Encyclopaedia of Jaina Studies Vol 01 Jaina Art and Architecture

Author(s): Sagarmal Jain, Others
Publisher: Parshwanath Vidyapith

Page 445

Appendix II
423
sometimes the left leg is crossed on the seat and the A great number of Kalpasūtra manuscripts represent right one is allowed to dangle. In the standing pose various scenes from the life of Mahāvīra while other the face is generally represented in a modified version Tirthankaras are represented here and there. of three-quarter profile, while the tribhanga pose Representation of some of the upasargas suffered by sometimes adds graceful curves to a standing figure. Mahāvīra is also available in miniature paintings of the The miniatures in the introductory folios serve as Kalpasūtra. However, the upsargas suffered by Mahāvīra invocations and usually feature Jinas.
did not become popular in Svetambara and Digambara The Kalpasūtra, the most ancient as well as the shrines. In such scenes Mahāvīra is always represented most revered book of the Svetāmbara Jainas, describes standing in meditation with half closed eyes and arms the Jina-carita (lives of Jinas) in one of its parts. The hanging down. There are many stories pertaining to the Jina-carita contains the details of the lives of 24 upasargas of Mahavira. In the paintings showing Tirthankaras. The lives of the Tirthankaras begin with upasargas he is assaulted by a cowherd and village dogs, the 24th Tirthankara Mahavira. The text moves backward endured the attacks of grass, cold, fire, flies etc. He narrating briefly the lives of the 23rd Tirthankara is attacked by the serpent Candakausika. The serpent Pārsvanātha and 22nd Tirthankara Neminātha is shown in the painting just in the act of biting respectively. Thereafter only the names of Tirthankara Mahāvīra's feet. Mahāvīra is also attacked by god are mentioned except the first Tirthankara Rşabhanätha. Sangamaka. God Sangamaka's attacks are represented The life of Rşabhanātha is again described in some in the paintings with a dust of storm, ants, scorpions, detail.
mongoose, snakes, mice, elephant, demon, tiger, a burning A great number of Kalpasutra manuscripts were wind and dance of heavenly woman etc. He is also prepared between the 12th and 20th centuries and kept offered improper food by Sangamaka. in the Jñāna-bhandäras. The Kalpasūtra was the most In the palm-leaf manuscripts the figure of frequently and profusely illustrated text of the Svetämbara Pārsvanātha is commonly painted. Similarly, scenes Jainas. Some manuscripts were embellished with the from the life of Neminātha have been very popular in lives of Tīrthankara which include scenes of the main the Jaina art. Paper board covers, to hold manuscripts events of the lives of Rşabhanātha, Neminätha, for reading, sometimes have on them the painting scene Pārsvanātha and Mahavira. The life scenes of Jinas of marriage procession of Neminātha. include Brāhmani Devānandā and Trisala's fourteen The other palm-leaf manuscripts such as Jñātāsūtra auspicious dreams, the interpreters of the dreams, (A.D. 112), Upadeśamālāvítti (A.D. 1234), Subāhukatha Harinaigameși bringing the embryo to queen Trišalā, (A.D. 1288), Pāndavacaritra, Padmānanda Mahākāvya Sakra's command to Harinaigamesi, birth of Jinas, and Uttaradhyayanasūtra (13th century) in Santinātha Pārsva's and Aristanemi's descent from heaven, Iñāna Bhandāra, Cambay, Kathāratnasāgara (A.D. 1262), Parśvanātha and Aristanemi in the initiation palanquin, in Sanghavīnā Pādāno Bhandara, Patan also represent Sakra's homage to Mahāvīra's embryo, birth of the figures of Rşabhanātha, śāntinātha, Pārsvanātha, Mahāvīra, Mahāvīra giving away his possessions, Neminātha and Mahāvīra seated in dhyāna-mudrā. Mahāvīra and Pärsvanātha plucking out their hair, However, colours and cognizances of the Mahavira preaching, Mahāvīra in the Puspottara heaven, Tīrthankaras referred to with Svetāmbara and Digambara Samavasarana etc.
traditions have some differences. These differences are as follows:
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