Manuscript Illustrations Of Uttaradhyayana Sutra

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

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NAMI'S ENTRY INTO MONKHOOD we live, who own nothing. When Mithila burns, nothing of mine is burned." After much other edifying conversation Sakra revealed himself and extolled Nami. Then the text, contradicting the statement at its begining, says that at this time Nami left his house and became a monk.
The paintings reflect the discrepancy of the text. HV (fig. 25) shows two scenes: at the bottom is Nami on his fevered bed, while one of his queens, representing the entire number, stands near his feet grinding sandal with a curry-stone. In the upper scene, however, is Nami in layman's dress and evidently still acting as a king, faced by an elderly Brahman, who is the god Sakra in disguise.
In DV (fig. 27) there is only a single scene, which shows king Nami on his throne, scepter in hand, while Sakra stands before him in conversation, clothed in his true godly fashion and recognizable by his four arms. The four corners of this page of the exuberantly adorned manuscript show caparisoned and bridled, but riderless, horses.
In JM (fig. 26) Sakra and Nami are again represented, again with the god in his true form, but this time with Nami as a monk. Sakra has his hands upraised and is singing a song of praise (sakrastava) to Nami.
10. THE LEAF OF THE TREE Mahāvīra gave this sermon to Gotama, his eldest disciple, in circumstances which the commentaries relate at length as an introductory story. Gotama (Gautama) converted a number of persons, who quickly obtained omniscience, although he himself could not reach it and did not reach it until the night of Mahāvīra's death (cf. BrKS 39, figs. 82, 83). But at this time Gotama lamented his failure, and Mahāvīra preached him this sermon.
Various episodes from the long chain of events leading up to the sermon are illustrated in the manuscript paintings. In DV (fig. 30), where we see a king seated on his throne before a monk who is preaching, we probably have Gotama making a conversion, although certainty seems impossible. The commentaries tell of Mahāvīra converting king Sāla of Prsticampā and his younger brother Mahāśāla. Later Gotama converted Sāla's sister Yasomati and her husband Pithara, king of Kāmpilya, and their son Gāgali. The subject of the painting could be Mahāvīra preaching to śālå or Gotama preaching to Pithara or Gāgali. Since the point of the story concerns Gotama, it seems likely that the painting also is of him. Overhead is a tree, perhaps because Gotama was preaching in a grove.
In JP (fig. 28), of which the preserved folios start here,' we see Mahāvira enthroned as a Siddha (cf. BrKS figs. 81, 83), with a monk seated beside him holding his hands before him in reverence. The subject must be Gotama listening to the Master.
JM (fig. 31) shows Mahāvīra seated as in JP (fig. 28), with two monks standing beside him and listening, placed one above the other. These may be taken to represent Gotama and some other disciple.
The painting in HV (fig. 29) has, in the upper register, Mahāvira seated again in
* This discrepancy perhaps indicates two different literary strata in the chapter. 1 See in the Introduction, under the description of the manuscript.