On the top level a man is seated in the lotus posture, with hands folded and wearing a single white garment. He wears a strange headdress. There are two fires either side of him.
In the bottom panel a black snake comes out of a rectangle on the left, by a man holding an axe. On the right a male figure sits astride a horse.
The caption in the right-hand margin says: Kamaṭha paṃcāgni – 'Kamaṭha [and] the five fires'. The man in the top panel is the heretic Kamaṭha, with the sun represented by the unusual headdress. The four fires and the hot sun beating down from overhead comprise the 'penance of the five fires'.
The snake is coming out of a log that has been split by the man with the axe. The figure on the horse is Prince Pārśva.
This scene illustrates a famous episode. Pārśvanatha or Lord Pārśva follows crowds on their way to worship the ascetic Kamaṭha. Pārśva knows that a snake is hiding inside one of the logs being added to one of the fires. He orders a servant to take out this piece of wood and to split it carefully. A large snake slithers out, half-burnt but alive.
The long protruding eye is a typical feature of western Indian painting. Its origin is unclear.
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 three circles along the central horizontal plane are symbolic reminders of the way in which manuscripts were bound at one time. Strings through three holes in the paper were used to thread together the loose folios so the reader could turn them over easily. The circles are in the places where the holes would once have been.
The elaborate script used for the main text is the Jaina Devanāgarī script, in a form which recalls calligraphy. It is used for writing numerous Indian languages, here for Prakrit.
There are a few notable features of this script:
In this particular folio there are occasional rings over the writing. These notate the nasalised vowels and are used instead of simple dots. There are examples above the first line.
This picture illustrates a famous episode that explains the close association between Pārśvanātha or Lord Pārśva and snakes. No other Jinas have a life story featuring an animal in this way.
Though not in the Kalpa-sūtra itself, this story belongs to Pārśva’s legend. This is how Hemacandra tells it in the 12th century.
One day, Pārśva is in his palace and sees crowds of people hurrying along with flowers. On asking why, he is told that they are going to worship the ascetic Kamaṭha, who has recently come to town. He decides to go too.
Pārśva knows that a snake is hiding inside one of the logs being added to one of the fires. He orders a servant to take out this piece of wood and to split it carefully. A large snake slithers out, half-burnt but alive.
Pārśva has the namaskāra-mantra recited for the snake. Absorbed in pure meditation, the serpent looks at Pārśva with its eyes moist with compassion. The power of the namaskāra-mantra and the sight of Pārśva causes the snake to be reborn as a Nāga-king, Dharaṇendra.
The Kalpa-sūtra is the most frequently illustrated Jain 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 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 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 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
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 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 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
British Library. Or. 13342. Unknown author.
Victoria and Albert Museum. IM 6-1931. Unknown author. Circa 1490
British Library. Or. 5149. Unknown author. 1464
British Library. Or. 14262. Unknown author. Perhaps 15th century
British Library. Or. 5149. Unknown author. 1464
British Library. Or. 12744. 1522. Unknown author.