Browsing: Jasahara-cariu (Beta 1471)

Along the bottom of the page are set four panels. The left-hand one shows a well-dressed man watching a dancing girl, an intricate white triangular shape near his left hand. They are under three white domes topped with golden teardrop shapes. The next panel shows a young man on a richly caparisoned elephant. The curving white and blue bands along the top indicate that this scene and the next are outside. In the third panel, a man is mounted on a prancing horse. He wears a plumed helmet and carries a spear. The final panel shows a man clad in white aiming his bow at a rearing antelope with an arrow in its neck. The lush vegetation behind them signals it is an outdoor scene.

These four panels depict the various pastimes King Māridatta enjoyed. They are also described in the text of this folio and the one before.

Māridatta was advised only by young and arrogant counsellors. He roamed around with them, not heeding the advice of wise people. Sometimes he rode a horse, piercing the earth with its hooves. Sometimes he took his dogs to go hunting. Sometimes he went with beautiful ladies. Sometimes he sang alone, without any restraint. Sometimes he took his lute to accompany dancing ladies, and so on.

The four scenes show four of the king's enjoyments, depicted as:

1. playing a drum, to which a lady dances. This long drum is the mṛdanga, one of the most common varieties of drums.
2. going into the forest mounted on an elephant
3. going riding in the forest
4. going hunting.

Though hunting is a pastime associated with royal life, it has an ambiguous significance. It is considered to be positive because it is a kind of training for the king, and a substitute for war. But in Jainism, hunting is predominantly seen as a gross form of violence. Note that the final painting shows the movement of the antelope, which has just been pierced by an arrow. This movement expresses the suffering of the animal.

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 5, 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.

Script

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

The 15th-century Digambara poet Raidhū composed a version of one of the most important Jain tales – the Story of Yaśodhara. Called the Jasahara-cariu, which means 'the story of Yaśodhara' in Apabhraṃśa Prakrit, Raidhū’s version has the subtitle of 'having the characteristic of compassion' – daya-lakkhaṇa. This underlines the main teaching of the story, which is a manifesto against violence of all types and a defence of non-violence.

A story with several episodes, the tale of Yaśodhara is a good representative of religious teaching in narrative form – dharma-kathā. Its importance comes from the fact that it shows very clearly the working of karma and rebirth and refers to key concepts, such as:

• violence – hiṃsā – both factual and intentional
• desire or greediness.

Ultimately, all the protagonists become pious Jains and will be emancipated.

The text is divided into four sections called sandhi, which go into detail about all the rebirths that are recounted in the story within a story:

This version of the story has not yet been published. It is known from very few manuscripts, which are all illustrated and in India. However, not a single manuscript is complete. So this one, held in the Wellcome Trust in London, is a precious document, even though it is only the first half of the story. It is probable that the second half of the document is a manuscript originally kept in Delhi, dated 1454 CE. It is also very likely that a single folio in the Los Angeles County Museum of Art is part of the same manuscript (see Balbir, forthcoming).

Like other versions of the tale of Yaśodhara, Raidhū's narrative poem is a major inspiration for illustrations in Digambara manuscripts.

Common Era

The period of time starting with the year when Jesus Christ was traditionally believed to have been born. Using CE is a more secular way of dating events in a multinational, multi-religious world.

Digambara

'Sky-clad' in Sanskrit, used for one of the two main divisions of Jainism, in which monks are naked. There are some differences of doctrine or belief between these two sects and to some extent their followers consider themselves as belonging to distinct branches. Divisions can be fierce in practical matters, for example, over the ownership of pilgrimage places, but all sects see themselves as Jains.

Hiṃsā

Violence, the fact of harming in any way.

Jain

Follower of the 24 Jinas or an adjective describing Jain teachings or practices. The term 'Jaina' is also used although 'Jain' is more common.

Kathā

Story, narrative literature.

Saṃsāra

Cycle of birth, life, death and rebirth caused by karma binding to the soul as a result of activities. Only by destroying all karma can this perpetual cycle finish in mokṣa – liberation. The karma gained in life affects the next life, and even future lives, for example:

• in which of the three worlds the life is lived out
• which of four conditions – gati – the body takes, namely human, divine, hellish or as a plant or animal.

Apabhraṃśa

Apabhraṃśa is an umbrella term for the dialects that were the forerunners of modern Indian languages. Taken from the Sanskrit term apabhraṃśa, which literally means 'corrupt' or 'non-grammatical language', Apabhraṃśa was used to write a large number of Jain texts. Though Apabhraṃśa developed over the 6th to 13th centuries, literary works date back to the 8th century.

Jaina Devanāgarī

The distinctive version of the Devanāgarī script found in Jain manuscripts.

Folio

A single sheet of paper or parchment with a front and a back side. Manuscripts and books are written or printed on both sides of sheets of paper. A manuscript page is one side of a sheet of paper, parchment or other material. The recto page is the top side of a sheet of paper and the verso is the underside.