Background
Translation
Glossary
Description
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.
- Source:
Wellcome Trust Library
- Shelfmark:
Gamma 453
- Author:
unknown
- Date of creation:
1512
- Folio number:
136 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:
- +
- aAbhavya
- aAbhinandana
- aAbhiṣeka
- aĀcāra
- aĀcārāṅga-sūtra
- aĀcārya
- aAchalbhrata
- aAḍhāī-dvīpa
- aAdharma
- aAdho-loka
- aAdhyayana
- aAdvaita Vedānta
- aĀgama
- aAghātīya
- aAghātīya-karman
- aAgnibhuti
- aAgra
- aĀhāra
- aAhiṃsā
- aAhimsa Day
- aAjita
- aAjīva
- aAkampit
- aĀkāśa
- aAkbar the Great
- aAkṣaya-tṛtīyā
- aAlauddin Khalji
- aAlbert Einstein
- aAllah
- aAlms
- aĀlocanā
- aAloka-ākāśa
- aAmāri
- aAmbikā or Kūṣmāṇḍinī
- aAnagāra
- aAnanta
- aAnarthadaṇḍa
- aAnaśana
- aAnekānta-vāda
- aAṅga
- aAniconism
- aAnojjā
- aAntarāla
- aAntarāya-karma
- aAṇu
- aAṇu-vrata
- aAnukampā
- aAnuprekṣā
- aAnusvāra
- aApabhraṃśa
- aAparigraha
- aAra
- aĀrambha
- aĀrambhaja
- aĀratī
- aArdhamāgadhī Prākrit
- aArhaṃ
- aArhat
- aArśana-āvaraṇīya-karma
- aĀrta-dhyāna
- aĀryikā
- aĀryikā Jñānamati
- aĀśātanā
- aĀścarya
- aAscetic
- aAsceticism
- aAshram
- aAspiration
- aĀsrava
- aAṣṭa-maṅgala
- aAṣṭāpada
- aAstikāya
- aAstrolabe
- aAsura
- aAtheism
- aAticāra
- aAtiśayakṣetra
- aAtithisaṃvibhāgavrata
- aĀtma-vāda
- aĀtman
- aAuṃ
- aAurangzeb
- aAuspicious
- aAusterity
- aAvadhāna
- aAvadhi-jñāna
- aĀvaraṇī-yakarman
- aAvasarpiṇī
- aAvatāra
- aAvidyā
- aAxiom
- aĀyāga-paṭa
- aĀyambil
- aĀyu-karma
- aĀyurveda
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- bBāhubali
- bBaladeva
- bBālāvabodha
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- bBazaar
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- bBhaktāmara-stotra
- bBhakti
- bBhale
- bBharata
- bBhāṣā
- bBhāṣya
- bBhaṭṭāraka
- bBhāva
- bBhāva-pūjā
- bBhāvanā
- bBhavana-vāsin
- bBhavya
- bBhavyatva
- bBhaya
- bBhoga-bhūmi
- bBhogopabhoga
- bBodhi
- bBollywood
- bBrahmā
- bBrahma-deva
- bBrahmacārī
- bBrāhmaṇa
- bBraj Bhāṣā
- bBright fortnight
- bBritish Raj
- bBuddha
- bBuddhi-sagar
- bBuddhism
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- cCaitya
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- cCakravartin
- cCakreśvarī
- cCāmara
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- cCandraprabha
- cCanon
- cCāritra
- cCāritramohanīya-karman
- cCarũrī
- cCaste
- cCaturvidha-saṅgha
- cCaturviṃśati-stava
- cCāturyāma
- cCE
- cCelibacy
- cCha
- cChadmastha
- cChastity
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- cChristian
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- cClergy
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- cColophon
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- cConch
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- cCūrṇi
- dDādā-guru
- dDalit
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- dDevotee
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- dDhātakīkhaṇḍa
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- dDigambara
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- dDrone
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- dDuṣamā-suṣamā
- dDveṣa
- dDvīpa
- eEast India Company
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- eEkānta-vāda
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- eElder
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- eEschatology
- eEtc up to
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- hHindi
- hHindu
- hHinduism
- hHīravijaya
- hHoroscope
- hHrīṃ
- hHumayun
- hHymn
- iIconoclasm
- iIconography
- iIdol
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- iIndrabhūti Gautama
- iIndriya
- iInitiation
- iIntercession
- iInvocation
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- iIṣṭadevatā
- iĪśvara
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- jJaisalmer
- jJamāli
- jJambū-dvīpa
- jJames Burgess
- jJanma
- jJanma-kalyāṇa
- jJarā
- jJāti
- jJina
- jJina-āgama
- jJina-bhavana
- jJina-bimba
- jJina-mātā
- jJinacandra-sūri
- jJinadatta
- jJinaprabha
- jJīva
- jJñāna
- jJñāna-āvaraṇīya-karma
- jJñāna-āvarṇiya
- jJñānsundar
- jJyotiṣka
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- kKalyāṇaka
- kKalyanvijay
- kKamaṇḍalu
- kKamaṭha
- kKarma
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- kKarma-grantha
- kKarma-prakṛti
- kKarma-vāda
- kKarmon
- kKarnataka
- kKaṣāya
- kKathā
- kKāvya
- kKāya
- kKāyotsarga
- kKeśa-loca
- kKetu
- kKevala-jñāna
- kKevalin
- kKhalji
- kKharatara-gaccha
- kKnowledge
- kKriyā
- kKriyā-vāda
- kKṛṣṇa
- kKṣamā-śramaṇa
- kKṣapakaśreṇi
- kKṣatriya
- kKṣullaka
- kKulakara
- kKundakunda
- kKunthu
- lLabdhi
- lLaity
- lLakh
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- lLands of Action
- lLaukāntika
- lLavaṇa-samudra
- lLeśyā
- lLiṅga
- lLinguistics
- lLoka
- lLoka-ākāśa
- lLoka-puruṣa
- lLoka-vāda
- lLotus
- lLotus lake
- mMadhya-loka
- mMahā-videha
- mMahā-vrata
- mMahābhārata
- mMahāmastakābhiṣeka
- mMāhārāṣṭra
- mMāhārāṣṭrī Prākrit
- mMahattarā Yākinī
- mMahāvīr Jayantī
- mMahāvīra
- mMakāra
- mMakkhali Gośāla
- mMalli
- mMāna-stambha
- mManaḥ-paryāya-jñāna
- mMaṇḍala
- mMaṇḍapa
- mMandit
- mMaṅgala
- mMantra
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- mManuṣya-loka
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- mMartyr
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- mMaṭha
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- mMecca
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- mMohandas Gandhi
- mMohanīya-karma
- mMokṣa
- mMonastic order
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- mMosque
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- mMumbaī
- mMuni
- mMunisuvrata
- mMurad Bakhsh
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- mMuslim
- mMysticism
- nNābhi
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- nNāgapurīya Tapā-gaccha
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- nNamaskāra-mantra
- nNami
- nNandīśvara-dvīpa
- nNandivardhana
- nNandyāvarta
- nNāraka
- nNāraki
- nNasalisation
- nNātha
- nNavrātrī
- nNaya-vāda
- nNemi
- nNidāna
- nniggaṃthāṇa vā 2
- nniggaṃtho vā 2
- nNigoda
- nNihnava
- nNikṣepa
- nNirgrantha
- nNirjarā
- nNirvāṇa
- nNiryukti
- nNiṣidhi
- nNitya
- nNiyati
- nNo-kaṣāya
- nNudity
- nNun
- oOcean of milk
- oOmniscience
- oOrdination
- ppa°
- pPadmaprabha
- pPadmāsana
- pPadmāvatī
- pPādukā
- pPalanquin
- pPalette
- pPañca-muṣṭi
- pPāṇḍava
- pPaṇḍit
- pPandit Dalsukh D. Malvania
- pPandit Sukhlalji
- pPāṇipātra
- pPāpa
- pParamātman
- pParameṣṭhin
- pPāraṇā
- pParigraha
- pPariṇāma
- pParīṣaha
- pParokṣa
- pPārśva
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- pParyāya
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- pPaṭa
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- pPratimā
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- pProtestant
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- pPuṣpadanta
- pPyre
- qQur’an
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- rRāhu
- rRainy season
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- rRājimatī
- rRajoharaṇa
- rRajput
- rRāma
- rRāmāyaṇa
- rRangoli
- rRās-garbā
- rRasa
- rRathanemi
- rRatna-traya
- rRātri-bhojana
- rRaudra-dhyāna
- rRecto
- rRelic
- rRenunciation
- rRetroflex
- rRevatī
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- rRosary
- %Ṛṣabha
- %Ṛṣabhanātha
- rRupee
- sSaciyā Mātā
- sSādhu
- sSādhvī
- sSāgāra
- sSaint
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- sŚaka-saṃvat
- sSallekhanā
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- sSamaṇi
- sSāmarambha
- sSamavasaraṇa
- sSāmāyika
- sSaṃbhava
- sSamiti
- sSaṃjñā
- sSaṃkalpaja
- sSaṃsāra
- sSamudghāta
- sSaṃvara
- sSaṃvega
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- sSandalwood
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- sŚāstra
- %Ṣaṭ-jīvanikāya
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- sSeven fields of donation
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- sShrine
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- sSiddha-śilā
- sSiddhacakra or Navadevatā
- sSiddhānta
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- sŚruta-jñāna
- sŚruta-pañcamī
- sSthānaka-vāsin
- sSthāpanācārya
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- sSūtra
- sSuyam me ausam! Tenam bhagavaya evamakkhayam
- sSvādhyāya
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- sSvastika
- sŚvetāmbara
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- sŚvetāmbaras
- sSwan
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- tTabla
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- tTemple
- tTemple-city
- tThe Enlightenment
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- %Ṭīkā
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- tTrasa
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- tTriśalā
- tTriṣaṣṭi-śalākā-puruṣa-caritra
- tTti bemi
- tTughlaq
- tTunk
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- uUniversal History
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- uUpāśraya
- uŪrdhva-loka
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- uUttarādhyayana-sūtra
- vVāhana
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- vVairāgya
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- vVanaspatikāya
- vVandana
- vVaṇik
- vVarṇa
- vVāsudeva
- vVāsupūjya
- vVayubhūti
- vVeda
- vVedanīya-karma
- vVegetarianism
- vVehicle
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- vVimala
- vVinaya
- vVipāka
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- vVirodhaja
- vVīrya
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- vVītarāga
- vVizier
- vVotive
- vVow
- vVrata
- vVS
- vVyakta
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- vVyasana
- yYakṣa
- yYakṣī
- yYantra
- yYaśoda
- yYaśovijaya
- yYati
- yYātrā
- yYoga
- yYoginī
- yYojana
Description
The caption in the top-right corner says: khāmaṇāṃ – ‘forgiveness’.
At the top level in this illustration, three ascetics are shown. The smallest figure kneels at the feet of the largest, who sits on a cushioned seat. The biggest monk holds his hand above the middle monk’s head, who is folding his hands. Above them is the sthāpanācārya. The third monk stands on the right side.
The lower level again features three monks. Seated on a cushioned seat, the biggest figure gently rests his hand on the smallest monk’s head. The mendicant in the centre raises his hands as he sits on his haunches. The third figure also has raised hands but his palms face outwards instead of inwards.
The two scenes are probably to be read as a sequence, with the relative size of the figures indicating their seniority. In both scenes, the junior monk is the smallest figure. He kneels down, with hands folded, asking forgiveness from his teacher. The teacher sits on a higher seat and is much larger.
In the lower scene, the teacher places his hand on the junior monk’s head, signalling forgiveness, while the junior monk folds his hands in a gesture of thankfulness. The role played by the third mendicant is not fully clear, but his gesture is that of conciliation and making peace.
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 one of the places where the holes would once have been.