14 Auspicious Dreams (Swapna) of Trishala Mata

With rare pictures paying her tribute

Dr Uday Dokras,PhD Stockholm University,SWEDEN

The birth name -“Vardhamana” “the one who grows”

during his birth the kingdom became more prosperous.
We all have dreams, and sometimes when we wake up we want to know what those dreams
meant. Dreams about giving birth or watching someone giving birth might indicate coming up
with some new idea or a project. Maybe this dream signifies you have a new attitude or beliefs.
Maybe it is a sign of some major events happening in your life.

Dreams about giving birth may represent some new beginnings, like new relationships or
situations.They might signify the beginning of a new phase in your life. Major changes in life
often trigger dreams about giving birth. These dreams might also signify the beginning of some
problems or negative situations in your lifeDreams about giving birth are often dreamed during
pregnancy, and they usually reveal your fears and concerns about the baby’s health. Dreams
about the child dying during birth might be a sign of having difficulties in getting pregnant.

Auspicious dreams are often described in texts of Jainism which forecast the virtue of children.
Their number varies according to different traditions and they described frequently as fourteen or

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sixteen dreams. They are seen by mothers of the prominent figures in Jainism including
Tirthankaras, on the conception of their soul in womb. They are interpreted as describing virtues
and kingship of a future child. They are also found in various artistic media as an ornamentation.

Dreams

Their number and description differ according to major traditions of Jainism. According to
Digambara tradition, there are 16 dreams while according to Svetambara tradition, there are 14
dreams. Most of them are same. They are described in detail as dreams of queen Trishala, mother
of Mahavira, in some Jain texts. These dreams features animals, objects and a goddess associated
with positive virtues and kingship. They are generally considered positive symbols in Indian
culture so they frequently appear in other Indian religions like Buddhism and Hinduism.

Auspicious dreams
No. No.
Image Dream Interpretation Notes
Digambara Svetambara
mother would give
birth to a child with
good character. The
white elephant four tusk of elephant similar to the
1 1 with four tusks depicts the four elephant of
/ Airavata components of Indra
Airavata Sangha: monks,
nuns, laymen and
laywomen.
The dream foretold
the birth of a great
religious Teacher
2 2 bull -
who would spread
the light of
Vrishabha knowledge.
He will be
strong as the
power, strength and
3 3 Lion lion, in
fearlessness
overcoming
Sinha all enemies. -

2
 Auspicious dreams
No. No.
Image Dream Interpretation Notes
Digambara Svetambara

wealth and
4 4 Shri or Laxmi -
prosperity

Laxmi

popularity and
5 5 pair of garlands -
respect

Phulmala

peace and help to

6 6 full moon -
others
Purnima
Chandra

7 7 sun supreme knowledge -

Surya

flag with lion

pictured on it
- 8 leadership -
flying on
golden stick
Dhvaja

8 - pair of fishes handsomeness -

Meenyugma

perfect in virtues and considered

full jug / pair of
would be full of auspicious in
9 9 full vases with
compassion for all Dharmic
lotuses
living beings. religions
Purna Kalasha

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 Auspicious dreams
No. No.
Image Dream Interpretation Notes
Digambara Svetambara

lotus pond / unattachment to

10 10 -
celestial lake worldly possessions

Padma Sarovar

achievement of
ocean / rough infinite perception
11 11 -
ocean and knowledge,
spiritual liberation
Ratnakar
A very big,
resplendent,
golden throne Son will become the
16 12 -
set with bright World Teacher[
diamonds and
Sinhasana rubies.

indicated that angels

celestial cheriot in heaven would
13 12 -
palace respect, honor his
spiritual teachings
Dev Vimana
The rising
residence of
Nāgendra, the
Child will be born
14 - lord of the -
with clairvoyance
devas of the
Palace Nāgakumāra
clan.

15 13 heap of jewels virtues and wisdom -

Ratnadhag

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 Auspicious dreams
No. No.
Image Dream Interpretation Notes
Digambara Svetambara

reform and restore

religious order. He
16 14 smokeless fire would burn his -
karmas and attain
Nirdhumra salvation.
Agni

Queen Trishala, Mahavira's mother has auspicious dreams. Folio 4 from Kalpasutra

In texts-Importance

These dreams are connected with the births of Tirthankaras and the other prominent people
including Chakravarti, Balabhadra/Baladeva and Vāsudeva in Jainism. They are 63 in total and
called Shalakapurusha. Their mothers see a certain number of dreams on conception of their soul
in womb. They are described in the great detail in Kalpasutra. 12th century Jain monk
Hemchandracharya described and interpreted them in detail in Trishashthishalakapurush.
Avashyak-niryukti, an early verse-commentary in Prakrit, explains relation of names of some
Tirthankaras and these dreams.

Foretelling as per Kalpasutra

Number of dreams What it foretells
14 dreams birth of a future Tirthankara or Chakravarti (universal monarch)
7 of the 14 dreams birth of a future Vāsudeva
4 of the 14 dreams birth of a future Baladeva/Balabhadra
1 of the 14 dreams birth of a future Mandalika (king)

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On the fifth day of festival of Paryusana, Jain monks read or narrate the portion of the
Kalpasutra dealing with birth of last Tirthankara Mahavira, to the Jain lay people. They are
displayed to the people in the form of silver models and auctioned for temporary possession and
display to other people for festive days.

Trishala, mother of Mahavira, or Maha Mays as she is fondly called. the most recent of the
Tirthankaras (“Ford-makers,” i.e., saviours) of Jainism, a religion of India. Trishala, like the
mother of the Buddha, was a member of the Kshatriya (warrior) caste. According to Jain
tradition, Trishala lived some 2,500 years ago and, like the mothers of all 24 Tirthankaras, had a
series of 14 auspicious dreams during pregnancy that revealed her son’s exalted status.

According to Buddhist legend, Maha Maya dreamed that a white elephant with six tusks
entered her right side, which was interpreted to mean that she had conceived a child who would
become either a world ruler or a buddha. After 10 lunar months, feeling that the time of birth was
near, she went to the Lumbini grove outside the city of Kapilavastu. While she stood upright and
held onto the branch of a sal tree (in the posture adopted by mothers of all buddhas), the child
came forth from under her right arm. Seven days after his birth (again, in accordance with the
destiny of the mothers of all buddhas) she died and was reborn again in the Heaven of the Thirty-
three Gods (Tavatimsa Heaven). The scenes of the conception and delivery of Gautama Buddha
are often depicted in art.

TrishalaMata, the mother of Lord Mahavir had 14 dreams ( some say it is 16) when Lord
Mahavir was going to be born. These are depicted and the indication of all these dreams was that
the child to be born would be very strong, courageous, and filled with virtues. He would be very
religious and would become a great king or a spiritual leader. He would reform and restore the
religious order and guide all the creatures of the universe to attain salvation. He would also be
liberated. Tirthankar Mahavir’s soul was an angel in the tenth heaven before being born as Prince

Vardhaman. At midnight on the sixth day of the bright half of Ashadh, his Ayushya Karma
ended, and so did his life as an angel. His soul came to earth and was conceived in the womb of a
Brahmin lady named Devananda. That night, Devananda had 14 unusual and great dreams. She
woke up and told her husband about the dreams. He told her that their son would be a great one

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and gifted with many virtues. After 82 days, on the thirteenth day of the month of Aaso,
Saudharma Indra, the King of Angels was in his court. His throne started shaking, so he used his
Avadhijnan, a special mental power through which one can see distant things, to see what was
going on. He learned that Lord Mahavir’s soul was conceived in Devananda’s womb. For a
moment, he was puzzled, but then he realized that this was the result of Lord Mahavir’s gotra
karmas from his previous life. He said to himself, "No, Tirthankar Bhagwan is never born in a
low status family. This should not happen to Mahavir. I will move his soul to a high status
family." Saudharma summoned Angel Hari-naigamesin to his court and commanded him to
transplant the fetus from the womb of Devananda to the womb of Queen Trishala, the wife of
King Siddharth, and to put Queen Trishala’s fetus in Devananda’s womb.
Angel Hari-naigamesin left the court of King Saudharma Indra to go to Devananda’s home. With
his divine speed, he soon arrived at the bed side of Devananda and paid his reverence to the soul
of Lord Mahavir. With his divine power, he put Devananda into a deep sleep, removed the fetus
and then left to go to Queen Trishala’s palace.

Again with his divine speed, he reached Queen Trishala’s palace within a very short time. He
used his divine power to put Queen Trishala into a deep sleep and then he performed the
exchange of the fetuses. Once again, he paid reverence to Lord Mahavir’s soul. Then he left with
the fetus of Queen Trishala and went to Devananda’s home to replace the fetus in her womb.
(Digambars do not believe in the fetus transfer part.) That night, Queen Trishala had those
fourteen great dreams. The dreams filled her with wonder and joy. She woke up her husband,
King Sidharth and told him what she saw in the fourteen dreams. He told her that those dreams
seemed very auspicious. The next day, King Siddharth summoned the scholars to his court and
asked them about the meaning of these dreams.
(Digambar sect does not believe prince Vardhaman being conceived by Devananda.)

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 The first dream Queen Trishala had was of an Elephant.
This dream indicated that she would give birth to a child with exceptionally high character. The
four tusks signified that he would guide the spiritual chariot with its four components: monks,
nuns, laymen, and laywomen.

The second dream Queen Trishala had was of a Bull.

This dream indicated that her son would be highly religious and a great spiritual teacher. He
would help cultivate the religion.

The third dream Queen Trishala had was of a Magnificent

Lion.
This dream indicated that her son would be as powerful and strong as the lion. He would be
fearless, almighty, and capable of ruling the world.

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 The fourth dream Queen Trishala had was of the Goddess
Laxmi, the goddess of wealth, prosperity, and power.
This dream indicated that her son would enjoy great wealth and splendor. He would be a
Tirthankar, the supreme benefactor of all.

The fifth dream Queen Trishala had was of a Beautiful

Garland descending from the sky.
This dream indicated that the fragrance of her son’s teaching will spread throughout the universe,
and he would be respected by all.

The sixth dream Queen Trishala had was of a Full Moon.

This dream indicated that the child would help lessen the suffering of the all living beings. He
would bring the peace to the world. He would help the spiritual progress of entire humanity at
large.

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 The seventh dream Queen Trishala had was of the Bright
Sun.
This dream indicated that her son would have the supreme knowledge and would dispel the
darkness of the delusions.

The eighth dream Queen Trishala had was of a Large Flag

flying on a golden stick.
This dream indicated that her son would carry the banner of the religion. He would reinstate the
religious order throughout the universe.

The ninth dream Queen Trishala had was of a Golden Vase

filled with the clear water.

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This dream indicated that her son would be perfect in all virtues and would be full of compassion
for all living beings. He would be a supreme religious personality.

The tenth dream Queen Trishala had was of a Lake full of

Lotuses.
This dream indicated that her son would be beyond worldly attachment. He would help liberate
human beings who were tangled in the cycles of birth, death, and misery.

The eleventh dream Queen Trishala had was of an Ocean.

This dream indicated that her son would have a serene and pleasant personality. He would
achieve the infinite perception and knowledge and would escape from worldly life which is the
ocean of birth and death and the misery. This would lead his soul to the Moksha (liberation).

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 The twelfth dream Queen Trishala had was of a Celestial
plane.
This dream indicated that all of the Angels in the heaven would respect, honor, and salute her
son’s spiritual teachings.

The thirteenth dream Queen Trishala had was of a Big

Heap of Jewels.
This dream indicated that her son would have infinite virtues and wisdom and he would attain
the supreme spirit.

The fourteenth dream Queen Trishala had was of a

Smokeless Fire.

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This dream indicated that her son would reform and restore the religious order. He would remove
blind faith and orthodox rituals. Furthermore, he would burn or destroy his karmas and attain
salvation.
What do the Fourteen Dreams Mean?
Before Mahavir Swami was born, his mother, Trishala, had fourteen interesting dreams...
1. Elephant: This elephant had all the desirable marks of excellence, and indicated
to Trishala Mata that she would give birth to a child with excellent character. The
elephantÕs four tusks symbolized that fact that the child would lead the Òspiritual
chariotÓ in four areas; monks, nuns, laymen, and laywomen.
2. Bull: The bull was very strong and noble, and signified that the son would be a very
religious man and a spiritual teacher.
3. Lion: The lion was very perfectly shaped and structured, with sharp teeth and

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perfect eyes. This lion signified that her son would be without fear, and would be
capable of ruling the world.
4. Goddess Laxmi: Laxmi is the goddess of wealth, prosperity, and power. This was
a very important dream because it showed that her son would possess great wealth
and glory, and that he would become a Tirthankar.
5. Garland: This beautiful garland came from the sky, and had the smell of several
fragrant flowers. These flowers bloomed in every season, and their smell carried
throughout the universe. This dream symbolized the fact that her sonÕs philosophies
would spread throughout the whole universe.

6. Full Moon: The moon was comparable to the brightness of a star, and was active
at its highest glory. This dream symbolized that the child would decrease the
suffering of living beings, and would strive to maintain peace in the world.
7. Bright Sun: The sun destroyed darkness through its brightness, and ended the

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evil occurrences of the night. This dream showed that the child would possess
infinite knowledge and would end the delusions of living beings.
8. Large Flag: The flag flew gently in the breeze, and attracted the attention of all.
This dream indicated that the son would be the carrier of the message of religion,
and he would echo religious order throughout the universe.
9. Golden Vase: This vase was full of pure water, and was highly decorated. This
dream symbolized that the child would be full of perfect virtues, with total
compassion for all souls.
10. Lotus Lake: This dream showed thousands of floating lotuses in a lake, which all
opened from the rays of the sun. This dream indicated that the child would be free of
worldly attachments, and would aid humans in liberating their souls from the endless
cycle of birth, death, and rebirth.
11. Ocean: The water in this ocean rose in all directions to great heights, but blew
gently when it created waves. This dream symbolized that the son would have a
calming and peaceful personality, and that he would lead himself toMok sha, or
liberation.
12. Heavenly Chariot: This chariot was full of heavenly music, and was surrounded
by the aroma of incense. This dream indicated that all of the heavenly angels would
honor the child and his spiritual teachings.
13. Jewels: This dream showed a mixture of different types of precious jewels. The
jewels symbolized that the son would possess great virtues and wisdom.
14. Smokeless Fire: This fire was very powerful, but had no smoke. This dream
indicated that the child would be a reformer of religion, and that he would remove
blind faith. He would symbolically burn and destroy his karma and then attain
salvation.

According to Jains, Mahavira was born in 599 BCE. His birthday falls on the thirteenth day of
the rising moon in the month of Chaitra in the Vira Nirvana Samvat calendar era. It falls in
March or April of the Gregorian calendar, and is celebrated by Jains as Mahavir Janma Kalyanak
Kundagrama (the place of Mahavira’s birth) is traditionally believed to be near Vaishali, an
ancient town on the Indo-Gangetic Plain. Its location in present-day Bihar is unclear, partly

15
because of migrations from ancient Bihar for economic and political reasons. According to the
"Universal History" in Jain texts, Mahavira underwent many rebirths (total 27 births) before his
6th-century birth. They included a denizen of hell, a lion, and a god (deva) in a heavenly realm
just before his last birth as the 24th tirthankara. Svetambara texts state that his embryo first
formed in a Brahman woman before it was transferred by Hari-Naigamesin (the divine
commander of Indra's army) to the womb of Trishala, Siddhartha's wife. The embryo-transfer
legend is not believed by adherents of the Digambara tradition.

Jain texts state that after Mahavira was born, the god Indra came from the heavens along with 56
dipkumaries, anointed him, and performed his abhisheka (consecration) on Mount Meru.[39]
These events, illustrated in a number of Jain temples, play a part in modern Jain temple rituals.[45]
Although the Kalpa Sūtra accounts of Mahavira's birth legends are recited by Svetambara Jains
during the annual Paryushana festival, the same festival is observed by the Digambaras without
the recitation.

Early life
He was born into the royal Kshatriya family of King Siddhartha of the Ikshvaku Dynasty and
Queen Trishala of the Licchavi dynasty. The Ikshvaku Dynasty was established by First
Tirthankara Rishabhanatha.. Mahavira grew up as a prince. According to the second chapter of
the Śvētāmbara Acharanga Sutra, his parents were lay devotees of Parshvanatha. Jain traditions
differ about whether Mahavira married. The Digambara tradition believes that his parents wanted
him to marry Yashoda, but he refused to marry. The Śvētāmbara tradition believes that he was
married to Yashoda at a young age and had one daughter, Priyadarshana, also called Anojja.

Personality: Jain texts portray Mahavira as tall; his height was given as four cubits (6 feet) in the
Aupapatika Sutra. According to Jain texts, he was the shortest of the twenty-four tirthankaras;
earlier teachers were believed to have been taller, with Neminatha or Aristanemi —the 22nd
tirthankara, who lived for 1,000 years—said to have been sixty-five cubits (98 feet) in height.

Renunciation

At age thirty, Mahavira abandoned royal life and left his home and family to live an ascetic life
in the pursuit of spiritual awakening. He undertook severe fasts and bodily mortifications,

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meditated under the Ashoka tree, and discarded his clothes. The Acharanga Sutra has a graphic
description of his hardships and self-mortification. According to the Kalpa Sūtra, Mahavira
spent the first forty-two monsoons of his life in Astikagrama, Champapuri, Prstichampa,
Vaishali, Vanijagrama, Nalanda, Mithila, Bhadrika, Alabhika, Panitabhumi, Shravasti, and
Pawapuri. He is said to have lived in Rajagriha during the rainy season of the forty-first year of
his ascetic life, which is traditionally dated to 491 BCE. Mahavira had 11 chief disciples,
Indrabhuti Gautama being the most senior. Each chief disciple was made responsible for 250 to
500 monks. The Jain sangha (community) was led and administered by an organised system
consisting of acharyas (leaders), upadhyayas (teachers), sthaviras (motivators of self-discipline),
pravartakas (preachers) and ganis (leader of smaller groups of monks).[5] Other titles included
panyasa (canonical text experts), mahattara (female leader) and pravartini (female preacher).

The leadership of Jain order passed from Mahavira to Indrabhuti, who was succeeded by
Sudharma (607-506 BCE). After 12 years, it was further passed on to Jambu (543-449 BCE),
Prabhava (443-338 BCE) and Shayyambhava (377-315 BCE).

The Jain scriptures do not provide clear information as to why Mahavir renounced all clothing in
toto. So any answer has to be based on individual’s perception.

Consider the following facts:

✓ Lord Mahavira relinquished all his clothes and ornaments while taking deeksha.

✓ Soon thereafter Shakrendra (Indra of the first devlok) put a sheet of cloth called
‘devdooshya’ on both his shoulders.

✓ Later a poor man named Som Datt came to him begging for alms and since Lord
Mahavira had nothing else to give, he gave him half of that devdooshya.

✓ The other half remained on Lord Mahavira’s body for about thirteen months when it got
entangled in a bush and fell down from his shoulders. Lord Mahavira did not even bother
to look back and see what happened, totally unconcerned about the piece of cloth.

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From this it can be inferred that wearing or not-wearing clothes was of no significance to Lord
Mahavira. He did not consider clothes as parigrah like other worldly possessions. Otherwise he
would have clearly told Shakrendra to take it back as it was an impediment in attaining moksh.

This may be considered in the context that the very next day when Shakrendra came to Lord
Mahavira and requested him to let him (Shakrendra) be in his service in order to protect him
from the troubles that may come his way, Lord Mahavira straightaway refused telling him that
the path to moksh has to be travelled alone, not on the ‘shoulders’ of someone else.

Another point to be considered is that there were both Jinkalpi (those who are naked) and
Sthavirkalpi (those who wear clothes) sadhus in the commune of Lord Mahavira. If Lord
Mahavira had considered clothes as impediment in attaining moksh, he would not have laid
down guidelines allowing his sadhus to wear simple white clothes. (Lord Parshwanath’s sadhus
could wear even expensive, coloured clothes; Lord Mahavira changed it to simple white clothes).

Wearing or not wearing clothes is immaterial to a would-be Tirthankar or for that matter to any
ascetic who is seriously pursuing the path of liberation. What matters is attachment and they do
not have any attachment even to their body, not to talk of clothes. Tirthankars lead a very
detached life prior to deeksha too. Even when they have the luxuries of a chakravarty king (three
of the twenty-four Tirthankars were chakravarties too in that life itself), they do not look for or
even think of getting any sensual pleasures and lead their life with total equanimity. They know
that all the luxuries they have are the result of their past punya-karmas and they have to shed
these karmas too in this life.

Historians believe that a united Jain community existed before 367 BCE, about 160 years
after the moksha (liberation) of Mahavira. The community then gradually divided into two
denominations: the Digambara and the Śvētāmbara. Acharya Kundakunda is the most revered
acharya (preceptor) of the Duḥṣamā period of the present avasarpiṇī (descending) era. The
Kalpa Sūtra describes Mahavira's asceticism in detail; from it, most of the ascetic practices
(including the restraints and regulations) are derived.

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 For a year and a month wore clothes; after that time he walked about naked, and accepted the
alms in the hollow of his hand. For more than twelve years the Venerable Ascetic Mahavira
neglected his body and abandoned the care of it; he with equanimity bore, underwent, and
suffered all pleasant or unpleasant occurrences arising from divine powers, men, or animals.
 Kalpa Sūtra 117
Henceforth the Ascetic Mahavira was houseless, circumspect in his walking, circumspect in his
speaking, circumspect in his begging, circumspect in his accepting (anything), in the carrying of
his outfit and drinking vessel; circumspect in evacuating excrement, urine, saliva, mucus, and
uncleanliness of the body; circumspect in his thoughts, circumspect in his words, circumspect in
his acts; guarding his thoughts, guarding his words, guarding his acts, guarding his senses,
guarding his chastity; without wrath, without pride, without deceit, without greed; calm, tranquil,
composed, liberated, free from temptations, without egoism, without property; he had cut off all
earthly ties, and was not stained by any worldliness: as water does not adhere to a copper vessel,
or collyrium to mother of pearl (so sins found no place in him); his course was unobstructed like
that of Life; like the firmament he wanted no support; like the wind he knew no obstacles; his
heart was pure like the water (of rivers or tanks) in autumn; nothing could soil him like the leaf
of a lotus; his senses were well protected like those of a tortoise; he was single and alone like the
horn of a rhinoceros; he was free like a bird; he was always waking like the fabulous bird
Bharundal, valorous like an elephant, strong like a bull, difficult to attack like a lion, steady and
firm like Mount Mandara, deep like the ocean, mild like the moon, refulgent like the sun, pure
like excellent gold'; like the earth he patiently bore everything; like a well-kindled fire he shone
in his splendour.
 Kalpa Sūtra 118

Vidyasagar, a prominent Digambara monk. A Prominent Digambar Jain Monk.

A Śvētāmbara initiation involves a procession in which the initiate symbolically disposes of his
material wealth and makes donations. This is followed (or preceded) by another ritual in which
the initiate receives an ogho (a small broom made of wool) from their mentor as a symbol of
welcome into the monastic order. The initiate then puts on monastic clothing and pluck out hairs
by hand. Further rituals formally initiate them into the monastic order. The Śvētāmbara

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Terapanth sect requests written permission from a person's parents before initiating them into the
ascetic order.

Jain nuns meditating.The five Great Vows of Jain ascetics

The earliest known texts often ask for ascetics to be in complete solitude, identifying the
isolation of soul and non-soul. However, soon after Mahavira's nirvana ascetics organized
themselves into groups. A few examples of ascetics living in complete solitude are found in the
Digambara sect. Jain ascetics are detached from social and worldly activities; all activities are
aimed at self-purification for self-realization. They follow established guidelines for daily
worship and austerity.

The monk's daily routine is broadly structured by three ideological formulae: the five great vows
(mahavrata), the eight matrices of doctrine (pravacana-matrka), and the six obligatory actions
(avasyaka). The first two are restrictions, and the third is positively framed in what the monk is
encouraged to do daily. Ascetics do not have a home or possessions. They choose austerity,
avoid services such as telephones and electricity. Monks engage in activities such as meditation,
seeking knowledge and acquiring self-discipline. Jain monks and advanced laypeople avoid
eating after sunset, observing a vow of ratri-bhojana-tyaga-vrata. Digambara monks observe a
stricter vow by eating only once a day.

The Yati of the Śvētāmbara sect and the Bhattaraka of the Digambara Terapanth do not wander;
they usually live in temples and perform daily rituals. The monks rise before dawn, most around
5:00 a.m. but some as early as 2:00 a.m. In observance of utsarg-samiti, defecation takes place in
the open where feces does not harm living creatures; urination is into a shallow pan, which is
emptied onto a dry patch of ground.

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Five mahāvratas (Great Vows), from Mahavira's teachings, are followed by all Jain ascetics.
Although Jain householders are also required to observe them, ascetics are bound more strictly.

Omniscience

According to traditional accounts, Mahavira achieved Kevala Jnana (omniscience, or infinite

knowledge) under a Sāla tree on the bank of the River Rijubalika near Jrimbhikagrama at age 43
after twelve years of rigorous penance. The details of the event are described in the Jain Uttar-
purāņa and Harivamśa-purāņa texts. The Acharanga Sutra describes Mahavira as all-seeing.
The Sutrakritanga expands it to all-knowing, and describes his other qualities.[1] Jains believe
that Mahavira had a most auspicious body (paramaudārika śarīra) and was free from eighteen
imperfections when he attained omniscience. According to the Śvētāmbara, he traveled
throughout India to teach his philosophy for thirty years after attaining omniscience.[54] However,
the Digambara believe that he remained in his Samavasarana and delivered sermons to his
followers.

Disciples

Jain texts document eleven Brahmins as Mahavira's first disciples, traditionally known as the
eleven Ganadharas.[67] Indrabhuti Gautama is believed to have been their leader and the others
included Agnibhuti, Vayubhuti, Akampita, Arya Vyakta, Sudharman, Manditaputra,
Mauryaputra, Acalabhraataa, Metraya, and Prabhasa. The Ganadharas are believed to have
remembered and to have verbally transmitted Mahavira's teachings after his death. His teachings
became known as Gani-Pidaga, or the Jain Agamas. According to Kalpa Sutra, Mahavira had
14,000 muni (male ascetic devotees), 36,000 aryika (nuns), 159,000 sravakas (male lay
followers), and 318,000 sravikas (female lay followers). Jain tradition mentions Srenika and
Kunika of Haryanka dynasty (popularly known as Bimbisara and Ajatashatru) and Chetaka of
Videha as his royal followers. Mahavira initiated his mendicants with the mahavratas (Five
Vows). He delivered fifty-five pravachana (recitations) and a set of lectures (Uttaraadhyayana-
sutra) Chandana is believed to be the leader of female monastic order.

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Nirvana and moksha

According to Jain texts, Mahavira's nirvana (death) occurred in the town of Pawapuri in present-
day Bihar. His life as a spiritual light and the night of his nirvana are commemorated by Jains as
Diwali at the same time that Hindus celebrate it. His chief disciple, Gautama, is said to have
attained omniscience the night that Mahavira achieved nirvana from Pawapuri.

Accounts of Mahavira's nirvana vary among Jain texts, with some describing a simple nirvana
and others recounting grandiose celebrations attended by gods and kings. According to the
Jinasena's Mahapurana, heavenly beings arrived to perform his funeral rites. The
Pravachanasara of Digambara tradition says that only the nails and hair of tirthankaras are left
behind; the rest of the body dissolves in the air like camphor.[80] In some texts Mahavira is
described, at age 72, as delivering his final preaching over a six-day period to a large group of
people. The crowd falls asleep, awakening to find that he has disappeared (leaving only his nails
and hair, which his followers cremate).

The Jain Śvētāmbara tradition believes that Mahavira's nirvana occurred in 527 BC, and the
Digambara tradition holds that date of 468 BCE. In both traditions, his jiva (soul) is believed to
abide in Siddhashila (the home of liberated souls). Mahavira's Jal Mandir stands at the place
where he is said to have attained nirvana (moksha). Artworks in Jain temples and texts depict his
final liberation and cremation, sometimes shown symbolically as a small pyre of sandalwood and
a piece of burning camphor.

Previous births

Mahavira's previous births are recounted in Jain texts such as the Mahapurana and Tri-shashti-
shalaka-purusha-charitra. Although a soul undergoes countless reincarnations in the
transmigratory cycle of saṃsāra, the birth of a tirthankara is reckoned from the time he
determines the causes of karma and pursues ratnatraya. Jain texts describe Mahavira's 26 births
before his incarnation as a tirthankara. According to the texts, he was born as Marichi (the son
of Bharata Chakravartin) in a previous life.

22
Jains’ interest in dreams is connected with their general interest in the field of omens and
predictions. Dreams have such importance in the Jain literary, pictorial and religious traditions
because the concept is closely connected with those they respect most – the Jinas.

The most famous dreams in Jain belief are those experienced by the woman pregnant with the
new Jina. These auspicious dreams are a key feature of the Kalpa-sūtra, a significant text for
Śvetāmbara Jains. They also play an important role in celebrations of the annual festival of
Paryuṣaṇ, in which the Kalpa-sūtra has a central position.

Depictions of these auspicious dreams are common in various artistic media. Representations of
the dreams form striking decorative elements of many Jain temples while Śvetāmbara Jains
create ornate manuscript covers and invitation scrolls featuring the dreams. The symbols of these
dreams have become auspicious emblems for Śvetāmbaras and are often used as artistic motifs in
their own right.

Dream analysis and interpretation

Interpreting dreams is forbidden to the average monk. Nevertheless, as they could not remain
ignorant of any type of knowledge, leading Jain religious teachers have contributed to this area
of knowledge in two areas. These are by including passages about dreams in Jain scriptures,

23
commentaries and narrative writings and by copying or quoting non-Jain works dealing with
dreams.

Firstly, the Śvetāmbara canonical scriptures contain some elements dealing with dreams.

For example, in the Vyākhyāprajñapti, the fifth book of the canon, XVI.6 contains an important
passage on the nature of dreams, in which:

• dreaming is associated with neither sleep nor being awake, but a state in between the two
• dreams are classified according to the time of night they are experienced, with those at the end
of the night believed to be very spiritually beneficial.

In another instance, in the Sthānānga-sūtra, X.3 discusses ten dreams in some detail, namely:

• listing the ten dreams the Jina Mahāvīra sees before he reaches omniscience
• describing their meanings.

Secondly, some early teachers of the Jain tradition are credited with deep knowledge of dreams.
A well-known example is Kālaka in the Kalpa-sūtra. Other examples see monks:

• writing about dreams in larger works on the interpretation of omens, such as the Angavijjā in
Prakrit and the Bhadrabāhusaṃhitā in Sanskrit

• composing various short treatises on dreams – such as Svapna-pradīpa and Svapna-saptati

• frequently including teachings about dreams in their narrative works or in commentaries on the
scriptures
• copying and thus guaranteeing the circulation of non-Jain treatises dealing with the subject,
such as Jagaddeva’s 12th-century Svapna-cintāmaṇi, or quoting from it in their own works.

Most of the works devoted to dream analysis are still awaiting publication, possibly because
dream interpretation is not usually permitted. When passing on teachings about dreams,
mendicants may follow the Āyurvedic analysis in considering that dreams are linked to the
individual’s unique biology and the proportions of the elements that make up his body. For

24
instance, in the Tarangavaī, an early Jain novel in Prakrit, the heroine’s father explains the
dreams she had the night before and gives examples of shapes that are bad or good dreams.

Jain narrative works provide several examples of dreams and interpretation in practice, like in
the Tarangavaī. The dreamer does not usually interpret his dream himself, with a specialist or
person close to him interpreting it for him instead. Therefore the dream needs to be
communicated. Such narrative scenes, however, are found everywhere in Indian literature, Jain
or not.

Function of dreams in religious contexts

Dreams play an important part in stories of the origin of certain religious images and usually
follow the same pattern. Firstly, a devotee has a dream during the night in which a god or a Jina
talks to him, telling that an image is buried or hidden somewhere and he has to bring it to light.
The following day the devotee unearths the image as instructed. In the last stage a new temple is
created on the site of the find.

This motif is frequently found in the semi-historical semi-legendary works of medieval Jain
literature known as prabandhas. It also features in the Vividha-tīrtha-kalpa written by the monk
Jinaprabha-sūri in the 14th century, which is an account of many Jain sacred places. Modern
reports in booklets that discuss a local Jina image continue this tradition.

The Prince Śreyāṃsa story is well known in the Jain tradition. He was the first person in the
world to be able to give proper alms to the first Jina, Ṛṣabhanātha or Lord Ṛṣabha, who had been

25
fasting for a full year. The Jina’s visit to his house was announced to him through a dream,
although he could not understand the meaning of the dream by himself.

These are only a few examples which show how dreams are connected to the faith and how Jains
think of their role.

An instance of dreams announcing a disaster is that of the eight dreams of Puṇyapāla, a

contemporary of Mahāvīra. The dreams feature:

1. an elephant
2. a monkey
3. a fig tree
4. a crow
5. a lion
6. a lotus
7. a seed
8. a jug.

Some of these items are not negative in themselves, and are among those predicting the birth of a
future Jina. In this context, however, Mahāvīra explains them as predicting the progressive
disappearance of people who live a pious life and know the scriptures.

Dreams and Jain Universal History

In the Jain tradition dreams have come to occupy a special place because they are connected with
the births of the Jinas and the other types of illustrious people that form Jain Universal History
or mythology. These are ‘universal monarchs’ or cakravartins, Baladevas and Vāsudevas. The
mothers of children who will belong to one of these groups see a certain number of dreams. Or,
as some of the sources write, these dreams 'enter their mouths'.

According to the Kalpa-sūtra, a source which has become the standard at least for the
Śvetāmbaras, the treatises distinguish between 42 dreams of a common type and 30 great dreams
(Jacobi 1895: 246). Only the great dreams are relevant here and the connection is summarised in
the table.
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Details of the great dreams in the Kalpa-sūtra

Number of dreams What it foretells

14 dreams birth of a future Jina or universal monarch
7 of the 14 dreams birth of a future Vāsudeva
4 of the 14 dreams birth of a future Baladeva
1 of the 14 dreams birth of a future māṇḍalika

The lists of dreams foreshadowing the birth of a Jina or universal monarch differ slightly
between the principal Jain sects of the Śvetāmbaras and the Digambaras. For both sects, these
are fixed lists in a well-established sequence.

Dreams announcing the birth of a Jina or a universal monarch

Śvetāmbara tradition Digambara tradition

total number: 14 total number: 16
1. white elephant 1. Airāvata, the elephant of Indra
2. bull 2. the best of bulls
3. lion 3. lion
4. goddess Śrī being sprinkled with water by elephants 4. goddess Śrī
5. pair of garlands 5. pair of garlands
6. moon 6. moon
7. sun 7. sun
8. flag 8. pair of full vases with lotuses
9. full jug 9. pair of fishes
10. lotus pond 10. celestial lake
11. ocean 11. rough ocean
12. celestial palace 12. golden lion-footed throne
13. heap of jewels 13. celestial palace

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Dreams announcing the birth of a Jina or a universal monarch

Śvetāmbara tradition Digambara tradition

14. smokeless fire 14. palace of the king of snakes
15. heap of jewels
16. smokeless fire

The dreams featuring animals, objects and a goddess are associated with the notions of power,
brightness, victory, wealth, good fortune and luck. They are clearly linked to the ideals of
kingship. These dreams represent positive symbols in Indian culture generally so some have
parallels in other Indian religious traditions, such as Buddhism and Hinduism (see
Coomaraswamy 2003 [1935]).

Here is an example of how experts interpreted the meaning of each of the 14 Śvetāmbara dreams
for Marudevī, the mother of the future first Jina, Ṛṣabhanātha or Lord Ṛṣabha. The authoritative
12th-century Jain monk Hemacandra wrote:

1. [Judging] From the sight of the bull in your dream – a son will be [born] to you, able to lift up the
chariot of dharma sunk in the mud of delusion.
2. [Judging] From the sight of the elephant, your son will be the greatest of the great, and the sole abode
of power.
3. [Judging] From the sight of the lion, your son will be a lion among men, resolute, always fearless, a
hero with unflinching valor.
4. [Judging] From the fact that Śrī was seen, [it] is indicated that your son, the best of men, will be the
Lord of the Śrī [Glory] of the sovereignty of the three worlds.
5. [Judging] From the sight of a wreath in a dream, the sight of your son will be auspicious, his rule
worn on the head like a wreath by all the world.
6. That a full moon was seen in your sleep means that your son will be the creator of the light of the
world by destroying the darkness of delusion.
7. That you saw a sun means that your son will be the creator of the light of the world by destroying the
darkness of delusion.
8. That you saw a great banner in a dream, that means that your son will be a dharma-banner, the
founder of a great line.

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9. That you saw a pitcher full of water means that your son will be a vessel filled with all the
supernatural powers.
10. That you saw a lotus pond means that your son will take away the pain of those who have fallen into
the desert of saṃsāra.
11. That your Ladyship saw an ocean means that your son will be inaccessible and accessible.
12. That you saw a heavenly palace, a marvel to the earth[,] means that your son will be worshipped even
by Vaimānika gods
13. That you saw a heap of jewels with flashing light means that your son will be a heap of jewels of all
the virtues.
14. That you saw flaming fire enter your mouth means that your son will absorb the dignity of other
dignitaries.

The Āvaśyaka-niryukti is an early verse-commentary in Prakrit, which comments on the names

of each of the 24 Jinas. It explains some of these names by referring to a specific dream, not in
the list, that the mother had during her pregnancy. This can be understood as a way of
emphasising the importance of the pregnancy and pre-birth period as times rich in promise.

For women pregnant with Baladevas, the list of their great dreams varies in the two main Jain
traditions.

Dreams announcing the birth of a Baladeva

Śvetāmbara tradition Digambara tradition

number of dreams: 4 number of dreams: 4
1. elephant with four tusks 1. moon
2. bull 2. elephant
3. moon 3. ocean
4. pond with lotuses 4. sun

The list of auspicious dreams which the mothers of the Vāsudevas experience also differs
according to sect.

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Dreams announcing the birth of a Vāsudeva

Śvetāmbara tradition Digambara tradition

number of dreams: 7 number of dreams: 7
1. young lion 1. sun
2. Śrī sprinkled with water by elephants 2. moon
3. sun 3. Śrī
4. full pitcher 4. celestial palace
5. ocean 5. fire
6. heap of jewels 6. banner
7. smokeless fire 7. disc made of jewels
Kalpa-sūtra and the 14 dreams

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In the Śvetāmbara tradition, the first detailed description of each of the 14 dreams is found in the
Kalpa-sūtra. This is a sacred book written in Ardhamāgadhī Prakrit, the first part of which
narrates the lives of the 24 Jinas, starting with that of Mahāvīra.
The dreams of Mahāvīra’s two mothers are given in considerable detail four times in this tale, as
follows:
1. When at first the brahmin lady Devānandā is pregnant with the future Mahāvīra, she has the
14 dreams announcing that her child will become a Tīrthaṃkara.
2. When the embryo has been transferred to Triśalā, a lady from the kṣatriya caste, in which a
future Jina must be born, she has the same dreams.
3. After Triśalā awakes from these dreams, she tells her husband, who understands that they
predict the birth of a boy who will be the glory of the family. As the night has not yet ended,
Triśalā goes back to bed but decides to stay awake. She does not want possible bad dreams to
counteract these auspicious dreams so she listens to good religious stories (Jacobi 1895:
240).
4. The next morning, the king orders the hall of audience to be ceremoniously prepared and
readies himself to welcome the dream-interpreters for whom he has sent. They tell him that
the 14 dreams are experienced by mothers of universal monarchs or Jinas (Jacobi 1895: 246).
The mothers of three other Jinas are described as having the same dreams but they all experience
the dream of the bull first, not second. These Jinas are:

▪ Pārśvanātha or Lord Pārśva

▪ Ariṣṭaneminātha or Lord Ariṣṭanemi
▪ Ṛṣabhanātha or Lord Ṛṣabha.
Together with Mahāvīra, these individuals are the four most popular Jinas. The text does not go
into detail about the dreams of the mothers of the other 20 Jinas.
Fourteen dreams in the text

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When the brahmin lady Devānandā has her 14 dreams, they are listed in a stanza.
When Triśalā has the same dreams the identical stanza is used, but is followed by a description
of each of the dreams.
This description is in sophisticated prose. It features extremely long descriptive compounds,
characteristic of old Indian poetical style. The physical appearance of the animals, the goddess
Śrī and the various objects is a focus of description. There are detailed comparisons, for example
when describing colours, along with rich vocabulary.
Other devices used in this lyrical style include listing and meticulous description. An example of
the first is the list of a large variety of flowers in the description of the garland in dream number
5 while the birds of the lotus pond in dream number 11 are listed in detail.
Instances of the second device include the lively nature of the animal portraits and the account of
Śrī. The goddess’s body is described in the traditional fashion suitable for non-human beings,
which goes from the feet to the head. She is said to be seated on a lotus while elephants sprinkle
her with water using their trunks. This element is often shown in iconography.
Some scholars assert that the mention of a 'garland of dīnāra-coins' as an ornament around Śrī’s
neck suggests that the dream section dates from a period when this type of coin became popular
in India. If so, it is perhaps later than the rest of the text (Shah 1987: 18).
On the other hand, it has been shown that the prose description contains some archaic stylistic
features. The main one is some compounds that are written in metrical prose (Jacobi 1885).

Fourteen dreams in illustrations

The dreams of the pregnant woman are represented in several stock ways in manuscripts of the
Kalpa-sūtra. The artist may use all of them or choose a few.

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A common method is to show the pregnant mother lying on her bed, with the 14 dreams pictured
in small size at the top, arranged in one or several rows. In the case of Mahāvīra, both his
mothers, Devānandā and Triśalā, have the dreams. The dreams can thus be shown once or twice
in the same manuscript, as in these two folios in the British Library. The traditional sequence of
dreams may be rearranged, depending on the space available.
Painters sometimes copy the scene for the sections dealing with the births of Pārśvanātha or Lord
Pārśva, Neminātha or Lord Nemi and R̥ṣabhanātha or Lord Ṛṣabha. This is not found frequently,
however, so it seems as if the 14 dreams have always been closely connected with Mahāvīra
alone.
When portraying the 14 dreams, painters might show them in a group or individually. If the
dreams are illustrated as a group, either they are all the same size or the fourth one, the goddess
Śrī, is much larger than the others.
Depicting each dream individually is less common because it uses a lot of space. A rare instance
is provided by the manuscript 'Hg', shown in W. Norman Brown (1934: figures 21 to 33). Here
13 paintings are devoted to the 14 dreams, with the flag and the pitcher in one illustration. But
this manuscript contains 64 miniatures in total, which is unusually high.

Sometimes several of the dreams are shown in successive small vignettes. This manuscript held
in the British Library under the shelfmark Or. 13455 has individual pages featuring the:
▪ garland
▪ goddess
▪ full vase
▪ lotus lake
▪ ocean of milk
▪ palace and pile of jewels
▪ fire.
Another comparatively rare artistic decision is where the illustration of the auspicious dreams is
spread over successive pages. This example found in the British Library under the shelfmark of
Or. 13701 shows on different pages the:
▪ first six dreams
▪ second six dreams
▪ last two dreams.

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When only one dream is represented individually, it is always Śrī. An explanation could be that
as a female deity her protective role is primary, and she is more recognisable than objects.
Dream-interpreters

The Kalpa-sūtra text does not give any information about the social status or the origin of the
dream-interpreters. Their ceremonious welcome only indicates that they are important.
In paintings of the dream-interpreters they are usually represented as old men with white beards.
They are depicted with the same type of costume and appearance as brahmins in Jain manuscript
illustration. In most scenes, two interpreters are shown in discussion, sometimes holding
manuscripts and writing implements in their hands. These are the treatises from which they draw
their knowledge on the subject.
Dreams in Paryuṣaṇ

The 14 dreams play a specific part in the festival of Paryuṣaṇ, which is celebrated towards the
end of the rainy season. The dreams are involved on the fifth day of the festival, which lasts
seven days. On that day, the monks read aloud or narrate the portion of the Kalpa-sūtra dealing
with Mahāvīra’s birth to the lay community gathered in the ascetics’ dwelling-hall.
In addition, the dreams are displayed to the congregation in the form of silver models, which are
put on trays or hung from the ceiling. The Śvetāmbara Mūrti-pūjaka Jains organise auctions to
choose who gains the right to perform religious acts. In this case, the winner has the right 'to
swing the dream, to garland it with āsopalav leaves or flowers, to garland it with [a] gold or
silver necklace, and to place the dream on a table in the center of the upāśray' (Cort 2001: 155;
153–157 for full description and two photographs).

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Displaying the dreams as sacred objects, making offerings to them and also staging the dreams as
tableaux are important components of celebrating Paryuṣaṇ that involve the active participation
of the Jain lay communities. For example, the 2005 Paryuṣaṇ celebration by Oswal Jains from
north-west London demonstrates some of these practices.
Dreams in the Jain temple

More generally, the 14 dreams of the Śvetāmbara or the 16 dreams of the Digambara are a
central part of Jain religious life. They are a commonplace sight in many temples in the form of:
▪ bas-reliefs or sculptures on temple walls
▪ metal objects that are free-standing, or on wooden and metal stools and platters used for
making offerings (an example is Plate III in Johnson 1931)
▪ mural paintings of all periods, including contemporary works, in Śvetāmbara or Digambara
temples (Hegewald 2009: figures 11 and 266).
There are numerous instances of classical sculptures from the medieval period, such as the:

▪ exquisite panel showing Triśalā on her bed fanned by attendants, with the 14 dreams above
her in the form of an arch in the Pañcāsara Pārśvanātha Temple at Patan, Gujarat (good
photograph in Hegewald 2009: figure 12)
▪ architrave with the 14 dreams in the hall of the main shrine in the Kharataravasahi Caumukha
at Delvada at Mount Abu, Rajasthan
▪ 14 dreams with a Jina’s mother form part of a panel on the fourth rectangular ceiling in the
Mahāvīra temple at Kumbharia, North Gujarat (Dhaky, Moorti 2001: figure 59)
▪ 14 dreams with a Jina’s mother form part of a panel on the seventh rectangular ceiling in the
Mahāvīra temple at Kumbharia, North Gujarat (Dhaky, Moorti 2001: figure 62)

35
▪ 14 dreams with a Jina’s mother above the door lintel of the Pārśvanātha temple at Kumbharia,
North Gujarat (Dhaky, Moorti 2001: figure 134)
▪ 14 dreams form part of a ceiling panel portraying the life of Pārśvanātha or Lord Pārśva at
Kumbharia, North Gujarat (reproduced, for instance, in Shah 1955: figure 83)
▪ wooden panel presenting the 14 dreams at Patan (Shah 1955: figure 87).
▪ door frame of a cell in the Śāntinātha shrine and other shrines at Khajuraho (Shah 1987: 18).

Śvetāmbara auspicious symbols pertaining to dreams

The Kalpa-sūtra manuscripts use the 14 auspicious dreams as the main topic of illustration. In
line with this approach, the Śvetāmbaras have developed the theme of the dreams into an
auspicious symbol or decorative motif that is independent of any textual connection.
Manuscript covers

Together with the eight auspicious symbols, the 14 dreams have proven one of the favourite
themes on manuscript covers – called pāṭhuṃ in Gujarati – since the 18th century.
There are two fine examples of manuscript covers depicting the 14 dreams held in the Victoria
and Albert Museum in London. The Ethnographic Museum in Antwerp has a good selection of
such covers. They are made of either cardboard covered with cloth or painted wood. They
demonstrate features of the pictorial style of the regions where they were made
See pages 101 to 103 of Van Alphen 2000 for photographs and Appendix IV of Shah 1978 for
references to other covers. The 1978 book Treasures of Jaina Bhandāras contains a photograph
of a 20th-century cover embroidered with tiny pearls on page LXX. This is found on D-70 of the
PDF version that can be downloaded from the Jain eLibrary once a free account is created.
For another wooden book-cover showing episodes from the life of the 23rd Jina, Pārśvanātha or

Lord Pārśva, including the dreams. 1

36
Paintings in invitation scrolls

An example of an invitation scroll is in the Jain collection at the British Library, under the shelfmark of
Or. 16192.Covers( to right)

Invitation scrolls or vijñapti-patras are formal letters inviting a leading monk of a certain
monastic group to spend the next rainy season in a certain place. A community of lay Jains sends
these letters, the local merchants often sending these on behalf of the wider group.
These invitations take the form of long scrolls with text and paintings. The text consists of
poetical description and praises of mendicants and the Jinas. Generally, the opening paintings are
the 14 dreams or the eight auspicious symbols. The tradition of painting the dreams in invitation
scrolls can be explained by the connection with the rainy season and thus the major Śvetāmbara
festival of Paryuṣaṇ.
These invitation letters are found in Rajasthan and Gujarat from the 17th century onwards. They
are a speciality of the Śvetāmbara Kharatara-gaccha and Tapā-gaccha communities.

37
38
Kalpa-sūtra (Or. 5149) 1 of 80

39
Title: Consulting dream-interpreters,The British Library Board
Follower of the 24 Jinas or an adjective describing Jain teachings or practices. The term 'Jaina' is
also used although 'Jain' is more common.
Kalpa-sūtra
The Book of Ritual attributed to Bhadrabāhu. It has three sections:
1. 'Jina-caritra' – 'Lives of the Jinas'
2. 'Sthavirāvalī' – 'String of Elders'
3. 'Sāmācārī' – 'Right Monastic Conduct'.
A significant sacred text for Śvetāmbara Jains, the Kalpa-sūtra has a central role in the annual
Paryuṣaṇ festival.
Kevala-jñāna
Omniscience, enlightenment or perfect knowledge – the highest of the five types of knowledge ,
where one knows everything wherever and whenever it is. It is extremely difficult to attain,
equivalent to the 13th stage of spiritual purity in the guṇa-sthāna. Digambaras believe only men
can achieve it whereas Śvetāmbaras believe that both men and women can become enlightened.
Śvetāmbara
'White-clad’ in Sanskrit, the title of one of the two main divisions of Jainism, in which both male
and female mendicants wear white robes. There are some differences of doctrine or belief
between these two sects and to some extent their followers consider themselves as belonging to
distinct branches. Divisions can be fierce in practical matters, for example, over the ownership of
pilgrimage places, but all sects see themselves as Jains.
Monk
A man who has taken a public vow to withdraw from ordinary life to formally enter religious life
and advance spiritually. Frequently, monks perform physical austerities or undergo physical
hardships in order to progress spiritually.
Rainy season
The annual four-month rainy period in India, lasting roughly from June / July to October /
November. Heavy rain, strong storms and gale-force winds are very common during this period.
Mendicants cannot travel around and must stay in one place to avoid breaking their vow of non-
violence and because the monsoon makes travelling on foot difficult and dangerous. It is known
as cāturmāsa in Sanskrit, comāsa in Hindi and comāsu in Gujarati.
Shelfmark:Or. 5149,Author:unknown/Date of creation:1464Folio number:24 verso/Total number of
folios:80 (Europ. Fol: 81)Place of creation:western India/Language:Ardhamāgadhī
Prākrit/Medium:watercolour on paper/Size:26 x 11 cm/CopyrightCC0 1.0 (Creative Commons Public
Domain)

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DIGAMBAR SHWETAMBER DIFFERENCES IN THE 14 DREAMS

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14 Swapna of Trishala Mata

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 REFERENCE
1. see pages 2 to 12 of volume V of the Journal of the Indian Society of Oriental Art.
http://www.jainpedia.org/manuscripts/detail-view-meta/manuscript/kalpa-sutra-or-5149/consulting-
dream-interpreters/index.html

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