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:
|
Section |
Events |
|---|---|
|
1 |
|
|
2 |
|
|
3 |
|
|
4 |
|
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.
Glossary
Description
These two paintings show successive episodes in the story. There are two captions in the left-hand margin: Jasogha vairāgu – 'Yaśogha's disgust for worldly life' – and Jasodhara paṭṭavandhu – 'Royal turban bound to Yaśodhara'.
The second caption is repeated in the right-hand margin. The captions are numbered, though in the wrong order, so that '2' appears in the left margin while '1' is in the right margin.
Left panel
A richly dressed, bearded man holds up a mirror and his other hand. Facing him is a bejewelled woman bearing a tray.
As described in the text on the preceding page, King Yaśogha finds a white hair. He is reminded that youth is not eternal, that birth as a human being, which is so difficult to get, should not be wasted. He has had a pleasant life with his wife, Queen Candramatī, but he decides to become a monk and entrust the kingdom to his son, Yaśodhara.
The lady in front of him in the picture may be Queen Candramatī or a servant. There is no mention of any lady in the text. But the white hair, which is a literary motif marking a turning point in a story and the change of king, is often discovered by the queen or a servant while combing the king's hair.
Right panel
A beardless male figure sits on a high platform, a parasol above his head. Either side of him a man raises high a decorated pot.
The coronation of Prince Yaśodhara is shown. The parasol and raised seat on a platform, symbols of royalty, indicate his new status.
On each side is an attendant who carries a jug of sacred water used in the coronation ceremony. The ceremony is technically called 'anointment' – abhiṣeka – which implies the pouring of water.
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 20, which is the folio number.
In the upper margin there is one syllable missing from the main text. The number before it is the line number where it 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.
- Source:
Wellcome Trust Library
- Shelfmark:
Beta 1471
- Author:
Raïdhū
- Date of creation:
perhaps 15th century
- Folio number:
20 verso
- Total number of folios:
36
- Place of creation:
probably Madhya Pradesh
- Language:
Apabhraṃśa Prākrit
- Medium:
watercolour on paper
- Size:
27 x 12 cms
- Copyright:
Wellcome Library, London
- Image Copyright:
King Yaśogha renounces worldly life
- Source:
Wellcome Trust Library
- Shelfmark:
Beta 1471
- Author:
Raïdhū
- Date of creation:
perhaps 15th century
- Folio number:
20 verso
- Total number of folios:
36
- Place of creation:
probably Madhya Pradesh
- Language:
Apabhraṃśa Prākrit
- Medium:
watercolour on paper
- Size:
27 x 12 cms
- Copyright:
Wellcome Library, London
- Image Copyright:
Description
These two paintings show successive episodes in the story. There are two captions in the left-hand margin: Jasogha vairāgu – ‘Yaśogha’s disgust for worldly life’ – and Jasodhara paṭṭavandhu – ‘Royal turban bound to Yaśodhara’.
The second caption is repeated in the right-hand margin. The captions are numbered, though in the wrong order, so that ‘2’ appears in the left margin while ‘1’ is in the right margin.
Left panel
A richly dressed, bearded man holds up a mirror and his other hand. Facing him is a bejewelled woman bearing a tray.
As described in the text on the preceding page, King Yaśogha finds a white hair. He is reminded that youth is not eternal, that birth as a human being, which is so difficult to get, should not be wasted. He has had a pleasant life with his wife, Queen Candramatī, but he decides to become a monk and entrust the kingdom to his son, Yaśodhara.
The lady in front of him in the picture may be Queen Candramatī or a servant. There is no mention of any lady in the text. But the white hair, which is a literary motif marking a turning point in a story and the change of king, is often discovered by the queen or a servant while combing the king’s hair.
Right panel
A beardless male figure sits on a high platform, a parasol above his head. Either side of him a man raises high a decorated pot.
The coronation of Prince Yaśodhara is shown. The parasol and raised seat on a platform, symbols of royalty, indicate his new status.
On each side is an attendant who carries a jug of sacred water used in the coronation ceremony. The ceremony is technically called ‘anointment’ – abhiṣeka – which implies the pouring of water.
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 20, which is the folio number.
In the upper margin there is one syllable missing from the main text. The number before it is the line number where it 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.
