Two men in skirted robes and matching hats stand on the left with hands upraised. In the middle of the painting a white dog is set above a large peacock. They all face to the right, where a bejewelled man sits on a lion-footed throne, fanned by an attendant behind him. The ornate umbrella above him signals his royal status.

The scene depicts the presentation of the dog and peacock to King Yaśomati, who is shown on the right-hand side. The owners of the animals are on the left, their hands folded in respect as they offer their animals to the king. The peacock is the first rebirth of Yaśodhara while the dog is the first rebirth of his mother Candramatī. This is the way the pair meet in their new bodies.

King Yaśomati is the son of Yaśodhara.

The tribal men who play a significant role in the story of Yaśodhara are always depicted in the same way in this manuscript. Their costume, which is rather crude, is made of tree-leaves while they wear large earrings and a kind of conical hat. They have a dark complexion. All these features are meant to underline their crudeness, closeness to nature and difference from ‘cultivated’ people.

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 an average manuscript. A red background is used for the painting but there is no use of gold, intricate design elements or elaborate script.

The bottom of the right margin contains the number 4, which is the folio number.

In the upper and lower margins there are syllables missing from the main text, or corrections. The number before them is the line number where they should be inserted.


The script used for the main text is the Jaina Devanāgarī script. It is used for writing numerous Indian languages, here Apabhraṃśa Prakrit.