Manuscript Illustrations Of Uttaradhyayana Sutra

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

Page 83

THE TRUE SACRIFICE The two scenes perhaps mark Jayaghoşa's first request for alms and the awakening of Vijayaghoșa after Jayaghoşa had expounded true Brahmanhood. Between the two circles lies a figure in lay dress, whom I cannot identify; possibly it is one of Vijayaghoşa's assistants, possibly the patron of the sacrifice which Vijayaghoșa was performing, possibly something entirely different.
of day and how to excretion, and when to and JM (fig. 103ably Mål
26. CORRECT BEHAVIOR This chapter outlines the proper behavior (sāmācāri) of a monk in various circumstances: leaving a room to engage in his duties, entering a room, asking permission of his superior for himself, asking permission for another, putting his things at the disposal of other monks, performing his wish, confessing his sins, promising, serving with respect, putting himself under another teacher. The text goes on to expain the proper employment of day and night, correct manner of inspecting garments, when and how to beg for food, when and how to excrete, when to practice body-motionless meditation, when to confess sins and obtain absolution, and when to practise austerities.
The illustrations of HV (fig. 105) and JM (fig. 102, wrongly placed in manuscript at the beginning of Chapter 28) merely show a monk, probably Mahāvira, seated preaching, with two monks facing him, one placed above the other, both with hands respectfully joined.
JP has two illustrations. In the upper register of the first (fig. 103) a monk is seated giving instruction, and at his left is a junior monk facing a layman who holds a bowl in his hand which he has apparently just filled with alms and is going to give to the young monk. At the bottom three monks are walking, staff in hand, and presumably observing the rules of going the rounds for alms, as given in stanza 36. The subject of the painting may, therefore, be taken as the manner of begging. The second painting (fig. 104) has two scenes, one above the other, each of a superior monk seated, with a junior monk standing before him with hands joined. The subject here seems to be confession, which must be made twice a day, that is, morning (stanzas 41-42) and evening (stanzas 49-50).