Category:Jasahara-cariu (Beta 1471)

Amṛtamati returns to Yaśodhara

Description

A man and a woman lie on a luxurious bed. Above them is an ornate roof while a large blue jug stands at the foot of the bed.

King Yaśodhara and Queen Amṛtamati lie in bed. After spending most of the night with her paramour, Amṛtamati comes back to the royal bedroom and lies next to her husband as if she had never left. This is why this painting is nearly identical to that of folio 25 recto.

The pitcher near the bed probably contains wine, a product often associated with amorous pleasures.

The long protruding eye is a typical feature of western Indian painting. Its origin is unclear.

Other visual elements

This is a good example of an average manuscript. A red background is used for the painting but there is no use of gold, intricate design elements or elaborate script.

The bottom of the right margin contains the number 4, which is the folio number.

In the upper and lower margins there are syllables missing from the main text, or corrections. The number before them is the line number where they should be inserted.

Script

The script used for the main text is the Jaina Devanāgarī script. It is used for writing numerous Indian languages, here Apabhraṃśa Prakrit.

Background

The 15th-century Digambara poet Raidhū composed a version of one of the most important Jain tales – the Story of Yaśodhara. Called the Jasahara-cariu, which means ‘the story of Yaśodhara’ in Apabhraṃśa Prakrit, Raidhū’s version has the subtitle of ‘having the characteristic of compassion’ – daya-lakkhaṇa. This underlines the main teaching of the story, which is a manifesto against violence of all types and a defence of non-violence.

A story with several episodes, the tale of Yaśodhara is a good representative of religious teaching in narrative form – dharma-kathā. Its importance comes from the fact that it shows very clearly the working of karma and rebirth and refers to key concepts, such as:

  • violence – hiṃsā – both factual and intentional
  • desire or greediness.

Ultimately, all the protagonists become pious Jains and will be emancipated.

The text is divided into four sections called sandhi, which go into detail about all the rebirths that are recounted in the story within a story:

Sections of the Jasahara-cariu

Section

Events

1

  • King Māridatta and the search for proper sacrificial victims
  • Birth of Yaśodhara

2

  • Yaśodhara’s youth and death
  • His son Yaśomati ascends to the throne

3

  • Parallel rebirths of Yaśodhara and Candramati

4

  • Last rebirth as Abhayaruci and Abhayamati
  • Final conversions

This version of the story has not yet been published. It is known from very few manuscripts, which are all illustrated and in India. However, not a single manuscript is complete. So this one, held in the Wellcome Trust in London, is a precious document, even though it is only the first half of the story. It is probable that the second half of the document is a manuscript originally kept in Delhi, dated 1454 CE. It is also very likely that a single folio in the Los Angeles County Museum of Art is part of the same manuscript (see Balbir, forthcoming).

Like other versions of the tale of Yaśodhara, Raidhū’s narrative poem is a major inspiration for illustrations in Digambara manuscripts.

Related Articles

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Jain Beliefs

What is a Jain manuscript?

Jain universe

Jina

Becoming a monk or nun

Cycle of rebirth

Non-violence

The ‘Three Worlds’

Story of Yaśodhara

Related Manuscripts

Yaśodhara and Amṛtamati