Encyclopaedia of Jaina Studies Vol 01 Jaina Art and Architecture

SR No.: 006774
Original Sutra Author: N/A
Author: Sagarmal Jain, Others
Publisher: Parshwanath Vidyapith
Publication Year: 2010
Total Pages: 726
Language: English
Classification: Book_English
File Size: 51 MB

Page 411

Kalpasūtra
dreams (Pl. 253), Harinaigameșī taking the embryo to queen Trisala (Pl. 251), Śakra's command to Harinaigameśī (Pl. 250), birth of Tirthankaras, Pārsva's and Aristanemi's descent from heaven, Parsvanatha and Ariṣṭanemi in the initiation palanquin, Mahāvīra renouncing his possessions, Mahāvīra and Pārsvanatha plucking out their hairs (Pl. 255), Mahāvīra preaching (Pl. 259), Mahāvīra in the Puspottara heaven, Samavasarana (Pls. 91-93), Jaina monk preaching, and fight between Bharata and Bahubali etc.
The scene pertaining to the birth of Mahāvīra represents Sakra paying homage to Mahavira's embryo, Harinaigameși bringing the embryo to the queen Trisala (Pl. 251), the appearance of gods at the time of birth of Mahāvīra and Trisala lying on her bed holding Mahavira. Sometimes Dikkumārīs are shown waving camara (flywhisk) as well as attendants with camara and pitcher, Indra, with divine figures, offering prayer to Mahāvīra after his birth, and king Siddhartha celebrating the birth of Mahavira. In the scene the male trumpeter, drummer, singer and female dancer are enjoying the festival. Similarly, the birth of other Jinas are represented in the paintings.
The paintings also show the narration of the dreams by Trisala to her husband king Siddhartha (Pl. 252). In the paintings the fourteen dreams appear above the figure of Devananda in two panels (Pl. 249). Sometimes Rṣabhadeva is also present with Devanandā. A few paintings represent the figures of interpreters of the dreams also (Pl. 253).
In the renunciation scene Mahāvīra is presented giving away his possessions to leave the world and adopt the religious life. He is giving all his belongings to poor men. The scene also shows Mahavīra in initiation palanquin, Mahāvīra plucks out his hair and Sakra catches it.
The scene representing Mahavira's austerities shows Mahāvīra in meditation while Sangamaka made attacks on him. The scene also illustrates the previous births of Candrakausika. In the scene the serpent is attacking
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Mahavira. The same scene represents Kamatha's performance of the five fire penances. The Parsva's austerities represent Parsvanatha seated in padmasana, while Dharanendra and Padmavati are present on left and right of Pārsva.
Some of the Kalpasūtra manuscripts show the fight between Bharata and Bahubali (Pl. 245). The whole episode is represented in panels showing dryti yuddha, vak-yuddha (harsh words), muşti-yuddha (fighting with fists and staves) and duel with fists. Bahubali is standing in kayotsarga in between two trees. The hardship of penance is indicated by the insects creeping over his body and birds perched on his shoulders. Bahubali's sisters Brahmi and Sundari are also present in the scene.
The scene pertaining to Kośa's dance represents Kośã and her sister Upkośã dancing near Muni Sthulabhadra to awake his passions during rainy season. Kosa fails in her intention and became śravikā adopting the Jaina faith. Kośã and her sister are shown standing in posture of reverence.
Besides these the Kalpasūtra paper manuscripts represent a few other important scenes, the various dancing girls in panels in different dancing poses with drummers and trumpeters, flute players and some other figures in the margins (Pl. 246). In one such example thirty-four dancing figures are shown dancing in different poses.
The border decoration of Kalpasūtra manuscripts includes geese hangs among the lotus flowers and leaves, rosettes, row of fish, deer, elephant and antelope, panels decorated with the figures of lions, doves, peacocks, horses, birds holding twigs or jewels in their beaks etc.
Most of the illustrations of the Kalpasūtra manuscripts corresponded to verses in the text while a few of them did not find mention in the text. Such illustrations generally occurred in the sections referring to the lives of the Jinas Pārsvanatha, Neminatha and Rṣabhanatha and other legends familiar to the laity. Certain manuscripts were written with gold and silver