The partly damaged caption in the upper-right corner says: Nemijñāna – 'Nemi's omniscience'.
The biggest figure is Neminātha or Lord Nemi, sitting in the lotus position in the centre of a gold square, made of three concentric walls. A female dancer is in the south or bottom of the square. Above Nemi's head is a triple parasol, which shows his kingly status. In the corners of the illustrated panel are pairs of animals around stepped shapes, which may represent water ponds or tanks.
This picture shows that Nemi has reached omniscience following 57 and a half days of suffering extreme physical trials.
The abstract concept of achieving omniscience is usually represented by illustrations of the samavasaraṇa. This word, which means 'universal gathering', refers both to an architectural structure and to the meeting itself. The square shape seen here is less common than the circle. Here, the structure is three walls thick. There are entrances in each of the four cardinal directions. The Jina sits at the centre, where his speech can be heard in all directions by all beings who carefully and respectfully listen to him. He can deliver his teaching only after reaching omniscience. This is why this notion is represented by the samavasaraṇa.
In depictions of the universal gathering, it is common to show animals that are normally enemies peacefully listening in pairs to the Jina's teaching. Here, the snake and the peacock in the upper-right corner demonstrate this atmosphere of peace.
The dancing lady expresses the joyful atmosphere of the event.
The bottom of the right margin contains the number 87. This is the folio number, in a square with two blue lines as an ornamental motif.
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.
Note how the paper is quite badly watermarked and the painting is heavily smudged and marked, so that the illustration and the text are hard to see.
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.
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
Victoria and Albert Museum. IS. 83-1963. Unknown author. 15th century
British Library. Or. 11921. Unknown author. 1488
British Library. Or. 13959. Unknown author. 1639
British Library. Or. 13701. Sukha-sāgara for the commentary. 17th to 18th centuries
British Library. Or. 5149. Unknown author. 1464