The caption in the upper right corner says: guru – 'teacher'.
A large monk sitting on an ornate seat under a canopy is opposite a smaller ascetic. They are in characteristic Śvetāmbara robes. They each hold the cotton broom – rajoharaṇa – of the Śvetāmbara ascetic under one of their arms. They also hold their mouth-cloths in front of them, which signals that they are talking.
Above the smaller monk is the sthāpanācārya, symbolising teaching and teachers.
This illustration depicts a senior monk teaching another monk. The teacher's higher rank is shown by his larger size and throne-like seat. The listener is a junior member of the monastic community.
The long protruding eye is a typical feature of western Indian painting. Its origin is unclear.
The bottom of the right margin contains the number 91, which is the folio number. But it is torn.
The original paper has been pasted onto a new base. 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 golden diamonds along the central horizontal plane are symbolic reminders of the way in which manuscripts were bound at one time. Strings through one or more holes in the paper were used to thread together the loose folios so the reader could turn them over easily. The shapes are in the places where the holes would once have been.
Three diamonds mean a verso side.
The elaborate script used is the Jaina Devanāgarī script, which is here like calligraphy. It is used for writing numerous Indian languages, here for Ardhamāgadhī Prakrit.
There are a few notable features of this script, which:
There are also numerals in the text, which are paragraph numbers, namely the:
The lines in smaller script above and below the main text and in the margins are explanations in Sanskrit of phrases found in the central part. The two small parallel lines like slanted = after the words are meant to separate the explanations.
The Kalpa-sūtra is the most frequently illustrated text of the Śvetāmbara sect. It is read and recited by monks in the 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.
The third part of the Kalpa-sūtra, called the Sāmācārī, deals with rules of conduct that ascetics should observe during the rainy season. The end of the text emphasises the centrality of forgiveness and of showing respect to more senior mendicants. These concepts are shown here in the painting.
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
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 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
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. 5149. Unknown author. 1464
Victoria and Albert Museum. IM 6-1931. Unknown author. Circa 1490
Gamma 453. Wellcome Trust Library. Unknown author. 1512
Victoria and Albert Museum. IM 7-1931. Unknown author. Circa 1490
British Library. Or. 13362. Unknown author. Perhaps 15th century
Wellcome Trust Library. Gamma 3. Unknown author. 1503
British Library. Or. 13362. Unknown author. Perhaps 15th century
British Library. Or. 13362. Unknown author. Perhaps 15th century