Background
The tale of the renunciation of Neminātha or Lord Nemi – often called Ariṣṭanemi – is a famous episode dear to the Jains’ hearts. This is in part because it underscores the repulsion for taking animal life if it can be avoided and the importance of vegetarianism. This is a key step in Nemi’s journey towards becoming a Jina.
This episode is recounted in chapter 22 of the Uttarādhyayana-sūtra, one of the most famous books of the Śvetāmbara Jain canonical scriptures. Here it is told in a few stanzas:
With such pomp and splendour the hero of the Vṛṣṇis [= Prince Nemi] started from his own palace. On his way he saw animals kept in cages and enclosures, overcome by fear and looking miserable. Seeing them on the point of being killed for the sake of their flesh, and to be eaten afterwards, the great sage spoke to his charioteer thus: ‘Why are all these animals, which desire to be happy, kept in cages and enclosures?’ Then the charioteer answered: ‘Lucky are these animals because at thy wedding they will furnish food for many people’. Having heard these words, which announced the slaughter of many animals, the great sage, full of compassion and kindness to living beings, meditated thus: ‘If for my sake many living beings are killed, I shall not obtain happiness in the next world.’ Then the famous man presented the charioteer with his pair of earrings, his neck-chain and all his ornaments.
translation by Hermann Jacobi
The tale of Rājīmatī and Rathanemi reminds Jains that even though it is hard to keep vows, even for ascetics, determination and spiritual focus can help overcome even the strongest temptations.
The Uttarādhyayana-sūtra is a scripture in the Śvetāmbara canon. It belongs to the class known as Mūla-sūtras, which include the most basic texts new mendicants learn at the beginning of their monastic education. It consists of didactic chapters, stories or parables and ascetic poetry teaching the fundamentals of Jainism. For instance, it opens with a chapter on the rules of respect and politeness that all monks have to observe, especially junior ones. It ends with an extensive chapter describing the rich world of living beings according to the Jain conception.
The Uttarādhyayana-sūtra is one of the most frequently illustrated texts.
Glossary
Description
This picture depicts different episodes from the life of the 22nd Jina, Nemiinātha or Lord Nemi, often called Ariṣṭanemi.
At the top left a large richly dressed woman sits in a highly decorated pavilion. At the top right a man with a royal parasol rides a lavishly caparisoned elephant towards her. Below the woman is a pen holding numerous animals. Outside the pen the man on the elephant rides away.
The lower level shows two scenes. In the centre a woman in strange clothing stands inside a slightly crenellated structure. The man with upraised hand to the right of her is richly dressed and wearing jewellery. To the left is another scene, in which a woman raises her hand to the man in the robe of a Śvetāmbara monk.
The upper level shows Princess Rājimatī and Prince Nemi. From a young age Nemi has wanted to renounce the householder life to become an ascetic. After much persuasion from his family and friends he has overcome his reluctance to marry. Now he is on his way to the palace of his future in-laws for his wedding to Rājimatī, who is waiting for him.
When Nemi sees all the animals penned up ready to be killed to feed the wedding guests, he is deeply troubled and repulsed. He decides to pull out of the marriage and renounce worldly life.
The bottom panel shows the next part of Rājīmatī’s story. When Nemi becomes a monk, Rājīmatī is left with no other choice than to become a nun. Drenched by rain, she takes shelter in a cave, shown as a semicircle in the picture. There she takes her clothes off to dry.
Rājīmatī has not noticed that a man is already sheltering from the rain in the cave. He is Rathanemi, Nemi’s brother. He sees her naked, although Rājīmatī is never depicted in this state. He is captivated by her beauty but Rājīmatī refuses his advances, and convinces him to become a monk. He is shown as a monk at the bottom left.
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 a good-quality Uttarādhyayana-sūtra manuscript, with interesting miniature paintings.
The page is divided into three parts. This format is known as tri-pāṭha. In the middle, in larger script, is the original Prakrit text. Above and below, in smaller script, is a commentary of the text, here in Sanskrit. The commentary explains but also expands the text. The artists do not make any difference between these two levels.
The three circles along the central horizontal plane are symbolic reminders of the way in which manuscripts were bound at one time. Strings through three holes in the paper were used to thread together the loose folios so the reader could turn them over easily. The circles are in the places where the holes would once have been.
Script
The elaborate script used for the main text is the Jaina Devanāgarī script. It is used for writing numerous Indian languages, here for Ardhamāgadhī Prakrit and Sanskrit.
There are a few notable features of this script:
- it is an old type in the way the sounds e and o are notated when used with a consonant, known as pṛṣṭhamātrā script
- the red vertical lines within the text divide the long sentences into smaller parts, but are not necessarily punctuation marks.
- Source:
The British Library Board
- Shelfmark:
Or. 13362
- Author:
unknown
- Date of creation:
perhaps 15th century
- Folio number:
73 verso
- Total number of folios:
132
- Place of creation:
western India
- Language:
Ardhamāgadhī Prākrit and Sanskrit in Devanāgarī script
- Medium:
opaque watercolour on paper
- Size:
26 x 11 cms
- Copyright:
CC0 1.0 (Creative Commons Public Domain)
- Image Copyright:
- +
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- vVikrama-saṃvat
- vVikṛti
- vVimala
- vVinaya
- vVipāka
- vVirji Vora
- vVirodhaja
- vVīrya
- vVisarga
- vViṣṇu
- vVītarāga
- vVizier
- vVotive
- vVow
- vVrata
- vVS
- vVyakta
- vVyantara
- vVyasana
- yYakṣa
- yYakṣī
- yYantra
- yYaśoda
- yYaśovijaya
- yYati
- yYātrā
- yYoga
- yYoginī
- yYojana
Description
This picture depicts different episodes from the life of the 22nd Jina, Nemiinātha or Lord Nemi, often called Ariṣṭanemi.
At the top left a large richly dressed woman sits in a highly decorated pavilion. At the top right a man with a royal parasol rides a lavishly caparisoned elephant towards her. Below the woman is a pen holding numerous animals. Outside the pen the man on the elephant rides away.
The lower level shows two scenes. In the centre a woman in strange clothing stands inside a slightly crenellated structure. The man with upraised hand to the right of her is richly dressed and wearing jewellery. To the left is another scene, in which a woman raises her hand to the man in the robe of a Śvetāmbara monk.
The upper level shows Princess Rājimatī and Prince Nemi. From a young age Nemi has wanted to renounce the householder life to become an ascetic. After much persuasion from his family and friends he has overcome his reluctance to marry. Now he is on his way to the palace of his future in-laws for his wedding to Rājimatī, who is waiting for him.
When Nemi sees all the animals penned up ready to be killed to feed the wedding guests, he is deeply troubled and repulsed. He decides to pull out of the marriage and renounce worldly life.
The bottom panel shows the next part of Rājīmatī’s story. When Nemi becomes a monk, Rājīmatī is left with no other choice than to become a nun. Drenched by rain, she takes shelter in a cave, shown as a semicircle in the picture. There she takes her clothes off to dry.
Rājīmatī has not noticed that a man is already sheltering from the rain in the cave. He is Rathanemi, Nemi’s brother. He sees her naked, although Rājīmatī is never depicted in this state. He is captivated by her beauty but Rājīmatī refuses his advances, and convinces him to become a monk. He is shown as a monk at the bottom left.
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 a good-quality Uttarādhyayana-sūtra manuscript, with interesting miniature paintings.
The page is divided into three parts. This format is known as tri-pāṭha. In the middle, in larger script, is the original Prakrit text. Above and below, in smaller script, is a commentary of the text, here in Sanskrit. The commentary explains but also expands the text. The artists do not make any difference between these two levels.
The three circles along the central horizontal plane are symbolic reminders of the way in which manuscripts were bound at one time. Strings through three holes in the paper were used to thread together the loose folios so the reader could turn them over easily. The circles are in the places where the holes would once have been.
Script
The elaborate script used for the main text is the Jaina Devanāgarī script. It is used for writing numerous Indian languages, here for Ardhamāgadhī Prakrit and Sanskrit.
There are a few notable features of this script:
- it is an old type in the way the sounds e and o are notated when used with a consonant, known as pṛṣṭhamātrā script
- the red vertical lines within the text divide the long sentences into smaller parts, but are not necessarily punctuation marks.