The caption in the top-left corner says: śrīVīra upasarga 21 – '21. Lord Mahāvīra's trials'.
The number 21 probably refers to the number of this illustration in the sequence of paintings in the manuscript, although it is a little surprising that such numbers are not mentioned in other illustrations. The manuscript lacks folios 27 to 55 so it does not correspond to the count now. The number could also refer to the number of attacks Mahāvīra goes through, but 21 does not seem to be a standard number for this.
Mahāvīra is the central figure in this painting and stands up straight, without any movement. This is the ascetic posture of meditation known as kāyotsarga, which makes one resemble a statue. He does so in spite of all that surrounds him, which indicates the trials – upasargas – he must pass through to advance spiritually.
At the upper right corner, a lady is shown. She represents the temptations of physical pleasures. The intentions of the man in the upper left corner are not clear.
Mahāvīra is surrounded by animals that are all aggressive, whether they are real or semi-fantastic. There are two black snakes winding up his body, resting their heads on his shoulders. Kinds of lions are shown biting him. Birds are poised to peck him with their beaks. The flower-like shapes near his ears are likely to be poisonous insects ready to sting or bite.
The text beside the picture is how the Kalpa-sūtra briefly describes the hardships Mahāvīra had to endure before reaching omniscience. The later textual tradition, however, and the painterly tradition have developed this theme into several episodes.
The bottom of the right margin contains the number 62. This is the folio number, in a square with two blue lines as an ornamental motif.
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:
The three diamonds along the central horizontal plane are symbolic reminders 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 diamonds are in the places where the holes would once have been.
All of the Jinas undergo a series of trials – upasargas – to confirm their
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.
Lines 1 to 2 of the text beside the picture say:
[For slightly more than 12 years, Śramaṇa Bhagavān Mahāvīra constantly desisted from care of the body, and neglected it. During this period, when any hardship came,] he bore it in all respects, forgave it, endured it, went beyond it, [whether caused by gods, men or animals, whether tempting or] adverse.
Lines 1 to 2 of the text beside the picture say:
1. [samaṇe bhagavaṃ Mahāvīre sāiregāiṃ duvālasa vāsāiṃ niccaṃ vosaṭṭha-kāe ciyatta-dehe, je kei uvasaggā uppajjaṃti taṃ jahā: divvā vā māṇussā vā tirikkha-joṇiyā vā aṇulomā vā pa]ḍilomā vā, te uppanne sammaṃ sahai khamai titi
2. kkhai ahiyāsei.
This manuscript of the Kalpa-sūtra is fully digitised on the Gallica Bibliothèque numérique website, part of the Bibliothèque Nationale de France (National Library of France) in Paris. Though the website is available in English, the information about the artefact is in French.
This rare palm-leaf page in the collections of the Philadelphia Museum of Art comes from an early 14th-century manuscript of the Śvetāmbara scripture of the Kalpa-sūtra. The picture illustrates the episode where the antelope-headed god Hariṇaigameṣin transfers the embryo of the Jina-to-be Mahāvīra from the brahmin lady Devānandā to the kṣatriya queen Triśalā.
http://www.philamuseum.org/collections/permanent/131608.html?mulR=656|4
This highly decorated page from a 15th-century manuscript of the Kalpa-sūtra is provided by the National Gallery of Australia. A young man performs the rite of keśa-loca – ‘pulling out of the hair’ – which indicates indifference to the body. It is part of the initiation ceremony of dīkṣā, in which an initiate renounces the world and becomes a mendicant. He is watched by Śakra, king of the gods who takes an active role in the lives of the 24 Jinas.
http://artsearch.nga.gov.au/Detail-LRG.cfm?IRN=177852&View=LRG
This illustrated page from a 15th-century manuscript of the Kalpa-sūtra is provided by the National Gallery of Australia. At the beginning of the section dealing with the 22nd Jina, Ariṣṭanemi, also called Nemi, the painting shows the famous episode of Prince Nemi's decision to renounce worldly life just before his wedding. He is so appalled by the distress of the animals due to be killed for his wedding feast that he decides to become a monk.
http://artsearch.nga.gov.au/Detail-LRG.cfm?View=LRG&IRN=147981&PICTAUS=TRUE
The National Gallery of Australia offers an elaborately illustrated page from a 15th-century manuscript of the Kalpa-sūtra. The 23rd Jina Pārśva sits in the lotus posture of meditation. He is easily identifiable from his seven-headed snake headdress.
http://artsearch.nga.gov.au/Detail-LRG.cfm?IRN=177853&View=LRG
This illustration is from a page of the Śvetāmbara scripture of the Kalpa-sūtra in the collections of the Philadelphia Museum of Art. It shows the last Jina, Mahāvīra, performing the rite of keśa-loca – ‘pulling out of the hair’ – which indicates indifference to the body. It is part of the initiation ceremony of dīkṣā, in which an initiate renounces the world and becomes a mendicant. He is watched by Śakra, king of the gods, who takes an active role in the lives of the 24 Jinas.
http://www.philamuseum.org/collections/permanent/105108.html?mulR=656|9
British Library. Or. 14262. Unknown author. Perhaps 15th century
British Library. Or. 13701. Sukha-sāgara for the commentary. 17th to 18th centuries
British Library. Or. 13341. Unknown author
Victoria and Albert Museum. IS. 83-1963. Unknown author. 15th century
Wellcome Trust Library. Gamma 3. Unknown author. 1503
British Library. Or. 11921. Unknown author. 1488