The Marriage of Thirthankara Neminath

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This leaf depicting a Jain theme, namely the marriage of Thirthankara Neminath, is in Kalpasutra format and adheres to an exact Gujarat Kalpasutra style. Rendered on a narrow strip of cloth or palm leaf a Kalpasutra folio revealed its theme by using abstract conventional symbols often derived from cardinal aspects of that theme. Details and superfluity were rigorously weeded out. Large protruding eyes, sharp noses and angular faces were characteristic features of figures in Kalpasutra folios, but the other eye protruding beyond the face even in a side pose, extra carved hung chin and wings-like projected sash were peculiarities of Gujarat Kalpasutra art. It is for using these stylistic features that this folio and the other one just above it fall in the Gujarat tradition of Kalpasutras.

Dividing the canvas space in five distinct compartments the artist has serialised his theme. As the tradition has it, the space in the centre has been used for the relevant text. It has the usual cosmic symbol of Jain concept. Both the upper and lower chambers on the left depict events preceding a marriage. In the upper one, two messengers are seen narrating to the would-be bride, Rajula, the particulars of Neminath, the proposed bride-groom, and seeking her consent to marriage. In the lower one the same proposal is being moved to the bride's mother after her daughter had given to it her consent.

The lower compartment on the right depicts the bride-groom, Thirthankara Neminath, proceeding to his bride's house for marrying her. He is riding a royal elephant beautifully painted and adorned with jewels like Indra's elephant Erawata. He is carrying in one of his hands a bouquet or a large flower exactly as one would carry a royal standard when proceeding to a marriage. The attendant piloting him holds in her hands the auspicious ax. The most significant is the presence of a wooden pole with a bird's or animal's head in front of them. As the tradition had it, it was by moving seven times around such an auspicious wooden khambha that a marriage was consecrated. Obviously the presence of this symbol suggests that the figure on elephant was a bride-groom on his errand to marry.

The compartment just above it houses the padmasana image of Thirthankara Neminath. He has renounced the world and is now the enlightened one. His long ears and the red lotus mark on his chest are indications of his having attained the thirthankarhood. For better depicting his enlightenment the artist has painted on all his four sides sun like radiating circles and houses like structures bursting with rays of glowing lights. They indicate that all his faculties and all within and without have exploded with light and he is enlightened.

As depict Jain texts, Neminath was a Yaduvanshi, the same as was Lord Krishna and the two were each other's kinsmen. Neminath was highly emotional and compassionate. When at his bride's house, he noticed a large number of cattle, thirsty, hungry and uncared for, retained inside a fold. They were all moaning miserably. Neminath asked the reason for retaining them. When he learnt that they were the part of dowry to be given to him, it deeply and painfully struck his mind. He realised that this life sustained and prospered by exploiting and causing misery to others. He instantly renounced the world and entered severest austerities. .

This description by Prof. P.C. Jain and Dr Daljeet. Prof. Jain specializes on the aesthetics of ancient Indian literature. Dr Daljeet is the chief curator of the Visual Arts Gallery at the National Museum of India, New Delhi. They have both collaborated on numerous books on Indian art and culture.