Kalakacarya-katha: A Jaina Monk’s Tryst with the Scythians as Represented in the Illustrated Manuscripts from Western India

The article discusses an ancient Jaina legend dating back 2000 years, which revolves around the abduction of a nun named Sarasvati by the king of Ujjayini, and the subsequent involvement of a Saka (Scythian) king in her rescue. The story was recorded in Prakrit and Gujarati a thousand years later and was illustrated and included in Kalpasutra manuscripts five hundred years after that. The article explores the illustrations from manuscripts commissioned in Western India, particularly Gujarat, for their patrons, the Sultanates of Jaunpur, Ahmedabad, and Malwa. These illustrations shed light on the storyline, highlighting the use of yogic power and moral themes, providing insight into the meaning behind the Svetambara sect’s legend and its representation in Western Indian Art history.

Authors

Publication Details

Journal
The Chitrolekha Journal on Art and Design
Published
2024-10-06
DOI
https://doi.org/10.21659/cjad.82.v8n203
Primary Topic
Indian History and Philosophy
Type
article
Field-Weighted Citation Impact
0.00
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article

Kalakacarya-katha: A Jaina Monk’s Tryst with the Scythians as Represented in the Illustrated Manuscripts from Western India

Soma Ghosh
The Chitrolekha Journal on Art and Design
Indian History and Philosophy
article

Kalakacarya-katha: A Jaina Monk’s Tryst with the Scythians as Represented in the Illustrated Manuscripts from Western India

Soma Ghosh
article en

Abstract

The article discusses an ancient Jaina legend dating back 2000 years, which revolves around the abduction of a nun named Sarasvati by the king of Ujjayini, and the subsequent involvement of a Saka (Scythian) king in her rescue. The story was recorded in Prakrit and Gujarati a thousand years later and was illustrated and included in Kalpasutra manuscripts five hundred years after that. The article explores the illustrations from manuscripts commissioned in Western India, particularly Gujarat, for their patrons, the Sultanates of Jaunpur, Ahmedabad, and Malwa. These illustrations shed light on the storyline, highlighting the use of yogic power and moral themes, providing insight into the meaning behind the Svetambara sect’s legend and its representation in Western Indian Art history.

The Chitrolekha Journal on Art and DesignVol. 8(2)
Gender equality
Openalex Percentile: Top 70%
Indian History and Philosophy
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