________________ As it often happens, nila and krsna are not clearly distinguished and can be represented as green, blue, or blue/grey. Five Jina images (No. 2-6) are represented flanked on each side by devotees. They are laymen and laywomen (sravaka and sravika) who are holding fly-whisk or implements for worship (ladle containing water or some other liquid for ritual aspersion, flower garland, recipient of some kind). On the left of * Abhinandana (No. 4), the devotee is a Svetambara Jain monk, clothed in white robe and holding the monastic staff (danda). Sambhava (No. 3) is worshipped by a lady holding a fly-whisk, but the figure on the left may be a god (rather than a human being) as it is depicted with four hands. Padmaprabha (No. 6) is worshipped by two men who are kneeling down and appear as Saiva devotees: they are wearing a cloth which reminds of the goat-skin, and seem to hold a type of snake in their hands. Their hair-style is also typical of Hindu ascetics. When the Jina is alone, the image can be set within a natural landscape: Suparsva (No. 7) is flanked on each side by two large trees. On both sides of the image of Vimala (No. 13) are nice panels adorned with sophisticated floral motives in the Mughal style. Ananta's image (No. 14) is surrounded by pillars. In some cases, the Jina image is alone in the centre, but there is some blank space on the left and on the right. It is possible that this blank space was meant to be occupied by figures of devotees, which have not been painted (see Dharma, Ara, Nami, Nemi and Parsva). As for Rsabha, although he is not flanked by devotees, the performance of worship is suggested by implements located on his right and left side. The paintings have been executed with care and are lively. The individual paintings are surrounded by richly colored floral borders which are present all along the scroll, or separated from the text portions by red or yellow lines. Abhinandana's image (No. 4) is set on a nice green background which matches the floral border where green flowers are also seen. The figures of the devotees are lively and realistic. The depiction of their costumes shows variety and precision. The prevalent atmosphere is one of joy and celebration to the Jinas. The feeling of deep and exuberant worship is conveyed both by the paintings and the text. References TEXTS Jaina Ratna Samgraha (Gujarati) collected by Srimati Panabai, Bhavnagar, 1931. Pravac. = Nemicandrasuri, Pravacanasaroddhara with Siddhasenasuri's commentary. Ed. Muni Padmasenavijaya, Muni Municandravijaya. Prathama-khandah. Bharatiya Prayatattva Prakasan Samiti, Pindavada, 1979. With Gujarati translation by Munirajasri Amitayasavijayaji Maharaja. Sri siva Jain Sve. Murtipujak Samgha, Siva, Mumbai, 1992. - With Hindi translation by Sadhvi Hemaprabhasri, Prakrit Bharati Academy, Jaipur, 1999. SatrKalpa (reference to the verse number) = Jinaprabhasuri, Satrunjayakalpa (No. 1) in Vividhatirthakalpa. Ed. Muni Jinavijaya, Shantiniketan, 1934 (Singhi Jain Series 10). - Hindi translation by Agarchand Bh. Nahata, Sri Jaina Svetambara Nakoda Parsvanatha Tirtha, 1978 (cf. also Dr. Shivaprasad, Jain tirthom ka aitihasik adhyayan, Varanasi, 1991; Parshvanath Vidyashram Granthamala 56, based on Jinaprabhasuri's work) - Gujarati translation: Sri Jinaprabhasuri viracita sacitra Vividhatirthakalpa transl. by Muni Ratnatraya Vijaya & Muni पटदर्शन - 143
