Background
This is the standard 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 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 top-left corner says: svapna 14 Triśalā – 'the 14 dreams [of] Triśalā'.
The dreams Triśalā has after finding out she is pregnant announce the greatness of the future baby, who will become Mahāvīra.
The order of the 14 auspicious dreams is always the same in the text of the Kalpa-sūtra, but the manuscript painters can choose how to use the space at their disposal. Here, one of the dreams is visually dominant – the one where the expectant mother sees the 'anointment' – Prakrit abhiseya, Sanskrit abhiṣeka. This abstract notion is represented by the goddess Śrī, indicating prosperity. She is depicted as a woman with four arms.
Starting from the top left and moving left to right, the sequence of the dreams is:
- elephant
- bull
- lion
- moon
- sun
- garland
- Śrī
- banner
- vase full of water
- lotus lake
- ocean of milk
- celestial palace
- heap of jewels
- fire.
Note that, although the dreams represented in the bottom row are much smaller than the others, all 14 dreams are equally important. Some dreams are shown smaller because the painter is using the space practically.
If the viewer is familiar with the fixed sequence of dreams, each one can be identified. This is frequently easier than recognising the symbols themselves.
Other visual elements
The original paper is slightly damaged. But, 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
- one diamond filled with gold ink, with arrow-like blue lines and surrounding blue border as ornamental motifs.
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:
22 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:
The 14 dreams
- Source:
Wellcome Trust Library
- Shelfmark:
Gamma 453
- Author:
unknown
- Date of creation:
1512
- Folio number:
22 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:
Description
The caption in the top-left corner says: svapna 14 Triśalā – ‘the 14 dreams [of] Triśalā’.
The dreams Triśalā has after finding out she is pregnant announce the greatness of the future baby, who will become Mahāvīra.
The order of the 14 auspicious dreams is always the same in the text of the Kalpa-sūtra, but the manuscript painters can choose how to use the space at their disposal. Here, one of the dreams is visually dominant – the one where the expectant mother sees the ‘anointment‘ – Prakrit abhiseya, Sanskrit abhiṣeka. This abstract notion is represented by the goddess Śrī, indicating prosperity. She is depicted as a woman with four arms.
Starting from the top left and moving left to right, the sequence of the dreams is:
- elephant
- bull
- lion
- moon
- sun
- garland
- Śrī
- banner
- vase full of water
- lotus lake
- ocean of milk
- celestial palace
- heap of jewels
- fire.
Note that, although the dreams represented in the bottom row are much smaller than the others, all 14 dreams are equally important. Some dreams are shown smaller because the painter is using the space practically.
If the viewer is familiar with the fixed sequence of dreams, each one can be identified. This is frequently easier than recognising the symbols themselves.
Other visual elements
The original paper is slightly damaged. But, 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
- one diamond filled with gold ink, with arrow-like blue lines and surrounding blue border as ornamental motifs.
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.
Kalpa-sūtra with Gujarati commentary (Or. 13701)
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
Last of the 14 dreams
The British Library Board Or. 13701 Sukhasāgara – commentary 17th to 18th centuries
Second six of the 14 dreams
The British Library Board Or. 13701 Sukhasāgara – commentary 17th to 18th centuries