Background
This is a fairly unusual depiction of the 14 auspicious dreams in Kalpa-sūtra manuscripts created in Western India.
The Kalpa-sūtra is the most frequently illustrated Jain text of the Śvetāmbara sect. It is read and recited by monks in the 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 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.
This manuscript does not contain the Prakrit text of the Kalpa-sūtra, but a narrative commentary in Gujarati that focuses on Mahāvīra’s previous births.
Glossary
Description
Unusually, this single scene takes up nearly three full pages of the manuscript.
This is the second page, on which are six objects, again in individual panels:
- the sun, a banner, a full vase on the first row
- a lotus pond, the ocean, and a celestial palace on the second row.
These three pages represent the 14 dreams of the brahmin lady Devānandā, who bore the embryo of Mahāvīra before it was transferred to the kṣatriya queen, Triśalā. The embryo Mahāvīra was transferred by Hariṇaigameṣin, the commander-in-chief of the god Śakra. Śakra ordered him to do this because Jinas cannot be born of a brahmin mother. These dreams announce the Jina’s great destiny.
The first six dreams are on the previous page of the manuscript.
The last two dreams are shown on the page after this, in panels above Devānandā lying on her couch.
This is a painting in popular style. The representation of the 'ocean of milk' is realistic, with a ship and a sea-monster. The celestial palace is shown as an architectural structure inhabited by a figure that represents a god.
Other visual elements
This manuscript is different from the mainstream Kalpa-sūtra from Western India, which in style look like more solemn objects.
This example represents a more popular style distinct from the usual artistic canon.
- Source:
The British Library Board
- Shelfmark:
Or. 13701
- Author:
Sukhasāgara – commentary
- Date of creation:
17th to 18th centuries
- Folio number:
21 recto
- Total number of folios:
83
- Place of creation:
western India
- Language:
Gujarati in Devanāgarī script
- Medium:
opaque watercolour on paper
- Size:
27 x 12.5 cms
- Copyright:
CC0 1.0 (Creative Commons Public Domain)
- Image Copyright:
Second six of the 14 dreams
- Source:
The British Library Board
- Shelfmark:
Or. 13701
- Author:
Sukhasāgara – commentary
- Date of creation:
17th to 18th centuries
- Folio number:
21 recto
- Total number of folios:
83
- Place of creation:
western India
- Language:
Gujarati in Devanāgarī script
- Medium:
opaque watercolour on paper
- Size:
27 x 12.5 cms
- Copyright:
CC0 1.0 (Creative Commons Public Domain)
- Image Copyright:
Description
Unusually, this single scene takes up nearly three full pages of the manuscript.
This is the second page, on which are six objects, again in individual panels:
- the sun, a banner, a full vase on the first row
- a lotus pond, the ocean, and a celestial palace on the second row.
These three pages represent the 14 dreams of the brahmin lady Devānandā, who bore the embryo of Mahāvīra before it was transferred to the kṣatriya queen, Triśalā. The embryo Mahāvīra was transferred by Hariṇaigameṣin, the commander-in-chief of the god Śakra. Śakra ordered him to do this because Jinas cannot be born of a brahmin mother. These dreams announce the Jina’s great destiny.
The first six dreams are on the previous page of the manuscript.
The last two dreams are shown on the page after this, in panels above Devānandā lying on her couch.
This is a painting in popular style. The representation of the ‘ocean of milk‘ is realistic, with a ship and a sea-monster. The celestial palace is shown as an architectural structure inhabited by a figure that represents a god.
Other visual elements
This manuscript is different from the mainstream Kalpa-sūtra from Western India, which in style look like more solemn objects.
This example represents a more popular style distinct from the usual artistic canon.
Kalpa-sūtra and Kālakācārya-kathā (I.O. San. 3177)
The British Library Board I.O. San. 3177 unknown 1437
Last of the 14 dreams
The British Library Board Or. 13701 Sukhasāgara – commentary 17th to 18th centuries
First six of the 14 dreams
The British Library Board Or. 13701 Sukhasāgara – commentary 17th to 18th centuries