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pure heart free from evil inclinations, (18) Like the earth that bears cold and heat objectively, he would tolerate all worldly hardships with equanimity. Bhagavan Mahavira thus deserved all such similes.
Painting 36: The illustration shows Bhagavan Mahavira in meditation while receiving absolute enlightenment in the evening while he has adopted the milkman's or hip-raised posture under the Shal tree when his mind had reached the climax of meditation while contracting and controlling the gross senses in a field. Nearby is shown the Rujuvaluka river with soft sand (The halos are shown to symbolize enlightenment).
Painting 37: This is the illustration of the Samavasarana (auditorium) for religious discourses. With the attainment of absolute enlightenment transcending time, Bhagavan transcends even such enlightenment. God of heaven creates a majestic auditorium fordiscourses of him. The auditorium as depicted is of the other day. This is depicted just to give a general idea about the auditorium for Tirthankara. The first rampart is made from silver with golden ridges, the second rampart is made from gold with diamond ridges and the third from diamonds of various colours and with ridges of very precious jewels. The whole construction is so charming that any onlooker would at once be inclined to attend the discourses. Those who have come with their means of conveyance keep them at the broad sides of the first rampart (as clearly illustrated). The second rampart is occupied by birds and animals who are attracted by the speech of Bhagavan Mahavira. In the third rampart gods create (1) Ashoka tree together with the holy Shala tree under which Bhagavan Mahavira attained absolute enlightenment. The trees cover the whole auditorium. Under the trees the gods create the throne to be occupied by Bhagavan Mahavira and before the throne is created a pedestal for supporting the feet. When Bhagavan Mahavira is just to occupy the throne, (1) the gods create the Ashoka tree, (2) fragrant flowers are showered by gods, (3) there is divine sound, (4) the chowries are moved, (5) majestic throne is created, (6) superbright aura is created behind the head, (7) the drums are played with rhythm", (8) three umbrellas are offered. Bhagavan Mahavira enters the auditorium from the eastern gate, reaches the third rampart, moves round the Chaitya tree, the tree of enlightenment, which is above the Ashoka tree, bows down to the holy place and occupies the throne and faces the east. At this time the gods create the living images of Bhagavan Mahavira on the throne in the remaining three directions. The images are so lifelike that he appears four-faced13 which in reality he is not. Then comes Indra and other gods, ascetics with spiritual perfection. Ganadharas (the spiritual teachers) and other male and female ascetics, heavenly damsels and groups of men and women. They
11. The drums are known as Dundubhi and a pair of them is played at Jain temples.
12. Chaitya tree-the tree of enlightenment and Ashoka tree are not identical as some think. Ashoka is a distinct tree while Chaitya is not the same of a parti cular tree. As Chaitya also means enlightenment. Chaitya tree should be interpreted here as the tree of enlightenment, under which the saviours. receive absolute enlightenment. That is why each of the saviours has his own tree of enlightenment (Chaitya Vriksha). Every Tirthankar has an Ashoka. tree which is one of the eight great paraphernalias provided by gods but the trees of enlightenment are of different types. Whenever the auditorium ist cerated, the gods create the tree of enlightenment over the Ashoka tree out of respect for it.
This proves that Tirthamkaras attain absolute enlightenment under a tree only at a garden or in the forest and so the tree becomes respectable, worth worshipping and deserves credit. The Chaitya-tree is also called Bodhi tree. Here the word 'Bodhi' means absolute enlightenment. The word Bodhi has been particularly preferred by the followers of Buddha.
13. The authors of Digambar texts do not accept the four-faced appearance. They describe the auditorium with great difference
occupy their seats in their allotted places after bowing down. They either stand there or are seated. As Bhagavan Mahavira appears four-faced, each person in the audience sitting in any part feels that Bhagavan Mahavira addresses him. Before this assembly Bhagavan Mahavira delivers his most melodious discourse in Ardhamagadhi language in the classical melody of Malkosh for one Prahara (three hours) in the morning while the audience listens under perfect silence. In the second rampart birds and animals who have mutual antagonism (by nature) forget it though sitting side by side, because of the holy influence of Bhagavan Mahavira. After delivering the gospel he turns to the white. chambers in the second rampart (see the painting). for rest and lunch. At the second religious session Bhagavan Mahavira occupies the seat created by gods, before the throne and delivers the gospel. Then follows the third session of one Prahara (three hours). Thousands of people listen to him with full attention. They all understand in their own language what he says. So impressive and inspiring are the discourses that nobody gets bored or feels like leaving the auditorium.
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Gods serve as sentinels at the gates of all the three ramparts. Sizable flags are fluttering in all the four directions. There are wells with steps, for drinking water. At the lower end the procession of king Shrenik is shown as he comes to listen to the holy discourse.
Painting 38: The public will see for the first time the picture of the incidents drawn in the pictures No. 38, 39, 41, 42, 43, 45 etc.
The biography of Bhagavan Mahavira is very long. Fortyeight pictures of incidents from his life are presented in this album. Thirty to forty incidents still can be easily
added.
The artist has shown Bhagavan Mahavira on a religious tour in the picture No. 38. What an attractive mode of walking. The speed of walking is also attractive. The form of Bhagavan is very symmetrical. His height and breadth are absolutely proportionate. This picture is very grand and charming. It appeals to our heart. The numbers of eight accompaniments (Pratiharya) are mentioned above. This picture in fact is of Rishabhadev Bhagavan. So a lock of hair we find on the shoulder. However, if necessary, if can be used to represent any Bhagavan Tirthankar by sticking a paper over it and painting it with a suitable colour. Painting 39: The incidents presented in the pictures 39, 41, 42, 43, 45 had taken place in "Samavasaran" (Divine religious auditorium). So a little upper part of it is shown in every picture.
In picture 39 a manuscript is deliberately shown in the left armpit of Indrabhuti to distinguish him from others and Bhagavan Mahavira is shown in an orator's pose (Pravachan Mudra).
Painting 40: The illustration can be clearly grasped by the text provided on the page facing it. The illustration shows eleven Brahmins who received initiation at this very august assembly. They are shown bowing to Bhagawan Mahavira in respect. They were appointed as Ganadharas the spiritual teachers and scripture-composers. The custom of offering Vasakshepa (literally the offer of fragrant substances) is practised by the Tirthankaras (the saviours). Among the Jains who worship the holy image the tradition is universal and continuous. Vasakshepa is sanctified fine powder of sandalwood and many fragrant substances.
As this episode took place at this august assembly a part of it is shown in the illustration. Bhagavan Mahavira is standing under the Ashoka tree. Those who are sitting are
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