Background
The Kalpa-sūtra is the most frequently illustrated Jain text of the Śvetāmbara sect. It is read and recited by monks in the Śvetāmbara festival of Paryuṣaṇ, which takes place in August to September each year.
The first part of the Kalpa-sūtra deals with the lives of the Jinas, especially Mahāvīra, Pārśva, Nemi and Ṛṣabha. It features almost identical stories of their births, lives as princes, renunciation, enlightenment and final emancipation. The second part – Sthavirāvali – is a praise of the early teachers of Jainism. The third part – Sāmācārī – deals with particular monastic rules to be followed during the rainy season.
Glossary
Description
The caption in the upper-right corner says: paśūvāḍa deṣī ratha vāliu – 'having seen the pen with animals, he turned his chariot back'.
At the top is a pen holding numerous animals of different species, which all appear restless. Below them sits a prince in his chariot, pulled by a vigorous horse directed by a charioteer.
His family and friends have persuaded Prince Nemi to get married. Riding in his chariot, he goes towards the palace of his potential in-laws, where Princess Rājīmatī awaits.
But when he sees all the animals penned up ready to be killed to feed the wedding guests, Nemi is deeply troubled and repulsed. He decides to pull out of the marriage and renounce worldly life.
This famous episode is dear to the Jains' hearts in part because it underscores the importance of vegetarianism and is depicted here in a very lively way. Nemi's renunciation is a key step in his journey towards becoming a Jina.
The upward sweep of Nemi's chariot in the painting makes the viewer feel the strength of his reaction. The animals are also agitated, prancing around, adding to the feeling of disturbance.
Other visual elements
As with many Kalpa-sūtra manuscripts, there is a clear intention to make the manuscript a valuable and remarkable object in itself. This aim is signalled by the:
- coloured background for the text
- gold ink instead of the standard black ink
- decorated border with blue floral motifs
- diamond filled with gold ink, with ornamental blue border.
The diamond in the centre is a symbolic reminder of the way in which manuscripts were bound when they were on palm leaf. Strings through holes in the paper were used to thread together the loose folios so the reader could turn them over easily. The diamond is in the place where one of the holes would once have been.
- Source:
Wellcome Trust Library
- Shelfmark:
Gamma 453
- Author:
unknown
- Date of creation:
1512
- Folio number:
84 recto
- Total number of folios:
139
- Place of creation:
western India
- Language:
Ardhamāgadhī Prākrit
- Medium:
watercolour on paper
- Size:
- Copyright:
Wellcome Library, London
- Image Copyright:
- +
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Description
The caption in the upper-right corner says: paśūvāḍa deṣī ratha vāliu – ‘having seen the pen with animals, he turned his chariot back’.
At the top is a pen holding numerous animals of different species, which all appear restless. Below them sits a prince in his chariot, pulled by a vigorous horse directed by a charioteer.
His family and friends have persuaded Prince Nemi to get married. Riding in his chariot, he goes towards the palace of his potential in-laws, where Princess Rājīmatī awaits.
But when he sees all the animals penned up ready to be killed to feed the wedding guests, Nemi is deeply troubled and repulsed. He decides to pull out of the marriage and renounce worldly life.
This famous episode is dear to the Jains’ hearts in part because it underscores the importance of vegetarianism and is depicted here in a very lively way. Nemi’s renunciation is a key step in his journey towards becoming a Jina.
The upward sweep of Nemi’s chariot in the painting makes the viewer feel the strength of his reaction. The animals are also agitated, prancing around, adding to the feeling of disturbance.
Other visual elements
As with many Kalpa-sūtra manuscripts, there is a clear intention to make the manuscript a valuable and remarkable object in itself. This aim is signalled by the:
- coloured background for the text
- gold ink instead of the standard black ink
- decorated border with blue floral motifs
- diamond filled with gold ink, with ornamental blue border.
The diamond in the centre is a symbolic reminder of the way in which manuscripts were bound when they were on palm leaf. Strings through holes in the paper were used to thread together the loose folios so the reader could turn them over easily. The diamond is in the place where one of the holes would once have been.