 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 Mahavira meditating in the Kayotsarga 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 Harinegamesin 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-sutra referred to above. But miniatures of the Palitana Kalpa-sutra 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-sutra from the collections of Ujamphoi Dharmasala, dated in 1370.32 Even the treatment of Nativity-the newly born Jina with his mother-or in the representation of the Samavasarana, we find close parallel between the two Kalpa-sutras. In the Palitana Kalpa-sutra, 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 saris or palkas 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 Palitana manuscript further supports our view that the date V.S. 1403 = 1346 A.D. given in the paper ms. of Kalpa-sutra in Punyavijaya's collection must be correct. More use of gold is seen in the 1346 Kalpa-sutra just referred to. We also find gold used in decorations in the Palitana manuscript, in the Idar Kalpa-sutra and in the miniatures of Avasyaka-Laghuvstti, 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), Paintings of the Palitana Kalpa-sutra are drawn against a bright red back-ground, very like the one used in Avasyaka Laghuvstti (Cat. no. 410, pp. 66-67). Drawings of Avasyaka Laghuvstti are also of a superior quality (Colour plate II. fig. F). There is a long miniature of eleven ganadharas of Mahavira in this manuscript which is typical for the various arches and jali-patterns depicted in it.36 Miniatures of an earlier palm-leaf ms., dated in V.S. 1412=1355 A.D., of santinatha-Caritra from Pravartaka Sri Kantivijaya Collection, Jnana-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-sutra and Kalaka-katha 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-sutra and the V.S. 1439 Palitana Kalpa-sutra. 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. 15

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, Gandhara, 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-sutra and Kalaka-katha 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-sutra 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-sutra and Kalaka-katha 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 Kalpasutra and Kalaka-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. 16

Page #32
Notes on Arts 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 Mahakavya 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-sutra from Ujamphoi Dharmasala, Ahmedabad, and the 1439 V.S. Kalpa-sutra from Palitana, 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 Tara bronze from Sirpur (now in Los Angeles museum) etc., when he retired from the Institution. The present whereabouts of the ms. are not known. 17

Page #33
Treasures of Jaina Bhandaras Patan, Sri Sangha Bhandara, referred to as Patan 2 by Sarabhai Nawab in his Pavitra Kalpa-sutra (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 Palitana Kalpa-sutra 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 Bhandara, Patan, is still more remarkable, as can be seen from Nawab's figures 114--125, 150-159 and 186-187 in the Pavitra Kalpa-sutra. 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-sutra miniatures and deserves a critical study. 43 Treatment of trees with flowers in Nawab's figs. 152-153 (in Pavitra Kalpa--Sutra) 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-sutra and Kalaka-katha of the Prince of Wales Museum, Bombay, published by Moti Chandra and by Barrett and Gray.44 Miniatures of the Kalpa-sutra dated 1415 A.D. in the collections of The Asiatic Society, Bombay, still await publication. 45 In the Hemacandracarya Jnana-mandira, Patan, box no. 47, ms. no. 896 is a manuscript of Kalaka-katha, 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--sufra paintings he assigns them to the fifteenth century but does not specify V.S. or A.D. In his Masterpieces of Kalpa-sutra 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. 18

Page #34
Notes on Art resident of Salakhanapura (modern Becharaji near Harij, N. Gujarat)46. Ms. no. 577 in the Sheth Anandji Kalyanji collection, Limdi, is a Kalaka-katha 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-kathas, one from Nawab's collection and the other in the collections of Sri Fulchandji Zabak of Falodhi (Rajasthan) both copied in Patan. 49 Nawab's figures 21-22, 27-43 (in Kalakacarya Katha-Samgraha) from the ms. in his collection and figs. 23-26 from the ms. from Sri 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-sutra 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-sutra is another important document of the style of Patan. The Kalakacaryakatha, 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, Jnana-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, sri Kulikacaryakathasangraha (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 Kalikacaryakathasangraha, 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 19

Page #35
Treasures of Jaina Bhandaras 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 Upasraya, 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 Parsvanatha-Caritra copied in V.S. 1463-1406 A.D. (Cat. no. 444) at Ranapur in Saurashtra. It has three illustrations on folios 1, 136 and 137. Of these the one on folio 1 of Parsvanatha 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 Parsvanatha 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 Ganadhara, probably of Parsvanatha, sitting in padmasana with one hand on the lap and the other carrying a rosary held in Pravacana or Vyakhyana mudra 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. 20

Page #36
Notes on Art 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 Sravikas, each with folded hands, is another beautiful miniature from this manuscript with minutely drawn designs and details. Fig. 33 represents an acarya 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 Parsvanatha-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-sutra and Kalaka-katha copied in V.S. 1498=1441 A.D. in Ahmedabad, by one Somasimha, son of Mantri Kupa. 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 acarya (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 acarya (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 Vyakhyana mudra, and Padmasana. DA. no. 20 is a manuscript of Pandava-caritra-mahakavya, 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 Srutadevata 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,

Page #37
Treasures of Jaina Bhandaras held in the varada-mudra while the left. lower one is in the vyakhyana 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 Supa sanaha-cariyam, now in Hemacandracarya Jnana-mandira, Patan, but originally copied in Devakulavataka identified with modern Delvada 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 (Kali ?) 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 Pancatirthi scroll painted in A.D. 1433 at Campaner (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 patas 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 pata 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 Vilasa 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 Itihasa-samuccaya, in the collections of the Oriental Institute, Baroda, are of the same age as the Vasanta-Vilasa, but the $It seems that the place name reads salayudha-sthane and not Selaguntha-sthane. If this reading is correct, then Salayudha is perhaps the modern Salaya 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 Vilasa (Harvard Oriental Series ) has profusely illustrated with colour and monochrome plates. 22

Page #38
Notes on Art 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 Baroda 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-sutra in the Dehla no Upasraya, 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 Palitana palm-leaf Kalpa-sutra dated in V.S. 1439=1382 A.D. The same may be compared with fig. 39 illustrating this theme from a gold-lettered Kalpa-sutra d. V.S. 1516=1459 A.D., copied by Vachaka of Patan, now in the Jaina bhandara in Samala 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 Kalaka-Katha in Mandu style, age, c. 1440, in the collections of Muni Punyavijayaji, or the Satrunjaya Mahatmya 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 Samala pole 613 Shah, U.P., More Documents of Jaina paintings, figs. 28-29. 62M. R. Majumdar, Earliest Devi Mahatmya 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 Kalakacarya-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, 23

Page #39
Treasures af Jaina Bhandaras 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 Devasana Pada Kalpa-sutra 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, Parsvanatha with Dharanendra and Padmavati, and in the lower panel, Kamatha practising the Pancagni-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 Devasana pada Kalpa-sutra, painted at Gandhara is later and by a different hand, with much more Persian influence. The Devasana pada Kalpa-sutra is now generally assigned to c. 1475 A.D. Of the same date as DA. 70 noted above, is a Santinatha-Caritra (Cat. no 453), in the same bhandara, DA. no. 11, painted in the usual style. Fig 52 is a painting of a Ganadhara from this manuscript. In the Jesalmere bhandara, ms. no. 425 of Kalpa-sutra and Kalaka-katha, 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 Rsabhadatta and Devananda 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 24

Page #40
Notes on Art the Kalpa-sutra 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 Kalaka-katha 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-sutra and Kalaka-katha 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 Devasano Palo Kalpasutra and Kalaka-katha 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 Devasano Pado Kalpasutra72 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 Gandhara near Kavi, 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-katha 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 Davasano Pado Kalpasutra. Some pages of the Devasano 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. 25

Page #41
Treasures of Jaina Bhandaras influence could have been natural even before Akbar's Court painters utilized it. The Kalaka-katha of Devasano Pado is nearer to an Uttaradhyayana sutra ms., in the same bhandara, 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 Uttaradhyayana sutra. It would therefore appear that a date around c. 1475 A. D. is quite probable for the Devasano Pado Kalpa-sutra. But the Jamnagar Kalpa-sutra, 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 Devasano Pado Kalpa-Sutra according as one is inclined to regard Persian influence as later or earlier. Whatever the date of the Devasano Palo Kalpa-sutra 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-sutra has not only patterns and motifs known to us from Kalpasutras like the India Office Kalpasutra 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-sutra were probably derived from some commentaries of the Kalpa-sutra, Jaina story books and wall paintings in Jaina shrines. Like the Devasano Palo manuscript, the Jamnagar manuscript originally painted at Patan has taken recourse to elaborate compositions. So far as the Kalaka-katha 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 Devasano Paco Kalpa-sutra is the representation with labels, in marginal decorations, of the various caris, karanas, etc., of Bharata Natyasastra. 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. 26

Page #42
Notes on Art and Dancing seem to have been so very popular in Western India that even in the illustrations of texts like the Kalpa-sutra 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 Delvada, Mt. Abu, the Ajitanatha temple at Taranga built by Kumarpala in the twelfth century (fig. 184), earlier Hindu shrines at Abaneri and Sikar and Kiralu in Rajasthan, the Lakulisa temple on the Pavagadh hill, the Surya temple at Modhera, etc. The Sarigitopanixad-saroddhara of Sudhakalasa 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 sutra 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-sutra 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 Parsvanatha 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 Devasano Pado, Ahmedabad. Over and above the evidence of sculptures from Jaina Hindu shrines, and paintings from Jaina bhandaras, 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 Mahavira Jaina Vidyalaya, 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. 27

Page #43
Treasures of Jaina Bhandaras 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, Jnana-mandira, Baroda, and assignable to late fifteenth or early sixteenth century A.D. We do find such Persian influence in border decorations of Devasano Pado 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 Dvaraka 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 Palitana. 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. 28

Page #44
Notes on Art 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 Sojitra. Since the illustrations refer to the story of Yasodhara, they are not stylised as in the theological texts like the Kalpa-sutra and therefore have a wider scope in reflecting the cultural life of the age. A Kalakacarya-katha, copied in V.S. 1516-1460 A.D. at Patan (Cat. no. 419), now in the Parsvacandra Gaccha Upasraya, samala 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-sutra 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 29

Page #45
Treaures of Jaine Bhandaras colours, but it seems that an additional parka (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 parkas are sometimes of beautiful hainsa-dukula or padma-dukula 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 Vajrasvami 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 30

Page #46
Notes on Art 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 Curni (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 Kirat arjuniya-mahakavya, DA no. 141 assignable to c. 1700 A.D. (cat. no. 488) The Prasnasakunavali (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 Srenika-Samyaktva-rasa, Kantivijaya collection no. 4565, Jnanamandira, 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-Prasada, 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 Sri Hemavimala Suri, 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 Sri Tirthankara-murti, Sri Gautamasvami, Sri Sarasvati and Sri 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, vina, 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 31

Page #47
Treasures of Jaina Bhandaras 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 Suri reading the book before his devotees, suggests that this manuscript was copied and painted during the life-time of its author Somavimala Suri. The marginal label for this panel, deciphered, says : Sri Somavimala suri rasa vamcai cha(i) Do. Kanhaji 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 Mahapurana from Digambara Jaina Naya Mandir, Delhi, discussed by Moti Chandra and others.76 This has also affinities with the ms. of Bhavisayatta-kaha published by Mrs. Sarayu Doshi.77 It may be noted that Dr. Moti Chandra's dating of Mahapurana in c. 1450 is **Moti Chandra, An illustrated Ms. of Mahapurana 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. 32

Page #48
Notes on Arts preferrable in view of the later Srenika-Samyaktva-rasa which is closely related to it. With the discovery of this Rasa, probably copied in Rajasthan at Kumaragiri, it is now quite clear that the style of the Naya Mandir Mahapurana had a wider provenance. It my be remembered that all the labels to the paintings of this Rasa 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 Agamas (canonical works ) are of course the Kalpa-sutra and the Uttaradhyayana sutra. But we do find several more Agamas illustrated with a few paintings. Of these, one very interesting manuscript of the Rayapasenaiya sutta (Rajaprasniya sutra) 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 Upasakadasarga sutra (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 Parsavanatha Vivahalu (formerly noted as Rayana sara ) in the collections of the Museum of Fine Arts, Boston and assigned to 1576 A. D.79 The Upasakadasnaga sutra 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 Devasana pada no bhandara, has besides, the fleuarles Kalpa-sutra and Kalaka-katha of c. 1475 A. D., and the beautiful Uttaradhyayana sutra of V. S. 1529 = 1472 A. D. referred to above, another Uttaradhyayana sutra without date, which is an important document of the new Gujarati style of sixteenth century started perhaps by Citara Govinda of the Matar Sarigrahani sutra80 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 Uttaradhyayan sutra, d. 1591; and figs. 45-48 from Balagopala 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. 33

Page #49
Treasures of Jaina Bhandaras radhyayana sutra (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 jamas, 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 Upadesamala prakarana (colour fig. U) from Dehla no bhandara, 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 sutra dated in 1591 A.D. (now in the Baroda Museum) and Balagopala stuti of Kankroli Collection.82 Though not so prominent as in the Devasana pada undated Uttaradhyayana 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. 34

Page #50
Notes on Art drawing fish-like eyes had also been popular in Gujarat as is evident from the manuscript paintings of the Pancakhyana 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 Citara Nanji, 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 Nanji's Yasodhara carita with the Ragamala set from Chawad dated in 1605 A.D. Cosmographical charts of two and a half continents ( Adhai-dvipa-pacas ) were very popular in Gujarat and Rajasthan, with Svetambara 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 patas we occasionally come with a kulahdara turban. A detailed comparative study of all such patas from different collections would be interesting. Jaina bhandaras 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 Citara Nanji. So far as I remember Citara 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.

Page #51
Treasures of Jaina Bhandaras Kavyas like the Kumarasambhava and the Meghaduta.87 The discovery of an illustrated copy of Kiratarjuniya Mahakavya from Dehla no bhandara (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 Kiratarjuniya mentioned above. Drawn in a popular folkish style, the figures show Mughal influence in costumes of fighting soldiers and in the face of Siva 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 Siva as Kirata 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 Kiratarjuniyam, 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 Sri Kantivijayaji collection in Sri Atmarama Jaina Jnanamandira, Baroda, there is a beautifully illustrated manuscript of Salibhadra-Caupai (Cat. no. 491) also called Salibhadra-catuspadika88 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. 36

Page #52
Notes on Art 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-Sethani-rasa (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 Saurastra. Costumes of males with jamas 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 Rasa, found for the first time, is Sri Jambusvami-Rasa (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 Panca. paramesthins. Sripala-rasa has been very popular amongst Svetambara 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 Sripala-Rasa in the Vijaya-NemiVijnana Kasturasuri Jnana-bhandara, Surat are in a popular style. The manuscript 37

Page #53
Treasures of Jaina Bhandaras is dated in V. S. 1780=1723 A.D. Males wear long jamas and turbans. The scenes of female dancers in figs, 95 and 100 are reminiscent of Mughal court influence. In fig. 96, the mahavator 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 dupatta 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 Mandavi. These have gates on four sides Two embossed, golden-coloured Pathos 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 Sripala-Rasa (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 Upadesamala from Devasana pada bhandara.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 Sripala-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 Durga-Saptasati. Many more examples of this school have since been identified and published including some of Ragas and Raginis. A few years back the Baroda Museum has purchased about three interesting Raga 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. 38

Page #54
Notes on Art 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 Upadesamala of this school, is obvious. The various drawings of persons playing on the vina (figs. 115, 120) demonstrate popularity of music. Two cows stand still, charmed by the vina 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 jamas and turbans or a dhoti, a dupatta (scarf) and a turban. Females wear a sari, a Coli etc., or a ghaghara (skirt), a coli and an odhani. Some of the ladies wear nose-rings. Paintings of this Sripala-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 Upadesamala according to its colophon on folio 210a is dated in V. S. 1765 1708 A. D. while the Durgasaptasati 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 Vijnaptipatra 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 Devimahatmya 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 Vijnaptipatra is dated in 1737 A.D., the Derimahatmya (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. 39

Page #55
Treasures of Jaina Bhanduras in Surat is dated earlier in 1719 A.D.94 Now it must be remembered that the last folio, no. 210, of the Upadesamala 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 (Balavabodha) on the the Upadesamala, was composed in Surat in V. S. 1723 = 1666 A.D., it is just possible that this Upadesamala 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-Rasa. Jamas of males are painted in green, pink, yellow, etc, Ladies wear blue, red or green saris. Sky is painted in light blue. Trees are in various shades About an illustration from a Devimahatmya 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. 40

Page #56
Notes on Art 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 Sripala-Rasa, painted in V.S. 1878=A.D. 1821 at Pethapur, near Gandhinagar and Manasa in North Gujarat, is illustrated here from collections of Dehla no upasraya (DA), Ahmedabad (Cat. no. 502). It is not profusely illustrated like the Sripala-Rasa 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 Sripala-Rasa. 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 Sripala-Rasa 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 Samala 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 yana Mahal at Bhuj in Saurashtra etc. 91 Jaina Citrakalpadruma, Vol. I, p. 60 and pp. 215-217.

Page #57
Treasures of Jaina Bhandaras 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 angarkhas (jamas) 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-sutra is its revolt against the set formulas of treatment of Kalpa-sutra 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-sutra 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-sutra paintings were tried at Ahmedabad, as can be seen from another Kalpa-sutra 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 pata, 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 Pata, 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 Upasraya, Ahmedabad. A few sections from this Pata are illustrated in figures 131-133. These are beautifully painted long patas deserving separate treatment 98 More Documents of Jaina Painting, fig. 77. 42

Page #58
Notes on Arts A third pata, 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-vidya 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 Lokapurusa and hells from Samvegi Upasraya, Ahmedabad, illustrated in fig. 93. Fig. 94 illustrates only a section from Prasada-Pratistha-yantra in Dehla no upasraya, 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 Lokaprakasa copied in V.S. 1714=1657 A.D. at Rajanagara (Ahmedabad), now preserved in the collections of Dehla no upasraya (Cat. no. 482,) and illustrated here in figs. 103-104. Lokaprakasa, 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 Atmaramji Jaina Jnana-mandira, Baroda (Cat. no. 513). This too is profusely illustrated. Fig. 163, possibly illustrating the Vijaya-dvara of Jaina Cosmographical belief, is published from this manuscript in the collections at Baroda. Colour fig. ZE is from the Lokaprakasa 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 Tularam's Bhagavata Paintings, now scattered in different collections in India and abroad. These Bhagavata 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 Jnanamandira collections at Baroda. The Lokaprakasa copied in V. S. 1947 could be one such copy made at Patan. 10 More Documents of Jaina Paintings, p. 23.

Page #59
Treasures af Jaina Bhandaras In the Lokaprakasa miniatures several architectural drawings are available along with different paintings. Samgrahani-Sutra dealing with cosmology had become very popular from at least the sixteenth century A.D. but Lokaprakasa 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 Paryusana-K samapana-patrika. sent from Rajanagara in V. S. 1853 = 1796 A.D. by the Jaina Samgha to Vijayalaksmisuri at Haraji (Marwada).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 jamas of some male figures. Females wear saris 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 dupatta ( scarf ) over angarakhas (jamas) 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 Sripala, the story of Candaraja became popular with the Jainas and several manuscripts of Candaraja-no-Rasa 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--raja-Rasa, copied in Vyaghrasenapura (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 Ksamapana-Patrikas are letters sent, during Paryu sana 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. 44

Page #60
Notes on Art Candara ja-no-Rasa, 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 Candaraja-no-Rasa (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 veena 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 Rasa as well as of the Candaraja-Rasa 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-raja-no-Rasa are in the style of wall-paintings done by silavats ( Salats ) 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. 45

Page #61
Treasures of Jaina Bhandaras 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 jamas, usually reaching somewhat below the knees but occasionally covering the legs completely; the jamas 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 (ghaghra) 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, jamas 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 Manatunga-Manavati-Rasa 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 jama and turban. Men wear long jamas 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. 46

Page #62
Notes on Art manuscript was copied in V. S. 1760 = A. D. 1703 at Vyahara 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 Haridasa, son of Gulabdasa, of Deesavala, 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 bhandaras we also obtain other types of patas on cloth or paper in scroll form or otherwise. 106 Some of the less known and unpublished patas 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 Lokanalika or Lokapurusa, 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, Vimanas of Jyotiska region, and part of the Madhyaloka This pata seems to have been painted in Gujarat. Figs. 157-158 illustrate two sections from another big pata, with text regarding Silpa and Jyotisa, 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 Jambu-dvi pa circular in shape, surrounded by the ocean Lavanasamudra. Explanatory notes regarding continents, rivers, mountains, etc. of the Jambu-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 Vijnaptipatras 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 Citrapala from Gujarat, IHQ., Sept. 1938, pp. 425-431, Moti Chandra, Jaina Miniature Paintings from Western India, pp. 46-56.

Page #63
Treasures of Jaina Bhanduras 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 Dehla no upasraya, 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 Dehla no upasraya, 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 Upadesamala of Sirohi school earlier published by Moti Chandra and U.P. Shah.108 Even though the settings of Upadesamala 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 Upadesamala 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 Sravaka (Jaina lay worshipper) wears white turban and a white jama with gold used in borders etc. The Sravaka next to him wears a pink jama and a greenish turban. Of two more Sravakas in the next row, the first one wears a yellow jama and greenish turban with red dots and golden decorations, his body colour is brown. The next figure of brown complexion wears a green jama. 107 Unfortunately we could not photograph it. 108 New Documents of Jaina Paintings, Colour pls. XI-XIV and figs. 62-74. 48

Page #64
Notes on Art 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 ghaghara (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 suri 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 Vijnaptipatra from Jodhpur in the collections of Dehlano upasraya, 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 acarya 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 Vijnaptipatra from Jodhpur in Dehla no upasraya 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 Rupavijayaji at Rajanagar (Ahmedabad). It is preserved as no. 202 in the collections of the Dehlano upasraya, Ahmedabad. The first picture (fig. 145) represents a gateway of the Kisangadh fort showing love of nature of Kisangadh 49

Page #65
Treasures of Jaina Bhandaras 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 Vijnaptipatra from Surat (Cat. no. 555) addressed to Acarya Vijayarddhi suri residing at Baheda Nagara. Bahela 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 sravika 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 jama, the second figure wears a red turban and yellow jama. The first Sravika 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 Pata 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 Natha 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 Ravanahattha. 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

Page #66
Notes on Art Another interesting Hindu pata 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 pata 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 sarangi-like string instrument. The males wear jamas 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 Vikramaditya and a clever thief known as Khapara (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 Kurvarabainum Mameru composed by Gujarati poet Premananda in V. S. 1739 = 1682 A.D. This manuscript was copied by Nagaji at Sanavagrama. The colours are bright. The paintings seem to belong to c. nineteenth century A.D. 110 The various Jaina Bhandaras 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 Kurvarbainu Mameru 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

Page #67
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 Dehlano Jaina Bhandara, 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

Page #68
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 Sripalarasas and Canda-raja-rasas 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-sutra from Nemi-Vijnana-Kasturasuri Jnanamandira, Surat. The manuscript is profusely illustrated and dates from c. seventeenth century A. D. The painting represents the Jala-krida of Krsna and his queens from incidents from the life-story of his cousin brother Neminatha. 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 Vaisnava influence 112 seems to have worked from Bhagavata miniatures etc. Some of these miniatures show influence of what I once called "Sirohi school" from the beautiful Devasana pada Upadesamala, the Devi-Mahatmya 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 Balagopala stuti of Kankroli collection, the Gita Govinda of Kankroli collection etc. 111cf. Paintings of Visnupuri's Bhakti-Ratnavali 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

Page #69
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 "Thikannas" of Rajasthan or the different centres of Pahari schools. But much more exploration is necessary. Treasures of Jaina Bhandaras 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 Paryusana-Ksamapana-patrika painted at Ahmedabad in A. D. 1796 and illustrated in figures 136-138. But the painting of Ganesa 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 tambakundis 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, Siva-Parvati (fig. 179), a Jain acarya (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-prasada was the gift of a Jaina Samgha. The place-name is not given. The shrine was cast by Sutradharas Bharmalla and Pratapamalla of Mevada caste. 54

Page #70
Notes on Art A Samavasarana113 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 Samavasarana 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 Adinatha from Sirpur, W. Khandesh The late Agama-Prabhakara Muni Sri Punyavijayaji was presented with a brass image of Adinatha by the Jainas of Sirpur (Sripur ?) 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 Adinatha 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 yaksa-figure still remaining The inscription on the back, incised in five lines, in Brahmi characters of c. seventh-eighth century A.D., reads as under :Line 1 :- Gacche Vidyadharanam nijakulatilakah sravakah 118 For Samavasarana, see, Shah, U. P., Studies in Jaina Art, pp. 85-95 and fig. 76; Jaina Bronzes from Cambay, Lalit Kala 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

Page #71
Line 2: Sreshimukhyah srima[n] tirthaisva(theta)ranam niya(ja)-Jina Line 3 Treasures of Jaina Bhandaras (bhavana dadhi cakardveva(ddeva)kosam115 krtascam(s'ca) smatrahetoicaturu samuna1 punyaparnau(parna?) niddhi(dhi)nvam(nam) sashava sam(sam)yutaulau(tosau) ja Line 5 nanayanamanoharina(nam) Durggakakhyah There is some mistake in line 4, perhaps by one who incised the inscription, can we amend punyaparnau or punyaparna 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 Sasthavva erected a temple of Jinas and established a Devakosa 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 Sravaka (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 pranamati (Durgga the headman bows or makes his obeissance). On the side of the female figure we have - Sastva pranamati (Sastva 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?] Krtam ca 116 metrically defective. 11The Vidyadhara gaccha belonged to the Svetambara sect. 56

Page #72
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 yaksa, carrying a long purse with his left hand. The corresponding yaksi, now lost, can be inferred to have been a figure of the twoarmed Jaina yaksi Ambika. Figures of both the yaksa and the yaksi rested on fullblown lotuses, that of yaksa 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 yaksa is the Sarvanha (Dig.) or Sarvanubhuti (Sve.) 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

Page #73
Treasures of Jaina Bhandaras Navsari, a branch of the Chalukyas of Badami. Prior to this, the area was for sometime under the Kataccuris and later under the Sendrakas. From some more bronzes in the L. D. Institute, one more is illustrated here in fig. 185. Parsvanatha here sits on a big lotus with a thick, long stalk, attended by a two-armed yaksa and the two-armed yaksi Ambika. 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 Kusana period. 121 A Caitya-tree associated with Adinatha is worshipped at Satrunjaya, 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 Mahavira 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

Page #74
Notes on Art 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 Parsvanatha 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 Parsvanatha 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 Sri Stambhana-Parsvanatha temple, Cambay. A small crystal image of a Jina in padmasana, dhyana mudra, 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 Parsvanatha, made of light green jade has been gifted to the L. D. Institute, by Muni Sri Punyavijayaji (Cat. no. 575). It is a small image of 12x8 cms, size, with a figure of Parsvanatha, 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 suri 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 Mudabidri 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.

Page #75
Treasures of Jaina Bhandaras 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 Illika-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 Neminatha 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 tisalakapurusacarita, Cambay Cat. no. 186, Folio 234. A donor lady. A Jina's diksa. 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 Avasyuka Laghuvptti, Cambay Cat. no. 410. d. V.S. 1445=1388 A.D.

Page #78
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 Kalaka. Ms. same as G. Nativity of Jina. A painting from Sripala-Rasa painted at Surat in 1829 A. D.

Page #79
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.

Page #80
LUOROUS Paper ms. of Kalpasutra c. 1425 A. D. Fig. of a Jina. Hansavijaya Collection, Jiliinamandira, Baroda. KXXXXXXXXXX M A Jina's diksi. Paper ms. of Kalpasutra, Hansa vijaya Collection, Baroda, e. 1425 A. D.

Page #81
O nANIupara vilAyatapadika didAvahiMjJAvata visAzanika rihAnamA mAcha vaassptaaraa||| rAtaca vasavaMjAva dANaM dAvA Usa vA saag| paDhAmamAtmAdAca vAhatasya sAvaNa suhamsA yakaNie sagADagi nApadasa paritApatA parakAmA baDI pAraka 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 gacchaupasraya, Mandal, V. S. 1505 1448 A. D.

Page #82
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. mana. Paper ms. of Kapla-sutra, DB. no, 2991, A.D. 1503

Page #83
1 From Uttaradhyayana Sutra. c. 17th cent. A.D. Devasina padano Bhandara, Ahmedabad From Uttaradhyayana Sutra e. early 17th cent. A.D. Devasana padano Bhandara, Ahmedabad. From Paper ms of Upadesamala-prakarana, DA, no. 145. c. 1650 A.D.

Page #84
/ AAP MOGOKORXOXA jommaayaagrcaarprvt| vijayAtAyAta A.kA-paTa/amadAvAda vividhatIrtha vasapaTale.saM.161 ISISTAN Vividha-Tirtha-Vastrapata, Collection of Anandaji Kalyanji Pedhi, Ahmedabad, d v. S. 1698=1641A. D. mATeparvatamAyAkamAravAra kAtiprAmAbAbA mAgAidakAritA yAmamAyAvihAramanAmaka irtan dIvAnA AAAEAA writA rAsAjavAdIyA CAPACIM FARzeTha.A-kA-paTI amadAvAda vividhatIrtha vasapaTa. le.saM.168 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 jai-prA-146 pratiSThAkalpa le .saM. 1780 20 Cl LAYA FOOLEXEY

Page #88
MALALLAMA ZB Vijaya setha-Vijaya-Sethani-Rasa, Jaina Pracya-Vidyabhavana, Ahmedabad, no. 166, Age, c. 1700A.D. korIvyApArIyAnalAghadhanagara dekheM 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-KasturaSuri Jnanamandira Collection. Surat, c. Seventh Century A.D. Tong Pi 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
yatApratayavazAhAyavahAra kisamAlora sisvaya vipadasiddhimAkAza kiMcidamatAlAvayadAna khita kArakasabaMdhAdhotamAyAdasAsitavAnAnudizvara amitAcha ImAviMzatinAmasAmadhigama AvAsa sAloka saMvodyotatAutisAca. saMvodyotamamAnAkAlivitamidaMdhIkinAnanaMdiyA nitika saMvatrata padAlAzaniua 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. yavanavaNApaDAnAtahavAnArAmacAlauDa bAjAgArakasumuhAgAsuriyAvariyAparikkama radiyaparikkarabAsirasanAgajahAnAnapaNa papakAusamakAmAgavivAdaNAdAsAusamaparatApaya. pattavADayAtAAubAraMpAsavAganamIpAvAsirijananananarihAla---- niyAmaparapAvasAyavarAmadana viyAparikApaDiyAIsuvi mamrana1118kArmikA 15 // 2. Palm-leaf ms. of Vandanaka-curni, V.S.1178=1121 A.D. Sri Kantivijaya collection, Baroda va sakIyanakAsALAzavAhADAzama nimayAkatikamAyAkAnagAvAgAvarAjJatAtatapAIkavilAamumtaH kAmAkA zrImatidivazariyatatathI zAtinAdivAkasamAyamAsisahamizcata hinAyAbuhAvayadATa mayitvakaTamadyAnAtvatAzAptA dhikAmiAnanada sAmavavAhizAbatAvAsAyaMdhAdhAyayAvasAmaha dAdhiAnahATAnalagAyAsunsal dhyAgamAdyazrIbhakSaNahiNvAnazrIsAzatimApadIyatrIzralayakAsarANA FN. vayasakAlavitAmadiyAAkanAthilambAlA HINBILURRRRR R HETANATIONAIRamanTTA 3. Palm-leaf ms. Sri Santinathavrittam, copied in Patan in V. S. 1412=1355 A.D.

Page #93
4. kAtha azmaparva nAthAnmIladarava lA naranArAda gaNaprakAra kuravAdaDapriyA 8126 Palm leaf ms. of Trisastisalakapurusacaritra, copied in Vs. 1297 = 1240 A.D. Size: 24 x 2.2 Cms. santinatha Bhandara, Cambay. II megA muDavAsavidyAnAmya kAma pAha jarati. maand| dilAyA yo dharama dinamA una ||kaalaa sAyada pariNAdimira lAgira zAkSIrUpeza hai||3|| 01ad gara 0 mA kArya zAba bAlamanupAlayatA likhi||||||3|| kaI paMcAya tiriyana nAmAga 5. Paper ms. of Rsidattacariya (New) (in Prakrit) c.V.S. 13th century Muni Punyavijaya collection, L.D. institute No. 10659 Size : 20 x 6 Cms. ma pacakA sAyAmadha vAyara 27 yA se ora vAcA puca For Private Personal Use Only payAsa sAtyae hRdayamasa 0123 // vAkhelatI |kamidama virAralA... ATAA maNyApAsamazrIyamamakakSya samAdhArakA 6. Handwriting of Mahamatya Vastupala. Palm-leaf ms. of Dharmasarmabhyudaya-kavya, copied in V.S. 12901233 A.D. Size: 44.1 x 5.5 Cms. SC.

Page #94
nizAdimA kAzikkiAyakavitAyatA kamAnapakSAlAsapacAbAdadhikazatasevAkayAdhikA kayAmAhAdadhiyaghohagAravinimImA niravarAjadhagadyAsarasavAyasarAyAaSTAdacAzatImAnahAvidhakAzivAya rAmavanavASyamAthiA maIvayAvA zrI ArtigitaSESSINEERHI 7. Author's autograph copy of paper ms. of Kathamahodadhi by Pratisthasoma, V.S. 1504=1447 A. D. Size : 26.2 x 11.2 cms. L. D. Institute, Ahmedabad. palamaviraguzyaravAsadalaukaradisaMsAruAtAzi ddipdvinngsurvaatdovdyaalyaactitaassihre| vayeNImagadaraThavAsatihiMgaNagAyotiSaztAvanapuna vatIvaDaguNavaMtAna sarapasAhasAnnAtAdogudiyAvaMga himahimakarAvarisparAyagavAhamAgnatAmAmAla. maudohagayAvAva ha~DaguLaNaulaNemArA tAla havaMdahajamvavizAradupipAsAiriTizotinA thavAlAsaMya30 vevasAdabAremAnahAthAminandha mArahatherapakhinthasaDamaladevarAjamustenamahAbarA 8. Paper ms., last page, of Santinatha-boli, copied in V.S. 1350 = 1293 A. D. Size 21x8 cms. L. D. Institute No. 8484 Ram-bramarimabhAnimagalAda banA mekIsavamA jIvAdanAcI damakA pAlAmA vinAepadayAvimathAnammA mAnaciekAdIzamAna -8 DAvayAsa nakARARAMranceMasreakiym jijAyamAna bImahIdinemulIvigavAdhivyAdhinarAvAlajhAyAdhAlAkArAjAsivanI manivAsInayAnIjayavinina citivyAvavizvAgharAniyatimA nakkAmAvayampavamAdA'paramatisamakSAvipravadhimaH15tika TolakAramAdhyA yAmamAtagAvaniravarizavAmyAnabudhA zudAkayabhavanAtInAdi revAsthA likhanavyAravyAdA menevaalaa| dhimaallgaayaa| zunnavAzimamumarvanagata"DAyA paMcanANamamuDAmatevikamavamamAghamAmazraNItimAyajhA manAta IzrImadavazIcArya zayathAvakrokidrAdhImalakArazivamuravAradA 9. Paper ms. of Rudratalankara copied in V. S. 1455 = 1398 A.D. L. D. No. 10975 Size : 22.5x8.3 cms. www.jairli brary.org

Page #95
IV piNevAyaDAbakApalAsabakIpadAvidhakamAsaNAyapaThajanApAgalUNAzrISaTanAkaTakApavAsaNAcanIyasyapaTAyA vipApamuhapatipavATAragAvImAnAlavaNasUkIpAMvavANAmupakAvAnAbAktisArovAdapaMcamItapAsAla upavAsAyabilaekotarakA idinavasAsAsaMdaratApavAsApAraNi probilaekAtaradinAnijigi tayAnijigiztapAnIbilapArane bihAraekAsamA ekAtaradinadhdhavAusatipArmimAzyaapasyA rngautmprtibhaatibaamdaavaarptimaa||dhaagaalvaalaanaavdyshlaaujmnurupaanaaymyaadhaaretyoddhaaie| gomatamapanyAtayAanutrAlAnomadhinAlisA kAmapavAsapAraNiekAmagAeva dinavijamanusonA nupadamakurA viparimadAvAra nApatimAbAba sArinipidamItaratapazapadagrahamazyA ranukatakarAvAramadhyakAbAbedama maMdinakAmacaudhatApadalA grahamaporana kotaroupavAsavasAhapabetra hamAbaDAkarmavAdAlatamA avAsa3ekAtaroga apavAsathAbalA u-uekotarAjadapAvAsaztapanAdhyayAraNAzapAlaghukarmavAcAlatamAmavAsa3ekAtarava upabiMhamAladharmazApramaharapakAtaravAsaghaNedAztUyamAdinaSpAraNAnasA vadinaujamanuzzAmAdakAdhavizvAlataH pradhAjyavAsayanigaekotAroupavAsa32nedamazgrehama urakalpANakasUpAupavAsaNyAkatirAimalAkaravIkamajatayA upvaasNpaarnnekaabilmvaarvaae| 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 ImminatandeihnahaturanjannAmaviNArASaENangatalbumArasafifinitiadamasAnnibAlamaSA K ravaanaamaniziAmalI Hande Juidarsj. pamA RENDR.anitaliauratgipyaaspielapapased A LINElestefinimimarakpthtoeyanti ManatalitAMUNIBAREAKIRAIN r eubarateek- D RINTulipinisteisasleleices NepaljineDPERIEN e lyjabar wdianRTNe r ellamarathimjayejazrishyiruindihirail senyeinside OMANJIRAUnibilizeimege DEngwar r aisestabirteluntelletriguit DelgariamayarijuluprthatterialeTMHOPRA LRAHINDURIKARAN brj-arjaiantarmletrianitariabhiarpitattejsansarS A Translama Paryatan MyIdiariasphe a warva MANA E Ramund R ASW Eatinigarane HOMhal PHEHReaunteasphirtee INCHENIMERENPraman LEASERAHAirtemperapeuretrorekNSERSITERA ISH .B HertaNP MERIENHA . Hajurtan. talanAnasvA gairar viadmvaviyA ajaselifait- parva nAjibanama jivanApaERACC IA. sAmazanaraamananpalAtatasara SHRArtiahraarubies. arishmyprisirew7. H bAkI SR.MARRAHUB LBWeletes MUHURU livi. naramitanianjisakAnamAtramatiAkAsAyanika sAmahianAHANIRAMINATURE aundaruaamafromNREGANEmAmAliyAmAnAnAmatimAzAsamareraniahBRe0- 89.AvanAduatgAya Am. savitA Kaa__ HI gAyA mAnakonAMcala kuvalamanIculAmAnAni vAmadhAmyAHkarahapradamutAmAnAmadAyamuka Posfaantaraadhiralaces RA jAlaMpiyazivinaMtAlatAdevAnyA manAmanimamamama cinAsanasaMvAdanAnI yAmAmakAsarasaka BAHIHAR SAHITANTON Foresn bhAUsAyanAmikAsakamAyanijamanasA dalAmAgAramUlA masminakAmalakSya disAladhanidrAmasvAmyAtUnavAmImanimavimuni / khayAmamAghamanasa mAmadAyaTAnimavikhanamakAapmAkaMTha'cakanagusalamAnigA nasAvayAsamAyatamAma paTemA masalakaNikAjInalA naanimaayaashcmaaNshmmninaavlikrmaaltii| mAgamazramadAnAmanirA vinAzAkinISa vikAgniminamAnAMjanmanAva gavAka vArastAnacAnamAninISamatA tacinavikI panaghumitrapinamavizvaviddhimAma buvAda mAdevAmana minihitarAgataMyamamIye. bAdAnirahmanipavitrAmyatAdhAdhitAnA maMda zivacaninirabalAvaNimAkAmukAni INEStyanayAna pavanatamudyAmazinAtAnamukhImA cAmake cAcamitaidAvIdAsajAyacaiva yo bibi bhI sAmyasmAtparamava dinAsAmpasameninInA kAruditAmahapaina-gemAkiMciinamA tAmAbukAma MINSAR macavacanAvAnamanAcApakAbUdyAdevanavamahArAmanimathimamaHcAna kujAmabalenina ra bhivAvinAsAyasulanavipadApANinAmenedevAaMganAMgaMjatanutanunamagAdatanenanamA kAna learinaafaibabadalanA grAmavinA kaMkalitena viismmdhiktraavaaminaaishvniimktaammivaatithi| vAgamanamA pAra aur a tandari 4sAunamA ka nAmapAla bAgavAna .. karavAmI DDARNUPREM. 2 DEFERENERBARI awgeneralaNDRENI L ekaramAvadhIyavANI vikiravimaramAzivAnbhanAcApakAlajAdavanaca kayAmAvara 11. Specimen of Rikta-lipi writing (leaving blank spaces) forming diagrams etc., V.S. 1615 = 1558 A.D. L. D. Institute No. 27537 janAhUSesari EPROMITRINADURAINEESHIBRastram aNJHARELIERESPANIPAINARIES W isalie. E P RAMEEmparanepartugupsaithvirseratmalarajmbeegisterminaGERammaNPAIMIRESP THREARRuruRLIMBRA Baghe R ARRANT PAHIRANNmant anarane SAMUD R EARILAKinnerspalyHAMBHURD NRelaram IPURyaneKITAR viniranamAHiimamathakavarianRam vigarINIONARRANJALtunsanAgalA sAmanArAyaaandaarsaninAmAnita Popular RIPTIEngi mAyApemunmunmidaufunmashtaaraaaaimalaamArAdhakIigafaaf nidarzanAnimimade n eemlalanawaimahakavalejamA MARATHITaaaaaneKERLARSa nchitiouTERniyamikaviNyArimA AmamAniyA poonAyamAmAnikAyamAnamA DEPARTMamailmAnanaam.manApAnANNELARRURALERBELanSabhimaafanashreal aanaanasal simAEiR AwafrimAmilAmamA karanAmasatiyA yasa nyUkAnamadhamajAmavAyA angacaifaigalrsevendra nAbAnAlAmukhamA tidiyAyAlayasamaanana .

Page #96
12. Decorative roundel showing a couple, Palm-leaf ms. of Jnata sutra and other texts, d. V. S. 1184=1127 A. D. SC no. 12. bayA i to u talih 13. Cakresvari, Palm-leaf ms. of Uttaradhyayana sutra, SC. no. 78, c. 1200-1250 A. D. 14. Sarasvati, Palm-leaf ms. of Upadesamala, SC. no. 101, V. S. 1308=1251 A. D. mahInA prachup CRITIE 15. A Tirthankara (Dig. form), with a male and a female cama radhara, Palm-leaf ms. of Uttaradhyayanasutra, SC. no. 83, V. S. 1308-1251 A. D. www.jainelibry.org

Page #97
dhamAyAra NAT vaary| vaidhatA rivAranI vA 16. A teacher nun, SC. No. 78 ms. of Uttara. su., 1200-1250 A.D. 17. Sri Devasuri, SC. No. 94, Yogasastra ms. c. 1250-1290 A.D. sAmmA vAma ma 18. Sri Jambukumara, Sri Sudharmma svami & Sri Prabhava. Ms. of Uttara dhyayana with vrtti, palm-leaf ms. SC. no. 85, V.S. 1352 = 1295 A.D. jItAyatA yama hAdasAnika visamA dAyamA kvlnaa| vAmItijJa kAhAyalA Rianad jAdAja 19. Fourfold Jaina Samgha - monk, nun, layman, laywoman - worshipping, Uttaradhyayana ms. SC. No. 85, 1295 A.D. VI ,

Page #98
pina pasa 1414 20. Yudhisthira & Draupadi, Palm-leaf ms. of Pandavacaritra, SC. no. 220, age, c. 1250-1290 A.D. saudAdara bhakApita s'bd pativizva 21. A Jina with attendants, Palm-leaf ms. of Padmananda 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 Kalpasutra, Palitana, d.V.S. 1439 = 1382 A.D. 24. A Teacher giving discourse, Palm-leaf ms. of Kalpasutra, Palitana, 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. Parsvanatha, from paper ms, of Parsv natha Caritra, DA. 14, V.S. 1463 = 1406 A.D. & 31. Paper ms. of Parsvanatha Caritra, DA. no. 4, d.V.S. 1467=1410 A.D. Parsvanatha. 32. Caturvidha-Samgha. Ms. of Parva natha 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, Parsvanatha caritra, DA. 4, V.S. 1467 = 1410 A.D. 35. Acarya and pupil, Candraprabhacaritra, DA. 45. V.S. 1489=1432 A.D. 36. Srutadevata from Pandavacaritra, DA. 20, V.S. 1490=1433 A.D. Copied in selaguntha www.jan Ibrary.org

Page #103
37. Sixteen-armed Kali-devi. Supasanahacarita painted at Devakulavataka (Mevad) in V.S. 1480 = 1423 A.D. Cat. No. 446. XII

Page #104
3 TESTEUILLE WANAWAWARENENUNEA naak saMGa mua gAdA pAsA Tas saU SER PATASHA WWWANONTWMVANA NAZIVUVAAKU ANIMAL 299 38. Nativity of a Jina. gold lettered Kalpa Su., SA. no. 25(5) Copied by Vachaka 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 Mardal. 43. A dancing Scene panel in Kalpasutra, DB. no 2291. V.S. 1516 A.D. 1459. TATTUNG

Page #106
SY 44. Dancing Dikkumaris ( ? ), Parsvanatha-Padmavati-Pata, Cloth painting, 15th cent, A. D. Gift of Sheth Kasturbhai Lalbhai to L. D. Institute, Ahmedabad. vaccAyatini lApadyayaMta risiMghADa mahilAka mahaMnisAmana dilApAva yAevApa tAraka gaa|p icavI // 21 // CAAA 45-46 Border decorations showing various dancing postures, Uttaradhyana, Devasano Pado, V. S. 1529 = 1462 A.D. For Private Personal Use Only XPOT sIma dima hiyaMzayata tAcha syAdhipatha mntrvii||jmi baU chANasa ApatakaM deti rasidavidA sAMnAyA 010101071 320 XV www.jainenbrary.org

Page #107
XVI HA paNAsamANatAvamahAvIrAGasamhANAvabAbamAsAgrahAmapArakA AsADhasAhAtaramaNAsAsaha smanahAdivAsaNImanAviDayama narapavarakhaMDarAyAdhamadAkSimANa banAnAsaMsAgArAcamahAyAghAvarakA paNAtavarakSANAvikANIya taraMciyaMvarunAidadaDanuhAvadA (vAtArAdavAmAimAsanasaNi jAsusamasasamApasamAvahatANa (susamAesamApavAvaMtANAsa asama'samA samAevazvanApAsA susamAesamApabaUvazvanApAna vadanIyAmakSizahAvAmahiyA 47. A page from gold-lettered Kalpa-Sutra, Samala ni pole, Ahmedabad, no. 28 (5). V.S. 1522 = 1465 A.D.

Page #108
zA thaa| padApA chAtizcAnadhArAdhAramaNyavAsirAjA kilasAtayAnaghATAtAyAparamAdataH parAjJAnAdApacisasAsamapAtAkada DoSaNAviSayAyAeMcamIsAipadasAthadiktaspAtakSitAmupadvIparapAvadA daMdaDAmahAsavatyavasanIyavAsAma gmyaasvaalaaknaatyaamaadhaadiyaaukaa| ghAma dAvA zaMsAdhapAyayahAviparyAya zAkAnikSamajagAmahamAdadhA yaamkaaliksryaavirtrkhaa| simitaphahalAsaMpAlpapatipadyAcI tyasamATAtatapatijJAmudAyaha dhyAnavikSanalIvamanasolayara rayagatAAsakalyANagaMzata dharAyacAyanAghAAyAkAli kAvArthavadhAnakaMsamAnA // SA AtaMsavADA kalyANamasAzA saMvanAyavadhAcA saditamImAramazIpattAlayAkSamAyAcagAba zrIyamANaMdasAravinimIbAI mAIkalpAsikAlavAcitagA 48. Kalakacarya katha, copied at Patan in V. S. 1516 = 1459 A. D. Samala pole, Parsvacandra gacca upasraya, Ahmedabad, Cat. no. 419. Size = 26.7 x 11 cms. wwxYAlibrary.org

Page #109
AN AGIC 49. Scenes from life of Parsvanatha DA no. 70. Kalpasutra, gold-lettered. V. S. 1516 = 1459 A. D. 50. Mahavira giving away his devadusya garment DB. no. 2991. Kalpa-sutra V. S. 1560 = 1503 A. D. wwwwwww BACAU 52. Ganadhara, Santinatha 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. Diksa 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. Diksa of a Jina Ms. same as fig. 53. XIX www.jahelibrary.org

Page #111
XX rasAtavA hANAya yakiAla (kADAsadiyakammatavasAradhaniyazI vizadAbAnAevajJaptArAntAvANA riyaa|tirkaayriyaayspribaankaa (sAsalIgaNayAyavAsAtavAdAzA yamazAkAlAyaagasaNA'vidAtA! TAsArakhAniravakaravAtavidhiyA sAinariyatAvAsAsamAsamalar hinAvAthatharatAdAyaegAyatadAdA zyatAtAyavAnavAmAnayavAsAnanA vasta jo dAmA vAnAtha patA / 20 NYUMUNWIN NEWTOS 57-59. Paintings from Uttaradhyayana sutra, Dev sano pado, 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
Xi La Zhi Xian Yu LEPi Pei Dao Hang Shun Shuo Xun @ 62. A Jina with parikara, Uttara dhyayana sutra, DA. No. 32. V.S. 1519=1463 A.D. 63. Uttaradhyayana sutra painted at Patan in V.S. 1549=1492 A.D. Punyavijaya Collection, L.D. Institute. 64. City of Dvaraka, with Samudravijaya and his queen in palace, Kalpasutra, Hamsavijaya Collection, No. 1401. Baroda. c. late 15th Cent. A.D. XXII

Page #114
u11111 THE 66. Sarasvati. Bhagavatisutra ms. DA. no. 46. V.S. 1652=1595 A.D. 68. Sarasvati. Ms. of Kiratarjuniya, 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
||mtaarymuniH kATanagarapachA ghanatarAhAnimAnupAnivinatinagaMtavya 2typrchaa| yaatmrkssaaupaaynkaaryaatiivlyonvti| 3sAsarAya raajdvaargtvysiivaaniikvaanyaaspti| 4paracakra-saMdhirtavanikiciDavyavyAyAtavatipazcAhalaga 5 vaSyazna khagenapAtitavatikartavyapavamavaledona dharmakAye kiMciDApacArAsasayatavatimAtmarakSaNIya 7biNbprtissttaap-kaarysiditvnipunHkiNcikssttsvti| uhAri ch| grahaNAkAtyarisamarpaNAya anyAyAtinadAtara evApaNichA nAstApyAzhavisvAsAnakartavyavinAzAstUvAta 25 vihArapachA sumaharjazukagaMtavyelAtazeSyaprAkSiA 69. A page from Prasnasakunavali, L. D. no. 27206c. 16th cent. A. D. zrInAkarabhUjI ||shriigautm svAmiA 70. First page, Srenikasamyaktvarisa, __KB. no. 4565, c. V.S. 1605-1548 A.D. pAyA mAdA guruta sanA zrIda zrImarasvatAcAdamadhamalAyA mimA raMDaka zA rasavita 71. Last page of Srenikasamyaktva Rasa, K.B. no. 4565, Age, c. V. S. 160521548A. D. sAmavimalaritAsayA Tima yAsama gurupasAya sAzrIvAraminavaramadimaghAema0 gADANikarAya sapanA grAkAzakSmikarakalApamaMgamaMcaraN3NidinANisAvazakSisAhAmaNI mapa paDAvaDe pramANisaya 20ya kamarayAlaroyaghANAyAma UmaragiridharasAraNasayasamihiraNadayA sAlayamayazcAurAsamadAramA dAIksagItamadAla mAmilApamA nAmayasapakAzAmAgalA emadA latA jAsahajANAmupa 22 akSikaM33 minagiMyAmA naUzrAsamajhArinupAtamita savisAdhAnya dyAgamayasArisa 203 janaranArIgAisiemavAsaNasizyANIraMgA sipakSyAMmasipa lAgasalIparicaya su2| 4jIlagazamasAmadAya maya jAlagazmaziharatArAtAlagazyasapavirAe ma tivamaMgalamayakA 2205itizrIzreNikarAjamavisampakasAragAsacakheDasaMgItaM sanasana adaa simanAca dopakAmajapa kanAthA zriImAmatvamAna XXIV

Page #116
yAlimAhipAlApa nipAnIlamA kina pAInA karA NNA manmaraNajA 72. First panel, a bhilla-girl in a village requesting Srenika. Second panal, king Srenika in a forest grove. Ms. same as fig. 70 vevAnavAraNavAdhanayaSTiiMlIbhaga vizAcA ratinavi dIkSA lii| aap pArasa 6varamA raMgAba samA 73. Ships arriving on banks of Bemna river. Merchant Dhana receives them. Ms. same as fig. 70. XXV

Page #117
upAsa XXVI kama rA kA vA kUva lA ema Pa 1211 ruha ameNika AnitA inakhAre ka 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 jayakumAradA Tilika rUpa ra anya ToTAta nAvI // hiMga himAdisuravAsAmalassium tassamadAsayayA bAtAvAraNamAcausasa rAhivika faaraagaaras marA saMviharasArakhAmatAliya kasA ja yavikAsa yAsInAma gAvAsa gAU mmAjammsmagara yAIsatAbA uvAsamA sayarI sama vaasiy| evaM vyaasii| kalAmadAsa yAmamA vAmakA mayAkA kAmayA46maviyA vidhA vAsiyA kineAdavAppiyAma vAje mAsalAI jA nAdirzAtI mahAsaya paravaIyA emaI nAdAnAni yAgANAdApAyariyA mammAvayava hAtAmahAya evaM kyAsI nAravavata 75. A Scene from Upasakadasanga sutra, L. D. no. 27290. c. early 17th cent. A. D. 20

Page #118
76. Uttaradhyayana-sutra, Devasano pado collection, Ahmedabad c. 1600-1650 A.D. Gujarat. 77. Ms. same as fig. 76. XXVII

Page #119
yAbakA ratasaravAyA 2015 naravamayA 125 nArakSa vilaMdharAyAya mana suravA 212 mArAyAma -na-1 prazna mAramAdira ratasaravavisatizaya jana pukaravarajastana khAvaNayAvaraca nA 78. A section from cloth-painting of "Adhi-dvipa" (two and a half islands-continents). Collection of Sheth Narottam Mayabhai, Ahmedabad. Age, c. 1600-1650 A.D. XXVIII

Page #120
HISZET A Wea TIDA R ji jeon AN :: AVEA 80. Ms. same as fig. 79. 79. Arjuna and Siva as Kirata. Ms. of Kiratarjuniyam, DA. no. 141. c. 1700-1750 A. D. ( 81. Fight between Arjuna and Siva, Ms. same as fig. 79. XXIX

Page #121
XXX dhrikhii|37) yavidAryAnavANayugesasArakhAgAyugalodhanaspAghanavidAryA nivAraNa gesasArabANayugalocanaspapisAnaharezmadhAmapAninoma 82. Scene of fight from Kiratarjuniyam, 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 diksa. Ms. of Salibhadracatuspadika, KBG. no. 418 c. 1700-1750 A.D. Marwad or Gujarat. uaautica e dashurit R. 84. From Salibhadracatuspadika. Ms. same as fig. 83 85. Dharma palaka and Salibhadra. Ms. same as fig. 83. XXXI

Page #123
* rAjAzreSakarI yasavArI rojaad| XXXII 86. Royal procession of king Srenika. Ms. same as fig. 83. deanumAnare ko'ginagAnAmadhAmaNIpArAmAghazyATore manAye / savAyoriyAlavadhAyomaNakamotIyAra sonavArIDoramATevaradIDore 87. A scene from Simhalakumara Caupai. Punyavijaya collection, L. D. Institute. Copied at Bikaner in V.S. 1826-1769 A.D. kamara strIyAsudannadAjolenesAghamAMge rAjApacAvaNne bahasAsUrepamenAga yAporAjakumarana aapaayo| dhirarAjAchApa hAIvAsiyApITA rAjA yogAmAragilIyamarogi dalatamugatimAragano aNgi| mAsUjhAparisiha lasutarAja kareanopama dharmamAkAja mittaguru yAsitibudha zrAvakanA

Page #124
BY TEETED INDE 88. Scenes from Vijaya-setha-Vijaya-sethani-Rasa, Jaina Pracya-Vidya Bhavan, Paladi, Ahmedabad, no. 166. c. 1700 A.D. pUgra REDE SWEENECES 39 COXO tema 89. Ms. same as fig. 88. cAritravijayajI-jJAnamaMdira XXXIII

Page #125
jAlolachAlAlAsAhodayApakAla bAtehanIkachAkahietehavijApAsavAna batAkAhAmuMdariyAvizATAlATA || lAsiyAnIdanAkanakasanA taktA pari musivIsamAdhAra yati lAsiMdhImudhamavipAmA himaghaNameskiraNa hANAmuvAtavikArIghAtAmayAdolina hAikemikalyANAsubAzrAkANI ekaka bikasurapuramAyA vizavakaraNakA kSamupAtikamAvaNakalakAmA bidakarilIdhAmumbaikamipAvananizvAsa kAmAcAhI avaniMgasAmAjIsasama danimagItAmAsivyApikAkozavyAyAma ACCION 90. Sri Jambusvami-Rasa, L.D. no.34209 V.S. 1775=A.D. 1718 INTERASHTRUTHI 91. Sri Vijayasetha-Vijaya Sethani-Rasa, c. 1700 A.D. 37.mA.166vajayAu-vijayAvarAsa. (5m 92. Marriage-scene, Ms. same as no. 88 XXXIV

Page #126
93. Vastrapata (Cloth painting) showing Lokapurusa (cosmos) and hells. Samvegi Upasraya, Ahmedabad. c. 17th cent. A.D.. nikadevI. A u~so me 777 94. A section from Prasada-pratistha-Vastrapata, DA no. 186. c. 1650 A. D. For Private Personal Use Only XXXV

Page #127
hAiva dezeka tAhara hamoTa mokala gAmI bedApa ramAdi ahani nIbebI 95. A dancing scene, Sripala-Rasa, Nemi-Vijnana-Kastura-suri collection Surat. V.S. 1780-1723 A.D. jAvaMta nga rAnAma zyAma yaNa zA mAkA OsU -horSita prAU sAya 96. First panel - battle seene. Second panel-marriage. Ms. same as fig. 95. 97. Scenes from story of Sripala. Ms. same as fig. 95. XXXVI

Page #128
DIne khaMti zrama vaha moka // 27 // yANA 98. Scenes from Sripala-Rasa. 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. Pathum, 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 DOBIENESIS DUDESIUSIES SEX BEREDELSE 103. Lokapra kasa, copied in V. S. 1714= 1657 A. D., in Ahmedabad. DA. no. 165, Folio 144. 104. Lokaprakasa, copied in V. S. 1714=1657 A. D., DA, no. 165, Folio 290 XXXIX

Page #131
V. S. 1861-1804 A. D. 105. From Kalpasutra copied in Samalani pole, Ahmedabad. 1 24 $$ 71 * 107. Ms. same as fig. 105 - 1 * * 106. Ms. same as fig. 105 XL

Page #132
"lakI" 108. From Kalpa Sutra, date V. S. 1861 = 1804 A. D. SA no. 27 (13) DogamurAgaM AromA ArogaMdA ropaTayATyA UmmNa samuddaviDayA lilA vipanetavaM kaavtN| kukamAre rih| namInAme hoU 109. From Kalpa-Sutra, Ms. same as fig. 108 MAN For Private Personal Use Only ta zra XLI

Page #133
zrIpAlarAsanAtrIjAminIpAMvameTiAlathAliSpatATavAgaekadi miicdd'o| ramavAnazrIpAla sAthabakatihInatasyodAvorIhavizAlA yavAdaleileTa zrAdhyAUMgrarayAyAtaktedane' UMrakarIsupaH kopAdevAdhIzrAviTA kiTAnAtAvAnAtAsArthavAhanavInaveM kara ar 110. From Sripala-Rasa, painted at Pethapur v. S. 1878=1821 A. D. 111. Ms. same as fig. 110 112. Ms. same as fig. 110 XLII

Page #134
zrApAla kalakalesarosIya vaMgAnagarItevanImuvisesari mI yaskUlabAyAzdesa 220 remo jayajayanonaranAzidhyAnAzAkirakadhajAtihAdhibaMdisa relAla yariztATAraMnarasoga mAratisovanayacaresoma gAvaiMgorIpradajare 113. From Sripala-rasa, painted at Surat in V.S. 1886%D1829 A. D. KBG. No.4512 rAjhIdhotAsakvanasataraMjItAvalIsamakitanaztedavAiMhitA dataDIyADonAaenaespaiMgaNApatasacharimaMgalamAlAjIbiMdhArasiMha rasuMdaramaMdizamaNimayamAka jamAlAjI dedasabalamasane haridaraMgaanaMgasAlA jI anukramitedamadATayA yazIladasyajJAna vizAra laajii||36|| itizIyAla rAsasaMpUrNa shraavttaakhaasmaaghaasNstech| zrArahatyIkharatarajahArakA yAsaritabidarasaMvegahIyAMzrIsaMyacaMdalAmaNitatUniyAAlAlavadanAta ghyAmurAdAbacaMdapaasaazrIpradhirazAlAyAdAtazcAtAlAbAlApola6masAjA 114. Colophon of Sripala-rasa, copied in V. S. 1886=1829 A. D. Ms. same as fig. 113 XLIII

Page #135
MUNTIITRIT TIIMIIIIIII 115. From Sripala-rasa 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, Paryusana ksamapana Patrika, written in XLVII

Page #139
Doorvoud 123. Ms. same as Fig. 122. 122. From Candaraja no-rasa copied at Bhavnagar in V.S. 1855-1798 A.D. rahAvakannukatamanAyA radivAkaubhagadA rAvInAkaviMdhAviniyA gatIvidhAvAkonadA mikAprayujazyA pIUgharamamanahAyAcadA pAbutAmumA karavAyyAepakAradAH5 hinikahI mAjIjAusAmanIzAradAda6 ravAlA nAa ninavara ranikala zrotA ganA ji vAvira vidAsa lAdhi yA yo kaMcana nRpamasa zetIva ziSya kaMtani jiyA 124. Ms. same as Figs. 122-123. 125. Marriage scene, Ms. same as Fig. 122-124 XLVIII

Page #140
Un 126. Candarajano-rasa, copied at Bhavnagar in 1798 A.D. DB. no. 2488 127. Ms. same as figs. 122-126 XLIX

Page #141
lor 91 Sak" 34979 w 129. Ms. same as figs. 122-128 128 Ms. same as figs. 122-127 to le Are ERP 130. Ms. same as figs. 122-129

Page #142
131. Samvegi Upasraya, 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 LI

Page #143
LII Ji Yan 400 Guo Qing Hua 133. Same as fig. no. 131 42 .

Page #144
Ben Ren 11 columnImentailatill 134. Paryusana-Ksamapana-Patrika 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. Paryusana-Ksamapana 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 Vijnaptipatra from Jodhpur written in V.S. 1882=1825 A.D. DA. no. 200. 140. Same as no. 139. LVI

Page #148
yAinsa vAmAmuyastaramA muvamaseva netratrayamAlo vAkavAkayummake kavekSya hadayAtraya yukSetipadezamukha rogodhananevAya zAnidhanAdIni mutte bAjAra kamalasinamavAra kI mAyAa pradhAna nimutanarAkkatisthApanA HD OGOROICS raka D8308008000018 vicArAne:pUyorAnamA budhoyavanavedake dAdIvili vakramAta mukhezAnAyapecaspaH ne rAti paMcammu paMcakasukharAba yAdayakAnAyapavAkayAyavAda yoHpaMcAkarayonideyaM ca kayu saMcanakSatra kSayadaMparikInitimida 90 niyanakamalavinAmumAnApAnamA svAdiSAkArabakranyAsa 1929 raORRED 141. XDXOXOXOXOS) 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. LVII

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. kAravAlasaradezarirAne) yAparavo haravinathako camakadedhiganAirerA enAvAnanalIkadImAharestrA vIdAre rA 8manamAnasAthalyAkcanakoparamApara rAsAvAle zkavAnamItrAhImanAparerAkamadIyokAravAne zrIvA kamapAlara rAkahelAvaradhanaethaIpUrAyAMcamIdAra rAma hAmahadirAvesaharame koTavAlasuvicAra pAragayArajanApoki 2sinaranAricArakIyopakamAnAmi mArIsibhiradhAra masaMmisana phukAnijaghare baimiramAmuvicAra koTavAjaphiratokahanehamI hivahinasakarapiyo saM-nalI manahikviorakhacizamakakahani bImagalAkAja kAzkalilakAravAlame kalekaLagAprAmaghamadhinavinihAjAvine karivira yAsaMketa maMtrIcyASAbhASIyA kATavAlanehana vasabhA madhamahApaNyA AInaMdAghAra prAdhAdIgaNya lamujhagayebhicAratrAtasamepuramanasakanahaSa akaarvaalgnsujysvaarynthiitkr| 144. A page from Vikramaditya-Khapra-Cora-Caupai, copied in c. 18th cent. A.D. LD. no. 4586. LVIII

Page #150
1800 145. Vijnaptipatra written in V.S. 1874-1817 A.D. at Krsnagadh (Kisangadh) in Rajasthan. DA. no. 202. LIX

Page #151
LX I CASA muud DOS INIO 146. same as fig. 145 147. Vijnaptipatra written from Surat, c. 19th century A.D. L.D. no. 12382

Page #152
POSLOUCO 148. Vijnaptipatra from Jodhpur written in V.S. 1882=1825 A.D. DA. no. 200. 149. Wooden Panel scene from life of Neminath 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
mAnA samA5 nAta jAgara ka lAva muSe sala saMghA 153. A Jogana (mendicant lady). From Manatunga-Manavati-rasa, copied at Vyara, S. Gujarat in V.S. 1760-1703 A.D. nA yaja taMTA jAmA 12 ANHAISAT--ma. 154. Ms. same as fig. 153 155. Ms. same as fig. 153 LXIV

Page #156
Kathars wwwww-ans CAR hmdkangwl aela KEN 4-4338 PRICE -lagAgAgA) karata 7 Chu MAMMAN bit-F b 113441 --- rawo Cuth cabut The ceweaver rechtsdebiteral .campa meca kAchalamubAra QUODCHEN soggior Galaus memi also vonuM mAna pAnagina wanasab neident mAnajAyamAna ayba 8 fisfrace was 2013-201 ewlaa : a e paM9i19mA che bhavasAvADA lAvI achat hair shembea pig ve TAURICA eva ama InaphInAra boDI prAyo THE SUBOT gata 1172aa Sou 11 jA awan sanac Enaniammarcowa mas Eurola sangra denga FINALE vananI en-hebleau is tema 29-03 * cavadhAtha Jitua 81 eine gutembea "om Echobers Esebebit C hermett ja pracArja 51.315 20 V. nitaGS STDcAra ja 5-Ehombic Esheten sen Cher 20 CLE WERE hAI-vAyAPantra 22 32 naiva cADavA mAM taLAvanAra ema mAnatA mysi Tue We SINGER aattuynnn 156. From Pata (paper) of Lokapurusa, d.V.S. 1858-1801 A.D. L.D. no. 27824. 25 35 29 pare LXV

Page #157
T rAmIka LXVI F4 20 zrIrAma dhamAsI karI mI SK hirAmIpa kerA OM rAma po. vraivihm faffensiunfa * Na 158. Same as fig. 157. ja vA vodhana methoka mero jayite 0 ka rikAma nepA rama paila alcom kA bodhi ma i yonI jagA varga CZANE taatrir Youn 157. From Silpa- Jyotisa-Vastrapata, L.D. no. 6991 devanA " para kAravIca me dha zrI aumehe pada jaya mithunampa ho| .

Page #158
159. Jambudvipa-pata, L.D. no. 28068. Painted in V.S. 1888-1831 A.D. Bu E 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
pajAmArA nAhAraNa mAjA zAradA Ta hophira kara dekhala mere mAmA mUIpIjI thArI tAzAmA jAI ||416 // yaka ghara khoyA mAmAcyA 162. Kumvarbainu Mameru, Cat. no. 511 c. 19th cent. A.D. LXVIII ******* taTanetrI kamajItajIyeMnadI 2 bIcamImavA yAvyAnAtha mATekIpADA dAtha jaMmadhyarA tre tara spAMDalI kArIlaineM pAyA pAlI 34 muNneN| sAno dAvIko / bIvAla mI sakArI zrIgo pAla anuterI temosAluMka galIcAvaso / nayanarAzya 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 Lokaprakasa, 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 O 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 We 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 Mahavira 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 Ladol, 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 Parsvanatha, stone, from Ladol, North Gujarat. Size: 142x54 cms. Age, c. 11th cent. A. D. LXXV

Page #167
LXXVI Social oto 2.8.0.0. T . 00 18 . 177. Caitya-tree of metal, on top of a Samava sarana structure, Lodrava, 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 Acarya, c. 18th Century, A.D. Gujarat. Same as no. 179. LXXVII

Page #169
181. Detail of colour fig. of Adinatha, from Sirpur, W. Khandesh. c. 7th cent. A.D. Sem je cPLTS 8120 By Rock! HISO FAN13 Cat 25.111517 GADESDA NANTE **8.6153NLIar 181A. Inscription on back of fig. 181 LXXVIII

Page #170
182 E ng! 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 1 S LXXX SPY 20 184. 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 Parsvanatha 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. VIPAKASUTRA-Commentary in Sanskrit by Abhayadevasuri, composed in V. S. 1120, SC. No. 13 (12), folios 450-472, size 31.5"x2.5''; copied at Anabillapataka in V. S. 1295. 2. DASAVAIKALIKASUTRA 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. KALPASUTRA of Bhadrabahu in Prakrit, SC. No. 49 (3), folios 56-156, size 13.5''x2.2''; copied in Bhrgukaccha in V. S. 1247. 4. KALPASUTRA of Bhadrabahu in Prakrit, HJP. No. 85, folios 107, size 12'x1.8''; copied in c 14th century. 5. PAKSIKASUTRA in Prakrit, with a commenatry in Sanskrit by Yasodevasuri who composed it in V. S. 1180, SC. No. 65, folios 199, size 17.5"x2.2"'; copied at Aghata 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. VISESAVASYAKAMAHABHASYA (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. BHAGAVATISUTRAVRTTI 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 Asahillapataka. NON-CANONICAL PRAKARANAS 9. KARMAPRAKRTI-PRAKARANA of Sivasarmasuri, SA., folios 75, size 27x4.7 cms.; copied at Madhumati in V. S. 1313. 10. SAPTATIKA-PRAKARANA CURNI (Pr.) of Candrarsimahattara, HJP. No. 96, folios 116, size 11.9''X2''; copied in c the beginning of the 12th century.

Page #177
Palm-Leaf Manuscripts 11. JIVASAMASA-PRAKARANA with a commentary by Maladhari Hemacandrasuri. 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. SUKHABODHASAMACARI etc. of Sri Candrasuri, KC. No. 1123, folios 172, size 30"x5". It is in Prakrit and Sanskrit; copied in c 15th century. 14. SAMACARI 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. AGAMIKA-VASTU-VICARASARA-PRAKARANA (Pr.) of Jinavallabhagaoi with a commentary in Sanskrit by Asokacandra. suri, 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. DVADASAVRATALAPAKADI, HJP. No. 168(55), folios 103-120, wie size 13"x1.8''; copied in c 13th century. 17. NIHSESASIDDHANTAVICARA of Candrakirti, composed in V. S. 1212, SC. No. 87, folios 24-111, size 14''X2''; copied in V. S. 1212. 18. YOGASASTRA of Hemacandracarya in Sanskrit with auto commentary, SC. No. 160, folios 393, size 30-2''x2.2"; copied in V. S. 1251. 19. DHARMARATNAPRAKARANA of Santisuri in Prakrit, No. 91 (7), folios 151-160, size 16-2"x2"'; copied at Vizapur in V. S. 1325. 20. DHARMOPADESAMALA-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 Balacandrasuri in Sanskrit, HJP. No. 36, folios 284, size 32-5"x2-5"; copied in V. S. 1296. 22. DANADIKULAKA in Apabhramsa, HJP. No. 168 (33), folios. 58-60, size 13"x1-8"; copied in e 13th century. 5 23. DHARMADHARMAVICARAKULAKA of Jinaprabhasuri 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. JINAPUJADYUPADESA (RATNA - CUDADIKATHA) 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 Jivadevasuri with a commentary of Samudracarya and ABHISEKAVIDHI of Santisuri 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 Amrtacandra; 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 Jnanasri Aryika; JC. No. 364 (1), folios 137, size 15-5"x19"; copied in V. S. 1490,

Page #179
Palm-Leaf Manuscripts 31. ANEKANTAJAYAPATAKA-TIPPANAKA of Muni Candrasuri, a commentary on ANEKANTAJAYA-PATAKA of Haribhadra suri; JC. No. 352, folios 131, size 12.5"x1.9"; copied in V. S. 1171. Published in GOS., Baroda. 32. PRAMALAKSMALAKSANA with auto-commentary of Buddhi sagarasuri; 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. TRISASTISALAKAPURUSACARITA of Hemacandracarya in Sanskrit, SC. No. 195, folios 280, size 17"x2"'; copied in V. S. 1318. 35. MAHAVIRACARITRA (Pr.) of Nemicandrasuri composed in V. S. 1139, Khetarvasi Bhandara, Patan (now at Simandhara Mandira, Mehsana ), No. old 37, new 7, folios 204+2, size 14"x2"; copied in V. S. 1238 in the times of Karnadeva. 36. MAHAVIRACARITRA of Abhayadeva:uri in Apabhramba, SC. No. 127(2), folios nos. 39-47. 37. PRATYEKABUDDHACARITA in Apabhramsa, Khetarvasi Bhandara, Patan (now at Simandhara Mandira, Mehsana), No. old 60(5), new 32, folios 37-54, size 11"x1.3". 38. VAIRASVAMICARIU of Varadatta in Apabhraiia, SC. No. 94(14), folios No. 236-256, size 32-3x5.1 cms., copied in c first half of the 14th century. 39. PRTHVICANDRACARITA of Santisuri 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. NAGAKUMARACARITA of Ratna-Yogindra in Sanskrit, SC. No. 236, folios 14, copied in c 14th century.

Page #180
Jaina Stotras 41. SIDDHAJAYANTI-PRAKARANA or JAYANTICARITRA of Manatungasuri with a commentary by Malayaprabhasuri 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-Apabbramsa. 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. RATNACUDAKATHA of Devendragani (Nemicandrasuri), in Prakrit, SC. No. 216, folios 109, size 67.8x5.5 cms.; copied in V. S. 1221 at Asahillapataka. 44. CANDRALEKHAVIJAYA-PRAKARANA of Devacandramuni, pupil of Hemacandracarya, JC. No. 361, folios 203, size 9.3"x1.5''; copied in c 13th century. 45. ANARGHARAGHAVARAHASYADARSA (S) of Devaprabha carya, being a commentary on Murari's drama called ANARGHARAGHAVA, Khetarvasi Bhandara, Patan (now at Simandhara Mandira, Mehsana), No. old 65, new 25, folios 217, size 13"x2". JAINA STOTRAS 46. VITARAGASTUTI in Apabhraiba, HJP. No. 168(54), folios 99-102, size 13"x1.5"; copied in c 13th century. 47. COVISAJINASTUTI in Apabhraiia, HJP. No. 168(53), folios 98-99, size 13"x1.9"; copied in c 13th century. 48. SADHARANAJINASTAVANA in Apabhraiia, HJP. No. 168(10), folios 19-20, size 13"x1.8"; copied in c 13th century. 49. RSABHADEVASTUTI-ARBUDAGIRIMANDANA in Apabhra msa, HJP. No. 168(13), folios 23-24, size 13"x1.8"'; copied in c 13th century.

Page #181
Palm-Leaf Manuscripts 50. ANANTANATHASTOTRA-PANCAKALYANAKAMAYA in Apabhramsa, 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. SANTINATHA-PANCAKALYANARASTAVANA, HJP. No. 168(12), folios 21-23, size 13"x1.8"'; copied in c 13th century. 53. SANTIJINASTUTI of Viraprabhasuri in Apabhramsa, HJP. No. 168(11), folios 20-21, size 13"x1.8"; copied in c 13th century. 54. MAHAVIRAJINASTOTRA in Apabhramsa, HJP. No. 167(15), folios no. 25th, size 13"x1.8"; copied in c 13th century. 55. MAHAVIRA-PARANU of Vardhamanasuri in Apabhramsa, HJP. No. 168(64), folios 153-156, size 13"x1.8"; copied in c V. S. 13th century. 56. STHULIBHADRASTUTI in Apabhraiia, HJP. No. 168(46), folios 84-87, size 13"x1.8"; copied in c 13th century. 57. DHARMAGHOSASURISTUTI of Raviprabhasuri in Sanskrit, HJP. No. 119(18), folios 209-216, size 14.8"x2"'; copied in c 14th century. 58. DHARMASURISTUTI in Apabhraiia, HJP. No. 119(19), folios 216-221, size 14.8"x2"'; copied in c 14th century. 59. BHAYAHARASTOTRA of Jinaprabhasuri in Apabhraisa, HJP. No. 168(26), folios 40-41, size 13"x1.8"; copied in c 13th century. 60. KALYANAKASTOTRA in Apabhraisa, HJP. No. 168(25), folios 38-40, size 13"x1.8"; copied in c 13th century. NON-JAINA WORKS 61. BHAGAVADGITA with a commentary by Sankarasvami, JC. No. 388(2), folios 130, size 24.5"x2.3''; copied in c end of the 13th century. Ref. KP., p. 89.

Page #182
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-VRTTI 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 Nyayakusumanjali and is being edited by Dr. Nagin Shah for L. D. Series, Ahmedabad. 66. TATTVASANGRAHA-PANJIKA 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. KHANDANAKHANDAKHADYA's Com. SISYAHITAISINI by Anubhutisvarupacarya 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. *

Page #183
Palm-Leaf Manuscripts 70. KATANTRAVYAKARANA-PANJIKOPAYOGI-PARA-SUTRA KADAMBA, SC. No. 256, folio nos. 1-52, size 39.3x3.1 cms.; copied in V. S. 1287. 71. KATANTROTTARA (S) of Vijayananda, KHP. (Now at Simandhara Mandira, Mehsana), No. old 7, new 113, folios 31, size 12"x2"'; copied in V. S. 1178(?). 72. KATANTRA-UNADI, SC. No. 256, folio nos. 53-62, size 39.3x3-1 cms.; copied in V. S. 1287. 73. LINGANUSASANA of Vamana, SC. No. 256, folio nos. 63-66, size 39.3x3.1 cms.; copied in V. S. 1287. 74. VAKROKTIJIVITA (Kavyalankara) with a commentary (S) of Kuntaka, JC. No. 327, folios 234 (incomplete ), size 16.5"x2.3"; copied in c 13th century. 75. VAKROKTIJIVITA (Kavyalankara) with a commentary of Kuntaka, JC. No. 328, folios 300 (incomplete ), size 12.9"x1.9"; copied in c 14th century. 76. RUDRATALANKARA-TIPPANAKA of Namisadhu, JC. No. 332, folios 46, size 13"x2.3"; copied in V. S. 1206. 77. KAVISIKSA of Jayamangalacarya, 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. KAVYAPRAKASA-SANKETA (Kavyadarsa) of Somesvara in Sanskrit, HJP. No. 141, folios 101-122, size 14"x2"'; copied in c 13th century. 80. KAVYANUSASANA of Vagbhata with auto-commentary ALAN KARATILAKA, HJP. No. 139, folios 187, size 12.3"x1.9"; copied in c 13th century.

Page #184
Non-Jaina Works 81. NAGANANDA of Harsa, HJP. No. 140, folios 90 (many folios missing in-between ), size 12.5"x1.9"; copied in V. S. 1258 at Anahillapataka. 82. KADAMBARISESA (Uttarardha) of Pulindra, Khetarvasi Bhandara, Patan (now at Simandhara Mandira, Mehsana), No. old 42, new 33, folios 148; copied in V. S. 1282. 83. GAUDAVAHO-MAHAKAVYA 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. RAVANAVAHO in Prakrit, Khetarvasi Bhandara, Patan (now at Simandhara Mandira, Mehsana), No. old 66, new 1, folios 13, size 12"x2". 86. KUTTANIMATA-SUMBHALIMATA of Damodaragupta, SC. No. 272, folios 93, size 36x5 cms.; copied in c second half of the 13th century. 87. SUBHASITASANGRAHA 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. SUBHASITAVALI (LOKASAMVYAVAHARAVRTTI-KAVYA) of Raviguptacarya in Sanskrit, SC. No. 266(1), folios nos. 1-25, size 31x4.4 cms.; copied in c second half of the 12th century. 89. SUBHASITAVALT in Sanskrit, SC. No. 266(2), folios nos. 26-33, size 31x4.4 cms.; copied in c second half of the 12th century. 90. SUKTASANGRAHA of Laksmanakavi in Sanskrit, HJP. No. 160(3), folios 66, size 13.5"x15"; copied in c 13th century. 91. SUKTIRATNAKOSA 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.

Page #185
12 Palm-Leaf Manuscripts 92. SUBHASITARATNAKOSA 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. SUKTAVALI in Sanskrit, SC. No. 264(1), folios 13, size 33x44. cms.; copied in c the first half of the 15th century. 94. SUKTASANGRAHA 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 VASTUPALA 95. DHARMABHYUDAYA-MAHAKAVYA (SAM GHAPATI VASTUPALACARITRA) of Udayaprabhasuri 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.

Page #186
PAPER MANUSCRIPTS

Page #187

Page #188
SERIES OF JAINA CANONICAL LITERATURE 96. JAINAGAMA SERIES, HJP. Nos. 9986 to 10094. These nos. include series of all Jaina Agamas. 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 Dasavaikalika was copied in V. S. 1499. 97. RAYAPASENIASUTTA 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 Nandivardhanasuri. JAINA-NIGAMA 98. NIGAMAVAKYAVIVARANOPANISAD in Sanskrit, Kanti vijayaji collection, Chani, No. 719, folios 164, size 26x11.2 cms.; copied in c 16th century. 99. NIGAMAPRAVACANE NAYASARODDHARI SASANI (Eighth Chapter ), ASB. No. 262, folios 24, size 29.1x11.1 cms.; copied in c 17th century. 100. DARSANARATNAKARA (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 ( NIGAMOPANISAD), KB. No. 2200, folios 18, size 30x12 cms.; copied in c 20th century. It is in Sanskrit. CHANDA, VYAKARANA AND KOSA COMPOSED BY JAINAS 102. CHANDOMANJARI in Sanskrit, HB. No. 1068, folios 17, size 25.7x11.5 cms.; copied in V. S. 1647 by Bhanuprabha. 103. SYADISABDASAMUCCAYA of Amaracandra Muni in Sanskrit, SUA. No. 3116, folios 39, size 25.9x10-7 cms.; copied in c 17th century. It deals with Vyakarana.

Page #189
16 Paper Manuscripts Ch 104. VAKYAPRAKASA of Udayadharma, composed in V. S. 1507, with a Vartika by Jinavijaya who composed it in V. S. 1694; SUA. No. 2886, folios 34, size 25.1x11.4 cms. 105. ABHIDHANACINTAMANI of Hemacandracarya 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 Kosa. The text was published in YJG. Series (No. 41), Bhavnagar and at NSP., Bombay by Mahavira Jaina Sabha, Cambay. 106. ABHIDHANACINTAMANI '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. ABHIDHANACINTAMANI 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. SUNDARAPRAKASA of Padmasundara in Sanskrit, HJP. No. 2734, folios 96, size 10-3"x4.5"; copied in V. S. 1610. It is a Kosa. Ref. JK., p. 445. JAINA KAVYA, NATAKA, CARITA, KATHA, ALANKARA, DARSANA, STOTRAS, SUBHASITAS, ETC. 109. KALYANASARASAVITANAHAREKSAP-KAVYA - SATAR THIVRTTI (S) of Somaprabhasuri, 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. DOSASAYAMALAJALAM'-GATHA-SATARTHIVRTTI (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. RAGHAVA-PANDAVIYA-DVISANDHANA-MAHAKAVYA of Dhananjaya in Sanskrit, HJP. No. 7113, folios 34, size 10.5"x5.9"; copied in V. S. 1517. Published in NSP, Kavyamala

Page #190
Jaina Kavya, Nataka, Carita,... Subhasitas etc. 17 in 1895 with a commentary. It narrates simultaneously the stories of Ramayana and Mahabharata. 112. RAGHAVA-PANDAVIYA-DVISANDHANA-MAHAKAVYA of Dhananjaya 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. MAHAVIRACARIYAM 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. VILASAVATT-NATIKA (S) of Devacandrasuri, 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 Kavyamala, Bombay. 116. TILKAMANJARIKATHASARA (Padya) of Laksmidhara 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. CANDRALEKHAVIJAYA-PRAKARANA of Devacandrasuri, in Sanskrit, HJP. No. 6637, folios 19, size 12"x4.9''; copied in c 15th century. Ref. JK., p. 120. 118. KANAKAVATI-AKHYANA of Hemasri Sadhvi in Gujarati, HJP, No. 16818, folios 11, size 9.9"x4.3"; copied in V. S. 1644. 119. DASA-SRAVAKACARITRA 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. SRIDHARACARITA-MAHAKAVYA (S) of Manikyasundara. suri with Tippani, LD. No. 569/1, folios 28, size 29.7x1.2 cms.. copied in V. S. 1489. 121. MANORAMAKATHA (P) of Vardhamanasuri, LD. No. 76, folios 265, size 32-1x12.1 cms.; copied in c 15th century.

Page #191
18 Paper Manuscripts 122. CAMPAKAVATI-SILAPATAKA-CATUSPADI of Dharma bhusana of Digambara tradition, KB. No. 768, folios 20, size 25.5x11cms.; copied by Hirakusala at Porbandar in V. S. 1759. 123. UPADESASATA-MAHAPURUSA-CARITA (S) of Merutungasuri, LD. 1239 (K), folios 70, size 25-0x100 cms.; copied in V. S. 1468. 124. UPADESAMALA-PRAKARANA (P) of Dharmadasagani with Balavabodha (G), LD. No. 2296 (K), folios 90, size 26.5x11.2 cms.; copied in V. S. 1519 by Tilakakalyanagani at Karnapuragrama. 125. DRSTANTASATAKA-AVACURI (S) of Narendraprabha, LD. No. 19882, folios 6, size 26-2x11-0 cms.; copied in c 17th century. 126. KAVYAKALPALATAVRTTI (Makaranda) by Subhavijaya, LD. No. 11621, folios 57, size 25-1x10-5 cms.; copied in c 17th century. 127. APTAMIMAMSALANKARA-ASTASAHASRI of Vidyananda in Sanskrit with tippani, HJP. No. 4285, folios 141, size 12"x4.9"; copied in V. S. 1454. 128. ASTAKANI and SUBHASITASLOKA-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 Kavyamala Guccha 13, NSP. Ref. JK., p. 370 (Satakatraya). 130. JNANASARA-ASTAKANI 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 Balavabodha in Gujarati by Merusundara, HB. No. 859, folios 12, size 26-2x11.1 cms,; copied in V. S. 1529; Ref. JK., p. 133. For Private Personal Use Only

Page #192
Sangita, Jyotisa by Jain Authors 19 132. VIVEKAVILASA of Jinadattasuri 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. NAVATATIVAVICARA 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. ASTAPRAVACANAMATA-SVADHYAYA, KBG. No. 572, folios 6, size 25,2x12,2 cms.; copied at Bombay in 19th century. 135. HITACARANAPRAKARANA with auto-commentary by Sakala candragani in Prakrit, HJP. No. 1460, folios 271, size 9.9"x4.3"; copied in V. S. 1630. SANGITA, JYOTISA BY JAIN AUTHORS 136. SANGITASARODDHARA of Sudhakalasa with a commentary, HB. No. 1442, folios 20, size 27-8x12.5 cms.; copied on paper in V. S. 1612 at Hindigrama. Published in GOS., No. 133 as SANGITOPANISATSARODDHARA. 137. PRASNAPADDHATI 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 Vijayadayasuri in V. S. 1798 and copied in V. S. 1820. It is known from the MS. that its first copy was made by Bhojasagara. 139. KOSTHAKACINTAMANI by Vacanacarya Silasimha Agamika, in Prakrit, HJP. No. 2782, folios 11, size 10"x4.3"'; copied in c 18th century. Ref. JK., p. 96. It is on Jyotisagaaita. 140. KOSTHAKACINTAMANIVRTTI in Sanskrit by Vacanacarya Silasimha Agamika, HJP. No. 2783, folios 62, size 10-35x4.5"; copied in V. S. 1705. Ref. JK., p. 96.

Page #193
20 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. SANGITAMANDANA of Mandana Kavi in Sanskrit, HJP. No. 6795, folios 22, size 12"x4.9"; copied in V. S. 1504. Ref. JK., p. 409. 143. KAVYAMANDANA 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. CAMPU-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. SRNGARAMANDANA of Mandana Mantri in Sanskrit, HJP. No. 9488, folios 4, size 13.3"x5.9"'; copied in V. S. 1504. Ref. JK., p. 386. 146. KADAMBARI-DARPANA 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 KADAMBARIMANDANA. Ref. JK., p. 84. 147. ALANKARA-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. KAVYA-MANOHARA of Mahesvara Kavi in Sanskrit, HJP. No. 6804, folios 10, size 12"x4.9''; copied in V. S. 1504. It deals with the life of Mandana Mantri. Published by Hema

Page #194
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. KAMASAMOHABANDHAKAVYA 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 Kamasastra. JAINA COMMENTARIES ON NON-JAINA WORKS 151. RAGHUVANSA 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. RAGHUVAMSAKAVYA-TIKA of Dharmamerugani in Sanskrit, HJP. No. 9884, folios 166, size 11"x5:3''; copied in c 17th century. 153. RAGHUVMSAMAHAKAVYA - TIKA - CARITRAVARDHINI of Caritravardhana in Sanskrit, HJP. No. 2687, folios 183, size 10.3"'x4.3"; copied in V. S. 1702. 154. RAGHUVAMSA-SUKHABODHIKA of Vijayagani, HJP. No. 17640, folios 199, size 10"x4.5"; copied in V. S. 1744. 155. RAGHUVAMSA of Kalidasa with a commentary by Gunavinaya. 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. RAGHUVMSA'S SUGAMANVAYA PRABODHIKAVRTTI (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 Ghadasisara by Mahesadasa. 158. KUMARASAMBHAVA 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.

Page #195
Paper Manuscripts 159. KUMARASAMBHAVA of Kalidasa with a commentary by Jinasamudrasuri, SUA. No. 1009, folios 29, size 26x11 cms. The MS. contains 1-7 sargas and was copied in e 17th century. 160. MEGHADUTA-VRTTI (S) of Merutungasuri, LD. No. 27925, folios 10, size 26-8x11-3 cms.; copied in e 16th century. 161. MEGHADUTA-SUKHABODHIKA-VRTTI (S) of Sadhu Megharaja, LD. No. 8978, folios 43, size 22x11 cms.; copied in c 18th century, 22 162. MEGHADUTA 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-VRTTI (S) of Ksemahamsagani, LD. No. 6279, folios 21, size 24-3x10-2 cms.; copied in e 18th century. 164. MEGHADUTAKAVYA-VRTTI (S) of Sumativijaya, LD. No. 7434, folios 69, size 27-9x12-3 cms.; copied in c 19th century. 165. KIRATARJUNIYA-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. KIRATARJUNIYA'S DIPIKA-VRTTI (S) of Dharmavijayagani, LD. No. 1993. folios 172; size 25x11-5 cms.; copied in V. S. 1799. 167. MAGHAKAVYA-VRTTI (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. SURYASATAKA 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 Gunavinaya composed in V. S. 1464 in Sanskrit, HJP. No. 6758, folios 135, size 12.9"x5.9"; copied in e 15th century.

Page #196
Jaina Commentaries on Non-Jaina Works 23 171. ANARGHARAGHAVANATAKA-TIKA of Jinaharsa in Sanskrit, HJP. No. 2742, folios 68, size 10-3"x4.5''; copied in c 17th century. 172. ANARGHARAGHAVANATAKATIKA, HJP. No. 14030, folios 31, size 10.5"x4.3; copied in c 16th century. 173. ANARGHARAGHAVANATAKA with a commentary called ADARSA, HJP. No. 8634, folios 55, size 10.5"x4.5''; copied in V. S. 1556. 174. SARVARTHASIDDHIMANIMALA TIKA-PRASASTI (S) by Jinasamarasuri, LD. No. 4854, folios 5, size 24.8x10.6 cms; copied in Karnapur in c 18th century. The Tika was on Bhar tshari's Vairagyasataka. 175. RASIKAPRIYA-VARTIKA (G) of Upadhyaya Kusaladhira composed in V. S. 1724 at Jodhano (Jodhapur), LD. No. 779(K), folios 69, size 24.5x10.8 cms.; copied in IV. S. 1735. The text is in Hindi. 176. TARKABHASA of Kesavamisra with a commentary VARTIKA 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. TARKABHASA of Kesavamisra with a commentary CANDRIKA by Siddhicandragani, SUA. No. 1428, folios 13, size 24.8x11.1 cms.; copied in V. S. 1722. 178. TARKABHANA of Kesavamisra 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. Tarkabhasa is text on Vaisesikadarsana. 179. SAPTAPADARTHI of Sivaditya with a commentary by Jina. vardhanasuri, KC. No. 595, folios 25, size 26-3x11.2 cms.; copied in 17th century, published by L. D. Institute, Ahmedabad. 180. SAPTAPADARTHI 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 Vaisesikadarsana Text.

Page #197
24 Paper Manuscripts 181. TARKASANGRAHA of Annambhatta with Fakkika (S) by Ksamakalyana, LD. No. 1764, folios 9, size 24.8x11.2 cms; copied in c 19th century. VEDA, GITA, ETC. 182. YAJURVEDA (1-4 Kanda) in Sanskrit, HJP. No. 849, folios 87, size 13.3''x4.9". 183. GAYATRIVIVARANA (S) of Jinaprabhasuri, LD. No. 3428, folio 1, size 26-1x11.2 cms.; copied in c V. S. 16th century. 184. BHAGAVADGITA in Sanskrit, HJP, No. 6849, folios 26, size 12.5"x5"'; copied in V. S. 1478. 185. BHAGAVADBHAKTIRATNAVALI of Visnupuri in Sanskrit, HJP. No. 15137, folios nos. 2-69, size 11"x4.9''; copied in V. S. 1571. 186. RUKHAMANGADAPURI-VARNANA-EKADASI-MAHA. TMYA of Pujo in Gujarati, HJP. No. 3198, folios 69, size 10"x4.3" ;copied in V. S. 1705. NON-JAINA WORKS ON VYAKARANA AND KOSA 187. PANINI-VYAKARANA-MAHABHASYA (Caturthadhyaya) of Patanjali 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. VAKYAPADIYA of Harivrsabha with a commentary in Sanskrit (Kanda Second), HJP. No. 7311, folios 21, size 10''x4.5''; copied in c 17th century. 189. VAKYAPADIYA with a commentary by Helaraja, (Caturtha Samuddesa), HJP. No. 7312, folios 55, size 10"x4.5"; copied in c 17th century. 190. VAKYAPADIYA 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.

Page #198
Non-Jaina Works on Vyakarana and Kosa 25 191. VAKYAPADIYA 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. KATANTRAVYAKARANA-AVACURI (S) of Merutungasuri, LD. No. 1362, folios 22, size 29.1x11.9 cms.; copied in c 16th century. 193. KATANTRAVIBHRAMA with a commentary composed by Caritrasimha in Sanskrit, KC. No. 607, folios 5, size 26-2x10.5 cms.; copied in 17th century. 194. RAMAKALASA-VYAKARANA (S) of Ramakalasa Bhatta, LD. No. 2101, folios 9, size 25.5x11.5 cms.; copied in c 16th century. 195. KRIYASANDOHA of Halayudha 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. JNAPAKASAMUCCAYA of Purusottamadeva in Sanskrit, HJP. No. 7315, folios 23, size 10"x4.5"; copied in V. S. 1684. 197. PHARASI-PRAKASA (Persian ) - grammar by Bihari Krsnadasa, LD. No. 2860, folios 43, size 27.4x11.1 cms.; copied in V. S. 1662. 198. SABDAMBODHI (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 Kosa. 199. MADANA-VINODA-NIGHANTUKOSA (S) of Madanapala, LD. No. 443, folios 27, size 27.5x12.3 cms.; copied in V. S. 1877. 200. YAVANANAMAMALA in Sanskrit and Persian, HJP. No. 995, folios 14, size 11.5"x5.5". 201. YAVANANAMAMALA (S) of Pratapa Bhatta, LD. No. 8311, . folios 9, size 25.9x11 cms.; copied in c 17th century.

Page #199
26 Paper Manuscripts 202. TORUSKI-NAMAMALA-YAVANANAMAMALA (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. APARAJITAPRCCHA (incomplete) of Bhuvandevacarya in Sanskrit, HJP. No. 2807, folios 253, size 10"x4.3"; copied in c 17th century. 204. APARAJITAPRCCHA (incomplete) of Bhuvanadevacarya in Sanskrit, HJP. No. 2590, folios 291, size 10.9"x4.9". 205. MANDAPANIRNAYA of Visvakarma, LD. No. 3063 (K), folios 17, size 25x9 cms.; copied in V. S. 1912. 206. VASTUSASTRA-VASTURAJA (S) of Rajasimha, LD. No. 339, folios 26, size 28.6x13.2 cms; copied in c 17th century. 207. VASTUSASTRA-SILPASASTRA (S), LD. No. 23997, folios 54, size 30x12.7 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 Kasinatha Sukla. It was composed in V. S. 1712. 209. KUNDADHANASASTRA (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. SANGITACUDAMANI of Jagadekamalla (incomplete), SUA. No. 3835, folios 20, size 28-5x11-5 cms.; copied in c 17th century. 211. SANGITARATNAKARA-NARTANADHYAYA (S) of Sarngadeva, LD. No. 2270, folios 44, size 26-8x11 cms.; copied in V. S. 1626. 212. SANGITARATNAKARA-SVARAGATADHYAYA (S) of Sarngadeva, LD. No. 2268; folios 21, size 26.8 x 11.4 cms.; copied in c 17th century. For Private Personal Use Only

Page #200
Non-Jaina Works : Kavya, Nataka,... Chanda etc. 27 213. SANGITARATNAKARA-TALAPRAKARANA (S) of Sarnga deva, LD. No. 2269; folios 14, size 27.0 x 11.4 cms.; copied in c 17th century. 214. NARTANANIRNAYA of Pundarika Vitthala (Karnatakajnatiya) in Sanskrit, HJP. No. 8635, folios 8, size 9.9''x4.5"; copied in 18th century. NON-JAINA WORKS: KAVYA, NATAKA, ALANKARA, 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 Krsqa, son of Divakara. 216. RAGHUVAMSA-TIKA (S). HJP. No. 11716, folios Nos. 15-54, size 10.5"x4.5"; copied in c 16th century. 217. RAGHUVAMSA of Kalidasa, VIVARANA by Udayakara and PANJIKA by Anandadevayana Vallabhadeva, HJP. No. 2686, folios 283, size 10.3"x4.3''; copied in c 16th century. 218. MEGHADUTAKAVYA-VRTTI (S) of Raghava Sarma, LD. No. 6555, folios 57-115, size 25.0x10-5 cms.; copied in V. S. 1685. 219. KIRATARJUNIYA-MAHAKAVYA 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 Prakasa Varsa. It is also mentioned in the first padya of prasasti but in the 4th padya Jaradatta is mentioned. BHATTIKAVYA of Bhatti Kavi in Sanskrit. HJP. No. 6625. folios 33, stze 12"x4.9"'; copied in V. S. 1488. Also called RAVANAVADHA. 221. KADAMBARI-KATHA of Mahakavi Bana Bhatta and Pulindra, HJP. No. 6642, folios 95, size 12"x4.9''; copied in V. S. 1486. 222. TRISATI of Bhartshari with VRTTI of Dhanasara Pathaka, LD. No. 357, folios 63, size 28.1x13.5 cms.; copied in V. S. 1879.

Page #201
28 Paper Manuscripts 223. SISUPALAVADHAKAVYA 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. DAMAYANTIKATHA-CAMPU by Trivikrama Bhatta, HJP. No. 6789, folios 38, size 12"x4.9"'; copied in c 15th century. Also called NALACAMPU. Edited by Durgaprasad and Siva datta, with a commentary of Candapala, NSP., Bombay, 1921. 225. DAMAYANTICAMPU-KATHA-TIKA by Candapala Kavi, HJP. No. 6722, folios 31, size 11.9"x4.9'';. copied in c 15th century. 226. RAMACARITA-MAHAKAVYA 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. TILAKASUNDARI-KATHA and BILHANA-PANCASIKA 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 PANCASIKA, Ref. A Companion of Sanskrit Literature' (S. C. Banerji), p. 177. 228. NAISADHACARITA-MAHAKAVYA of Sriharsa with a comme ntary VIDYADHARI in Sanskrit by Vidyadhara, HJP. No. 10400, folios 75, size 11.9"x4.5"; copied in c 15th century. 229. NAISADHAKAVYA-TIKA (S) of Narayana Pandita, LD. No. 21942, folios 217, size 24.5x11.0 cms.; copied in V. S. 1705 by Vidyadhara. 230. GITAGOVINDA of Jayadeva, HB. No. 1190, folios 27, size 25x11.2 cms.; copied in c 18th century. 231. GITAGOVINDA-Commentary RASAMANJARI by Salinatha, HB. No. 1318, folios 10, size 24.5x11.3 cms.; copied in c 18th century. 232. CHANDOGOPALA-KAVYA of Kasinatha in Sanskrit, HJP. No. 8662, folios 5, size 10"x4.5"; copied in V. S. 1734.

Page #202
Non-Jaina Works : Kavya, Nataka,... Chanda etc. 29 233. GATHASAPTASATI of Satavahana in Prakrit with a commer tary in Gujarati, HJP. No. 9482, folios 30, size 14.9"x5''; copied in V. S. 1454. 234. VASANTAVILASA 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 Kavyamala, NSP., Vol. V. 236. VIDAGDHAMADHAVANATAKA of Rupagosvami 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-VYAYOGA of Kancanacarya in Sans krit, HJP. No. 14027, folios 7, size 10.3"x4.5"; copied in V. S. 1690. 238. DUTANGADA-CHAYA-NATAKA of Subhata Kavi in Sanskrit and Prakrit, HJP. No. 2739, folios 5, size 10.3"x4.3", copied in c 16th century. 239. RUDRATALANKARA (S), LD. No. 10975, folios 49, size 22.5x8.3 cms.; copied by the pupil of Devaguptasuri in V. S. 1455. 240. DASARUPAKAVALOKA of Dhanika, SUA. No. 1581; folios 41, size 27.1"x11.6"'; copied in V. S. 1450. Edited by Prof. T. Venkatacharya, Adyar Library. 241. KAMARAJA-RATISASTRA of Maharaja Kumbhakarna, SUA. No. 960, folios 7, size 26-2x11 cms; copied in c 18th century. It deals with Kama Sastra. 242. KAMARATNA (S) of Prananatha Bhatta, LD. No. 1008, copied in c 19th century. 243. KALAVILASA (S) of Ksemendra, LD. No. 7144, folios 27, size 28.2x9.7 cms.; copied by Ramacandrasuri in V. S. 1462 at Anahillapura. Ed. Kavyamala, NSP, Vol. I.

Page #203
30 Paper Manuscripts 244. SRUTABODHA (S) of Kalidasa with VRTTI by Harsakirti Upadhyaya, LD. No. 20401, folios 7; copied in V. S. 1659. 245. VRTTARATNAKARA 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. SANKHYASAPTATIKA of Isvarakrsna 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. PRASASTAPADABHASYA of Prasastapadacarya, HJP. No. 6684, folios 12, size 12"x4.9"; copied in c 15th century. Ref. KP., p. 60. 248. NYAYAKANDALI'S NYAYAKUSUMODGAMAVYAKHYA by Yommideva, HJP. No. 6687, folios 62, size12"x4.9"; copied in c 15th century. NYAYAKANDALI is the commentary on PRASASTAPADABHASYA. Ref. KP., p. 60. 249. KANADARAHASYA of Padmanabha in Sanskrit, SUA. No. 871, folios 16, size 26x10.8 cms.; copied by Lalaji in V. S. 1643. It deals with Vaisesikadarsana. Ref. KP., p. 266. 250. NYAYASARA of Bha sarvajna in Sanskrit with Tippani, HJP. No. 10100, folios 5, size 13.5"x5.3"; copied in V. S. 1474. Ref. KP., p. 143. 251. NYAYABHUSANASARASANGRAHAVARTIKA of Bhasar vajna with Tippani in Sanskrit (incomplete), HJP. No. 10717, folios 149, size 10.3"x4.5''; copied in c 15th century. Ref. KP., p. 143. Published by Saddarsana-Prakasana-Pratisthana, Vara. nasi, 1968. 252. NYAYAKUSUMANJALI of Udayanacarya, HJP. No. 6683, folios 36, size 12"x4.9"'; copied in c 15th century. Ref. KP., pp. 156-159.

Page #204
Non-Jaina Philosophical Works 3/ 253. NYAYAKUSUMANJALI-PARIMAL (first stabaka ) of Maho padhyaya Sri Divakara, HJP. No. 6685, folios 16, size 12"x4.9"; copied in c 15th century. 254. TATTVACINTAMANI (PRATYAKSA 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 (ANUMANA and UPAMANA KHAN. DA) of Gangesa, HJP. No. 6851, folios 41, size 12.3"x5"! copied in c 16th century. 256. TATTVACINTAMANI (SABDAKHANDA) of Gangesa, HJP. No. 6852, folios 48, size 12"x5''; copied in c 16th century. 257, TATTVACINTAMANI (PRATYAKSA) (S) of Rucidatta, LD. No. 2865, folios 22, size 26.7x11.5 cms.; copied in c 17th century. 258. TATTVACINTAMANI-ANUMANAKHANDA-VRTTI (S) of Rucidatta, LD. No. 2866, folios 189, size 26-7x11.5 cms.; copied in V. S. 1650. 259. TATTVACINTAMANI-UPAMANAKHANDA-VRTTI of Ruci. datta, LD. No. 5753, folios 9, size 25.8 x 11 cms.; copied in c 16th century. 260. TATTVACINTAMANI (S) of Rucidatta (incomplete), LD. No. 16204, folios 104, size 28.5x11.8 cms.; copied in c 17th century. 261. TARKABHASA of Kesavamisra with a Tippani by Gaurikanta Mahopadhyaya, SUA. No. 1421, folios 98, size 25.5x11.4 cms.; copied in c 17th century. Ref. KP., p. 187. 262. SAPTAPADARTHIKHANDANA of Naganatha, SUA. No. 3467, folios 8, size 25.5x11 cms; copied in c 17th century. This work is a criticism on SAPTAPADARTHI of Sivaditya. For Saptapadarthi ref. KP., p. 179. 263. PADARTHARATNAMANJUSA of Krsna pandita in Sanskrit, HJP. No. 6687, folios 6, size 12"x4.9''; copied in c 15th century. Ref. KP. p. 323.

Page #205
32 Paper Manuscripts 264. NYAYARATNADIPAVALI-PRAPANCAMITHYATVASUTRA, 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. KHANDANABHAKTIKAVIBHAJANA-KHANDANA-TIKA by Anandapurna, HJP. No. 6694, folios 191, size 12"x4.9"; copied in c 15th century. Ref. KP., p. 208. 267. PADARTHATATTVANIRNAYA-TATTVAVIVEKA-VIVARANA of Anandajnana, HJP. No. 6693, folios 61, size 12"x4.9"; copied in c 15th century. For PADARTHATATTVANIRNAYA see KP., p. 197. 268. ADVAITAMRTA (S) of Jagannatha Sarasvati, LD. No. 13549 folios 34, size 27.5x11.9 cms.; copied by Hariraya Misra in V. S. 1793. Ref. KP., p. 243. 269. KAMARUPA-PANCASIKA of Yogendra in Prakrit, HJP. No. 3996, folios 4, size 10.3"x3.9"; copied in c 15th century. It deals with Yoga. 270. PRAMANAVARTIKA of Dharmakirti with auto-commentary (Chapter I only), VBP. No. 53, folios 40, size 30-3x11.5 cms.; copied in c V. S. 15th century. Ref. KP., pp. 68-71. 271. NYAYABINDU-TIKA of Dharmottara in Sanskrit, HJP. No. 6681, folios 28, size 12"x19"; copied in c 15th century. Ref. KP., p. 136. 272. TATTVASANGRAHA of Santaraksita, HJP. No. 6679, folios 66, size 12"x4.9"; copied in V. S. 1492. Ref. KP., pp. 125-126. 273. TATTVASANGRAHA-PANJAKA by Kamalasila, HJP. No. 6680, folios 260, size 12"x4.9"; copied in V. S. 1492, Ref. KP., p. 129. For Private Personal Use Only

Page #206
Asvasastra, Hastisastra, Ratnasastra and Pakasastra ASVASASTRA, HASTISASTRA, RATNASASTRA AND PAKASASTRA 274. SALIHOTRA (S) of Nakula, LD. No. 1501(K), folios 10, size 25-5x10.7 cms.; copied in V. S. 1634 at Khadirapur by Laksmi dasa, the pupil of Vinayasagara. Ref. HSL., p. 465. 75. ASVACIKITSASASTRA of Nakula, LD. No. 4159(K), folios 37, size 18.0x11.8 cms.; copied in c 17th century. Ref. HSL., p. 465. 276. VAJI-VAHANASASTRA (ASVASASTRA) (S) of Garga, LD. No. 1807, folios 79-93, size 26.2x11.2 cms.; copied in V. S. 1767; not mentioned by Keith. 277. SARASAMUCCAYA (ASVASASTRA) (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 Vagbhata, 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. RATNAPARIKSASASTRA of Agasti Rsi 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. RATNAPARIKSA-SAMUCCAYA (S) with a commentary in Gujarati, LD. No. 2835(K), folios 46, size 25.4x10-8. cms.; copied by Josi Baka in V. S. 1673; not mentioned by Keith. 281. RATNAPARIKSA-SAMUCCAYA of Agasti Rsi with BALAVA. BODHA (G), LD. No. 1895, folios 45, size 24.8x11.1 cms.; copied in V. S. 1730. 282. RATNADIPIKA (S) of Bhadesvara, 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.

Page #207
....... .. Paper Manuscripts 283. KSEMAKUTUHALA-PAKASASTRA (S) of Ksemasarma, LD. No. 1417(K), folios 77, size 26x11.8 cms.; composed in V. S. 1405 (?) and copied in V. S. 1854 by Khusalacanda Muni. NON-JAINA WORKS ON AYURVEDA, JYOTISA 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. SIVANUBHAVA-NAMA-VAIDYAKASASTRA of sivamisra, . No. 1118, folios 512, size 29x14 cms., leaves missing here and there; copied in V. S. 1699. 286. CANDRAKALASATAKA 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 Nauvvanagara in V. S. 1507 by Rohigadatta Pandita. 288. TRANASOSATHA-KARIYANA-NA NAMA (G), LD. No. 22081/1, folios 1-3, size 25.1x11 cms.; copied in c 19th century. 289. LAGHUJATAKA-VRTTIVARTIKA (S) with VIVARANA 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. - VASANTARAJASAKUNA (S) of Vasantaraja 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. TAJIKATANTRASARA (S) of Samarasimha, LD. No. 7660, folios 13, size 23.5x11 cms.; copied in V. S. 1588.

Page #208
Mss. of Historical Importance 294. BHADALIGRANTHA (G), LD. No. 6688, folios 9, size 27x11-4 cms.; copied at Sri Pattana in V. S. 1609. 295. BHADALIDUHA (G) of Bhadali, LD. No. 7091, folios 5, size 25.9x10.2 cms.; copied in c 18th century. MSS. OF HISTORICAL IMPORTANCE 296. KAVYAMANOHARA-MANDANA-MANTRI-CARITRA of Mahesvara, 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 Jinabhadrasuri (V. S. 1456 - ) who established many Jina Bhandaras. Ref. JSI., pp. 475-484. 297. AVASYAKASUTRA 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 'Anekantajayapataka' (GOS) and JSI., pp. 153-170. 298. KALPASUTRABALAVABODHA, 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. JAVADA-BHAVADA-RASA and SONAPALASANGHADHIPA RASA (incomplete) of Depala in Gujarati having trend of Apabhraiia, HJP. No. 9532, folios 12, size 7"x4"'; copied in c 16th century. For Depala's' other works see JSI., pp. 522-523. Depala's works were composed during V. S. 1501 to 1534. 300. TIRTHAMALA of Municandra in Prakrit, SUA. No. 1448, folios 5, size 25.8x11 cms.; copied in c 17th century. Also called PRATIMA-STUTI. It praises many Jaina holy places. Ref. JK., p. 160. 301. UPADESACINTAMANI-PRAKARANA of Jayasekharasuri in Prakrit, HJP. No. 1612, folios 20, size 10"x4.5'; copied in V. S. 1612 at Rajagadha when Humayu was the king. It was composed in V. S. 1436. Ref. for other works JSI., pp. 441-442.

Page #209
36 302. GURUGUNARATNAKARAKAVYA 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 Laksmisagarasuri 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 Vijnaptipatra painted by Jahangir's courtpainter Salivahana is addressed to Vijayasenasuri. For further details of his life see JSI., p. 555. Hemavijayagani had also composed VIJAYAPRASASTI-KAVYA (YJG., 23) describing the life of Vijayasenasuri. 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. SANTINATHACARITA of Ajitaprabhacarya 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. GAUTAMAPRCCHAPRAKARANA with VRTTI by Sritilaka 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 BATA (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. DASTAVEJA (Document) (G) for a building done in S. S. 1633, LD. No. 12855/1, folio 1, size 67 x 2.5 cms.

Page #210
Mss. of Historical Importance 309. UPADESAKUSALA-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 - saMvat 1682 varSe phAgaNa vadi 6 buddhe jaMbUdvIpe bharatakhaNDe gujaradeze phAguNa vadi 6 na zA ghaDI 5 tathA 6 ni mAjhani bhUmikaMpa huu, dharatI hAlI tehanu kAlamAna ghaTikA 1 pramANa Azrii ahamadAbAdi zrInagari viSi bibIpura madhye / ...... pATaNamAM paNi ghara ghaNA paDyA, mANasanI paNi ketalIekanI upaghAta thaI / rebA nadI mAhinu pANImAM zApa upanA sAMbhalyA / For Kulaka see 'Sanskrit Dictionary' by M. M. Williams, p. 295. 310. KHANDAPRASASTI-KAVYA (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. VIMALASAHA-CARITA-PRABANDHA (S) of Saubhagya. nandisuri, 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. VIMALAMANTRISVARA-RASA (G), LD. No. 16757/4, folios nos. 7-11, size 17.8 x 8.4 cms.; copied in 15th century by Sadhuratna. 313. ABU-TIRTHA-YATRA-VARNANA (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. LILADHARARASA (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 Sanghayatra from Ahmedabad. 315. PATANACAITYA-PARIPATIKA (G) of Lalitaprabhasuri, LD. No. 683, folios 12, size 27 x 10.9 cms.; copied in V. S. 1648. 316. AKABARASAHA-PATASAHA-SAHASRANAMA (S), LD. No. 4963, folios 5, size 25.2 x 11 cms.; copied in c 18th century.

Page #211
Paper Manuscripts 317. AJITASANTISTOTRA-BALAVABODHA (G), LD. No. 15854, folios 8, size 26.5 x 10-9 cms.; copied at Stambhatirtha for Sadhvi Amaralaksmi in V. S. 1578 at the time of Patasaha Mudafar (Mujaffar ). ajitanAtha kisiu chai / jiasanvabhaya / jia kahiM jItA savva kahI saghalAi bhayacha jI saMtiM ca zAMtinAtha phisiTa chaha pasaMta samyagayapAye / pasaMta kahIi kSaya gyaa| savya saghalAI / gaya kahIi roga anii pAva kahIda pApa chai jehanA ...... / 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. JAMBUSVAMIRASA (G) of Vinayaraja, pupil of Ratnasimbasuri, 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. VINAYADEVASURI-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. KALPASUTRANTRAVACYA (S) of Ratnacandragani, LD. No. 11654, folios 82, size 20x10-7 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.

Page #212
Mss. Copied by the Authors 39 323. GRAHABHAVA-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. PRASNAPRABODHA-KAVYALANKARA 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. PRAJNAPANASUTRAVRTTI-UDDHARA (S) of Lavanya 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 KAVYAKALPA. LATAVRTTI-MAKARANDA in V. S. 1665. Ref. JSI., p. 594. 326. RUPASENARAJARSI-RASA (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-PUJA 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 VASUPUJYA-STAVANA which is composed in many ragas, JSI., p. 616. His pupil is famous Bhanucandra of the Akbar-Jahangir's court and his preceptor is Danavijaya, JSI., pp. 554, 595. 329. NYAYASIDDHANTA-MANJARI-TIPPANA of Siddhicandra gani in Sanskrit, ASB. No. 886, folios 5, size 25x11.2 cms.; copied in V. S. 1706 by the author at Vadagrama. The author is famous for his connection with Akbar and Jahangir, JSI., p. 554. 330. VIHARAMANAJINA-GITO (G) of Kamalavijaya who composed and copied it in V. S. 1712 at Syahapura, LD. No.

Page #213
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 Simhasanadvatrimsika of Ksemamkargani 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 Mahavideha. 332. RAJASAGARASURINIRVANA-RASA (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. RATNASIMHARAJARSI-RASA (G) of Jinaharsa, 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 (Jnanavimala), 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.

Page #214
Mss. Copied by the Authors 337. SASTISATAKA (P) of Nemicandra Bhandari with BALAVA. BODHA (G) of the pupil of Yasasoma who composed and copied the Balavabodha at Masudanagara in V. S. 1761, LD. No. 7916, folios 28, size 26-8 x 11.2 cms.; edited by Dr. B. J. Sandesara, Pracina Gurjara Grarthamala, Baroda, No. 1. 338. MANGALACARYACATUSPADI (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. CANDRAPRABHASURISVARA-RASA (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 Patana in V. S. 1769. 340. KAPILAKEVALI-RASA (G) of Devasagaramuni, LD. No. 2200, folios 5, size 26x11 cms.; composed and copied by the author. Ref. 'Jaina Gurjar Kavio', Vol. III, p. 971, 341. PRATIMASATAKA of Yasovijaya with LAGHUVRTTI of Bhavaprabha, LD. No. 4989/1, folios 1-42, size 25-5x11.3 cms. Bhavaprabha composed the Vrtti and copied this MS. in V. S. * 1793. Yosovijaya 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. ARADHAKA-CATURBHANGI with AVACURI of Yasovijayaji in Sanskrit, HJP. No. 17353, folios 3, size 10" x 4.5". The author has copied this MS. 343. CATURVIMSATIJINASTAVANA 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. LAKSMANOTSAVA (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. PRAYASCITTA-VICARA, PRATIMAHUNDI and some HIS TORICAL RECORDS (G) of Vinayavijaya who composed 6

Page #215
Paper Manuscripts and copied it in c 18th century. LD. No. 1388(K), folios 8, size 25.5 x 11.5 cms. Different prayascittas for various sins are mentioned in PRAYASCITTA-VICARA. In PRATIMAHUNDI image-worship is established rejecting the arguments of nonidolators. In HISTORICAL RECORDS mention is made of the various deeds of Vastupala-Tejapala and also mention is made of the kings, Jainacaryas and others upto Jagadu who lived after Mahavira. 346. COSATHA-PRAKART-PUJA (G) of Viravijaya who composed it in V. S. 1874 at Rajanagara (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. ABHIDHANACINTAMANI by Hemachandracarya with auto commentary, SUA. No. 89, folios 27, size 20.5 x 7.3 cms.; copied in V. S. 1428 by Devendrasuri. Devendrasuri was of Rudrapalliya Gaccha. He has commented Prasnottararatnamala of Vimalacandrasuri in V. S. 1429 and composed Danopadesamala in Prakrit with a commentary in Sanskrit. Ref. JSI., p. 441. 348. PUSPAMALAPRAKARANA of Maladhari Hemacandra in Prakrit, HJP. No. 1580, folios 9, size 10-3'' 4.3"; copied by Pratisthasoma, the author of Somasaubhagya (V. S. 1491 ). This Acarya Hemacandra is different from famous Hemacandra. He was also the contemporary of Siddharaja. Ref. JSI., p. 244. 349. PUNYASARACAUPAL (G) of Gani Sadhusumeru, 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-CARITRANTARGATA-ASTAPRA. KARI-PUJA (Gathabaddha) of Candraprabha Mahattara in Prakrit, HJP. No. 2112, folios 23, size 11" x 4.5". It was com

Page #216
Non-Jaina Works in Gujarati and Vra jabhasa posed in V. S. 1127 and was copied by Parsvacandrasuri in V. S. 1508. This copyist is other than the founder of Payacanda Gaccha, 43 351. KHANDANA-KHANDAKHADYA-VIBHAKTI-VIDYASAGARIVYAKHYA 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 Sriharsa's Vedantic work. Ref. KP., p. 208, where its name VIBHAKTI is mentioned. 352. VICARARATNAKARA 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 HIRAPRASNA, ref. JSI., 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. ASCARYAYOGAMALAVRTTI of Gunakarasuri 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-MALAVRTTI. 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 VRAJABHASA 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.

Page #217
Paper Manuscripts 357. KRSNAVELI of Psthviraja in Gujarati composed in V. S. 1638, with BALAVABODHA ( Commentary) in Gujarati by Kusaladhira composed in V. S. 1696, SUA. No. 1032, folios 28, size 261 x 11 cms.; copied in V. S. 1706 at Ugrasenapuri by Lalendu, Ref. for Kusaladhira 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. PRAKRTA-TANTRA-SARA-CAUPAI in Gujarati by Kavi Dana, HJP. No. 9025, folios 5, size 9.9" x 4.5"; copied in c 18th century. 360. AKHE-GITA in Gujarati, composed in V. S. 1775, Atmananda Jaina Sabha, 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. RATNABAINA REMTIA-NUM GITA (G) of Ratnabai, LD. No. 2073/1, folios 13, size 23.8 115 cms.; composed in V. S. 1635 and copied in c 19th century. 362. LAKHAPATIMANJARI-NAMAMALA of Lakhapati Maharaula in Vrajabhasa, HJP. No. 13031, folios 9, size 9.5" x 4.3"'; copied in V. S. 1796. 363. LAKHAPATI SRNGARA of Lakhapati Maharaula in Vraja bhasa, 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-SRNGARA of Sundaradasa in Vrajabhasa with a commentary RASADIPIKA by Lakhapati Maharaul, 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. BHANGIPURANA in Vrajabhasa, HJP. No. 13295, folios 27, size 10.3" x 4.9"'; copied in V. S. 1857.

Page #218
Works in Gujarati with commentary in Sanskrit 45 WORKS IN GUJARATI WITH COMMENTARY IN SANSKRIT 367. KRSNA - RUKMINIVELI = PRTHVIRAJAVELI of Psthviraja Rathoda 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. PRTHVIRAJAVELI in Gujarati with a commentary in Sanskrit by Saranga Vacaka, HJP. No. 14113, folios 39, size 10" x 4.5"'; composed in V. S. 1676 and copied in V. S. 1823.

Page #219

Page #220
PAPER-MANUSCRIPTS HAVING CITRALIPI For Private Personal Use Only

Page #221

Page #222
369. DASAVAIKALIKASUTRA 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. UTTARADHYAYANASUTRA with AVACURI (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

Page #223

Page #224
IV BOOK-COVERS, ETC.

Page #225

Page #226
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 Brahmanical text. 374. PAINTED KASTHAPATTIKA-a wooden book-cover for some palm-leaf MS. with an illustration of Jinadattasuri, 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 Vidyadharis, have no parallel in later Western Indian miniatures. Besides, the designs in the inner sides of these two pattikas 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. PATHUM 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. PATHUN 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. PATALI having illustrations of Astamangala, LD. No. 28168 (Reg.), size 26.5x11.0 cms.; c 16th century A. D. PATALIS are kept on both the end of the Mss. Patals can be called book-cover. 381. PATHUN having Nandyavarta motif embroidered with pearls, LD. No. 28137 (Reg.), size 29-0x15-0 cms.; c 20th century A. D.

Page #228
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 Astamangala embroidered with pearls, LD. No. 558( M), size 29-0x15-5 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.

Page #229

Page #230
ILLUSTRATED MANUSCRIPTS

Page #231

Page #232
PALM-LEAF MANUSCRIPTS 388. JNATADHARMAKATHA AND OTHER TEXTS, santinatha 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 Santinatha 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 Patana 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) JNATADHARMAKATHANGASUTRA (folios 1 to 142), (2) UPASAKADASANGASUTRA (folios 143 to 165 ), (3) ANTAKRDDASANGASUTRA ( folios 166 to 187), (4) ANUTTARAUPAPATIKADASANGASUTRA (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 Anahilapataka in V. S. 1184 (1127 A. D.) when Maharajadhiraja 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) INATADHARMAKATHANGA-SUTRA-VRTTI, i. e. commentary of the text (1) above (folios 194 to 297 ), (6) UPASAKADASANGASUTRA-VRTTI, commentary on (2) above (folios 298 to 319 ), (7) ANTAKRDDASANGASUTRA-VRTTI commentary on (3) above (folios 319 to 326), and (8) ANUTTARAUPAPATIKADASANGASUTRA-VRTTI, commentary on (4) above (folios 326 to 331 ). Text No. (5) above has on folio 194 a figure af Tirtharkara sitting in padmasana in the centre, with a standing attendant fly-whisk bearer yaksa 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 Sre. Desala, 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 yaksas on folio no. 194, as also the somewhat oblong face of Sarasvati, show Deccan-Karnataka influence. This is very likely since the mother of Siddharaja (in whose reign the MS. was copied and painted), Minaldevi 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. UTTARADHYAYANASUTRA, santinatha Jaina Bhandara, 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 Parsvanatha, 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 mudra with her two right hands and carries the vina 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 Ambika, four-armed, sitting under a mango tree. Her two right hands show the mango-bunch and the varada mudra, 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 Cakresvari 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 fravika (a female lay follower). In front of the nun is the thavani (a cross-legged stand). 390. RSABHACARITA (P.) of Vardhamanacarya, 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 Rsabhadeva which is mutilated. 391. TRISASTISALAKAPURUSACARITA of Hemacandracarya in Sanskrit, santinatha Jaina Bhandara, 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 Neminatha, Ambika, a sravaka and a sravika. The last two seem to be donors of this manuscript.

Page #235
Illustrated Manuscripts 392. BHUVANASUNDARIKATHA of Vijayasimhasuri in Prakrit, Santinatha Jaina Bhandara, 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. UTTARADHYAYANASUTRA (P) with a commentary by Devendragani (Nemicandrasuri) in Sanskrit, composed in V. S. 1129, santinatha 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. PARSVANATHASTOTRA in Prakrit. Santinatha 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 Mahavira and Sarasvati respectively; size of each miniature is 2.2" x 2.2". 395. UPADESAMALA-PRAKARANA of Dharmadasa in Prakrit, Santinatha 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. DASAVAIKALIKA-SUTRA of Sayyambhava in Prakrit with a commentary by Tilakacarya 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 Neminatha, folio 2 has a painting showing a Jaina monk giving lessons to a disciple; size of each miniature is 2.5"x2.5".

Page #236
Palm-leaf Manuscripts 397. VIVEKAMANJARI-PRAKARANA of Asadha in Prakrit and Sanskrit, santinatha Jaina Bhandara, 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. KALAKAKATHA (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. SANTINATHACARITA-MAHAKAVYA of Municandrasuri in Sanskrit, santinatha 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 vina 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 mudra. 400. UTTARADHYAYANA (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 (Patana). It has three illustrations which are badly mutilated. 401. PADMANANDA-MAHAKAVYA (Part II) of Amaracandrasuri of Vayada Gaccha, composed in Sanskrit, Santinatha 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 Mahavira. On leaf no. 99 there is a miniature ( 3.2"'~2.2") of Mantri Padma requesting Amaracandrasuri to compose this work. 402. PADMANANDA-MAHAKAVYA (Part I) of Amaracandra suri of Vayada Gaccha, composed in Sanskrit, Santinatha Jaina Bhandara, Cambay, No. 200(1), folios 319, size 32-5"x2.2";

Page #237
Illustrated Manuscripts copied on palm-leaves in c 14th century V.S. There are two illustrations : one (of 3.1"x2" size) of Rsabhadeva on leaf no. 1, and the other (of 2.9"x2" size) on leaf no. 2 of Mantri Padma requesting Amaracandrasuri to compose the work. 403. DVYASRAYA-MAHAKAVYA of Hemacandracarya 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 Jinesvarasuri and Vimalacandra. 404. PANDAVACARITA-MAHAKAVYA of Maladhari Devaprabha suri in Sanskrit, Santinatha 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 Rsabhadeva, Neminatha and Parsvanatha. Folio 2 has paintings of Laksmi, Ambikadevi and Padmavati yaksi. Folio 263 contains three miniatures : (1) Neminatha, (2) Yudhisthira and Draupadi, (3) Bhima, Arjuna, Nakula and Sahadeva. 405. YOGASASTRAPRAKASA of Hemacandracarya in Sanskrit, Santinatha 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 Laksmi, folio 106 bears a miniature of a Tirthankara, folio 197 of the Sarasvati, and folio 198 contains a miniature of the Jaina monk Devasuri. 406. KALPASUTRA of Bhadrabahu in Prakrit, Santinatha Jaina Bhandara, 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 Mahavira; folio 86b has two miniatures : one (1.7"x2.2")

Page #238
Palm-leaf Manuscripts 65 represents, according to the label in it, the temple of Parsvanatha at Jesalmer (Sri Jesalamerau Parsvanatha-vidhicaityam); the second miniature represents Jinesvarasuri (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, Sa. Sundari and Sre. Lakhi. All the paintings are done on brick-red background. The colours used are red, light blue and black. 407. UTTARADHYAYANASUTRA with a commentary by Nemi candrasuri who composed the commentary in V. S. 1129, santinatha 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 Mahavira with his full parikara, the other miniature shows Mahavira in his Samavasarana, while the third miniature represents, according to its labels, Jambukumara, Sudharma Svami (a ganadhara of Mahavira ) 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 (sravakas ) listening to the discourse while the third shows lay Jaina ladies ( Sravikas) and Jaina nuns in rows, attending the discourse. Folio 438 also has three miniatures : (1) Labelled Sri Santrun jaya Adinatha, raini Pundarika.paduka, Palhnapurat Sanghah, with a labelled figure of Sa. Asadhara standing in front of the Jina. (2) Represents a Jaina acarya with pupil and Sanghapati Asadhara with his wife, while in the (3) miniature are the Jaina Sravrka and Siavikas worshiping Parsvanatha, size 2.7"x2.2".

Page #239
Illustrated Manuscripts 408. DASAVAIKALIKA-SUTRA 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-kalasa. The paintings are not finely done, and date from 14th century A. D. KALPASUTRATIPPANAKA (S) of Prthvicandrasuri, 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 Parava, of upasrga of Parsva by Kamatha ( Meghamali) 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 astamangalas. Ref. Nawab, THE OLDEST RAJASTHANI PAINTINGS FROM JAINA BHANDARAS, (Ahmedabad, 1959) plate Q, figs. 24-25; plate R, figs. 26-27; plate S, figs. 28-29. 410. AVASYAKASUTRA in Prakrit with a commentary called AVA SYAKASUTRA-LAGHUVRTTI composed in V. S. 1296 by Tilakacarya in Sanskrit, santinatha 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 sri Stambhatirtha (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 Samavasarana, with his eleven Ganadharas (chief disciples ) shown on two sides, in two rows, each sitting in padmasana, vyakhyana-mudra, under an arch in separate sections.

Page #240
Palm-leaf Manuscripts 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 KALAKAKATHA, private collection, size 39 x 6 cms.; copied in V. S. 1439. It contains KALPASUTRA in folios 1-110 and KALAKAKATHA in folios 111-145. It has following illustrations - FI. 1 A Tirthankara, Fl. 2 Devananda, Fl. 3a 14 Dreams, Fl. 3b Rsabhadatta and Deva. nanda, Fl. 5 Svapnapathaka, Fl. 6 Sakrastava, Fl. 7 Indra and Harinegamesi, Fl. 9 Garbhapaharana, Fl. 10 Harinegamesi with the embryo, F). 13 Garbhasankramana, Fl. 16 Dreams, Fl. 20 Siddhartha and Trisala, Fl. 32 Trisala's sorrow and delight, Fl. 33 Birth of Mahavira and moving him to Meru by gods, Fl. 40 Abhiseka on Meru by Indra, Fl. 42 Donation, Fl. 47 Sibika, Fl. 48 Sibika, Fl. 50a Removal of hair (loca ), Indra takes the hair, Fl. 50b Kayotsarga by Mahavira, Fl. 53 Samavasa. rana, Fl. 55 Liberation of Mahavira, Fl. 56 Gautama becomes Kevali, Fl. 60 Mahavira as Siddha, Fl. 62a Birth of Parsva, Fl. 62b Sibika and loca, Fi. 63 Kevala jnana, Fl. 66 Moksa of Parava, Fl. 67 Nemi's birth, Fl. 71 Kevala and moksa, 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 Samavasarana, 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 Kalaka as preacher, Fl. 133b Kalaka with sangha, Fl. 139 two monks

Page #241
68 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 Samavasarana 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 Saka 1757 (A. D. 1835). It is in Oria Script and has 54 illustrations. 414. MATHURAMANGALA, LD. No. 27615, folios 197, size 25x3.5 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. KALPASUTRA 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. KALPASUTRA of Bhadrabahu, Parsvacandragaccha Upasraya, 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

Page #242
Illustrated MSS on Paper Using Golden or Silver Ink 69 golden ink, has 10 illustrations. There are illustrations also in margin. 420. KALPASUTRA of Bhadrabahu in Prakrit, Dehla Jaina Upasraya, 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. KALPASUTRA of Bhadrabahu in Prakrit, Dehla Jaina Upasraya, 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. KALPASUTRA of Bhadrabahu in Prakrit, LD. No. 21561, folios 86, copied in V. S. 1517 (A. D. 1461 ) with golden ink at Patana by Vachaka Mantri. 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 KALPASUSRA 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 Sahasarajaputrikaya" 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 Venidasa was the painter is not correct.

Page #243
70 Illustrated Manuscripts The relevant line of the colophon, read and published by them (on ibid, p. 12) is as under: xxxx Kalpapustakam likhapitam viharitam ca Srt Kharatara gacche Sri Jinabhadrasuri patalamkara-Sri-Jinacandrasurirajadesena Sr Kamalasam jamopadhyayanam likhitam ca Gaudanvaya-pam-Karmmasthatma-ja-Veydasena || 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 Jinabhadrasuri 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 Sravika (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,

Page #244
Illustrated MSS on Paper Using Golden or Silver Ink 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 30x12-4 cms.. It was composed in V. S. 1566 (A. D. 1410) and copied with golden ink. It has 10 illustrations. 427. KALPASUTRA 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. KALPADHYAYANAVACURNI, 71. Vijayanemisuri Vijayanemisuri 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.

Page #245
Illustrated Manuscripts 434. KALAKACARYAKATHA 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 24-8x10-8 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. KALPASUTRA of Bhadrabahu, Vijayanemisuri Collection, Cambay, folios 56, size 26-2x16 cms.; copied on paper with silver ink in e 16th century. 437. DASAVAIKALIKASUTRA 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. KALPASUTRA-SUBODHIKA (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.

Page #246
Illustrated Manuscripts on Paper 73 442. SANTINATHACARITA in Sanskrit of Ajitaprabhasuri, 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. PARSVANATHACARITRA-MAHAKAVYA of Kalakacarya Santaniya Bhavadevasuri 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. PARSVANATHACARITRA of Muni Manadeva in Sanskrit, DA. No. 14, folios 140, size 12"x4.5"; copied in V. S. 1463 (A. D. 1406) at Ranapur. It has three illustrations on folio nos. 1, 136 and 137. 445. PARSVANATHACARITRA (in verse) of Manikyacandracarya 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. SUPASANAHACARIYA (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 (Delvada) in Mewad. It has 30 illustrated folios containing 37 illustrations. Ref. Muni Punyavi jaya ji, SUPA. SANAHACARIYAM NI HASTALIKHITA POTHIMAMNA RANGINA CIRTO', ACARYA SRI VIJAYAVALLABHASURI SMARAKA GRANTHA, Bombay, 1956, pp. 176-180, colour plates I-IV; Nawab, "THE OLDEST RAJASTHANI PAINTINGS FROM JAINA BHANDARAS, (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. CANDRAPRABHASVAMICARITRA of Devendracarya in Sanskrit, DA. No. 45, folios 167, size 11"x4.5". It was composed 10

Page #247
14 Illustrated Manuscripts and 2. in V. S. 1264 at Somesvarapura and was copied at Pattana in V. S. 1489 (A. D. 1432). It has illustrations on folio nos. 1 and 2. 448. PANDAVACARITRA of Devaprabhasuri in Sanskrit, DA. No. 20, folios 105, size 11"x4.6''; copied in V. S. 1490 (A. D. 1433 ) at Selagudha. It has illustrations on folio nos. 1 and 2. 449. KALPASUTRA of Bhadrababu in Prakrit and KALAKACARYA 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. CANDRAPRABHASVAMICARITA with BIJAKA (i. e. Contents) and PARYAYA (other words ), in Sanskrit by Devendrasuri, HJP. No. 804, folios 213, size 12.9"x4.9"; copied in c 15th century V. S. There are 4 illustrations. 451. GAUTAMAPRCCHAPRAKARANA in Prakrit with a commen tary by Sritilaka in Sanskrit, HJP. No. 6837, folios 121, size 11.9"x5"'; copied in c 15th century V. S. A folio contains an illustration of Padmavati. 452. UTTARADHYAYANASUTRA, PUM. No. 5, folios 77, size 26-1x11 cms.; copied in V. S. 1505 (A. D. 1448). It has 77 illustrations. 453. SANTINATHACARITRA (in verse) of Muni Devasuri 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. YOGASASTRA (Chapter 4) of Hemacandracarya in Sanskrit, DA. No. 34, folios 12, size 10.5"x4.5"; copied by Jnanatilakagani in V. S. 1518 (A. D. 1461 ). It has illustrations on folio nos. 1 and 2. 455. UTTARADHYAYANASUTRA 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.

Page #248
Illustrated Manuscripts on Paper 75 456. KALPASUTRA, LD. No. 4561 K), folios 130, size 26x11 cms.; copied by Mantri Vachaka of Patana in V. S. 1547 (A. D. 1460) under the patronage of a nagara named Amba 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 VIDYALAYA SUVARNA MAHOTSAVA GRANTHA (Bombay, 1968), pp. 78 ff. 457. UTTARADHYAYANASUTRA, 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. VIJAYACANDAKEVALICARITRA (P.) of Viradeva, LD. No. 9962, folios 95, size 29.5x11 cms.; copied in V. S. 1556 (A. D. 1499) at Sripattana. It has 36 illustrations. 459. KALPASUTRA of Bhadrabahu, DB. No, 2991, folios 145, size 3.5x11.8 cms.; copied in V. S. 1560 (A. D. 1503) at Allavala. pura. Illustrated. 460. KALPASUTRA of Bhadrabahu, ASB. folios 244, size 26x11 cms. It was copied at Sri Pattan (Patana) 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. NIRAYAVALIKA-VRTTI in Sanskrit by Sricandrasuri, 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. BHAGAVATISUTRA-CURNI 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 Agamas are found illustrated. When illustrated they generally give in the beginning miniatures of a Tirthankara with full parikara, and sometimes

Page #249
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. PRASNAVYAKARANA-VRTTI by Abhayadevasuri 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. KAKARUTA 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 Citraprasna,' ACHARYA DHRUVA SMARAKA GRANTHA, Part III, pp. 165 ff, Ahmedabad, 1946. 465. KALPASUTRA of Bhadrabahu, JP. No. 93, folios 135, size 26-4x 11.5 cms.; copied in c 16th century V. S. It has 48 illustrations. 466. KALPASUTRA of Bhadrabahu, JP. No. 92, folios 143, size 26x10-8 cms.; copied in c 16th century V. S. It has 42 illustrations. 467. UTTARADHYAYANASUTRA (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. KALPASUTRA 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 Sricandrasuri in Prakrit, LD. No. 4557(K), folios 21, size 26.5x11.0 cms. copied in c 16th century V. S. and is illustrated. 470. SRENIKASAMYAKTVASARA-RASA by Somavimalasuri, 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.

Page #250
Illnstrated Manuscripts on Paper 471. SiLOPADESAMALA of Jayakirtisuri 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. PRASNASAKUNAVALI, 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. KALPASUTRA 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. UPASAKADASANGA, 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 Sricandrasuri, HB. No. 3746, folios 42, size 25-3x10-6 cms.; copied in V. S. 1696 (A. D. 1639). It has 24 illustrations. 476. KALPASUTRA of Bhadrabahu in Prakrit with BALAVABODHA in Sanskrit, LD. No. 4573(K), folios 179, size 26x11.2 cms.; copied with illustrations in V. S. 1698 (A. D. 1641). 477. UTTARADHYAYANASUTRA, Devasano 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. KALPASUTRA 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 NARINIRASA-FAGA (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.

Page #251
78 Illustrated Manuscripts 480. SURYASAHASRANAMA (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. LOKAPRAKASA of Vinayavijaya ji in Sanskrit, Dehla Jaina Upasraya, 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 RASA (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. BHAGAVATAPURANA-DASAMASKANDHA (Maru-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. JAMBUSVAMI-RASA, 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.

Page #252
Illustrated Manuscripts on Paper 79 487. KALPASUTRA, JP. No. 91, folios 144, size 25.5x11 cms. It has 62 illustrations. This manuscript was donated to Dharmavimalagani by Bhanasali Asakaravilasagani at Jesalmer in V. S. 1791 (A. D. 1735). 488. KIRATARJUNIYA-MAHAKAVYA (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. UPADESAMALA-PRAKARANA (P) of Dharmadasagani, 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-VIJAYASETHANI-RASA of Harsakirtisuri, JP. No. 166, folios 7, size 24.5x9.8 cms.; copied in c 18th century V. S. It has 14 illustrations. 491. SALIBHADRACATUSPADIKA composed in V. S. 1678 (A. D. 1622) by Jinara jasuri, KBG. No. 418, folios 47, size 26.4x12.2 cms.; copied in c 18th century V. S. It has 55 illustrations. 492. KALPASUTRA with STABAKA, VBP, No. 1638, folios 85, size 256x11.1 cms.; copied in c 18th century V. S. It has 4 illustrations. 493. VIKRAMADITYA-KHAPARACORA-CAUPAT (G) of Labha vardhana, composed in V. S. 1727 (A. D. 1670) at Jaitarana 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. RAMAYANA (Hindi) of Tulasidasa, LD. No. 7417(K), folios 2-676, size 30.5x19.5 cms. It is copied in Devanagari as well as in Urdu script in c 18th century V. S. It has 83 illustrations. 495. MADANAKUMARA-RATISUNDARI VARTA (G), LD. No, 4577(K), folios 14, size 22x9.5 cms.; copied in c 18th century V. S. It has 21 illustrations.

Page #253
80 Illustrated Manuscripts 496. KIRATARJUNIYA-MAHAKAVYA of Bharavi, LD. No. 41816, folios 74, size 25.5x11.3 cms.; copied at Saragona in 1825 V. S. It has only one illustrated folio and that is No. 62. 497. SANGRAHANISUTRA (P) of Sricandrasuri, DA. No. 157, folios 38, size 10.1"x4.5"; copied by Pandita Padmavijaya in V. S. 1836 (A. D. 1780 ) at Asahillapattana. 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. LOKAPRAKASA of Vinayavi jayaji in Sanskrit, composed in V. S. 1708 (A. D. 1652) at Jirnadurga (Junagadha ), DA, No. 164, folios 536. It was copied by Padmavi jaya in V. S. 1837 (A. D. 1781) at Patana. 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. HITOPADESA-PANCAKHYANA-BHASA (R) (GUTAKA), LD. No. 4585(K), folios 113, size 19.5x15.5 cms.; copied at Devagarh by Brahmana Radha in V. S. 1849 (A. D. 1793). It has 108 illustrations. 500. CANDARAJA-NO RASA 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. KALPASUTRA 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. SRIPALARASA of Upadhyaya Vinayavi jaya with STABAKA by Ganesaruci 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.

Page #254
Illustrated Manuscripts on Paper 81 503. SRIPALARASA 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. KALPASUTRA 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. KALPASUTRA of Bhadrabahu, 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. MANATUNGA-MANAVATI-NO RASA (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 Vya hara (probably Vyara in South Gujarat) by Premacanda. It has 10 illustrations. 507. PAKSISAKUNAVALI (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. DHOLAMARU-RA DUHA (R), LD. No. 4582(K), folios 58, size 18x15.7 cms., bound in Gutaka 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. DEVIBHAGAVATI-MAHATMYA-CANDIPATHA (Markan. deyapuranantargata), LD. No. 4564, folios 48, size 26x11 cms.; copied in c 19th century V. S. at Navanagara (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 KAMARUPAKA KISSA (Urdu), LD. No. 4584(K), folios 135, size 27x17 cms.; copied in 19th century A. D. It has 36 illustrations. 11

Page #255
82 Illustrated Manuscripts 511. NARASAI MEHTANUM MAHAMERU (G) of Premananda Caturvedi Brahmana composed in V. S. 1739 (A. D. 1683) at Vadodara, LD. No. 4550( K), size 24.5x12.5 cms.; copied by Nagaji, son of Rajaguru Bhavanaji at Sanavagrama in c 19th century V. S. It has 20 illustrations. 512. DEVIBHAGAVATI-MAHATMYA (Markandeyapuranantar gata ), LD. No. 4555(K), folios 37, size 21-5x108 cms. It has 29 illustrations. Copied in c 19th century V. S. 513. LOKAPRAKASA of Upadhyaya 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 Sricandrasuri, 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 Sricandra with STABAKA (G), LD. - No. 4576(K), folios 62, size 24x12 cms.; copied in c 20th century V. S. It has 14 illustrations. 516. MADHUMALATI, LD. No. 5988(K), folios 86, size 26x23.5 cms.; copied in c 19th century A. D. It contains 82 illustrations. 517. MADHUMALATI, 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. PRATISTHAKALPAVIDHI of Gunaratnasuri 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. KACCHULIRASA 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. Aburoad station. This work describes mainly the religious performances of Udayasimhasuri.

Page #256
MSS. Copied on Cloth, Some with Illustrations 83 520. DHARMAVIDHIPRAKARANA-VRTTI - text of Sriprabhasuri in Prakrit and Vitti 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 (BANAKHAT) of a building in Sankadi Seri, Ravala 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. VAMSAVALI (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. VANSAVALI (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. VAMSAVALI (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. SILPASASTRA (Scroll on cloth ) - There are illustrations of grahas 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. HRINKARAMANTRA, illustrated on cloth with Parsva in the centre, age c 14th century V. S., LD. No. 27305( Reg.), size 46x43 cms.. 527. VARDHAMANAVIDVA-PATA, illustrated on cloth in V. S. 1532 (A. D. 1475), LD. No. 27302( Reg. ), size 50-5x50 cms. 528. HRINKARA-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. SURIMANTRA-VASTRAPATA, painted on cloth in c 15th century V. S., LD. No. 27301( Reg. ), size 51x50 cms. For the text and sadhana of Surimantra see Surimantra Kalpasamuccaya Ed. by Muni Jambuvijaya. (Bombay, 1969 A. D.) 530. CINTAMANI-PARSVANATHA-PATA, JP. No. 148. size 68x68 cms.; painted on cloth in c 16th century. 531. ADHIDVIPA, illustrated on cloth in c 17th century, Sheth Narottambhai's Collection, Ahmedabad. Adhidvipa map or chart represents two and a half island continents of Jaina cosmography. Ref. Tattvarthasutra, 3.9-14, L. D. Series (Ahmedabad ). These representations on Patas, i. e. cloth or paper paintings were very popular, though hardly any such patas prior to c 14th century A. D. have survived. The two and a half continents are Jambu, Dhataki and Puskarardha. 532. HRINKARA YANTRA-PATA in Sanskrit on cloth, DA. No. 191. It was drawn in c 17th century. 533. SURI-MANTRA-PATA, JP. No. 149, size 73 x 76.5 cms., paint ed on cloth in c 17th century V. S. 534. VARDHAMANA-VIDYA-MANTRA-PATA, JP. No. 151, size 49.5x47-5 cms., painted on cloth in c 17th century V. S. For Vardhamana-Vidya, an ancient Jaina tantric charm, and an earlier cloth painting of it, see Shah U. P., Vardhamana

Page #261
88 Paintings on Cloth ( Patas ), 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 Manusyaloka of past, present and future and also depicting Tirthas such as Satrunjaya, Taranga, Girinagara, Abu, etc. svasti zrI vikrama saM. 1698 varSe jyeSThasitapaMcamI...... [paM. 1 ]dhirAjapAdazAha zrIakabbara pratibodhaka......[paM. 2] hIravijayasUripaTTodayagiridinakarapAdazAhazrIaka ghara......[paM. 3 ] makSajItavAdIbRdabhaTTAraka zrIvijayasUrIzvarAgA......[paM. 4 ]lagabharitabhaTTArakazrIrAjasAgarasUricaraNAnAM yuvarAjabhaTTAraka [paM. 5] zrIvRddhisAgarasUripramukhAnekavAcanAdicaturaparicaraNAnAM paM 6] upadezAdahimadAbAdavAstavye osavAlajJAtiyazrIciMtAmaNi [paM. 7 ] pArzvanAthaprasAdAdidharmakarmanIrmANaniSNAta sA. zrIzAMtidAze[ paM. 8]na sakalamanuSyakSetrIya paMcabharatapaMceravatapaMcamahAvidehAtItA[paM. 9 ]nAgatA vartamAna 20 viharamAna 4 zAzvatA jinA sAzvatA jinatIrtha [paM. 10 ] zAzvatatIrthA paTTaH zrI zevrujya gIrinAri tAriMgArbuda caMdraprabha muni[ paM. 11 suvrata zrIjIrAulApArzvanAtha zrI navakhaMDApArzvanAtha devakulapA paM. 12 TakamathurAhastinAgapUrakalikuDaphalavRddhikarahATaka...[paM. 13 ] vIra saMkhezvarAdi mahAtIrthayutaH saptati......[ paM. 14]...... yaMtraratnakRtazca kAritaH......[paM. 15]. 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 Vijayalaksmisuri, the 67th preceptor.

Page #262
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-PATA, 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. ADHIDVIPA-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). SURIMANTRA - illustrated on cloth, e 20th century V. S., LD. No. 27821, size 96x109 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.

Page #263
90 550. Paintings on Cloth (Patas), Mantra, Yantra, etc. MERU-PARVATA-JINAPRASADA 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 Vijayasenasuri, 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 Vijnapti-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 Ghanerava (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 Vijayaprabhasuri who was at Narayananagara (incomplete) of c 18th century V. S. Ref. 'Mahavira Vidyalaya Suvarna Mahotsava Grantha', pp. 79-94. 555. VIJNAPTIPATRA (from Surat) addressed to Acarya Vijayarddhisuri residing at Baheda Nagara by the Jaina Sangha of Surat.

Page #264
Vijnaptipatras 91 in about 19th century V. S., LD, No. 12382( Reg. ), size 345x26 cms. It is illustrated. Behda is possibly the Mori-Bela in Rajasthan. 556. VITNAPTIPATRA (from Ahmedabad) on paper, LD. No. 27645, size 1124x2) cms. It is an illustrated letter for Khamana addressed to Vijayalaksmisuri at Haraji (Marwada) 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, Dehia Jaina Upasraya, Ahmedabad, No. 202. It was written in V. S. 1875 (A. D. 1817) to Pandita Rupavijayaji at Rajanagara (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 Rupavijaya at Rajanagara (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 Devendrasagara at Khambhata (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 -

Page #265
92 Printing on Cloth (Patas ) Mantra, Yantra, etc. addressed to Rupavijayagani at Pali from Kishangadh in V. S. 1899 (A. D. 1843). It is illustrated. 563. VIJNAPTIPATRA (from Sojat) on paper, LD. No. 27647( Reg. ), size 205x22 cms. It is a letter addressed to Udayasagarasuri 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 Khamanapatra - 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 SITA'S AGNI-PARIKSA 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, s 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. Subhadra is one of them. 567. A PAINTING OF SATI SULASA'S TEST of her faith in Jainism by Ambada Parivrajaka, LD. No. 17913/1, c late 18th century V. S., size 25.5x14 cms. 568. RAGA-RAGINI, 32 illustrations, JP. No. 137, size 13.5x11.5 cms.; copied in c 19th century. 569. LOKAPURASA, 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.

Page #266
VII BRONZES AND OTHER ART-ARTICLES

Page #267

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 Karnataka. 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 Karnataka. This is a beautiful Digam-. bara Jaina bronze of a standing unidentified Tirthankara. 574. CATURMUKHAPRASADA 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: saMvata 1462 varSe mArga vadi 8 rakhau haste sAkSAjjagacaMdrasadRkSazcaturmukhaprAsAdaH zrIsaMghena kAritaH // sAdhudharmakena suvarNarUpyairalaMkAritaH / / zrI pUrNimApakSamukhya zrIratnasAgarasUriNAmupadezena zrAddhakAlAkena vidhinA pratiSThitaH / / mevADA sUtradhAra bhAramalla pratA[pa]malAbhyAM / / A caMdrAke naMdatAt // . This is a beautiful example of a 15th century Caumukha. shrine with sikhara. The sanctum alone is shown. The shrine was gold-gilt. The bronze was cast by Sutradhara Bharamalla and Pratapamalla of Mewada caste. 575. PARSVANATHA IDOL made of jade (green), LD. No. 476(M), size 12x8 cms., age c 16th century. A. D. 576. PANCATIRTHA-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: arda // saMvat 1616 varSe / zAke 1482 pravartamAne caitra vadi 12 some adyeha zrIpattane haMDherapATake zrIzrImAlajJAtIya dosI nAkA bhA0 kasUrAi putra do0 panA putrI saptaTabakAyutena dosI

Page #269
Bronzes and Other Art-Articles nAkAkhyena svazreyortha zrIpadmaprabhanAthabiMba kAritaM / zrIpUrNimApakSe pradhAnazAkhAyAM bha0 zrIbhuvanaprabhasUrizta. tpaTTe bha0 zrI kamalaprabhasUri / tatpa? zrIpuNyaprabhasUristatpaTTe bha0 shriividyaaprbhsuuribhiHprtisstthitaa| pUjyamAnaM ciraM naMdatu / / zubha bhavatu kArakapUjakayoH maMgalaM bhavatu / / 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 Patana (North Gujarat ). 577. PARICARIKA (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 TIRTHANKARA IDOL made of crystal (sphatika white), LD. No. 475(M), size 16x12,5 cms., age c 17th century A. D. 579. TANBAKUNDI (A copper vessel for water for bathing). LD. No. 5900(K), Gujarat, age c late 19th century A. D. This has Siva-Parvati, Mahavira (Jaina Tirthankara) and his pupil Gautama Ganadhara, Brahma and Gayatri embossed on the outer side of it. 580. TRANTRIKA-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,

Page #270
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 (Kalamadana) 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. CAMARA (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.

Page #271

Page #272
ADDENDA 592. VASTRAPATA OF 904 JINAS, belonging to Samvegi Upasraya, Ahmedabad, size 446 x 120 cms. It was prepared in V. S. 1698 and was described in V. S. 1769 by Gambhiravijaya Gani. 593. KALPASUTRA from Shri Nemi-Vijnana-Kastura-suri Jnana Mandir, Surat, no. 2675, size 11.7 x 26 cms. It has 41 illustrations. 594. SRIPALARASA, from Shri Nemi-vinana-Kasturasuri Jnana Mandir, Surat, No. 1308, fls. 24, size 11.7 x 26 cms. There are 24 illustrations. 595. JANMA-PATRIKA-Horoscope of Haridasa on paper, LD. No. 27678, size 2425 x 15 cms., V. S. 1781. 596. SIMHALKUMARA-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 Sivanaga 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

Page #273
100 Addenda century Ambika in the Vimala Vasahi, Delvada, 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 pancatirthika 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, Dhanadhervada Jaina temple, Kumbharia Pada temple and Ghia Pada temple in Patan, from Ramji mandir pole Jain temple and a Ghara Derasara in Santinatha 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 (Surya 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 ( Sri-devi, Laksmi) 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 Tirthankaras etc. These were selected from sites like Jesalmer; Delvada Shrines, Mt. Abu; Jaina shrines at Kumbharia, N. Gujarat; the Ajita. natha shrine at Taranga, Gujarat; the Jaina Caves at Ellora; Jaina temples at Khajuraho; the famous Jaina temple at Ranakpur, 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.

Page #274
in Education International For Private & Personal use only