Photo of collection object Kalpa-sutra Manuscript with 24 Miniatures: Folio 60, text (recto); Sthulabhadra as a Lion (verso)
Kalpa-sutra Manuscript with 24 Miniatures: Folio 60, text (recto); Sthulabhadra as a Lion (verso), c. 1450. Gum tempera, ink, and gold on paper, Overall: 12.5 x 25.7 cm (4 15/16 x 10 1/8 in.). Edward L. Whittemore Fund, 1932.119.24. CC0.

Kalpa-sutra Manuscript with 24 Miniatures: Folio 60, text (recto); Sthulabhadra as a Lion (verso)

c. 1450

Maker Unknown

Indian and Southeast Asian Art

Kalpa-sutra Manuscript with 24 Miniatures: Folio 60, text (recto); Sthulabhadra as a Lion (verso), c. 1450. Western India, Gujarat. Gum tempera, ink, and gold on paper; overall: 12.5 x 25.7 cm (4 15/16 x 10 1/8 in.). The Cleveland Museum of Art, Edward L. Whittemore Fund 1932.119.24 This manuscript is open to a page with a painting that depicts the story of a Jain monk who transformed himself into a composite beast when his sisters, two nuns, came to visit him. Terrified, the nuns ran to a senior monk, at the lower left, who admonished their brother for his overly prideful display of power. Remarkably, this story is not told in the text itself, which contains only their names among a list of prominent Jain teachers. The painting would remind a reader of the story that is found in many commentaries to the text. The three red dots in the margins and the center occur only on the reverse side of the page; the obverse side has only one red dot in the center.
Maker/Artist
Maker Unknown
Classification
Painting
Formatted Medium
Gum tempera, ink, and gold on paper
Dimensions
Overall: 12.5 x 25.7 cm (4 15/16 x 10 1/8 in.)
Inscribed
Inscription: [[verso, beginning with line 1]] ttehiṁto | ittha ṇaṁ godāse nāmaṁ gaṇe niggae | tassa ṇaṁ imāu cattāri [line 2] sāhāu | evam=āhijjaṁti || taṁ jahā Tāmalittiā | Koḍīvarisiā [line 3] Poṁḍavaddhaṇiā | Dāsīkhabbaḍiā | therassa| |ṇaṁ ajja-Saṁbhūivija- [line 4] yassa | māḍhara-saguttassa | ime ḍuvālasa therā | aṁtevāsī || [line 5] ahāvaccā abhinnāyā hutthā || taṁ jahā | Naṁdaṇabhadde [line 6] Uvanaṁde [note 1] | taha Tīsabhadda Jasabhadde | there a Sumiṇabhadde 7? [line 7] Gaṇibhadde Punnabhadde a || 1 there a Thūlabhadde | Ujjumaī [note 2] Jaṁbu nā- [line 8] madhijje a | there a Dīhabhadde | there taha Paṁḍubhadde a || 2 therassa ṇaṁ | [line 9] ajja-Saṁbhūivijayassa | māḍhara-saguttassa | imāu satta aṁtevāsi Translation: […] the ‘Godāsa’ gaṇa was created. It has those four branches; they are the following: Tāmraliptikā, Koṭivarṣīyā, Puṇḍravardhanīyā, Dāsīkharbaṭikā. The noble Sambhutavijaya of the Māṭhara gotra had those twelve wise Theras as disciples: Nandanabhadra, Upananda, also Tiṣyabhadra, Yaśobhadra and the Thera Sumanobhadra, Gaṇibhadra and Puṇyabhadra and the Thera Sthūlabhadra, R̥jumati and the one named Jambū and the Thera Dīrghabhadra and also the Thera Pāṇḍubhadra. The noble Thera Sambhutavijaya of the Māṭhara gotra had those seven [female] disciples: Remark: 1. upanaṁda 2. ūjjumati Inscription: [[recto, beginning with line 1]] [the]re ajja-Jayaṁte | there ajja-Tāvase | therāo ajja-Nāïlāo Ajjanāilā sāhā niggayā | therāo [line 2] ajja-Pomilāo Ajjapomilī sāhā niggayā | therāo ajja-Jayaṁtāo Ajjajayaṁtī sāhā| [line 3] niggayā | therāo ajja-Tāvasāo Ajja|tāvasī sāhā niggayā | iti | vitthara-vāyaṇāe pu| [line 4] ṇa ajja-Jasabhaddāo | purao therāva|lī evaṁ viloijjaï || taṁ jahā || therassa ṇaṁ ajja- [line 5] Jasabhaddassa | tuṁgiāyaṇa-sa|guttassa | ime do therā | aṁtevāsī || ahā- [line 6] vaccā abhinnāyā hutthā ||: there ajja-Bhaddabāhū | pāīṇa-sagutte | there a| [line 7] jja-Saṁbhūivijae | māḍhara-sagutte | thera|ssa ṇaṁ ajja-Bhaddabāhussa | pāīṇa-saguttassa | ime [line 8] cattāri therā || aṁtevāsī || ahāvaccā abhinnāyā hutthā || taṁ jahā || there Godāse | there A| [line 9] ggidatte | there Jannadatte | there Somadatte | kāsava-gutte ṇaṁ | therehiṁto Godāsehiṁto | kāsava-gu- Translation: [The noble Vajrasena had four disciples, noble Thera Nāgila, noble Thera Padmila], noble [The]ra Jayanta, noble Thera Tāpasa. Thanks to the noble Thera Nāgila the Āryanāgila branch was created. Thanks to the noble Thera Tāpasa the Āryatāpasa branch was created. Thus, in the detailed recitation, the list of Theras after Yaśobhadra appears as follow: The noble Thera Yaśobhadra of the Tuṅgikāyana gotra had those two wise Theras as disciples: noble Thera Bhadrabāhu of the Prācīna gotra, noble Thera Sambhutavijaya of the Māṭhara gotra. In addition, the noble Thera Bhadrabāhu of the Prācīna gotra had those four wise Theras as disciples: Thera Godāsa, Thera Agnidatta, Thera Janadatta, Thera Somadatta of the Kāśyapa gotra. And thanks to the Thera Godāsa of the Kāśyapa go[tra] […]
Accession Number
1932.119.24
Credit Line
Edward L. Whittemore Fund
Rights Statement
CC0
Museum Location
242B Indian Painting

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