Manuscript Illustrations Of Uttaradhyayana Sutra

Author(s): W Norman Brown
Publisher: American Oriental Society

Page 19

1. THE DISCIPLINE OF MONKS The first chapter of the Uttarādhyayana Sūtra takes us without introduction into the subjects of religion, and deals with the discipline of monks. They should be subordinate, meek, open to correction when deserved, should anticipate a superior's wishes, keep silent until addressed, be truthful, bear indifferently both the pleasant and the unpleasant, practise asceticism, show perfect attention to the teacher and be fully considerate of him, regulate their conversation. Many specific rules of conduct are cited dealing with begging, eating, studying, and other duties. A monk who observes all faithfully, "honored by gods, gandharvas, and men, when he leaves this stained and impure body, will become either an eternally perfected soul in bliss or a god with only petty defilement and with great power" (vs. 48).
The three manuscripts which contain this part of the text have four illustrations, JM containing two. It would not be an unfair presumption that the first in JM (fig. 1) and those of DV (fig. 3) and HV (fig. 2) are meant to be introductory to the whole work as well as to the chapter itself; for of those three that of JM (fig. 1) and that of DV (fig. 3) are precisely like those used to introduce other illustrated texts, for example, the Kalpasūtra or the life of Neminātha (see BrKS figs. 2, 87, 101, 116; BrKK fig. 39). In them we see the Tirthamkara Mahavira seated gloriously, as in heaven before his descent to earth for final birth. He is crowned and bejewelled, with a royal parasol over his head, seated on a throne, while six attendants flank him, some of whom are musicians and some bearers of flywhisks. Above him are the auspicious heavenly elephants with trunks upraised as though to sprinkle him with the water of consecration; below the throne are lions as supporters or lions and elephants (JM, fig. 1), in each case with a sun symbol centered between them. Although these two paintings correspond with those in other works mentioned above in showing a Tirthamkara before his descent from heaven for his final birth, it may be that the identification should be different. If we look at the painting of HV (fig. 2), we see that in it the Tirthamkara Mahāvira appears in the center of the upper part of the illustration, quite obviously preaching in his Samavasaraña (cf. BrKS figs. 80, 99, 113, 126), yet presented exactly as in DV (fig. 3) and JM (fig. 1) but for the lack of attendants and the supporters of his throne. The Samavasarana is one of the most important episodes is a Tirthamkara's career. Whenever a Jina (Tirthamkara) obtains perfect knowledge, the gods appear, cleanse the earth for a space of a yojana round about, scent it, and ornament it. They build three walls, the innermost of jewels, the middle of gold, and the outer of silver, and each wall has four jewelled gates facing the cardinal directions. In the center is a pedestal with a tree, and under the tree are four lion thrones. The Jina sits on the throne facing the east, and reproductions of him sit on the others. There the Tirthamkara preaches to gods, men, and animals, who have joyously assembled to hear his initial discourse on the great Truth which he has acquired. The walls of the Samavasaraņa may be round, as in this figure, or may be square (see BrKS fig. 99; for description of the subject cf. BrKS p. 38; Bhandarkar in Indian Antiquary 40. 125-130, 153-161; Jo 190-194). The ornamented and royal aspect of the Jina may at first seem astonishing in view of the fact that at this time he was a monk and therefore should have worn no jewels and have