The caption in the top-right corner says: dāna dīkṣā – ‘gift and initiation’. It has been written twice, the second time in larger size.

The illustration contains two scenes at different levels, both featuring Neminātha or Lord Nemi, the 22nd Jina.

Top level

A richly jewelled figure dressed in elaborate clothing sits on an ornate throne. There is a heap of jewels on a tripod between him and the two men on the right. One of them is old and white-bearded. There are three men at the top.

The large figure is Prince Nemi, shown with all his worldly privileges. The old man represents the poor. The other men may be the Laukāntika gods.

The Laukāntika gods have come to awaken Nemi spiritually and inspire him to give up his possessions. They exclaim:

Victory be to the joy of the world!
Victory be to one with auspicious marks!
Glory be to thee, oh bull among best kṣatriyas
Awake, oh Lord, Master of the Universe!
Establish religion and order
For the well-being of all living beings.

Then Nemi knows that the time is right for him to renounce the worldly life. He spends the following year giving all his possessions to the poor.

Bottom level

On the left side a male figure wearing a single garment sits under a tree. He catches his long hair in his hand. On the right a man with four hands is seated on a throne.

The figure on the left is Nemi, who has now given up all the possessions of a prince. Even so, he is often shown in pictures as keeping his jewellery. Sitting under an aśoka tree, he is preparing to pluck out his long hair in five handfuls. This is the symbolic gesture of giving up worldly life and entering religious life. Jain monks and nuns still perform this act of dīkṣā today.

The figure watching him is the god Śakra, who is present at the key points of Nemi’s life. Deities are often depicted with four or more hands in Jain art. Here Śakra is shown with a pair of his hands ready to receive the hair of the future Jina.

Nemi performs his initiation ceremony in public in a park outside the city of Dvāravatī. According to some sources, this park is on slightly raised ground. This is symbolised here by the bottom row, which represents mountain peaks.

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

Other visual elements

The original paper has been pasted onto a new base. 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:

• use of gold in the paintings, margins and ornamental motifs
• decorated border with blue floral motifs
• single diamond filled with gold ink and surrounded by blue ornamental motifs.

The golden diamond in the centre is a symbolic reminder of the way in which manuscripts were bound at one time. Strings through one or more holes in the paper were used to thread together the loose folios so the reader could turn them over easily. The diamond is where one of the holes would once have been.

A single diamond means a recto side.

Script

The elaborate script used is the Jaina Devanāgarī script, which is here like calligraphy. It is used for writing numerous Indian languages, here for Ardhamāgadhī Prakrit.

There are a few notable features of this script, which:

• is an old type in the way the sounds e and o are notated when used with a consonant, known as pṛṣṭhamātrā script
• contains red vertical lines that mark out verse divisions, with a single line dividing a verse in two while double lines are found at the end of the verse.

The lines in smaller script above the main text are explanations in Sanskrit of phrases found in the central part.