Mahavira Jain Vidyalay Suvarna Mahotsav Granth Part 1

Author(s): Mahavir Jain Vidyalaya Mumbai
Publisher: Mahavir Jain Vidyalay

Page 879

380 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME
later in the Mahapuräna and Kalpa-sūtra from Yoginipura published by Moti Chandra and Khandalavala.30
In the lower panel, the lavation of the Jina is performed by the gods and Indras on the Mount Meru. Red background and the sky line on two ends. Folio 111 A : (Right end) Vārşikidána of śāntinātha.
(Left hand) Dikṣā of śāntinātha. The small panel on the right end of the folio depicts Sāntinātha sitting on a raised throne shaded by an umbrella. He is giving alms to a Brahmin carrying a stick, and standing in front, a small figure of an attendant is shown in the background. The treatment of figures in the background, shown above the figures in the foreground, reminds us of the Mandu style Kalara-rathā discussed above. The treatment of the figure of the Brahmin is typical and very common in Kalpa-sūtra paintings and the miniatures of the Balagopālastuti from Western India. Note the sky line in the corner which again is met with in the Mandu style Kalpa-sūtra and Kalaka-kathā manuscripts referred to above. Size: 10.1 x 6.8 cm. approx. On the left end corner is illustrated in a small panel, the Dikşā (renunciation) of śāntinātha; wherein the composition is artistically divided into two halves by the long stem of a stylised tree, on one side of which sits śāntinātha plucking out his hair while on the other side sits Indra receiving the hair in his open palms. Mark the different treatment of the skyline. Red background. Size 10.1 x 6.2 cm. approx.
(Fig. 6) Damayanti-kathā-campū from the collections of the L. D. Institute of Indology (Nagarasheth collection, manuscript No. 2134). Size : 31.5 x 10.5 cm.
Incomplete manuscript. This long paper manuscript, whose folios imitate the size of the palm-leaf with three red dots in the centre and the two margins, suggests the survival of palm-leaf manuscript tradition. The manuscript is in a bad state of preservation with its two paintings partly worn out and defaced.
The work is a Katha written in Campū style with passages in both prose and verse form, composed in Sanskrit by Trivikrama. Trivikrama was a Hindu writer who invokes Gauri and Siva in the opening verse.
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30 Refer to Khandalavala and Motichandra, Three New Documents of
Indian Painting. Bulletin of the Prince of Wales Museum of Western India, No. 7. 1958-62, pp. 23-31.