The Game of Knowledge

Playing at Spiritual Liberation

in 18th- and 19th-Century Western India

by

Jacob Schmidt-Madsen

Part 1
Thesis

Department of Cross-Cultural and Regional Studies

University of Copenhagen

2019
 THE GAME OF KNOWLEDGE:
PLAYING AT SPIRITUAL LIBERATION
IN 18TH- AND 19TH-CENTURY WESTERN INDIA

Submitted by

JACOB SCHMIDT-MADSEN, MA

under the supervision of

KENNETH GREGORY ZYSK, PhD, DPhil

in partial fulfillment
of the requirements
for the degree of

DOCTOR OF PHILOSOPHY

in the

DEPARTMENT OF CROSS-CULTURAL
AND REGIONAL STUDIES

at the

UNIVERSITY OF COPENHAGEN

2019
The earliest datable gyān caupaṛ chart (Va72#7). Lucknow, 1780-82.
 Abstract

English
It has long since been established that the modern children's game of snakes and
ladders originated from the Indian game of gyān caupaṛ (game of knowledge), but it
has rarely been asked how gyān caupaṛ itself originated, and what exactly constitutes
it. The present thesis tells the story of gyān caupaṛ based on nearly 150 unique and
mostly unpublished game charts and several little explored secondary sources. The
majority of the game charts derive from Vaiṣṇava and Jaina communities in 19th-
century western India, though a few reach back to the late 18th century. The thesis
argues that the charts developed from tantric drawings of the subtle body used for
purposes of meditation and visualization, and only later acquired the properties of a
formal game system. Other influences can be traced back to the 12th-century Chinese
game of xuanfo tu (table of Buddha selection) and the 15th-century Italian game of
gioco dell'oca (game of the goose), but gyān caupaṛ itself does not appear to have been
invented before the late 17th or early 18th century. The game charts consist of a
sequentially numbered and inscribed grid diagram overlaid with snakes and ladders
forming connections between individual squares. The representational value of the
charts changes according to the world-views of the different religious communities in
which they appear, but they all share a common concern with questions of
cosmography, karma, and religious practice. The design is remarkable for its close
integration of game mechanics and theme, and while it is possible to reconstruct the
rules by which the game was played, little can be said about the uses to which it may
have been put beyond that of mere play. Plausible suggestions include education,
divination, and self-exploration, but, as evidenced by the later history of the game,
such uses have long since fallen away, leaving only the innocent fun of a purely
abstract game system.

i
Danish
Det har længe været kendt at det moderne børnespil snakes and ladders stammer fra
det indiske spil gyān caupaṛ (videnspillet), men spørgsmål om hvor gyān caupaṛ selv
stammer fra, og hvori det rent faktisk består, har sjældent været rejst. Den
nærværende afhandling fortæller historien om gyān caupaṛ gennem små 150 unikke
og overvejende upublicerede spilleplader samt en række underbelyste sekundære
kilder. Størstedelen af spillepladerne stammer fra Vaiṣṇava- og Jaina-miljøer i 1800-
tallets vestlige Indien, mens enkelte rækker tilbage til slutningen af 1700-tallet.
Afhandlingen argumenterer for at spillepladerne repræsenterer en videreudvikling af
tantriske fremstillinger af det astrale legeme til meditations- og visualiseringsbrug der
først senere antog karakter af et spil. Andre indflydelser kan spores tilbage til det
kinesiske spil xuanfo tu (buddhaudvægelsestabellen) fra 1100-tallet og det italienske
spil gioco dell'oca (gåsespillet) fra 1400-tallet, men gyān caupaṛ selv synes først at være
blevet til i slutningen af 1600-tallet eller begyndelsen af 1700-tallet. Spillepladerne
består af et serielt nummereret og beskrevet feltdiagram med slanger og stiger der
forbinder individuelle felter. Spillets repræsentationer veksler afhængig af
verdenssynet i de forskellige religiøse miljøer spillepladerne stammer fra, men deler et
fælles fokus på kosmografi, karmalære og religiøs praksis. Spildesignet udmærker sig
ved en tæt sammenhæng mellem spilmekanik og tematik, og mens det er muligt at
rekonstruere de oprindelige regler, er det svært at sige hvilke formål spillet måtte
være blevet brugt til ud over ren underholdning. Læring, spådom og selvudforskning
regnes alle for plausible forslag, men, som spillets senere historie vidner om, er en
sådan brug for længst blevet opgivet til fordel for den uskyldige glæde ved et rent
abstrakt spilsystem.

ii
 Table of Contents

Part 1: Thesis
List of Figures . . . . . . . vii

Notes on Transliteration . . . . . xiv

Abbreviations . . . . . . . xv

Preface . . . . . . . . xviii

Acknowledgments . . . . . . xxi

Introduction . . . . . . . 1

Thesis Outline . . . . . 11

Chapter 1: What's in a Game? . . . . . 17

Traditional Board Games. . . . 19
Formal Systems . . . 21
Representational Value . . 23
Research Design . . . . . 27
Reading the Charts . . . 29
Analyzing the Charts . . 31

Chapter 2: The Beginnings of Gyān Caupaṛ . . 35

European Influences . . . . 43
Gioco dell'Oca . . . 43
Du Point au Point . . . 47
Ganj . . . . . 51
East Asian Influences . . . . 54
Xuanfo Tu . . . . 54
Sa Lam Rnam Bzhag . . 58

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 South Asian Influences . . . . 62
Phañjikā . . . . 63
Caupaṛ . . . . 68

Chapter 3: Source Material . . . . . 76

General Description . . . . 79
Materials and Manufacture . 81
Illustrations . . . 84
Inscriptions . . . . 89
Dice and Pawns . . . 92
Game Manuals . . . 94
History and Transmission . . . 96
Uses and Users . . . . . 106
Modern Traditions . . . 107
Early Traditions . . . 112

Chapter 4: Critical Reading and Analysis . . . 116

72-Square Vaiṣṇava Charts (Type a) . . 120
Cosmos . . . . 124
Realms of Existence . 124
Evolution and Involution 129

Karma . . . . 136
Vices and Virtues . 136
Cycle of Rebirth . 141

Religious Practice . . . 144

Paths to Liberation . 144
The Subtle Body . 148

84-Square Jaina Charts (Type a1) . . 157

Cosmos . . . . 161
Realms and Beings . 161

Karma . . . . 169
Theory and Practice . 169

iv
 Religious Practice . . . 177
Vows and Stages . 177
Jaina Tantra and Yoga 182

Comparative Analysis . . . . 188

Chapter 5: Simulation and Narrative . . . 198

Rules of Play . . . . . 200
Basic Rules . . . . 203
Randomizing Agents . . 203
Special Throws . . . 205
Endgame . . . . 207
Other Rules . . . . 211
Sample Playthroughs . . . . 213
72-Square Vaiṣṇava Chart (Type a) 214
84-Square Jaina Chart (Type a1) . 217
Experiential Analysis . . . . 220
Entering the Chart . . . 223
Following the Path . . . 224
Creating the Narrative . . 225
Interpreting the Experience . 227

Chapter 6: Related Cultural Forms and Practices . 231

Ex. 1: Anatomical Chart . . . . 234
Ex. 2: Cosmographical Chart . . . 240
Ex. 3: Astrological Chart . . . . 247

Conclusion . . . . . . . . 252

Bibliography . . . . . . . 258

v
Part 2: Appendices
Appendix A: Game Charts . . . . . 287
A1: Provenance . . . . . 288
A2: Description . . . . . 309

Appendix B: Typology . . . . . . 344

B1: Vaiṣṇava Charts . . . . 346
B2: Jaina Charts . . . . . 354
B3: Ṣūfī Charts . . . . . 357
B4: Advaita Vedānta Charts . . . 359
B5: Unidentified Charts . . . . 361

Appendix C: Transcriptions . . . . . 362

C1: 72-Square Vaiṣṇava Charts . . . 363
C2: 84-Square Jaina Charts . . . . 388

Appendix D: Critical Readings. . . . . 474

D1: 72-Square Vaiṣṇava Charts (Type a) . 478
D2: 84-Square Jaina Charts (Type a1) . . 504

Appendix E: Game Verses . . . . . 567

E1: Verses on Vaiṣṇava Charts . . . 568
E2: Verses on Jaina Charts . . . 578

Appendix F: Game Texts . . . . . 594

F1: Krīḍākauśalya 241-55 . . . . 594
F2: Jñān Bājī Ramvānī Rīt. . . . 604

vi
 List of Figures
Frontispiece: The earliest datable gyān caupaṛ chart (Va72#7). Lucknow, 1780-82.
Commissioned by Richard Johnson (1753-1807). © British Library Board, London. Acc.
no. Johnson Album 5,8.

Fig. 1: Untitled game with snakes and ladders. British design registration no. 200682. F.
H. Ayres, London, October 1892. © National Archives, London.

Fig. 2: Untitled game with arrows and ladders. British patent registration no. 5586.
Richard Harte, Croydon, 15 March 1893. © British Library Board, London.

Fig. 3: The Royal Pastime of Cupid, or Entertaining Game of the Snake. Published by
Richard Holmes Laurie, London, c. 1850. © Victoria and Albert Museum, London. Acc.
no. E.1747-1954.

Fig. 4: 124-square Vaiṣṇava gyān caupaṛ chart (Va124#1). Maharashtra (Pune?), c. 1800.
© Royal Asiatic Society of Great Britain and Ireland, London. Acc. no. 051.001.

Fig. 5: Snakes and ladders. Published by Chad Valley Games, Birmingham, 1920-30.
Private collection of Luigi Ciompi. Available for non-commercial use at:
http://www.giochidelloca.it/scheda.php?id=883. Retrieved 20 Jan, 2019.

Fig. 6: The formal system of gyān caupaṛ.

Fig. 7: Sample hunt game.

Fig. 8: The representational value attributed to the formal system of gyān caupaṛ.

Fig. 9: 84-square Jaina chart (Ja84#3a). Rajasthan, dated 1735/36 CE. Possibly a later
forgery. Current location unknown. Reproduced from Topsfield 2006a (p. 76, fig. 2).

Fig. 10: Il Nuovo et Placevole Gioco dell Ocha. Published by Lucchino Gargano, Italy,
1598. © British Museum, London. Acc. no. 1869,0410.2465.+.

Fig. 11: Game of the goose. Gujarat, c. mid-16th century. © Metropolitan Museum, New
York. Acc. no. 62.14.

vii
Fig. 12: Filosofia cortesana. Designed by Alonso de Barros, Madrid, 1587. This version
printed by Mario Cartaro, Naples, 1588. © British Museum, London. Acc. no.
1869,0410.2463.+.

Fig. 13: Du point au point: pour la fuite des vices et pour la pratique des vertus. Engraved
by Le Bossu, Dijon, c. 1675-80. Private collection of Adrian Seville. Available for non-
commercial use at: http://www.giochidelloca.it/scheda.php?id=673. Retrieved 20 Jan,
2019.

Fig. 14: Ganj. Lucknow, 1780-82. Commissioned by Richard Johnson (1753-1807).

Currently in the British Library, London, Johnson Album 5,5. Reproduced from Digby
2006b (p. 108).

Fig. 15: Xuanfo tu. Modern reproduction. Currently in the Harvard-Yenching Library,
Cambridge, Massachusetts. Reproduced with additional graphics from Ngai 2011 (p.
147, fig. 4.2).

Fig. 16: Shengguan tu. China, 1840. © Bodleian Libraries, University of Oxford. Acc. no.
Sinica 440/2.

Fig. 17: Sa lam rnam bzhag. Tibet, late 19th or early 20th century. Private collection.
Published in Wang 1985 (p. 139). Retrieved 20 Jan, 2019:
www.himalayanart.org/items/99139.

Fig. 18: Sa lam rnam bzhag. Tibet, 19th century. Private collection of Sakya Jigdal Dag-
chen Rinpoche, Seattle. Reproduced from Tatz & Kent 1978 (p. 337, fig. 7.3).

Fig. 19: Cībhāḥ kāsā. Nepal, 18th century. Nepal National Museum, Kathmandu, serial
no. 343. © John Huntington.

Fig. 20: Phañjikā. Tentative reconstruction of game board and starting positions. Based
on MS 5.16.816-63.

Fig. 21: Phañjikā. Tentative reconstruction of the path of movement as seen from the
perspective of the player controlling the black pawns. Based on MS 5.16.816-63.

Fig. 22: Caupaṛ. Oxford, 1694. Adapted from an Indian original by Thomas Hyde (1636-
1703). Reproduced from Hyde 1694 (vol. II, p. 68).

viii
Fig. 23: 72-square Vaiṣṇava chart (Va72#3). Rajasthan, 19th century. Current location
unknown. Reproduced from Topsfield 2006a (p. 158, fig. 2).

Fig. 24: Manuscript leaf with design for 84-square Jaina chart (Ja84#25). Rajasthan,
19th century. Private collection, London. Photograph by the author.

Fig. 25: Unfinished 72-square Vaiṣṇava chart (Va72#15). North India, 19th century. ©
Joost van den Bergh, Ltd., London.

Fig. 26: 84-square Jaina chart (Ja84#18), detail. Mandsaur, Madhya Pradesh, 19th
century. Rajasthan Oriental Research Institute (RORI), Jodhpur, Rajasthan. Acc. no.
7176. © The Body in Indian Art (exhibition at the Centre for Fine Arts, Brussels, 5 Oct -
5 Jan, 2014).

Fig. 27: 84-square Jaina chart (Ja84#18), detail. Mandsaur, Madhya Pradesh, 19th
century. Rajasthan Oriental Research Institute (RORI), Jodhpur, Rajasthan. Acc. no.
7176. © The Body in Indian Art (exhibition at the Centre for Fine Arts, Brussels, 5 Oct -
5 Jan, 2014).

Fig. 28: 72-square Vaiṣṇava chart (Va72#20), detail. Nepal, 19th century. Sold at
Christie's, New York, 13 Sep, 2011, lot 291. © Joachim Bautze.

Fig. 29: 84-square Jaina chart (Ja84#16), detail. Vikrampur (Gujarat?), 19th century. ©
L. D. Institute of Indology, Ahmedabad, Gujarat. Acc. no. 87(2) (Gol. 20 in Andhare &
Bhojak 2015: 176).

Fig. 30: 100-square Ṣūfī chart (Ṣū100#6a), detail. Istanbul, early 20th century. Current
location unknown. Retrieved 20 Jan, 2019:
https://marmaraakademi.wordpress.com/2013/01/24/zilletten-vuslata-yuz-hamle-
satranc-i-urefa.

Fig. 31: 84-square Jaina chart (Ja84#9), detail. Rajasthan, 19th century. Shri Vishal Jain
Kala Sansthan Museum, Palitana, Gujarat. Photograph by the author.

Fig. 32: 84-square Jaina chart (Ja84#6), detail. Western India, 19th century. Museum of
Indology, Jaipur, Rajasthan. Photograph by the author.

Fig. 33: 84-square Jaina chart (Ja84#12a). Rajasthan (Bikaner?), 19th century. © Victoria
and Albert Museum, London. Acc no. Circ. 324-1972.

ix
Fig. 34: 84-square Jaina chart (Ja84#1). Gujarat, 19th century. © Calico Museum,
Ahmedabad, Gujarat. Acc. no. 984.

Fig. 35: Uninscribed 84-square Jaina chart (Ja84#48). Rajasthan, 19th century. Private
collection. Photograph by the author.

Fig. 36: Production areas and transmission lines of gyān caupaṛ charts in South Asia.
Map retrieved from www.mapchart.net.

Fig. 37: 342-square Vaiṣṇava chart (Va342#4). Punjab Hills, 19th century. © British
Museum, London. Acc. no. 1999.8.9.01.

Fig. 38: 100-square Ṣūfī chart (Ṣū100#1a). Delhi or Ajmer, 1805-10. © Royal Asiatic
Society, London. Acc. no. 064.001

Fig. 39: 108-square Advaita Vedānta chart (Ad108#1b). Maharashtra, 1905. Sketch
reproduced from Devdhar 1905: 206a).

Fig. 40: 132-square parampad sopān chart. Modern print. Private collection, Mysore.
Photograph kindly provided by the owner.

Fig. 41: 64-square golok dhām chart. Kolkata, c. 1970. Private collection, London.
Photograph by the author.

Fig. 42: Modern 50-square Jaina chart from Mumbai. Published by Shri Prabhav Hem
Sanskar Shibir. Order information on chart. Photograph by the author.

Fig. 43: Modern 90-square Jaina chart from Gujarat. Printed by Parshva Computer
Graphic. Photograph by the author.

Fig. 44: 72-square Vaiṣṇava chart (Va72#26a). Modern redesign of early 19th-century
chart from Uttar Pradesh (Johari 2007: 2). Reproduced from Johari 2007 (foldout).
Retrieved 20 Jan, 2019: https://boardgamegeek.com/image/962453/leela.

Fig. 45: 285-square Vaiṣṇava chart (Va285#1). Modern redesign by Maruti Patil of early
20th-century chart by Gulābrāv Mahārāj. Printed by Visva Sant Sahitya Pratishthan.
Amravati, Maharashtra, 1981.

Fig. 46: Diagrammatic representation of critically read 72-square Vaiṣṇava chart (type
a).

x
Fig. 47: Translation of critically read 72-square Vaiṣṇava chart (type a). Cf. fig. 46.

Fig. 48: Reference chart for Realms of Existence (chapter four) with relevant squares
highlighted in yellow.

Fig. 49: Reference chart for Evolution and Involution (chapter four) with relevant
squares highlighted in yellow.

Fig. 50: Reference chart for Vices and Virtues (chapter four) with relevant squares
highlighted in yellow.

Fig. 51: Reference chart for Cycle of Rebirth (chapter four) with relevant squares
highlighted in yellow.

Fig. 52: Reference chart for Paths to Liberation (chapter four) with relevant squares
highlighted in yellow.

Fig. 53: Reference chart for The Subtle Body (chapter four) with relevant squares
highlighted in yellow.

Fig. 54: Diagrammatic representation of critically read 84-square Jaina chart (type a1).

Fig. 55: Translation of critically read 84-square Jaina chart (type a1). Cf. fig. 54.

Fig. 56: Reference chart for Realms and Beings (chapter four) with relevant squares
highlighted in yellow.

Fig. 57: The inhabited universe (lokākāśa) in Jainism. Rajasthan, 19th century. © Joost
van den Bergh, Ltd., London.

Fig. 58: The inhabited universe in the form of the cosmic man (lokapuruṣa). Rajasthan,
19th cent. © Joost van den Bergh, Ltd., London.

Fig. 59: 84-square Jaina chart (Ja84#26), detail. Rajasthan, 19th century. Private
collection, Melbourne. Photograph kindly provided by the owner.

Fig. 60: 84-square Jaina chart (Ja84#15), detail. Western India, 19th century. © L. D.
Institute of Indology, Ahmedabad, Gujarat. Acc. no. 45.

Fig. 61: 84-square Jaina chart (Ja84#18), detail. Mandsaur, Madhya Pradesh, 19th
century. Rajasthan Oriental Research Institute (RORI), Jodhpur, Rajasthan. Acc. no.

xi
7176. © The Body in Indian Art (exhibition at the Centre for Fine Arts, Brussels, 5 Oct -
5 Jan, 2014).

Fig. 62: Reference chart for Theory and Practice (chapter four) with relevant squares
highlighted in yellow.

Fig. 63: 84-square Jaina chart (Ja84#24b), detail. Mumbai, VS 1959 (1902/03 CE). Private
collection, London. Photograph by the author.

Fig. 64: 84-square Jaina chart (Ja84#24b), detail. Mumbai, VS 1959 (1902/03 CE). Private
collection, London. Photograph by the author.

Fig. 65: 84-square Jaina chart (Ja84#1), detail. Gujarat, 19th century. © Calico Museum
of Textiles, Ahmedabad, Gujarat. Acc. no. 984.

Fig. 66: 84-square Jaina chart (Ja84#53). Western India, 19th century. Private collection,
Germany. Photograph by the author.

Fig. 67: Reference chart for Vows and Stages (chapter four) with relevant squares
highlighted in yellow.

Fig. 68: Untitled game with snakes and ladders. Reproduced from Mardia 1990 (p. 108).

Fig. 69: Diagrammatic representation of related snake and ladder positions on the
critically read charts.

Fig. 70: Diagrammatic representation of related readings on the critically read charts.

Fig. 71: Diagrammatic representation of majority readings on 84-square Jaina type b

charts.

Fig. 72: Modern snakes and ladders endgame.

Fig. 73: 84-square Vaiṣṇava chart endgame.

Fig. 74: 72-square Vaiṣṇava chart endgame.

Fig. 75: 84-square Jaina chart endgame.

Fig. 76: Sarvatobhadramaṇḍala. Modern print from the ritual manual

Rigvediyabrahmakarmasamuchchaya (Shendye 1979). Reproduced from Bühnemann
2011 (p. 42, fig. 2).

xii
Fig. 77: Anatomical chart. West Bengal, late 18th cent. Reproduced from Shome 1849,
pl. 2 (btw. pp. 440 and 441).

Fig. 78: Anatomical chart, detail. West Bengal, late 18th cent. Reproduced from Shome
1849, pl. 2 (btw. pp. 440 and 441).

Fig. 79: Diagrammatic representation of fig. 77 with inscriptions as they appear in

Shome 1849 (p. 441).

Fig. 80: Cosmographical chart. West Bengal, early 19th century. Reproduced from
Shome 1849, pl. 1 (btw. pp. 422 and 423).

Fig. 81: Cosmographical chart, detail. West Bengal, early 19th century. Reproduced
from Shome 1849, pl. 1 (btw. pp. 422 and 423).

Fig. 82: Diagrammatic representation of fig. 80 with inscriptions as they appear in

Shome 1849 (p. 423).

Fig. 83: Navagrahapraśnapaṭa. Mysore, mid-19th century. Private collection, Mysore.

Photograph kindly provided by the owner.

Fig. 84: Diagram showing the effects of planetary transits (gocaraphala). Printed in the
almanac (pañcāṅga) published by Jyotirved Vijñān Saṃsthān in Varanasi for the year
2017-18.

Fig. 85: Diagrammatic representation of fig. 83.

xiii
 Notes on Transliteration
The present study is based on sources primarily written in Sanskrit, Braj Bhāṣā,
Rajasthani, Gujarati, and Marathi. Passages written wholly in Sanskrit or in vernacular
verse have been transliterated in full, while prose passages written wholly in the
vernacular or in a mixture of Sanskrit and the vernacular have been transliterated
with omission of medial and final a when left unpronounced (e.g. Sanskrit
paramapada versus vernacular parampad). Words which are current in the English
language, such as karma and yoga, have been written as such, while words which are
less generally known, such as bhakti and lākh, have been written in italics and with
diacritics. Names of historical and mythological persons and places have been
transliterated with diacritics (e.g. Harikṛṣṇa Śarmā instead of Harikrishna Sharma),
while names of current persons, places, institutions, etc. have been transliterated
according to standard practice (e.g. Shatrunjaya instead of Śatruñjaya). Exceptions
have been made wherever the name of a current person, place, institution, etc. only
occurs in Devanāgarī script, in which case it has been transliterated with diacritics.

xiv
 Abbreviations
Charts
Gyān caupaṛ charts included as primary sources are referenced as follows:

[religious affiliation] + [no. of squares] + # + [serial number] + [lower case letter if chart
exists in multiple variants]

Religious affiliations are abbreviated as follows:

Ad Advaita Vedānta
Ja Jaina
Ṣū Ṣūfī
Va Vaiṣṇava

Examples:

Va72#8 Vaiṣṇava chart with 72 squares, no. 8

Ja84#24a Jaina chart with 84 squares, no. 24, variant a

Texts
AŚ Arthaśāstra (Kangle 1960)
AV Atharvaveda (Gippert, Petr & Vavroušek 2012)
BhG Bhagavadgītā (Belvalkar 1968)
BhP Bhāgavatapurāṇa (Goswami 2009)
BS Brahmasūtra (Dvivedin 1915)
BU Bṛhadāraṇyakopaniṣad (Limaye & Vadekar 1958: 174-282)
CS Carakasaṃhitā (Ācārya 1981)
GB Gorakh bāṇī (Callewaert 1991: 489-98)
GPS Gorakh prāṇ saṅkalī (Yatīndranāth 2015)
GŚ Gorakṣaśataka (Kuvalayānanda & Shukla 2006)
HYP Haṭhayogapradīpikā (Digambar & Jha 1970)

xv
JBRR Jñān bājī ramvānī rīt (Jeṭhābhāī 1977/78)
JV Jīv vicār (Vrajlāl 1928)
KGS Kabīr granthāvalī (sākhī) (Callewaert & de Beeck 1991: I, 281-302)
KK Krīḍākauśalya (Harikṛṣṇa 1982)
KV Kāśikāvṛttī (Sharma et al 2008)
LN Laghunyāsa (Narayanaswami 2007: 1-3)
MS Mānasollāsa (Gondekar 1925-61)
MU Mudgalopaniṣad (Panshikar 1925: 351-53)
RCM Rāmcaritmānas (Poddar 1956)
ṚPŚ Ṛṣabhapañcaśikhā (Klatt 1879)
RV Ṛgveda (Aufrecht 1877)
SK Sāṃkhyakārikā (Sharma 1933)
SKB Sāṃkhyakārikābhāṣya (Sharma 1933)
SP Skandapurāṇa (Chaukhamba 2003)
ŚU Śvetāśvataropaniṣad (Limaye & Vadekar 1958: 283-300)
SS Sarvārthasiddhi (Śāstrī 1997)
ŚS Śivasaṃhitā (Vasu 1914)
SSP Siddhasiddhāntapaddhati (Gharote & Pai 2005)
TAAS Tattvārthādhigamasūtra (Tatia 1994)
TS Taittirīyasaṃhitā (Gippert & Fushimi 2012)
VP Viṣṇupurāṇa (Pathak 1997-99)
VS Vājasaneyisaṃhitā (Gippert & Kümmel 2012)

Journals
AAW Art & Antiques Weekly
AJMR Asiatic Journal and Monthly Register for British and Foreign India, China,
and Australasia
BGS Board Game Studies: International Journal for the Study of Board Games

xvi
JGLF Journal Général de la Littérature de France, suivi d'un Bulletin de la
Littérature Étrangére

Dictionaries
ĀVŚK Āyurvedīya-śabdakośa (Jośī & Jośī 1968)
BBSK Brajbhāṣā sūr-koś (Ṭaṇḍan 1974)
DME A Dictionary, Marāṭhī and English (Molesworth 1857)
DoB Dictionary of Bhakti (Callewaert 2009)
ODNB Oxford Dictionary of National Biography (www.oxforddnb.com)
OHED Oxford Hindi-English Dictionary (McGregor 2002)
RSK Rājasthāṃnī sabad kos (Lāḷas 2013)
SED Sanskrit-English Dictionary (Monier-Williams 1899)

Catalogues
CC Catalogus Catalogorum (Aufrecht 1891-1903)
NCC New Catalogus Catalogorum (Dash et al 1949-)
SCHB A Supplementary Catalogue of Hindustani Books in the Library of the
British Museum Acquired During the Years 1889-1908 (Blumhardt 1909)

Languages
Ara. Arabic
BrBh. Braj Bhāṣā
Guj. Gujarati
Hi. Hindi
Mar. Marathi
Per. Persian
Pkt. Prakrit
Raj. Rajasthani
Skt. Sanskrit

xvii
 Preface
The present thesis is the result of a life-long fascination with games and simulations,
both as a player and as a designer, combined with years of academic training in South
Asian languages and cultures. The predecessor of the modern children's game of
snakes and ladders, popularly known as gyān caupaṛ in western India, first came to my
attention in the summer of 2012 when I stumbled upon The Art of Play: Board and
Card Games of India (Mumbai, 2006) edited by British art historian Andrew Topsfield.
The hand-made game charts, inscribed in a mixture of Sanskrit and vernacular
languages, immediately caught my attention, and in early 2013 I submitted an MA
paper on the topic which was later published online by The Matheson Trust for the
Study of Comparative Religion.1 Since then I have documented more than 150 original
charts mostly produced between the late 18th and early 20th centuries, and expanded
my research from South Asia into parts of East Asia, the Middle East, and Europe.

Little scholarly work has been done on gyān caupaṛ and related games, and the road
ahead has not always been easy to pick out or travel. Setting out with two key articles
by Topsfield as my trusted guides (1985, 2006a), I worked my way through books,
articles, catalogues, and lists of auction lots to track down anything and everything
relevant to the topic. However, it quickly became apparent that it was the same little
bits of information which made the rounds between publications, and that especially
art books and exhibition catalogues tended to copy from each other, repeating the
same old commonplaces over and over again. In addition, images of the charts were
often printed at a low resolution which only allowed me to appreciate them as pieces
of art, but not to read the inscriptions they carried. I soon began contacting institutions
and individuals to acquire high resolution images of the charts, but even then my
attempts were often frustrated by irresponsive owners, impossible bureaucracy, and
exorbitant fees.

It was only when I traveled to India in the autumn and winter of 2013, and again in the
same period of 2016, that my luck began to change. After an initial meeting with

1 http://themathesontrust.org/papers/hinduism/Schmidt-Madsen-Road_Maps_for_the_Soul.pdf.

xviii
Siddharth Y. Wakankar, one of the few Indian scholars to have contributed
meaningfully to the study of gyān caupaṛ (Wakankar 2007), I was able to make
headway with some of the Indian libraries, museums, research institutions, and
private collectors that had so far ignored my requests, or altogether escaped my
attention. As my research database increased, so did my success in convincing people
to open up their doors to me, and after a few appearances in prominent Indian
newspapers, such as Times of India,2 Gujarat Samachar,3 and Dainik Bhaskar,4 people
even started contacting me themselves with information about charts in local
museums or private homes. Presenting my material at seminars and conferences led
to further insights and contacts, and soon I found myself traveling around Europe
meeting with scholars, curators, dealers, and collectors. Though some doors have
remained locked throughout the years, and many others may still have to be found, I
feel confident that the charts documented here represent a sizeable portion of the total
number of charts which have survived the ravages of time and come down to us in one
form or another.

Perhaps the biggest challenge apart from procuring the charts has been acquainting
myself with the many languages in which they are written. I come from a background
in the now defunct Section of Indology at the University of Copenhagen, focusing
mainly on the study of ancient India, and what initially attracted me to gyān caupaṛ
was the idea of a game chart inscribed in Sanskrit. However, it soon became clear that
a wealth of other languages, including Rajasthani, Gujarati, Marathi, Braj Bhāṣā, and
Persian, would also be required in order to fully understand the charts and the
multiple contexts in which they appear. Someone less passionate about his subject
matter, and more acutely aware of his personal limitations, might have chosen to back
2 "Spiritual Lessons in Snakes and Ladders" in Times of India, 26 Sep, 2013. Accessed 20 Jan, 2019:
http://timesofindia.indiatimes.com/city/ahmedabad/Spiritual-lessons-in-snakes-and-
ladders/articleshow/23069903.cms.
3 "Prācīn ramat sarpsīḍī viśe saṃśodhan" [Researching the Ancient Game of Snakes and Ladders] in
Gujarat Samachar, 20 Sep, 2013. Accessed 20 Jan, 2019:
https://gyanchaupar.files.wordpress.com/2013/08/gujarat-samachar_130920.jpg.
4 "Khel ke rahasya ko khojne ke lie juṭāīṁ 150 sāṁp-sīṛhī" [150 Snakes and Ladders (Charts) Collected to
Reveal the Mystery of the Game] in Dainik Bhaskar, 6 Nov, 2016. Accessed 20 Jan, 2019:
https://www.bhaskar.com/news/RAJ-KOT-OMC-snake-and-ladders-game-facts-news-hindi-5453723-
PHO.html?ref=ht (online version entitled "Kyā haiṁ sāṁp-sīṛhī ke aṅkoṁ kā gaṇit, nark-svarg se juṛā
is khel kā riśtā" [What Is the Math Behind the Numbers of Snakes and Ladders and the Connection of
the Game to Heaven and Hell?]).

xix
away, but seeing as the charts and any living knowledge of them were fast
disappearing, I resolved to go ahead and attempt to overcome the obstacles as well as I
could. As part of my PhD program, my department at the university generously
allowed me to follow the Hindi courses offered by the then newly established Section
of Modern India and South Asia Studies, and I was able to use the language skills thus
acquired as a basis for engaging with the vernaculars of both primary and secondary
sources. Many gaps in my knowledge of these languages still remain to be filled, and I
am deeply grateful to all the people who have assisted with translations, paraphrases,
comments, and corrections along the way. Despite the linguistic shortcomings of my
study, I hope that it will prove significant enough to justify its existence, and, if nothing
else, enable other scholars more at home in the vernacular landscape of western India
to build on it.

Jacob Schmidt-Madsen
Copenhagen, 26 Jan 2019

xx
 Acknowledgments
A complete list of all the people who have helped me in the course of researching and
writing the present thesis would take up far too many of the one lākh words allotted
me to get my message across. I will therefore have to confine myself to the few who
have been of special importance to my work. Most of all I am grateful to my supervisor
Prof. Kenneth G. Zysk who has been supportive of me throughout my education in the
Section of Indology at the University of Copenhagen, and who always believed in my
thesis despite its unconventional subject matter. I would also like to thank Andrew
Topsfield, Honorary Curator and former Keeper of Eastern Art at the Ashmolean
Museum, for sparking my interest in the game of knowledge, and keeping up a healthy
and productive correspondence over the years since I first contacted him with nothing
to offer but my enthusiasm. The same goes for Siddharth Y. Wakankar, connoisseur
par excellence of all things obscure in Indian literary traditions, who kicked open many
a door for me, and got me started on the road to collecting game charts both inside and
outside India. The International Board Game Studies community also deserves
mention for taking me in at an early stage, allowing me several occasions to present
and discuss my findings with them, and finally nudging me to host their annual
colloquium in Copenhagen in May 2017. Last, but certainly not least, I am grateful to
the Department of Cross-Cultural and Regional Studies at the University of Copenhagen
for enrolling me as a PhD Fellow in a difficult time of budgetary cutdowns and other
austerity measures. Despite the loss of the Section of Indology and several other
sections devoted to the study of the world outside our own, I hope that the department
will remain committed to cross-cultural ideas and initiatives that others would rather
see fall by the wayside.

xxi
For Liv

xxii
 Introduction
यहममा
त्रएक खखे ह
लनहहहह
5

- inscription on modern
Jaina gyān caupaṛ chart6

Among the pastimes most commonly found on the shelves and floors of children's
rooms are fairy tale books and traditional board games. As it happens, the two often
share the same trajectory: they originated in obscurity, were primarily intended for
adults, and had to undergo censure before they could be safely delivered into the
hands of children. While fairy tales were picked clean of sex and violence, traditional
board games were simplified and stripped of any meaning beyond that of winning and
losing. The present thesis leaves the fairy tales to the folklorists, and takes up the
subject of traditional board games; or, to be more precise, the subject of a single
traditional board game. Snakes and ladders is easily one of the most successful
children's games of all times, and since it was first marketed toward the end of the 19th
century, it has been played continuously by excited children and patient adults all over
the world. How a purely luck-driven game could attain such popularity without
involving any element of gambling remains a cause of wonder to game designers and
scholars alike. While I do not aim to strike at the root of that wonder, I do hope to be
able to demonstrate why people might have been attracted to the original version of
the game as it was played especially in 18th- and 19th-century western India. Back
then it was not always the innocent and abstract pastime that it has become today. It
was a game of knowledge deeply rooted in religious thinking and capable of revealing
the innermost secrets of self and universe. The evidence presented in the following
pages and chapters even suggests that the earliest form of the game was not a game at
all, but rather a tantric diagram of the subtle body with various cosmic principles

5 I.e. yah mātra ek khel nahīṁ hai [this is not just a game].
6 The chart was published by the Dharmoday Pariksha Board in Sagar, Madhya Pradesh. A copy hangs
at the Shri Shantinath Digambar Jain Atishay Kshetra at Bajrangarh outside of Guna, Madhya
Pradesh. Thanks to Tillo Detige for bringing it to my attention and providing me with a photograph.

1
mapped on to it. Ironically, just as the Indian game would eventually be transformed
into a European game, the mechanics that turned the original tantric diagram into
gyān caupaṛ may themselves ultimately have derived from Europe.

The beginnings of snakes and ladders in

the West can be traced back to the late
19th century.7 In October 1892, the
London-based company F. H. Ayres,
then one of Britain's leading
manufacturers of sports and games
equipment, took out a design
registration for a spiral-track race game
featuring snakes and ladders as a key
mechanic (fig. 1). The design was made
to be printed on paper which would
then be mounted on a circular wooden
base. Only a few copies of the finished
product are known to exist, and none of
Fig. 1: Untitled game with snakes and ladders.
them are titled or accompanied by the
London, 1892.
original set of rules.8 However, it does
not require much imagination to infer the broad strokes of the rules from the wealth of
similar games that were to follow in its wake. Each player would move a single pawn
from the first to the last square of the numbered track according to the roll of a die or
the spin of a teetotum. If a pawn landed at the foot of a ladder, it would climb to the
square at the top of the ladder, and if it landed on the head of a snake, it would slide
back down to the square at the tail. Other details, such as the exact starting position of
the pawns, their interactions throughout the game, and the rules for landing in the

7 The claim featured on the Wikipedia page of games manufacturer Jaques of London that they began
publishing snakes and ladders in 1888 cannot be verified (acc. 11 July, 2018:
https://en.wikipedia.org/wiki/Jaques_of_London). American games historian Bruce Whitehill informs
me that the current company is known to "fabricate parts of their history on their website and in
their catalogues" (pers. comm.). I tried reaching Jaques of London for comment, but they never got
back to me.
8 One copy is in a private collection in London, another is in the Richard Ballam collection of games at
the Bodleian Library in Oxford (cataloguing in progress), and a third is in the Victoria & Albert
Museum in London (acc. no. B.892-1993).

2
final square, are more difficult to guess at as they tend to vary between different
versions of the game.

On the 15th of March 1893, less than half a year after F. H. Ayres registered their
design, a patent for a related game concept was registered by journalist Richard Harte
from Croydon in south London. The patent specification was accompanied by a sample
design sketch (fig. 2) which Harte made sure to point out was neither fixed nor final.
The arrows and ladders could be replaced with "other emblematical devices," the
sequential numbering of the squares could be rearranged, and the spinner in the
center was only optional (Harte 1893: 1). The rules, however, were clearly stated in the
specification. Each player controlled a single pawn which proceeded along the
sequentially numbered track square by square according to the number spun, thrown,
or otherwise randomly generated. The arrows and ladders functioned like the snakes
and ladders in the Ayres game, and the winner was the first to arrive in any square of
the top row which did not have an arrow pointing down from it (i.e. sqs. 29,33,34 in the

Fig. 2: Untitled game with arrows and ladders. Croydon, 1893.

3
design sketch). Harte's application was accepted a month after it was received, but
there is no indication that the proposed game was ever published. Neither does the
patent appear to have been enforced, as numerous games conforming to Harte's
formula would soon begin to be made both inside and outside Britain.

The inspiration for the games proposed by Ayres and Harte did not come from any
single source. Luck-based race games had been on the rise in Europe since the
invention of gioco dell'oca, or the game of the goose, in Renaissance Italy, and had
dominated the commercial market for board games in Britain since at least the late
18th century (Goodfellow 1998: 70-1). Goose games often explored colorful yet
educational themes, such as history, travel, morality, and even love, and carried
instructions of reward and punishment for landing on specific squares. The
instructions were sometimes written on the game board itself, and sometimes in an
accompanying booklet, making the games poorly suited for younger children who had
not yet learned to read, and did not have an adult or older sibling to play with. Ayres
had previously published a series of abstract race games which did not require
literacy, and which might have inspired the design for their new game. They, too, were
made from circular wooden blocks, but instead of pasting a print on top of them, one
or more spiraling rows of tiny holes were drilled into the surface, presumably to allow
players to record their current positions with pegs instead of pawns. 9 Considering the
serpentine associations of the spiral track, it is possible that the games were inspired
by the goose game known as The Royal Pastime of Cupid, or Entertaining Game of the
Snake published by R. H. Laurie around 1850 (fig. 3). Popular in England since the late
17th century, Laurie's game was only the latest in a series of reprints of a Spanish game
designed by the Dutch engraver Pieter de Jode I around 1620. 10 Since the game lays out
the track in the shape of a coiled serpent, Ayres may simply have abstracted the design
for their own games.11

9 Examples can be found in the Edinburgh Museum of Childhood and in the Richard Ballam collection
of games at the Bodleian Library (cataloguing in progress).
10 For a detailed history of de Jode's El Juego Real de Cupido, or the real game of Cupid, see Leesberg
2015.
11 Caroline Goodfellow, apparently unaware of de Jode's original, goes on to suggest that Laurie's game
may have been inspired by the ancient Egyptian game of mehen which was also laid out in the shape
of a coiled serpent (Goodfellow 1998: 71). This suggestion, however, is almost certainly anachronistic
as very little was known about ancient Egypt when de Jode designed his game in the early 17th
century. On the other hand, when the Ayres design was registered in 1892, it would have been

4
Fig. 3: The Royal Pastime of Cupid, or Entertaining Game of the Snake. London, c. 1850.

The main novelty introduced by Ayres and Harte was the snakes and ladders and the
ingenious way in which they maintained the concept of reward and punishment
associated with goose games without requiring literacy of the players, and without
interrupting the flow of the game by asking them to consult an inscription or a manual.
The use of a visual device to link squares and cause pawns to be promoted and
demoted may already have been in vogue at the turn of the 2nd millennium BCE when
the Egyptian game of 58 holes first appears in the archaeological record (Crist et al
2016: 103-24), but it was not a common feature in goose games which often included

possible, though perhaps neither likely nor necessary, for the designer to have come across
illustrations of mehen in recent publications of ancient Egyptian art objects and tomb paintings (e.g.
Lepsius 1849-58: II, iii, 61, fig. 61a).

5
more complex and varied rules for landing on specific squares. 12 Even so, it is not the
visual device itself, but rather the imagery used to express it, which gives away its
origin as Indian. At the time of the invention of the Ayres and Harte games in the
1890s, the imagery of snakes and ladders had already featured prominently in a
religiously themed race game from western India for more than a century (see
frontispiece).13 The game was played on a grid of sequentially numbered squares,
somewhat reminiscent of that suggested by Harte14, and followed more or less the
same rules as the Ayres and Harte games. We do not know whether Ayres and Harte
had direct access to copies of the Indian game, but we do know that a beautifully
crafted version of it (Va124#1), probably prepared for the court of Baji Rao II (r. 1796-
1818) in Pune, had arrived in London as early as 1831 (fig. 4). Several other copies
might have made their way to the shores of England in the intervening years, and the
lithographic prints appearing throughout India toward the end of the 19th century
might also have influenced Ayres and Harte in their designs.15

The Indian game was known by different names among the different religious
communities which adopted and transformed it according to their own beliefs. In
Gujarat and Rajasthan, where the game found its earliest and widest distribution, it
was generally referred to as gyān caupaṛ by the Vaiṣṇavas and as gyān bāzī by the
Jainas. Both names indicate a game (caupaṛ, bāzī) of knowledge (gyān) as testimony to
the insight which it provides into subjects such as cosmology and soteriology.
12 For an exception, see the game of Sonne, Mond und Sterne (Berlin, 1825). It consists of four concentric
circles of squares connected by a single square in each circle. If a player overshoots the connecting
square, he has to continue around the same circle until he gets another chance at landing on the
connecting square, thereby moving into the next circle (Strouhal 2015: 49).
13 Harte's choice of downward-pointing arrows over snakes may have been prompted by a desire for a
less frightening and more family-friendly imagery. While arrows never replace snakes in the Indian
game, they consistently replace ladders in a later Turkish version of the game dating back to the turn
of the 20th century (Ṣū100#4ab,6abc,7,8,9).
14 Harte agrees with the Indian game in numbering the squares row by row from bottom to top, but
differs in numbering each row from left to right instead of alternating between left to right and right
to left. Though the boustrophedon movement of the Indian game had already appeared in other
goose-like games, including some that were inspired by Indian themes (e.g. Strouhal 2015: 28), the
grid used by Harte may indicate a further borrowing.
15 Early lithographic prints of the Indian game include a Ṣūfī version printed in Lahore in 1890
(Sū100#10), two Jaina versions printed in Mumbai in 1894 (Ja84#24a) and 1902/03 (Ja84#24b), and a
version from Tamil Nadu, probably of the parampad sopān variant, printed in Chennai in 1895
(Beveridge 1915b). Woodblock prints of the related Bengali game of golok dhām were also produced
in Kolkata during the same period (Topsfield 2006a: 178).

6
Following earlier writings on the game, I have chosen to adopt the name of gyān
caupaṛ throughout the thesis. Other popular names included mokṣpaṭ (board of
liberation) in Maharashtra, parampad sopān (ladder to Paramapada, i.e. Viṣṇu's
heaven) in Tamil Nadu, vaikuṇṭh pāḷi (board of Vaikuṇṭha, i.e. Viṣṇu's heaven) in
Andhra Pradesh, and vaikuṇṭh khel (game of Vaikuṇṭha) or nāgpāś (snake-dice or
snake-trap) in Nepal. Among the Ṣūfī communities in north India, it was sometimes
referred to as gyān caupaṛ, but a more common name, especially in Persia and Turkey,

Fig. 4: 124-square Vaiṣṇava gyān caupaṛ chart (Va124#1). Maharashtra (Pune?), c. 1800.

7
was shaṭranj al-'ārifīn or satranc-ı urefa, both of which mean chess of the wise. The
reason that a single game could be used to communicate such a great variety of
religious world-views lay in the simplicity of its design and the universality of its
message. All the communities to which it spread could easily agree on a metaphor of
existence where players began at the bottom, and had to make their way to the top,
sometimes aided by the rungs of a ladder, and sometimes hindered by the fangs of a
snake. The particulars of individual world-views only existed on the game charts as
legends written in the squares of the grid. These did not influence how the game was
played, and could be easily replaced when it traveled between communities. Often
changes would also be made to the size of the grid and the number and position of the
snakes and ladders, but except for minor variations the rules would stay the same.

As snakes and ladders was beginning its triumphant rise in the West around the turn
of the 20th century, its predecessor in the East was entering into a period of decline
from which it would never recover. Despite the appearance of cheap lithographic
prints and detailed mentions in publications such as Harikṛṣṇa Śarmā's Krīḍākauśalya,
or skillfulness in games, first published in 1885, and A. B. Devdhar's Sacitra marāṭhī
kheḷāñceṁ pustak, or illustrated book of Marathi games, published in 1905, nothing
could save gyān caupaṛ from falling into obscurity. M. N. Dvivedi, a professor of
Sanskrit from Nadiad in Gujarat, wrote an article about the game for the Theosophical
Society in America in 1893, in which he stated that the game was not "very generally
known" and that "only very old people here and there [...] speak of such things, and
occasionally show them" (Dvivedi 1893: 9). On the other hand, an account from 1895 by
G. R. Dampier, a Junior Magistrate at Saharanpur in Uttar Pradesh, described the game
as being "much played by Hindús, especially those of the Bráhman caste" (Dampier
1895: 25). The two statements contradict not only each other, but also the available
evidence, since Dvivedi reports from one of the richest regions in terms of gyān caupaṛ
charts, while Dampier reports from an area which is not known to have left any other
charts than the one he sketched himself. A possible reason for this discrepancy might
be that Dvivedi, being a Brahmin, was not aware of the mostly Jaina charts found in
Gujarat, while Dampier, being a Magistrate, had easier access to the fewer and mostly
Vaiṣṇava charts found in north India. In any case, the fact remains that the vast
majority of existing charts date from the 19th century, and that the game only seems to

8
have survived beyond that period to a very limited extent, and often in greatly
simplified versions, within select Jaina communities in western India and in the
context of religious festivals associated with Viṣṇu and Śiva in south India.16

Today, the story of gyān caupaṛ and the

role it played in the development of
snakes and ladders has all but been
forgotten. The last remnants of it seem
to have died out sometime in the first
half of the 20th century when game
manufacturers stopped producing
copies of snakes and ladders illustrated
with stereotypical Oriental imagery (fig.
5). Despite the obvious interest of gyān
caupaṛ to students of religion, games,
art, and even linguistics, little sustained
scholarly effort has been devoted to
understanding the game and its context. Fig. 5: Snakes and ladders. Birmingham, 1920-30.

Until recently, the most comprehensive descriptions were found in popular writings on
spirituality making various unsubstantiated claims about the history and
interpretation of the game (e.g. Johari 2007). While such writings may legitimately be
seen as forming part of a living tradition of engaging with and interpreting the game,
they tend to remove it from its historical context and realign it with modern pan-
religious views that distort its original sectarian bias. British art historian Andrew
Topsfield, who specializes in Indian painting during the Mughal period, is the first to
have studied the game charts critically without recourse to undue speculation. His two
main articles on the subject draw on a significantly larger basis of material than had
previously been known to exist, and remain the natural starting point for any serious
study of gyān caupaṛ (Topsfield 1985, 2006a). Other valuable contributions include
Shaykh Muḥammad al-Hāshimī on the Turko-Persian shaṭranj al-'ārifīn (Michon 1998),
Deepak Shimkhada on the Nepalese nāgpāś (Shimkhada 1983), Venkatasubramanian

16 Modern Jaina charts are usually made explicitly for children with a view to teach them the basic
tenets of their religion, while modern south Indian charts rarely include legends, relying instead on
colorful illustrations for effect.

9
Balambal on the south Indian parampad sopān (Balambal 2005: 81-96), and Siddharth
Y. Wakankar on the Maharashtrian mokṣpaṭ (Wakankar 2007).

The present thesis builds on the above studies, and shows the importance of gyān
caupaṛ for furthering our understanding of cultural forms and activities existing at the
interface between games and religion. The thesis greatly expands on the number of
known charts, and provides critical readings and analyses of the two earliest and
historically most significant types of charts. It brings to light the often neglected
passages written in prose and verse outside the squares of the charts, and fully
engages with early secondary sources in Sanskrit, Hindi, Marathi, and Gujarati. In
doing so, it manages a plausible reconstruction of the rules of the game as it was
played in its own time, and adds new contextual layers to the understanding of the
charts. In an attempt to go beyond the already documented influence of gyān caupaṛ
on snakes and ladders, the thesis situates the game in a wider historical context and
asks the question of what it may itself have been influenced by. The possible answers
include a number of mechanically and thematically related games from as far afield as
Europe and East Asia, as well as three rarely noticed grid diagrams from India
traditionally used for purposes other than play. The thesis also enters into a discussion
of how meaning is attributed to games by separating the formal system of gyān caupaṛ
from its representational value, and demonstrating how the game design joins the two
together textually, visually, and mechanically. The analyses of the critically read charts
cover the same ground in much more detail, and also add a further experiential
dimension which has not previously been explored. Analyzing the game as a static
object is quite different from analyzing it as an interactive process, and the conclusions
reached about its propensity for focusing the attention of the players and generating
emergent narratives show the importance of an experiential approach for
understanding how the game might have been used for purposes other than play. This
is a theme of relevance not only to gyān caupaṛ, but also to other games associated
with ritual, worship, divination, and other religious practices.

The main questions that the thesis tries to answer concern the origin, history, meaning,
and usage of gyān caupaṛ. When and where was it first invented, and how did it follow
from previously existing games and other cultural forms and practices? In which
communities did it originally flourish, and how was it adapted and transformed by

10
other communities to which it traveled? What were the religious knowledge systems
represented by the charts, and how were they communicated textually, visually, and
mechanically? And, finally, who were the users of the game, how did they use it, under
which circumstances, and for what purposes?

Thesis Outline
The first chapter establishes a theoretical and methodological framework for critically
reading and analyzing gyān caupaṛ charts. It identifies the game as an interpreted
formal system (Haugeland 1985), and demonstrates how an inherently meaningless
formal system acquires meaning by assigning representational value to the positions,
tokens, and rules of token manipulation which constitute it. It then goes on to describe
how the charts are classified according to religious affiliation and the number of
squares included in the various grid formats. The classification makes it possible to
approach each group of charts as so many manuscripts of the same text, which can
then be read square by square, snake by snake, and ladder by ladder according to
standard principles of textual criticism. The readings allow for a further division of
each group into subgroups, designated as types, based on a combination of textual
variation and available provenance information. The types of charts best suited to
answer the research questions can then be singled out and analyzed textually, visually,
and game mechanically. Since neither primary nor secondary sources are explicit
about how the charts should be understood or used, and since multiple possibilities
suggest themselves, the analytical framework takes inspiration from the theory of
affordances (Gibson 1977). The theory does not presuppose any knowledge about the
intentions of the original designer of an object, but rather views the object in terms of
the possibilities of interpretation and interaction which it affords the user. The
framework follows the identification of formal, conceptual, and experiential
affordances (Sharp 2015) as central to the analysis of hybrid objects existing in the
interface between art and games.

The second chapter situates gyān caupaṛ in a game historical context, and traces
influences from games both inside and outside India which may have contributed to
its invention. It begins by outlining the evidence available in primary and secondary
sources for reconstructing the earliest history of the game, and concludes that it likely

11
originated in western India in the late 17th or early 18th century. The main part of the
chapter falls in three sections which discuss possible influences from related games
current at the time in Europe and East and South Asia. The first section demonstrates
that gyān caupaṛ shares its formal system with the Italian gioco dell'oca, or game of the
goose, which reached western India in the mid-16th century, and spawned a variant at
the Mughal court sometime in the 17th century. The second section demonstrates that
the conceptualization of gyān caupaṛ as a spiritual journey of souls through the cycle
of rebirth was preceded by the game of xuanfo tu, or the table of Buddha selection,
dating back to at least 12th-century China. Xuanfo tu later gave rise to the Tibetan
game of sa lam rnam bzhag, or arrangement of the paths and stages, which organizes
the inscribed squares into a grid similar to that of gyān caupaṛ. Sa lam rnam bzhag co-
existed with gyān caupaṛ in the Kathmandu Valley around the turn of the 19th century,
and possibly even earlier, and though the two games operate according to different
formal systems, it is likely that they influenced each other visually and conceptually.
The third and final section relates gyān caupaṛ to its namesake caupaṛ and other games
belonging to the same family. It demonstrates that the main themes associated with
gyān caupaṛ had already been attributed to earlier games in India, and that gyān
caupaṛ therefore appeared as a natural continuation of indigenous traditions for
designing games.

The third chapter presents an overview of the more than one 150 gyān caupaṛ charts
used in the study, reconstructs the history of their transmission, and discusses how
they might have been used and by whom. The charts have been collected from a wide
range of publications, institutions, and private collections, and the majority of them
remain unpublished. The description of the charts focuses on material, design,
manufacture, and game equipment, such as dice, pawns, and instruction manuals. The
transmission history is based on the hypothesis, supported by the distribution of
evidence, that the charts originated in western India, and spread in multiple directions
reaching as far as Tamil Nadu in the south, Nepal in the north, and the Persian and
Ottoman empires in the west. The earliest forms of the charts were the 72-square
Vaiṣṇava and 84-square Jaina charts associated with individual practitioners, religious
institutions, and royal courts. They later developed several variants, some of which
established themselves as distinct groups, while others never seem to have been

12
produced in more than a few copies. Some variants, such as the south Indian
parampad sopān and the Bengali golok dhām, took the game in wholly new directions,
and have therefore mostly been left out of the study. Detailed descriptions of gyān
caupaṛ and the uses to which it was put only date from the late 19th century onward,
and may have been influenced by later developments in the game, which make it
difficult to reconstruct its original interpretation and usage. The approach taken has
therefore been to identify modern uses of the game, and trace them backward in time
as far as possible. The information thus obtained, corroborated by early pieces of
evidence on the charts themselves, indicates that the Vaiṣṇava charts were mostly used
for purposes of religious entertainment, while the Jaina charts were mostly used for
purposes of religious instruction. It does, however, seem that especially the Vaiṣṇava
charts may also have lent themselves to purposes of meditation, visualization, and
divination.

The fourth chapter provides a critical reading, analysis, and comparison of two types
of 72-square Vaiṣṇava and 84-square Jaina charts established as the earliest and most
widespread forms of gyān caupaṛ. The critical readings are presented as grid diagrams
which show the preferred reading in each square, and the preferred placement of
snakes, ladders, and footprints (a special feature only found on Jaina charts). Though
the specifics of the two readings vary in almost all aspects, the overall representational
value follows along the same lines. It has therefore been possible to divide the analyses
of the readings into the same main sections relating to the topics of cosmos, karma,
and religious practice. The analyses consider the structure of the charts and the
relative positions of legends, snakes, ladders, and footprints, as well as the game
mechanics which tie them together. Related legends sometimes appear sequentially in
accordance with the numbering of the squares on the game track, and sometimes
spatially in accordance with the hierarchical organization of the grid. This indicates an
inherent tension between the game and non-game properties of the charts, and
emphasizes the important point that the inscribed grid diagrams on which gyān
caupaṛ was played originated in cultural forms and practices not previously associated
with games. Structurally, the Vaiṣṇava charts represent the subtle body and the cosmic
principles mapped on to it, while the Jaina charts represent the universe in the form of
the cosmic man as depicted in traditional cosmographies. However, when activated

13
through play, both types of charts become representations of the cycle of rebirth as
traversed by individual souls, or pawns, according to the laws of karma, or throws of
dice. The final comparison between the critically read charts demonstrate that the
Jaina charts were adapted from the Vaiṣṇava charts, and that a second group of Jaina
charts, which does not show the same degree of influence from the Vaiṣṇava charts,
may have been an attempt at purging the original Jaina charts of Vaiṣṇava influence.
This strongly suggests that gyān caupaṛ originated in non-game grid diagrams of the
subtle body adopted by Vaiṣṇava bhaktas, or devotees, in late 17th- or early 18th-
century western India.

The fifth chapter reconstructs the rules of the critically read 72-square Vaiṣṇava and
84-square Jaina charts, and examines the experiences afforded by the charts when
activated through play. It begins with a discussion of the simulational aspect of games,
drawing upon Handelman and Shulman (1997) who treat cosmologically themed
games as analogue models (Black 1962) simulating the key features of a complex
system with recourse to a simplified version of the same system. This allows us to view
gyān caupaṛ as a simulation of the inner workings of the cosmos and the process of
spiritual progress and regress on the path toward final liberation. The procedural logic
controlling the simulation is embedded within the rules of the game which are
reconstructed as far as the available sources allow us. A sample playthrough is then
conducted for each of the two critically read charts, providing us with the data
necessary to analyze the experiences provided by the charts. The single pawn
controlled by each player changes the focus from the totality of the chart to the square
currently occupied and the squares that can be reached on the next throw of the dice.
Similarly, the sequence of squares landed upon generates an individual narrative
which can then be used as a basis for interpretation. The game can therefore either be
viewed in terms of winning or losing, or in terms of establishing an interpretational
space between the properties of the game and the imagination of the player, allowing
for the creation of personal stories described by Calleja (2009) as alterbiographies.
How these stories might have been received and used by the players cannot be
established without additional evidence, but they clearly demonstrate the potential of
engaging with gyān caupaṛ as something above and beyond mere entertainment.

14
The sixth and final chapter widens the perspective on gyān caupaṛ by situating it in
the context of related cultural forms and practices other than games. It identifies the
grid diagram as an interface between games and non-games, and uses the example of
grid-based bhadramaṇḍalas (Bühnemann 1987, 2007) as loci of ludic, or playful,
processes employed in ritual. It then goes on to describe three different charts from
between the mid-17th and mid-18th centuries relevant to the study of gyān caupaṛ. The
first chart is a tantric grid diagram of the subtle body conceptually related to Vaiṣṇava
gyān caupaṛ charts previously identified as the earliest form of the game. The diagram
shares multiple readings with the Vaiṣṇava charts, and also includes several snakes
representative of the energy channels (nāḍī) of the subtle body. The second chart is a
cosmographical grid diagram of the mythical Mount Meru which not only serves as the
axis mundi of the universe, but also of the subtle body. It associates specific vices (pāpa)
and virtues (puṇya) with specific hells and heavens, similar to the function of snakes
and ladders in gyān caupaṛ, and includes two lines or ladders of its own leading up to
the topmost squares of the chart, privileging Vaiṣṇava bhakti, or devotion, above
tantric and yogic samādhi, or intense meditation. The third chart is an astrological grid
diagram showing the various auspicious and inauspicious results of planets transiting
through the zodiacal signs relative to one's own natal moon sign (gocāraphala). The
formal system of gyān caupaṛ has been added to the chart, and an inscription explains
that it can either be used as an astrological table, a divinatory tool, or a mere pastime.
The evidence provided by the three charts adds substantial weight to the argument
that gyān caupaṛ derived from tantric grid diagrams of the subtle body, that it adopted
and integrated the diagrams into the context of Vaiṣṇava bhakti, and that the transition
from non-game to game was suggested by the ludic properties of the diagrams. Finally,
it suggests that the initial transition may have occurred at the Rajput courts of western
India, as indicated by numerous analogue examples from the court of Mahārāja
Kṛṣṇarāja Oḍeyar III (r. 1799-1868) in the Princely State of Mysore.

The final chapter is followed by a conclusion and a series of appendices. Appendix A

presents a detailed description of all existing gyān caupaṛ charts that I am currently
aware of. Appendix B provides a typology of the charts used in the study, and
organizes them into groups and types. Appendix C contains transcriptions of the 72-
square Vaiṣṇava and 84-square Jaina charts which constitute the earliest forms of the

15
game. Appendix D expands on the diagrammatic representations of the critical
readings of two types of 72-square Vaiṣṇava and 84-square Jaina charts analyzed in
chapter four by providing the full readings behind them. Appendix E gathers together
the verses sometimes inscribed on the charts used in the study, and suggests
reconstructions and translations. Finally, Appendix F provides full transcriptions and
translations of two late 19th-century text passages central to our understanding of how
gyān caupaṛ was perceived at a time when it was still actively being played. The first
passage is from the out-of-print and not easily available Krīḍākauśalya, written in
Sanskrit with a Hindi auto-commentary in 1872, while the second passage is from an
unpublished manuscript written in Gujarati in 1877/78.

16
 Chapter 1
What's in a Game?

As art historian Deepak Shimkhada discovered during his research for an article on
the Nepalese version of gyān caupaṛ in the early 1980s, the game charts are not always
recognized as such. The chart (Va72#24) at the Field Museum of Natural History in
Chicago, which prompted his interest in the subject, was broadly classified as a
"religious work" (Shimkhada 1983: 308), while two other charts (Va72#22,23) at the
Nepal National Museum in Kathmandu were similarly exhibited as works of art rather
than games (ibid. 317). Shimkhada's experience mirrors my own on several occasions
when collectors and connoisseurs have refused to recognize the charts as games, or, on
other occasions, as anything but games. An example of the former attitude is found in
an extensive commentary on a Ṣūfī chart (Sū100#4a) written in 1938 by Shaykh
Muḥammad al-Hāshimī who considers previous commentators to have turned the
"chess of the wise" (shaṭranj al-'ārifīn) into the "chess of the negligent profligates"
(shaṭranj al-ghāfilīn al-musrifīn) (Michon 1998: 72). Though al-Hāshimī does not refer to
the commentators by name, nor give out any details about their alleged
misconceptions, he appears to have been especially opposed to the identification of the
chart as a game. Despite the obvious invocation of chess in the title of the chart, he
never once refers to it as a game, insisting on its sole function as a diagrammatic
representation of the pathway to God. Others go even further, as the local scout of a
private collector from Germany discovered when he inquired about a privately owned
Jaina chart in Jodhpur, Rajasthan. The owner of the chart told the scout that it was
neither for sale nor used for play, but served as an object of worship on account of its
previous association with Jaina monks. Further examples of the ambiguous position of
gyān caupaṛ between a game and a religious object will be given throughout the thesis,
but obviously the problem of definition needs to be addressed here at the very outset.

Games are notoriously difficult to define, and no single definition stands out as
generally accepted among game scholars. Katie Salen and Eric Zimmerman - whose
encyclopedic Rules of Play became something of a bible among academics and

17
designers upon its publication in 2004 - list no less than eight different definitions by
prominent authors within the fields of play and game studies, and then goes on to add
one more of their own (Salen & Zimmerman 2004: 73-80). Brian Sutton-Smith argues
that "when it comes to making theoretical statements about what play is, we fall into
silliness" (Sutton-Smith 1997: 1), and Espen Aarseth invokes Wittgenstein to argue that
a game can only be defined as an individual member of a larger and largely
undefinable family of games (Aarseth 2011). Aarseth, together with Gordon Calleja,
recently went on to argue that it is not so much the object itself as the way in which we
choose to engage with it that determines whether it should be defined as a game or not
(Aarseth & Calleja 2015: 7-8). It would therefore be perfectly possible for an object to be
construed as a game in one context, and as something other than a game in a different
context. This is certainly true of gyān caupaṛ which, as we have already begun to see,
might easily lend itself to other purposes than mere play. It is, however, important to
understand that, its religious connotations non-withstanding, gyān caupaṛ was
invented as a game rather than, say, a yantra, or mystical diagram, which it clearly
resembles and might easily be mistaken for. This is evidenced by its title, which
invokes the concept of a game, and by the existence of a formalized set of rules for
interacting with it as a game. Though the rules are rarely inscribed on the charts
themselves, they are often alluded to, and except for al-Hāshimī mentioned above,
commentators always refer to the charts as games, and to those who interact with
them as players. We should therefore take care not to downplay the ludic, or playful,
qualities of the charts in our search for associated layers of religious meaning, and
make sure that we understand the charts as games before we try to understand them
as something other than games.

The first part of this chapter begins by classifying gyān caupaṛ as a traditional board
game belonging to the category of race games, and then goes on to distinguish between
the formal system underlying the game and the representational value attributed to it.
The second part outlines the research methodology of the study, and discusses key
aspects of reading and analyzing the charts.

18
Traditional Board Games
The field of board game studies has traditionally been constructed as a historico-
empirical field with little emphasis on theoretical considerations. This is probably due
to its origins outside academia, into which it has only recently begun to be
introduced.17 As a result, theoretical discussions of what defines and constitutes a
board game are few and far between. 18 The standard system of classification remains
the one suggested by H. J. R. Murray in 1952 when he divided board games into five
categories of alignment and configuration (e.g. merels), war (e.g. chess), hunt (e.g. fox
and geese), race (e.g. backgammon), and mancala (e.g. oware). The categories, which
were meant to reflect "the early activities and occupations of man" (Murray 1952: 4),
have been accused of being unscientific19 and ideologically suspect,20 but despite
several attempts to improve or replace them, no one has as yet been able to succeed in
the endeavor. Perhaps the single biggest problem with Murray's categories is that they
fail to take into account the wealth of board games produced since the turn of the
previous century, and especially since the 1970s and 1980s. Since it was never Murray's
intention to include such games in his survey, and since he wrote it before the vast
majority of them had been invented, he cannot be blamed for their omission, but the
need for a more inclusive system of classification is now more pertinent than ever.
David Parlett tried to remedy the situation in his Oxford History of Board Games by
adding the category of theme games (Parlett 1999: 9), but this is inadequate to the task

17 The first colloquium on board games was held at the British Museum in 1990 (Finkel 2007: 1), and
the first academic journal devoted to their study was launched in 1998 (BGS 1). Before then,
advances in the field had mostly been made by amateurs and enthusiasts with little or no formal
academic training. Stewart Culin (1858-1929), who pioneered the ethnographical study of games,
worked as a museum curator and director, while H. J. R. Murray (1868-1955), whose books on chess
(1913) and other board games (1952) are still widely referenced, was employed as a school inspector.
18 This is contrary to the situation in the related field of digital game studies which began within
academic disciplines, such as literature and other media studies, with a strong theoretical basis.
Consequently, questions of game ontology, even when also applicable to non-digital games, has
primarily been framed within the context of digital games.
19 See, for example, Alexander J. de Voogt who finds the categories "arbitrary" and lacking in a
"theoretical base" (1995: 9).
20 Ulrich Schädler recently argued that the categories rest on the scientific basis of now largely
discredited theories of human evolution advanced by 19th-century anthropologists, such as Edward
B. Tylor (1832-1917), Alfred C. Haddon (1855-1940), and the philosopher and psychologist Karl Groos
(1861-1946) (Schädler 2017).

19
at hand, and only serves to uphold a largely false dichotomy between traditional and
modern board games.21

Traditional board games are often defined as evolved and non-proprietary in

opposition to modern board games which are defined as invented and proprietary. The
problem with this distinction, as Parlett is quick to point out, is that some traditional
board games have in fact become proprietary, while some proprietary board games
have reverted back into the public domain (Parlett 1999: 5-6). One might also add that
the distinction between evolved and invented is difficult to uphold, and that it gives off
the impression that evolved games were never invented, and that invented games
never evolve. Another popular dichotomy is that between abstract and
representational games, but, as Parlett also points out, board games that we would
consider abstract today were often considered representational at some time or other
in the past (ibid. 6). The obvious example in the present context is of course snakes and
ladders, which is as abstract as its predecessor gyān caupaṛ was representational, but
most other traditional board games, whether originally intended as representational,
or only interpreted as such later on, have experienced a similar loss of meaning,
leaving them to be regarded by contemporary society as purely abstract games. 22
Parlett ends up suggesting a third dichotomy between positional and theme games
(ibid. 6-7), but it is difficult to see how this improves on the dichotomy between
abstract and representational games; something clearly evidenced by its failure to
catch on among board game scholars who still seem to prefer Murray's categories over
anyone else's.

The purpose of the present thesis is not to suggest a new scheme of classification for
board games, and we will therefore have to content ourselves with referring to gyān
caupaṛ as a traditional board game belonging to the category of race games. Murray
does not appear to have been aware of gyān caupaṛ when he wrote his survey, but his
definition of race games as games "in which teams of equal size race one another along

21 Contemporary board gamers usually refer to board games by a combination of theme and
mechanics without any clear structural framework for doing so. The world's largest board game site
boardgamegeek.com currently has a database of around 100.000 games organized according to 84
categories and 51 mechanics. Accessed 20 Jan, 2019.
22 An extensive survey of the meaning ascribed to both abstract and representational games, whether
board games or otherwise, is found in Jean-Marie Lhôte's book on the symbolism of games (Lhôte
1976). Also see Lhôte 1996.

20
a given track, and the first player to complete the course with his team wins" (Murray
1952: 4-5) leaves little doubt that this is how he would have categorized it.

Formal Systems
A useful way of describing traditional board games is suggested by the philosopher
John Haugeland who, instead of focusing on the physical object itself, focuses on the
formal system which underlies and informs it. Using chess as an example, he identifies
three key requirements of a formal system: it should involve token manipulation, and it
should be both digital and finitely playable. Token manipulation (Haugeland 1985: 48-
52) necessitates the existence of tokens and positions. The rules of the formal system
govern the ways in which the tokens can be manipulated by adding them to and
removing them from the system, changing their positions within it, and altering or
replacing them. Translated into chess terminology, this means that different pieces are
placed in different squares and moved around according to type, that they are capable
of eliminating each other, and that a pawn which reaches the other end of the board is
promoted to a piece of a different type. That a formal system is digital (ibid. 52-63)
means that positions are discrete units with no middle ground between them. A piece
either occupies or does not occupy a position; it cannot be placed halfway between two
positions and said to occupy both of them partially. This would introduce ambiguity
into the system and make us incapable of properly "reading" its current state and
"writing" its subsequent states. Finally, the requirement of finite playability (ibid. 63-
71) dictates that we should be able to identify and perform every legal move regardless
of the current state of the system. In chess, this is achieved by using a limited number
of pieces allotted a limited number of legal moves on a board consisting of a limited
number of squares.

One might wonder why Haugeland does not include the requirement of a formal win
condition as this is an essential feature of most games, and certainly of all traditional
board games. The truth, however, is that Haugeland is not really interested in games,
but rather in how the formal systems that inform them can be used as examples of the
much more complex formal systems that control the operations within a computer
(ibid. 48). Formal systems are not exclusive to games, and the only reason that games
include win conditions is that they would not be much fun to play if they did not (ibid.

21
50-1). While this observation may seem obvious, or even banal, it alerts us to just how
little separates a formal system used for the purpose of a game from a formal system
used for the purpose of something other than a game. If we take the example of the
formal system underlying gyān caupaṛ (fig. 6), we find that it consists of a sequentially
organized series of positions. Each participant controls a single token which is added to
the first position of the series. The participants then take turns generating a random
number within a fixed range, and move their token forward the corresponding
number of positions. Certain positions are linked to other positions, and if a token ends
its move on such a position, it must immediately continue backward or forward to the
linked position. If a number generated by a participant would cause his token to move
beyond the final position of the series, the token is moved backward from the final
position by the exceeding number of positions.23 If it were not for the rule that the first
token to end its move on a predetermined position wins the game, the formal system
would continue endlessly and probably not be recognized as a game at all. In fact, the
only thing that would save it from being regarded as a completely pointless activity
would be the attribution of a representational value transforming it into a
simulational, educative, divinatory, or other kind of tool.

Fig. 6: The formal system of gyān caupaṛ.

23 The rules presented here are general in nature, and appear with some variations in available
sources. A detailed reconstruction of the rules based on available sources can be found in chapter
five.

22
By considering formal systems in the abstract with little or no connection to their
concrete manifestations, Haugeland highlights the fact that formal systems are
independent of the media through which they are expressed (Haugeland 1985: 58).
Whether one plays chess on a board, a screen, or in the mind, the formal system of the
game remains the same.24 Similarly, the charts manifesting the formal system of gyān
caupaṛ only represent one way of doing so. Generally speaking, they consist of a grid
diagram with a number of squares corresponding to the number of positions in the
system. The first position is located in the bottom left of the grid from where the
sequentially organized positions continue boustrophedon to the top. The links between
positions are indicated by snakes or ladders depending on whether they lead
backward or forward, and the winning square is located in the top central square. The
tokens can be represented by any easily distinguished objects, but the randomizing
agents are almost universally dice or cowrie shells. Though the formal system could
have been manifested in any number of alternative ways, it is important to understand
that the formal system is as much a product of the charts as the charts are a product of
the formal system. The two almost certainly developed in concert, and the only reason
that we are keeping them separate is to understand how something as seemingly
innocent as a traditional board game could suddenly become invested with layers of
meaning that go far beyond those of winning and losing.

Representational Value
For Haugeland, identifying the formal systems of traditional board games is only the
first part of a three-part process aimed at describing the "interpreted automatic formal
system" of a computer (Haugeland 1985: 48). That a formal system is automatic means
that it is played or processed by a computer, thereby allowing for much greater
complexity than if it were operated by a human. That it is interpreted means that the
properties that make up the system can be made to stand for something other than
themselves, and that this other can be used to convey a meaning that is not inherent in
the system as such. As Haugeland points out, formal systems are self-contained and

24 A popular illustration of the medium independency of chess is provided by filmmaker Satyajit Ray in
his 1977 adaptation of Munshi Premchand's famous short story Śatrañj ke Khilāḍī, or the chess
players, first published in 1924. When the desperate wife of one of the chess players hides the pieces
to stop her obsessed husband from playing, he merely substitutes them with a corresponding variety
of nuts and vegetables.

23
semantically neutral without any capacity for meaning unless related to the outside
world (ibid. 50). The interpretation of a formal system is therefore solely dependent
upon the symbolic or representational value attributed to it. While Haugeland uses this
insight as a starting point for an investigation into the concept of artificial intelligence,
we shall pursue a more modest course, and try to understand how it relates to the
generation of meaning in traditional board games.

A good example of how different

representational values can be
attributed to one and the same formal
system is provided by the family of
asymmetric board games classified as
hunt games by Murray. One of the
simplest members of this family, played
in various parts of South Asia, takes the
form of a triangle divided into six parts
by one vertical and two horizontal lines
(fig. 7). The game is played on the points
where the lines intersect, allowing for a
total of ten legal positions. One player
usually controls a single piece,
beginning at the apex of the triangle,
Fig. 7: Sample hunt game.
while the other player usually controls
six or seven pieces freely distributed across the triangle. During his turn, the player
controlling the single piece is allowed to move it to a vacant position adjacent to its
current position, or jump over an occupied position to a vacant position directly
behind it, thus eliminating the piece in the occupied position. The player controlling
the many pieces is only allowed to move one of them each turn, and only to a vacant
position adjacent to its current position. The goal of the single piece is to eliminate all
the opposing pieces, while the goal of the many pieces is to prevent the single piece
from being able to move by completely surrounding it.

Though the formal system does not contain any meaning in and of itself, the
asymmetric nature of the system and the different approaches to winning seem to

24
suggest a conflict between two opposing forces of unequal strength. Whether the game
was originally invented with that representation in mind, or whether the
representation was only added after its invention, the game was consistently
interpreted as such by the cultures and societies to which it spread. The interpretation,
however, varied greatly with regard to the identification of the opposing forces. The
game was framed as a conflict between a tiger and a herd of goats in South Asia, as a
fox and a flock of geese in western Europe, and as a general and a band of rebel
soldiers in East Asia. The complete list of regional variations is much longer than the
few examples given here,25 but the important point is that however one chooses to
interpret the game, it can still be drawn on the ground and played with a handful of
pebbles without any reference to what it might mean. We can even imagine a situation
where two persons with different cultural backgrounds and no shared language
between them would play the same formal version of the game, yet consider its
representational value differently. The player controlling the single pawn might
interpret it as an elephant trampling a group of hunters, while the player controlling
the many pawns might interpret them as a flock of sheep trying to stop a wolf from
eating them. For this and other reasons, traditional board games are easily passed on
between different cultures and societies, and are highly adaptable to their
surroundings.26

Despite the formal system of gyān caupaṛ being even more simple than that of the hunt
game described above, the representational value attributed to it is far more complex
and challenging (fig. 8). While any race game, as indicated by the name suggested by
Murray, can be said to represent a contest of speed along a track toward a goal, gyān
caupaṛ goes further by attaching a legend to each of the positions in the formal system.
The legends, written in the squares of the game charts, will be fully explored in the
chart analyses in chapter four, but for now we can say that they represent spiritual
stages on the path to liberation, with the initial position indicating birth, and the win
position indicating liberation. Other representational values are attributed to other
elements of the formal system, though these are only rarely made explicit on the charts

25 The most complete list of hunt games currently available remains the one provided by Murray (1952:
98-112).
26 A recent study points to board games and alcohol as two of the most important factors in facilitating
social interaction between different cultures in the Ancient Near East (Crist et al 2016).

25
themselves. Most obvious among them are the snakes and ladders which, instead of
just connecting seemingly random positions, are interpreted as connecting different
spiritual stages. The overall implication, as supported by available evidence from
charts and commentaries, is that the snakes represent negative karmic fruition, while
the ladders represent positive karmic fruition. The tokens are rarely commented upon
except in later literature, but the context makes it clear that they represent incorporeal
selves, or souls, and, as indicated by the fact that each player only controls a single
token, possibly even the souls of the players themselves. This leaves only the dice or
cowries to be considered, and here again the context indicates that they represent the
karmic fate of the souls. Though it might be argued that the lack of agency on the part
of the players go against the concept of karma, this is only true if we choose to see the
game as a simulation of the karmic system rather than a reflection of the players' own
karma. All this will be explored and exemplified in more detail later, but if we step
back and take a broader view of the game, we can describe it in general terms as a
representation of the spiritual journey of souls through existence toward liberation.

Fig. 8: The representational value attributed to the formal system of gyān caupaṛ.

It is important to remember that the function of the legends is purely representational,

and that however they might cause us to interpret the formal system is of no
consequence to its operation. The fact that we can add, remove, and alter the legends
without impacting the formal system not only shows that they form a separate
semantic layer, but also explains the apparent ease with which gyān caupaṛ came to be
adopted by different religious communities. The only requirement for a successful

26
adaptation was the substitution of one set of legends for another set of legends. Even
so, most communities also chose to individualize the format of the charts by changing
the number of squares, the organization of the grid, and the placement of the snakes
and ladders. Evidence strongly suggests that these additional changes were not
incidental, and that they should rather be taken as indications of how minor
adjustments to the underlying formal system, such as changing the number of
positions and the links between them, could be used to influence the representational
value further. Examples include adjusting the ratio between the number of snakes and
ladders to represent an easier or a more difficult path to liberation, and changing the
number of squares to represent a contextually important number, such as 84 squares
for the 84 lākh, or 8.400.000, possible birth-situations (yoni) in the universe, or 72
squares for the 72.000 energy channels (nāḍī) or compartments (koṣṭha) in the subtle
body (sūkṣmaśarīra).27

Research Design
The single biggest obstacle to understanding the representational value attributed to
the formal system underlying gyān caupaṛ is the lack of sources describing the charts
and their usage prior to the late 19th century. This situation is not unique to gyān
caupaṛ. Despite the fact that board games first entered the archaeological record in the
Bronze Age cultures of Egypt, Mesopotamia, and the Indus Valley, they have largely
been ignored by the historical record until the turn of the 20th century. 28 With a few
notable exceptions, such as the 12th-century Mānasollāsa (Gondekar 1925-61), the
13th-century Libro de los Juegos (Golladay 2003), and the 17th-century De Ludis
Orientalibus (Hyde 1694), early references to games are few and far between, and

27 As Dominik Wujastyk reminds us, enumeration is often based on the structural imperatives of
magical numbers rather than actual attempts at exactitude (2009: 194). This also means that the
same numbers are used as the basis for a wide range of auspicious enumerations, making it almost
impossible to discover the intended reference of a particular number outside of a specific context. In
fact, the very attempt at doing so would probably be considered futile, as the importance of the
number itself would far exceed the importance of any particular enumeration to which it might
refer.
28 Gary O. Rollefson (1992, 2012) and John Simpson (2007) have identified stone slabs engraved with
parallel rows of circular depressions dating from the neolithic period as game boards, but the
identification is mainly, if not solely, based on a superficial resemblance with known game boards of
the mancala type. A recent study suggests that the stone slabs may rather have been used, together
with cylindrical clay objects, as "fireboards" for igniting tinder (Goren-Inbar et al 2012).

27
rarely consist of more than a few passing observations and comments. In the case of
gyān caupaṛ, we are helped along by the wealth of textual, visual, and ludic
information provided by the charts themselves, as well as by the tradition of
interpreting the charts exemplified in several later commentaries. We should,
however, be careful in making assumptions about the early history and usage of the
charts on the basis of commentators writing at a time when their origin had been
forgotten, and the purely mechanical aspects had come to dominate the understanding
of the game. As already mentioned, the charts may in part have developed from
cultural forms and practices which only came to take on the character of a game in
later stages of their development.

In order to avoid undue confirmation bias in speculating about what gyān caupaṛ
might or might not have meant to those who played it, the present thesis takes
inspiration from the theory of affordances which expands the focus from the actual to
the potential uses of an object. The theory was originally developed within the field of
ecological psychology by James Gibson who coined the term "affordance" with
reference to the opportunities for interaction which the environment affords its
inhabitants: ground affords walking, water affords drinking, other species afford
hunting, the opposite sex affords reproduction, etc. (Gibson 1977: 68). The theory was
picked up by Donald Norman who saw that it could be effectively applied to industrial
design if the designer recognized that the affordances of an object are only of value to
the consumer if they are also perceived as such (Norman 1990: 9). While any container
might afford being drunk from, a container designed to be drunk from should suggest
this affordance over other affordances it might have, such as collecting trash or
trapping insects. This, however, assumes that the prior knowledge and experience of
the consumer cause him to recognize the affordances intended by the designer, which
is not always true for a consumer removed from the original context of the design. The
example that I am getting at is, of course, gyān caupaṛ whose very name suggests that
it should afford both knowledge and playing, but whose design alone does not clearly
indicate how it should be played or which knowledge it should impart. The present
challenge therefore is to plausibly reconstruct not only the rules of the game, but also
the meaning that it was intended to convey.

28
The shift in focus from industrial design to traditional board games is not as far-
fetched as it may at first appear. Indeed, the ideas presented by Norman have long
since been adopted within the fields of human-computer interaction and game design.
As anyone who has tried to navigate the interface of a computer program will be
painfully aware, the ways in which it communicates its intentions to the user is crucial
to its success. Today, affordance theory features prominently within the field of game
studies where John Sharp recently demonstrated its application to hybrid objects
existing within the contested space between games and art (Sharp 2015). Sharp
distinguishes between the conceptual, formal, and experiential affordances of such
objects, providing an analytical framework helpful in identifying the manifold ways in
which gyān caupaṛ might originally have been engaged with. Before we enter into a
discussion of the framework and its application, we will, however, have to consider the
question of how at all to construct the empirical object of gyān caupaṛ.

Reading the Charts

The primary sources for the present study comprise nearly 150 unique charts, more
than 170 if variants are included, and more than 200 if undocumented charts are also
included.29 Each chart exhibits its own minor or major differences from the other
charts, and it would therefore make little sense just to pick one or two and subject
them to extensive analysis. This is more or less what was done in the past when the
sample size was much smaller, and access much more limited. Given the large and
complex nature of the material now available, the aim has been to provide an
overview of the various groups of charts, as well as the different types of charts
existing within those groups, and subject the most important among them to analysis.
An initial step toward a working typology was taken by Topsfield who organized the
charts according to religious affiliation and number of squares (Topsfield 1985,
2006a).30 The typology presented here follows Topsfield's approach, but expands on it
by also considering questions of provenance and variant readings, thereby allowing

29 See Appendix A for a comprehensive list of charts.

30 It should be noted that religious affiliation and number of squares are approximate categories that
cannot always be determined unambiguously. Consequently, the former only includes general
descriptions, such as Vaiṣṇavism and Jainism, while the latter only includes the sequentially
numbered squares in the playing grid without reference to individually numbered additional
squares.

29
for a more detailed subdivision of the material. 31 This results in at least one major
diversion from Topsfield who separates 84-square Jaina charts into those topped by an
architectural superstructure and those surrounded by the head, arms, and feet of the
cosmic man (lokapuruṣa) (Topsfield 1985: 207). While this separation is perfectly valid
from an artistic point of view, it does not follow the subdivision of charts suggested by
the legends, which cut across similarities of design, indicating that the visual and
textual elements of the charts do not necessarily go hand in hand.

The methodology employed in the present study considers groups of charts related by
religious affiliation and number of squares as so many manuscripts of the same text.
This allows for the comparison of charts square by square, snake by snake, and ladder
by ladder, resulting in critical readings of individual groups of charts in the manner of
traditional textual criticism. The purpose is not to create stemmas and suggest
archetypes, but to arrive at critical readings sufficiently representative of the totality of
charts within a group to function as credible bases for further analysis and discussion.
Because of the sequential as well as hierarchical ordering of legends in the squares of
the grid, it is possible to identify when a textual variation is merely occasioned by the
switching around of adjacent legends or the use of synonymous terms of expression,
and when it represents a genuine variation which might relate the chart to a different
type of chart within the same overall group. Furthermore, the general idea that snakes
and ladders connect squares with negative and positive legends, respectively, serves as
a corrective not only to misplaced snakes and ladders, but also to misplaced legends.
As one might expect, the complexity of the charts and the careful alignment of the
formal system and its representational value have resulted in numerous errors of
transmission, many of which can be easily spotted and corrected by a text critical
approach.32

The critical readings of the charts make it apparent that two groups in particular take
precedence over the remaining groups. The 72-square Vaiṣṇava and 84-square Jaina
charts are not only by far the most numerous, they also include the earliest datable,
31 See Appendix B for a full typological overview of the charts.
32 The approach could also be used to undertake a study of the process of transmission which would
allow us to map out the historical, linguistic, and artistic relationship between individual charts in
great detail. Fascinating and important as such an undertaking would be, it lies outside the scope of
the present study. For those willing to attempt it, the critical readings and chart transcriptions
presented in the appendices provide a solid starting point.

30
and, in the case of the former, the geographically most widespread charts. The 72-
square Vaiṣṇava charts can be divided into five types (a,b,c,d,e), and the group of 84-
square Jaina charts into three types (a,b,c), the first of which can be further divided
into three subtypes (a1,a2,a3). The characteristics of individual groups and types are
detailed in Appendix B, and also receive further attention in chapter three, sufficing it
to be stated here that one type within each group was identified as more significant
than the others, and thus chosen as the focus of analysis for the group in question. For
the 72-square Vaiṣṇava charts, type a was the obvious choice as it is the only major
type deriving from western India where gyān caupaṛ is likely to have originated.
Choosing along regional lines was not an option in the case of the 84-square Jaina
charts since they almost exclusively derive from Gujarat and Rajasthan. Consequently,
the primary reason for choosing the type a charts was a simple matter of choosing the
most widely represented type which, as a secondary point of consideration, also
happens to have the most in common with the 72-square Vaiṣṇava type a charts.
Among the three subtypes, subtype a1 was chosen because subtype a2 only goes back
to the late 19th century, and because subtype a3 only appears to be a slightly more
verbose version of subtype a1.

Analyzing the Charts

The diagrammatic representations of the two critically read types of charts form the
basis of the central analyses of the thesis which seek to understand the interplay
between the formal system and the representational value of gyān caupaṛ. The
analyses are informed by the theory of affordances as developed by Gibson and
Norman and applied by Sharp who suggests that "conceptual, formal, and experiential
affordances provide a framework for thinking about how communities of practice
approach a cultural form" (Sharp 2015: 7). The communities of practice which Sharp
have in mind are mainly those of designers and players, and the cultural form that of
digital games, but his analytical categories have a much wider application which can
easily be extended to include other interactive cultural forms such as gyān caupaṛ. The
three main questions the categories allow us to ask of the charts lie at the very heart of
what we are trying to understand about them: what were the charts trying to
communicate? how did they go about communicating it? and how was the
communication received by those who engaged with them?

31
Sharp defines conceptual affordances as "the things for which a community of practice
believes [a] cultural form can be used" (ibid. 5). It is important to note that the answer
to this question is not necessarily the same as the answer to the question of what a
cultural form is actually used for. We know that gyān caupaṛ was used as a pastime,
but we also have several indications that it was used as something other than a
pastime. This is evident from the overtly religious representations of the charts, as well
as from the descriptions of those representations in primary and secondary sources
alike. Add to this the fact that the charts have almost exclusively been preserved in
isolation from any dice or pawns used to interact with them as games. While this may
simply speak to the ephemeral and interchangeable nature of such game equipment, it
also serves as a reminder of the prominence awarded the charts as distinct cultural
forms above and beyond their practical use as game surfaces. In comparison, the cloth
boards of the related game of caupaṛ, from which gyān caupaṛ derives its name, have
often been preserved together with dice and pawns, and in the case of boards
belonging to the upper echelons of society, as many gyān caupaṛ charts also did, the
accompanying game equipment is often of a highly elaborate and exquisite nature
(Finkel 2004b: 47-48). While an illiterate person might identify the numbered and
inscribed grid of a gyān caupaṛ chart unaccompanied by dice and pawns as a mystical
diagram, a literate person might identify it as a map of self and universe revealing
secrets of religious knowledge and practice. Similarly, a chart accompanied by dice and
pawns might either be seen as an innocent pastime, or as a means of simulating cosmic
and karmic processes. In order to understand the purposes for which the charts were
made, and the not necessarily identical purposes for which they were used, we will
have to explore the concepts afforded by them textually, visually, and ludically.

Sharp goes on to define formal affordances as "the means by which the conceptual
goals can be materialized" (Sharp 2015: 5). This includes the tools and materials that go
into making the object, the design that governs its manufacture and composition, and -
in the case of a game - the rules by which it operates. As Sharp is quick to point out
himself, conceptual and formal affordances can be difficult to separate as they tend to
act as frames for each other (ibid. 6). The form through which the content is expressed
is itself part of that content, and vice versa, rendering any attempt at separating the
two difficult at best, distorting at worst. In the case of gyān caupaṛ, the use of an

32
inscribed grid diagram is as much a formal as a conceptual tool in that it acts not only
as a frame for the legends, but also as a way of organizing them hierarchically. While
the sequential numbering of the squares suggests a linear progression from bottom to
top, the rows and columns suggest a spatial organization which would not have been
possible if the legends had been presented in the form of a list. We might even say that
the grid expresses the inherent tension between game and non-game by allowing us to
read it sequentially in accordance with the rules of the game, or spatially in
accordance with a diagram used for purposes other than play. Turning our attention to
the formal system underlying the charts, we find that it, too, straddles the divide
between conceptual and formal affordances. Though I agree with Haugeland that
formal systems do not contain any inherent meaning, the example of asymmetrical
hunt games given above demonstrates that formal systems can indeed be suggestive of
context-dependent interpretations. In fact, one of the major concerns of modern day
game designers is to invent mechanics that adequately express the theme of the game
they are trying to design.33 The translation of the formal system of gyān caupaṛ into a
detailed representation of a spiritual journey stands out as a rare example of a
traditional board game that managed to do just that.

Finally, Sharp defines experiential affordances as "the kind of experiences an audience

anticipates having through the consumption of its community's artifacts" (ibid. 6).
While experiences naturally differ depending on whether a person engages with a
gyān caupaṛ chart as a game or as something else, once again it is the potential for
ludic interaction which should interest us here. Just as a book has to be read, or a
painting has to be seen, so a game has to be played in order for it to be experienced as
such. While context and mode of play may vary, the basic operation of throwing the
dice and moving the pawns generates a common experience which can be interpreted
in multiple ways depending on the representational value attributed to the game
system. Relating a single square occupied by a pawn to the totality of squares in the
grid, creating a specific sequence of squares as the pawn moves along the track, and
repeating parts of that sequence whenever the pawn lands on a snake and slides back

33 See, for example, Brenda Brathwaite's recent series of non-digital games entitled The Mechanic is the
Message (Brathwaite & Sharp 2010). In tackling difficult and often controversial topics, such as slave
trade and the holocaust, she seeks to develop games which force players to consider the relationship
between mechanics and theme.

33
down the grid, are all complicit in forging an interpretive link between conceptual and
experiential affordances. Whether one of education, divination, meditation, or
something else entirely, the experience afforded by gyān caupaṛ is one that far exceeds
what we would normally associate with a game. While the analyses in chapter four
unfold the representational value of the charts concept by concept, whether invoked
by legends, illustrations, mechanics, or the interplay between them, chapter five looks
at how the different elements come together and present players with a unique
experience each time they sit down and actually play the game.

The methods of critically reading and analyzing the charts described above help us
understand not only the ideas that went into making them, and the ideas that might be
extracted from them, but also the wider historical and religious context in which they
originated. In keeping with my stated intention to examine the charts as games before
examining them as something other than games, we begin the process of
contextualization in the next chapter by looking at a series of related games which may
have influenced the invention of gyān caupaṛ sometime around the late 17th or early
18th century.

34
 Chapter 2
The Beginnings of Gyān Caupaṛ

The origins of traditional board games can rarely be traced with any accuracy. More
often than not they evolved over long periods of time as constantly changing variations
of already existing games. While the exact origins of gyān caupaṛ are as much in doubt
as those of most other traditional board games, the idiosyncracies of the design suggest
that it was invented by a single person at a single point in time rather than developed
by successive generations of players. It should therefore be theoretically possible to
arrive at a single original chart and name its author. No such original chart or author
has as yet come to light, and likely never will, but the very probability of their
existence indicates that gyān caupaṛ was conceived of as a coherent whole, and that it
introduced something truly new into Indian board game history. The underlying
formal system had been known in Europe since the 15th century in the form of gioco
dell'oca, or the game of the goose, and the overall representational value attached to it
had been known in China since the 12th century in the form of xuanfo tu, or the table
of Buddha selection, but neither had been a feature of Indian board games prior to the
invention of gyān caupaṛ. The present chapter traces possible influences on gyān
caupaṛ from games both inside and outside India, but before we can begin such an
undertaking in earnest we need to set the record straight about what we know and do
not know about the beginnings of gyān caupaṛ. Claims of hoary antiquity have often
been made to invest the game with an almost scriptural authority, and while some can
easily be dismissed, such as Harish Johari's wholly unsupported statement that the
game is "at least 2.000 years [old]" (Johari 2007: 2), others require us to look closer at
the available evidence.

An often repeated tradition attributes the invention of gyān caupaṛ to the sant, or poet-
saint, Jñāneśvar (c. 1275-96) who wrote a celebrated commentary on the Bhagavadgītā
in Marathi, and who is often credited with establishing the bhakti, or devotional,

35
movement in Maharashtra.34 The astrologer Harikṛṣṇa Śarmā, who completed his
Krīḍākauśalya in 1872, explains that Jñāneśvar invented a chart with 85 squares to
bring relief to the living (KK 241), and Baḷvant Khaṇḍojī Pārakh, who wrote a
hagiography of Jñāneśvar fifteen years later, goes on to add that the poet-saint's
younger brother Sopāndev invented a smaller chart with only 72 squares (Pārakh
1886: 199). The tradition is exclusively referred to in Maharashtrian sources, including
several game charts (Va84#4,8,9ab,10) from the region, and may have come about as a
result of the evocative names bestowed upon Jñāneśvar and his siblings who - in order
of succession of birth - were called Nivṛttināth, Jñāndev (a.k.a. Jñāneśvar), Sopāndev,
and Muktābāī (Bahirat 1956: 12). The names call to mind key stages on the spiritual
path to liberation where one must cease performing worldly acts (nivṛtti) in order to
obtain the knowledge (jñāna) that will reveal the ladder (sopāna) to liberation (mukti).
There is no evidence in support of the tradition dating from before the second half of
the 19th century, and since the earlier Vaiṣṇava and Jaina charts from western India
remain silent on the subject, we should probably consider the attribution of the
invention of gyān caupaṛ to Jñāneśvar as a local attempt at claiming originality and
authority for the Maharashtrian charts.35

Within the world of academia, Shimkhada and Topsfield have both individually
suggested the possibility that a Buddhist prototype dating back to the Pāla-Sena period
(8-12th cents.) may have pre-existed gyān caupaṛ. Shimkhada's argument rests on the
assumption that the number 72 is more closely associated with Buddhism than with
other South Asian religions, and that 72-square Vaiṣṇava charts should therefore be
seen as adaptations of an earlier Buddhist game (Shimkhada 1983: 321-2). This is, of
course, pure speculation, and completely fails to take into account the significance of
the number 72 in the descriptions of the subtle body on which the charts are partly
based (see The Subtle Body in chapter four). Topsfield is more convincing in seeing a

34 The Bhāvārthadīpikā, popularly known as the Jñāneśvarī, was completed in 1290, and is considered
scripture by the followers of the vārkarī sect in Maharashtra (Zelliot 1987: 92-93). English
translations can be found in Bhagwat 1979 and Pradhān & Lambert 1967-69.
35 Local traditions also attribute the Ṣūfī version of gyān caupaṛ, known as shaṭranj al-'ārifīn, as well as
the related Tibetan Buddhist game of sa lam rnam bzhag, to 13th-century religious teachers. Al-
Hāshimī attributes the invention of the Ṣūfī charts to Muḥyī al-dīn Ibn al-'Arabī (1165-1240 CE)
(Michon 1998: 54), while a 19th-century sa lam rnam bzhag chart carries an inscription attributing it
to Sa-skya Paṇḍita (1182-1251 CE) (Tatz & Kent 1978: 6-7).

36
possible survival of an earlier Indian Buddhist game in the related Tibetan Buddhist
game of sa lam rnam bzhag (Topsfield 2006a: 177). However, as will be seen later in the
present chapter, the origins of sa lam rnam bzhag appear to be secular rather than
Buddhist and to lie in East rather than South Asia. Furthermore, evidence for the
existence of sa lam rnam bzhag prior to gyān caupaṛ is sparse and indirect, and no sa
lam rnam bzhag charts predating the earliest gyān caupaṛ charts have as yet been
documented.

The earliest evidence we have of gyān

caupaṛ is the game charts themselves,
though, unfortunately, their provenance
is often in doubt. As further detailed in
chapter three, several existing charts
were made to look older than they
actually are, and have sometimes been
equipped with false colophons
supporting their claim. Consequently, a
Jaina chart (Ja84#3a) dated to VS 1792
(1735/36 CE), and held to be the earliest
known chart since it was first reported
more than thirty years ago (Topsfield
1985: 203, fn. 3), must now be regarded
with skepticism (fig. 9). This leaves a
Vaiṣṇava chart (Va72#7) commissioned
by Richard Johnson from a local artist in
Fig. 9: 84-square Jaina chart (Ja84#3a). Rajasthan,
Lucknow sometime between 1780-82 as dated 1735/36 CE. Possibly a later forgery.
the earliest known chart that can be
dated with certainty (see frontispiece).36 Topsfield's suggestion that the "fully developed
maturity" of the earliest charts indicates that they were preceded by "a lengthy process
of evolution over several centuries" (Topsfield 2006a: 175) also need revision in light of

36 Johnson (1753-1807) arrived in India in 1770 as a servant to the East India Company, and was
employed as Head Assistant to the Resident in Lucknow from 1780-82. He was well versed in Arabic,
Persian, and Urdu, and collected a large number of manuscripts and miniatures currently held in the
British Library in London (Falk & Archer 1981: 14-29).

37
the evidence presented here, which demonstrates that everything from the visual
design of the charts to the rules by which they were played may have been borrowed
from elsewhere with little variation. While it is certainly true that the paucity of charts
predating the 19th century is partly due to the fragility of the materials on which they
were drawn (Topsfield 1985: 203), the lack of any exemplars or references from before
the late 18th century could as well indicate that they had not yet been invented.37

A prototypical Jaina chart was reported by the late Rangachar Vasantha in a

manuscript of the Mahānisīhasutta dated to the 11th or 12th century. The
Mahānisīhasutta belongs to a group of Śvetāmbara Jaina texts known as Cheyasuttas
which deal with the rules of monastic life, and it contains a chapter entitled
Kammavivāgavivaraṇa which discusses the consequences of good and bad actions
(Schubring 1918: 11-13). Vasantha allegedly saw the manuscript in a temple library at
the Jaina pilgrimage site of Shatrunjaya in Gujarat, and informed Topsfield that it
contained a karmic diagram similar to a gyān caupaṛ chart except for the snakes and
ladders which it was missing (Topsfield 2006a: 175-6). 38 The manuscript was never
documented by Vasantha, nor its location revealed, and with her passing in 2011, it
now seems unlikely that her claim will ever be verified. An educated guess would be
that what she saw was not an actual gyān caupaṛ chart, but rather a diagram of sorts
reminiscent of gyān caupaṛ. Numbered and inscribed grid diagrams feature
prominently in South Asian traditions, and often appear in Jaina manuscripts as a
means of visualizing doctrine. An example relevant in the present context is the
Karmagrantha, or book of karma, written by Devendra Sūri in the 13th century
(Dundas 2002: 99). It provides a detailed description of the various divisions and
subdivisions of karma, and is often accompanied by complex grid diagrams.39

37 It should also be noted that other cloth and miniature paintings associated with Jainism and
Vaiṣṇavism in western India do indeed survive from as far back as the late 14th and 15th centuries
(Talwar & Krishna 1979: 82; Topsfield 2002: 25).
38 In an audio recording of a lecture given by Vasantha at the Oxford Centre for Hindu Studies in 2004,
she claims to have seen a gyān caupaṛ chart in a 7th-century manuscript from Gujarat (Vasantha
2004, 41:10 - 42:15). This is probably the same manuscript she later informed Topsfield about,
although by then she had begun describing it as dating from the 11th or 12th century.
39 Another example is provided by an 18th-century Jaina sarvatobhadracakra diagram from Rajasthan
which includes five numbered and inscribed 9 x 9 grids visually reminiscent of gyān caupaṛ charts
(Andhare et al 2000: 178, fig. 102).

38
The earliest confirmed reference to gyān caupaṛ dates from half a century after the
earliest known chart. It is found in The Asiatic Journal of May 1831 as part of a list of
donations presented at a general meeting of the Royal Asiatic Society on the 16th of
April in the same year. I quote the reference in full because of its value in
reconstructing the early history of gyān caupaṛ:

From Captain H. Dundas Robertson, of the Bombay army, a coloured drawing of

the Shastree's game of Heaven and Hell. A translation of the inventor's account of
the game accompanied it, and was read. It appears to be founded on a careful
examination of the metaphysical systems of the Hindus. The game is divided into
a number of squares, of which a part represent the systems of the different
philosophers. The plan of the game exhibits the most highly approved methods
that have been laid down by Hindu theologians for gaining beatitude. It contains
two heavens and two hells. The "Great Heaven," or Muc'sha, is in fact the Divine
essence itself, at which the souls of the good arrive by two different roads: one of
which is short (that of Capila); and the other long (that of Patanjali). Both are
described in detail, and there are also instructions for playing the game. Two dice
and as many men as there are players (twenty-five) are used; the dice are of
ivory, about two inches in length, and square. The men are of five different
forms, and as many different colours. The author's name is Trivingally Acharya
Shastree.40

The elaborate and highly idiosyncratic chart (Va124#1) is still kept in the Royal Asiatic
Society, though the accompanying manual, pawns, and dice have unfortunately all
been lost (fig. 4).41 The name of the author probably refers to Triveṅgaḍācārya 42 Śāstrī
who was patronized at the court of Baji Rao II (r. 1796-1818) in Pune (Moskalev 2009).
Triveṅgaḍācārya was a well-known chess player among the Europeans in India, and
his treatise Vilāsamaṇimañjarī (Kulkarṇī 1937), or the bouquet of gems of amusement,
was translated into English as early as 1814 (Shastree 1814). It seems plausible that a
learned and somewhat eccentric chess enthusiast who enjoyed playing with his back to
the board against several opponents at once, and who claimed never to have lost a

40 AJMR, vol. 5, New Series, May-August 1831, p. 85.

41 The loss was already recorded by F. E. Pargiter in his description of the chart from 1916 (p. 539), and
has recently been confirmed by librarian Edward Weech (pers. comm.).
42 Emended to Triveṅkaṭācārya in New Catalogus Catalogorum which also suggests Tiruveṅkaṭācārya
(NCC 8, p. 268).

39
game against a European (anon. 1840: 310) 43, might have designed his own elaborate
version of gyān caupaṛ, and that it might have caught the eye of Captain Robertson
who was appointed as magistrate of Pune after the end of the third Anglo-Maratha War
in 1818 (Duff 2011: 485). More information on the reception of Triveṅgaḍācārya's game
in Europe can be gleaned from the Journal Général de la Littérature de France which
included the news of the donation a little later in the year. 44 It mentions that the game
is currently en vogue in India45, and goes on to compare it with Le Noble Jeu de l'Oie, or
the royal game of the goose, which enjoyed great popularity in Europe at the time. The
possible connection between the two games will be explored in detail below, so
nothing further needs to be added here, except that the similarity between them must
have seemed much more obvious then than now.

An even earlier reference to gyān caupaṛ is found in a recent doctoral thesis by Kalpna
Chaudhry on the depiction of women in art and literature in Mughal India. She claims
that a game called "Govind Prema Gyana Chaupar" was popular in the harems of
Rajasthan during the period, and gives as her source an entry in the Dastūr komvār of
the Jaipur court from VS 1857 (1800/01 CE) (Chaudhry 2014: 82). 46 The Dastūr komvār is
a record of court protocols, and though Chaudhry does not mention the context in
which the reference occurs, it is worth noting that the protocols contain, among other
things, information on the exchange of gifts between royal and religious figures
(Hastings 2002: 234) which might provide further clues into the early history of gyān
caupaṛ. The title of the game provided by Chaudhry refers to the Vaiṣṇava deity
Govinddevjī which was installed as the tutelary deity of Jaipur by the city's founder

43 An anecdote tells that Triveṅgaḍācārya did in fact once lose a game to a European lady, but only in
order to secure a contract from her or one of her connections (Forbes 1860: 169).
44 JGLF, vol. 34, August 1831, p. 111. The journals The Metropolitan (vol. 1, no. 3, July 1831, p. 123) and
Das Ausland (vol. 5, March 1832, p. 352) also repeated the news from The Asiatic Journal with little
variation.
45 This is confirmed by a reference to gyān caupaṛ in a book on the customs of south Indian Muslims
written by "a Native of the Deccan" and translated by a surgeon of the East India Company stationed
in Chennai in 1832 (Shurreef & Herklots 1832: app. VII, pp. lii-liv). "Geeān-chowsur" appears in a list
of games said to be popular among "the respectable classes," along with chess, caupaṛ (incl. the
related causar and paccīsī), and ganjīfa (Mughal playing cards). The reference is particularly
interesting since south Indian versions of gyān caupaṛ can only be traced as far back as the late 19th
century, and never appear in any format other than Vaiṣṇava or Śaiva. Obviously, more research
needs to be done on the spread of Ṣūfī versions of the game throughout India.
46 The full reference reads: "Dastur Komwar, vol. 25, VS 1857, f. 138."

40
Mahārāja Savāī Jay Siṃh II in 1739 (Horstmann & Bill 1999: 3). It therefore seems likely
that the chart in question was devoted to Govinddevjī, and that it perhaps not only
carried the name of the deity, but also its image in the top panel. Unfortunately, no
such chart is known to exist, and the hope of finding one is dimmed by several
uncertainties surrounding the reference to it. The entire passage in which the
reference occurs appears to have been taken more or less ad verbatim from G. N.
Sharma's Social Life in Medieval Rajasthan which, however, only gives the name of the
game as "Govind Prema," and describes it as "consisting of 134 pieces made of either
wood or ivory" (Sharma 1968: 133).47 This does not fit the description of any game
known to me, and makes it highly unlikely that it had anything to do with gyān caupaṛ
as indicated by Chaudhry. It has not been possible for me to check the relevant
passages in the Dastūr komvār myself, and until given the chance to do so, I have
decided to put my trust in the authoritative work of Sharma, and disregard the
additional and possibly confused information given by Chaudhry.48

The above review of the available evidence relating to the origins of gyān caupaṛ
shows that the earliest known charts date to the late 18th century, and it is unlikely
that the period of development went back further than the early 18th or late 17th
century. Considering the poor survival rate of Indian cloth and paper paintings, charts
going back even further could simply have been lost to the ravages of time, but the lack
of early references remain conspicuous, especially when considering the high status
that would likely have attached itself to a game inviting both literacy and an advanced
understanding of religious knowledge systems. The lack of references stands in stark

47 Sharma gives the reference to Dastūr komvār as "Dastur Komwār, V.S. 1786 (1729 A.D.), f. 333"
(Sharma 1968: 133, fn. 144) which does not agree with Chaudhry's reference, and might therefore
lead us to believe that they are referring to different mentions of "Govind Prema." However, the
reference given by Chaudhry is also given by Sharma in the preceding footnote (ibid., fn. 143),
indicating the possibility that Chaudhry may have accidentally copied the wrong reference from
Sharma. According to Sharma, the reference that Chaudhry claims for "Govind Prema Gyana
Chaupar" actually refers to an unnamed "cowri game of 10 squares with 200 cowris to play with"
(ibid. 133). A game fitting this description is found in a private collection in Rajasthan with which I
am acquainted. It is called das ghar (ten houses), and belongs to the mancala family of games (cf.
navagrāmaśatakaṅkarīkhela in KK 325-30). A similar game with 4 x 10 squares and 200 cowries was
on display in the Shree Sanjay Sharma Museum & Research Institute in Jaipur in the fall of 2016.
48 Several requests for information sent to the Rajasthan State Archives where the Dastūr komvār is
kept yielded no results. Chaudhry herself kindly responded to my emails, but ultimately was not able
to provide any other documentation than that which is found in her thesis.

41
contrast to the related game of caupaṛ which finds frequent mention as a game of
royalty, and as a metaphor for life and liberation, in western Indian literature and
painting from the 16th century onward (Topsfield 2006b: 19-21). If gyān caupaṛ had
already been invented at the time, we might reasonably have expected it to have been
the chosen ludic metaphor of existence among religious authors. 49 We might also have
expected it to find mention side by side with caupaṛ in the late 16th-century Ā'īn-i
Akbarī which devotes a whole chapter to the sports and games popular at the court of
Akbar (r. 1556-1602) (Blochmann 1873: 297-307). A further example to the same effect
is Thomas Hyde's De Ludis Orientalibus (1694) which is the earliest European treatise
on Asian games. The lack of mention in this erudite yet highly eclectic work is certainly
no guarantee that gyān caupaṛ did not exist at the time, but it is worth noting that Hyde
includes the related games of caupaṛ and shengguan tu (Hyde 1694: II, 68-101).50 For the
sake of completion, it should also be mentioned that neither caupaṛ nor gyān caupaṛ
finds mention anywhere in the extensive description of games and pastimes in the
Krīḍāviṃśati section of the 12th-century Mānasollāsa (MS 5.1-20) written by Someśvara
III who ruled over the Western Chalukya Empire from 1127-38.

Whatever the exact origins of gyān caupaṛ, it is evident that it was not created in a
vacuum. All aspects of the design bear the clear mark of external influences, whether
from games or cultural forms and practices other than games. Its originality does not
reside in the individual elements, but in the way they are brought together to form a
game which integrates mechanics and theme far more closely than had previously
been achieved in Indian board game history. In order to fully appreciate the several
layers which make up gyān caupaṛ, we will have to look at them both in separation and
as a whole. The present chapter begins the investigation by exploring a series of board
games from Europe and East and South Asia, all of which may demonstrably have
influenced gyān caupaṛ mechanically, thematically, or otherwise. Later, in chapters
four and five, we shall see how these influences flowed together to create a wholly new

49 Toward the end of the 19th century, when the authors of the gospel of Śrī Rāmakṛṣṇa Paramahaṃsa
(1836-86) needed a game to serve as a metaphor for human existence, they chose the later Bengali
variant of gyān caupaṛ known as golok dhām (see History and Transmission, chapter three).
50 The information on caupaṛ and shengguan tu is summarized by Victor Keats in his partial translation
of De Ludis Orientalibus (Keats 1994: 310-15). The relation of shengguan tu to gyān caupaṛ is discussed
in the section on East Asian Influences below, while the relation between caupaṛ and gyān caupaṛ is
discussed in the section on South Asian Influences, also below.

42
and unique game, and finally, in chapter six, we will build on our insights from former
chapters to identify influences from beyond the realm of games. Only then will we be
able to understand how gyān caupaṛ originated in the interface between games and
religion, and how it came to be used for purposes of both playful seriousness and
serious play.

European Influences
The mechanics of gyān caupaṛ bear a strong resemblance to those of gioco dell'oca, or
the game of the goose, which enjoyed widespread popularity throughout Europe from
the late 16th and well into the 20th century. Goose probably began as a gambling game
in the taverns of 15th-century Italy, but was later adapted as an educational game, and
came to be used as a playful way of teaching children and young adults about a wide
range of topics from moral behavior and career choices to history and geography. 51 The
following discussion explores the possibility that European travelers and missionaries
brought the game with them to India in the 16th and 17th centuries, thereby
influencing the development of gyān caupaṛ.

Gioco dell'Oca
The traditional goose game, as exemplified by an early Italian print from 1598 (fig. 10),
is played along an ovoid spiral track consisting of 63 squares, beginning at the
periphery and ending at the center. Each player controls a single pawn which enters
the track in the first square and moves forward according to the throw of two six-sided
dice. A third of the squares contain illustrations instructing players to jump ahead, fall
behind, lose a turn, pay a stake into the kitty, or likewise. The only illustration
occurring multiple times is that of a goose which allows players to continue forward
the same number of squares just moved. That is, if a player rolls a "5," and ends his
move on a goose, his pawn is allowed to continue forward for another five squares. If,
on the other hand, a pawn ends its move on another player's pawn, the latter is moved
back to the square from which the former began its move. The first player to land
exactly on sq. 63 wins the game, and collects all the stakes in the kitty. Though players
would quickly learn the instructions associated with the different illustrations, they
would also be printed on the game chart together with the rules of play. In the later
51 Detailed examples can be found in Goodfellow 2008: 43-134.

43
and more heavily illustrated versions of
the game, the instructions would take
up a good deal of space on the charts,
and sometimes even be printed in a
separate booklet. This was especially
true of the educational versions of the
game which often used booklets to
provide additional and more detailed
information about the topics depicted
on the game charts (Goodfellow 2008:
65).

Though the length and shape of the

track, as well as the illustrations and the
instructions associated with them,
varied between especially later versions
of the game, the overall concept
remained the same. A similar situation
applies to gyān caupaṛ which has Fig. 10: Il Nuovo et Placevole Gioco dell Ocha. Italy,
1598.
several defining features in common
with goose. Both games are purely luck-based and played with single pawns moving
forward along a unidirectional track according to the throw of dice or cowries. The
main difference lies in the design of the track, which is spiral in the case of goose, and
folded back upon itself to form a vertically oriented rectangular structure in the case
of gyān caupaṛ. Furthermore, gyān caupaṛ does not locate the winning square at the
end of the track, but rather in the center of the topmost row, or somewhere above it,
making it possible for players to overshoot the target, and either continue moving back
and forth in the top row until they land on it, or slide back down along the body of a
snake and begin climbing again. The instructions associated with individual squares
are also simpler in gyān caupaṛ as they only allow for jumping ahead by means of
ladders and falling behind by means of snakes. Since the illustrations of the snakes and
ladders indicate the squares connected by them, there is no need to memorize

44
instructions for specific squares, and so none were written on the charts. 52 This marks
an important distinction between gyān caupaṛ and goose games in that the former did
not require literacy, whereas the latter did. Though literacy would have enhanced the
experience of gyān caupaṛ, it was not required in order to play the game and
determine a winner. This would probably have improved its appeal and popularity
among the illiterate classes significantly.

Goose traditionally included a sequence of thematic illustrations comprised of a

bridge, an inn, a well, a maze, a prison, and a figure of death, which together would
seem to generate a loosely woven narrative of a dangerous journey. The earliest
known description of the game in a Bolognese manuscript from 1585 explains that the
number of squares correspond to the nine seven-year cycles which was believed to
make up a person's life (Leesberg 2015: 34). This has been discussed in detail by goose
historian Adrian Seville who remarks that the conclusion of the ninth cycle in the 63rd
year, also known as the "grand climacteric," posed the greatest danger of all, after
which peace and wisdom was thought to ensue (Seville 2016a: 121-22). If goose was
indeed based on numerological principles, and its track represented the journey
through life, it would tie it even closer to gyān caupaṛ which unambiguously
represents the journey of souls through the cycle of rebirth toward liberation. As
shown in chapter one, the representational value of a formal game system is
extraneous to the system itself, and gyān caupaṛ might therefore simply be seen as an
adaptation of goose to a different religious and philosophical context. However, if
there is any truth in the matter, it probably is not the whole or the only truth. The track
design of gyān caupaṛ refers back to an age-old Indian tradition of drawing grid
diagrams with numbered and inscribed squares, and the very idea of using board
games as representations of life and the world is probably as old as board games
themselves. Still, the obvious overlap between the game systems of goose and gyān
caupaṛ, as well as the more subtle thematic correspondences, would seem to suggest at
least some degree of influence.

The earliest known reference to goose appears in a book of sermons written by the
Dominican preacher Gabriele da Barletta in 1480 (Seville 2016a: 121-22). Barletta
52 Some Vaiṣṇava charts (Va72#6,28,34, Va84#4,9ab,10) do in fact list the squares connected by snakes
and ladders, but only by the legends they carry, and not by the numbers of the squares in which they
are located, thereby giving off the impression of an exegesis rather than a player aid.

45
taught theology at the University of
Parma, and was renowned for his
sermons throughout Italy (Alecci 1964).
He refers to the game of the goose
(locha) alongside tarot (triumphos) and
backgammon (tavole) as games that one
might play during Christmas, and it
therefore seems likely that the game
was already well established at the time.
About a hundred years later, at the end
of the 16th century, it spread to several
other European countries. Francesco de
Medici (r. 1574–87) gifted a copy of the
game to Philip II of Spain around 1585,
Fig. 11: Game of the goose. Gujarat, c. mid-16th
and French, British, and Austrian prints century.
were made in the years 1597-98 (ibid.
118-20). Interestingly, the earliest known example of the game is not a print from
Europe, but an intricately carved wooden game board inlaid with ivory, horn, and gold
wire from 16th-century Gujarat (fig. 11). The numerals are consistent with those used
in Italy in the 15th century (Seville 2013: 3), and it seems evident from the labored
execution of especially the geese that the artisan was not familiar with the design of
the game. The game board was therefore likely made on order for a wealthy European
customer who had supplied the artisan with a printed copy of the game from Italy. A
clearly related example from the same area in the late 16th or early 17th century is
even more intricately carved, and improve greatly on the geese as if the design had
become more familiar in the preceding decades.53 Early travel accounts from India in
the 16th and 17th centuries make frequent reference to the manufacture of game
boards and gamesmen (Jaffer 2002: 21; Chong 2013: 130), and it therefore seems quite
possible that foreign game designs, such as goose, would have entered into the

53 The board recently appeared in an antique shop in Paris. According to Seville, it was probably
intended as a gift for a European cabinet of curiosities (pers. comm.). Website of A la façon de Venise
accessed 22 Dec, 2017: http://www.alafacondevenise.fr/affichage_dyn_objets.php?
action=showfull&vpic=254&gll=-1&tpic=4&maxp=9&page=1.

46
production line of local artisans, and perhaps even spread onward to the upper
echelons of society.

Du Point au Point
Some of the most important agents of intellectual and cultural exchange between
Europe and India were the Jesuit missions. This is especially true of the period during
Akbar's reign in the second half of the 16th century and before the ascension of
Aurangzeb in 1658. The Society of Jesus, whose members were known as Jesuits, was
founded in 1534, and officially approved by Pope Paul III in 1540. Already in 1542, one
of the founding members, Francis Xavier (1506-52), arrived in Goa on the western
coast of India to begin spreading the Catholic faith among the locals. The Jesuit
approach to conversion was more flexible and culturally sensitive than other
approaches at the time, and Xavier made a point of bringing engravings, paintings, and
statuettes with him on his travels to appeal to the hearts and minds of the locals (Bailey
1999: 6). Art formed part of the rhetorical strategy of the Jesuits, and was not only used
to create an emotive response, but also to cross language barriers, create visual
narratives, and serve as aids in meditation and memorization (ibid. 8). The Jesuit
missions brought original oil paintings and thousands of prints from all over
Renaissance Europe to India, and actively encouraged the blending of Western and
Indian art on an unprecedented scale (ibid. 10-11).

The missions relevant to the present discussion are the three Mughal missions to the
court of Akbar in 1580-83, in 1591, and again in 1595 until his death in 1602, after
which the mission continued under the auspices of other rulers until the suppression
of the Society of Jesus in 1773. Among the leaders of the first mission was the aristocrat
Rodolfo Acquaviva (1550-83) from Atri in the Kingdom of Naples. He had gone to Rome
to join the Society of Jesus in 1568, and had set sail for India in 1578 (Pirri 1960).
According to Akbar's historian Abu'l-Fazl, Acquaviva and his fellow Jesuits arrived at
court with a "large caravan laden with choice goods" (Beveridge 1939: 1026-27), and
though it seems unlikely that a game of goose was among the goods at a time when it
was still mostly associated with drinking and gambling, it seems equally unlikely that
Acquaviva should not have known about it from his childhood in Atri and his student
years in Rome. Abu'l-Fazl does not mention the game in his reports, but we know from

47
the Ā'īn-i Akbarī that Akbar had a great fondness for games (Blochmann 1873: 303)
which, given the cultural open-mindedness of the Jesuits, might have prompted later
missions to include such items among their goods.54 The second mission in 1591 was
short-lived, and does not seem to have had much of an impact (Bailey 1999: 118), but
the third and final mission which began in 1595 and lasted for nearly two centuries
was on a much grander scale. It had a strong emphasis on "religious spectacle and
display", and included, among other things, "[r]ich costumes and liturgical vestments,
curtains and candles, flowers, singing and organ music, theatre, bell-ringing,
fireworks, and the exhibition of pictures" (ibid. 122-3).

The development of the educational

potential of goose would have provided
the Jesuits with a further incentive to
introduce it in Mughal India. A
numerological interpretation of goose
had already been suggested in 1585 (see
above), and in 1587 the Spaniard Alonso
de Barros demonstrated how the game
might be adapted for more worthwhile
purposes than drinking and gambling
when he created filosofia cortesana, or
the game of courtly philosophy (fig. 12).
Barros kept the design and mechanics of
traditional goose intact, but changed
and added illustrations and inscriptions
to make the game reflect a moral vision
of the hard and diligent work required
to succeed in one's ambitions at court Fig. 12: Filosofia cortesana. Madrid, 1587. This
version from Naples, 1588.
(Millán 1996). The idea that the purport
of the game could be changed simply by changing the theme of the illustrations, and by
54 Akbar took great interest in western goods of all kinds, and even had an envoy sent to Portuguese
Goa with the express purpose of acquiring "wonderful things" from the West. Later, a treaty between
James I of England (r. 1603-25) and the Mughal Emperor Jahāngīr (r. 1605-27) would include an
annual donation of "all the [western] rarietyes that they can find" to the Mughal court (quoted in
Jaffer 2006: 12).

48
adding any explanations necessary to convey it, spread like wildfire throughout
Europe and caused the production of thousands of differently themed versions from
the 17th to the 19th centuries. It was only a matter of time before someone would think
of adding a religious theme to the game, and the first one recorded to have done so was
indeed a Jesuit. Father Jean Pierron had arrived as a missionary among the Iroquois of
New France in 1668, but soon despaired of teaching them through the usual media of
reading and writing. Instead, according to a report written by him in 1670, he was
inspired by God to make good use of their passion for playing games and design a
missionary goose game for the sake of their conversion. He described the game, which
he called Du point au point in reference to the journey from the point of birth to the
point of salvation, as follows:

It is composed of emblems which represent all that a Christian has to know. The
seven Sacraments are all seen depicted there, the three Theological Virtues, all
the Commandments of God and of the Church, together with the principal mortal
sins; even the venial sins that are commonly committed are there expressed in
their order, with marks of the horror that ought to be felt for them. Original sin,
followed by all the ills that it has caused, appears there in a particular order. I
have represented there the four ends of man, the fear of God, the Indulgences,
and all the works of mercy. Grace is depicted there in a separate Cartouch,
conscience in another; the freedom that we have to obtain salvation or
destruction, the small number of the Elect,— in a word, all that a Christian is
obliged to know is found expressed there by emblems which portray each of
these things. (Thwaites 1899: 207-9)

The Iroquois apparently took great interest in the game, and though Pierron may have
exaggerated, or at least over-estimated, its missionary impact (Finet 2012: 103), he goes
on to suggest that it might also be successfully introduced among the rural people of
France. He mentions that he has written a short book on the game, and states his
intention to send a copy back to France the following year and have the game
engraved so multiple copies can be made (Thwaites 1899: 211). Unfortunately, neither
the game nor the book has survived.55 However, another religiously themed game, also

55 Finet speculates that Pierron may have been inspired in his endeavors by didactic drawings, and
provides an example from 1626 entitled "The Mirror of the World" (Finet 2012: 96). It appears to
show the different paths leading to heaven and hell on the day of the last judgment, and might easily
have been turned into a goose-like game.

49
entitled Du point au point, with the
subtitle pour la fuite des vices et pour la
pratique des vertus, was printed
sometime between 1675-80 (fig. 13).56,57
The printed game does not correspond
to the description given by Pierron,
which may cause us to speculate
whether Pierron's game was changed
into something less heavy-handed, and
thus better suited for the French
market58, or whether the mere
description of it inspired a different
game with a similar name and theme.
Still, at the heart of the matter, is the
fact that a Jesuit preacher saw the
potential of goose games as a
missionary tool in the late 17th century,
Fig. 13: Du point au point: pour la fuite des vices et
and that he thought it such an
pour la pratique des vertus. Dijon, c. 1675-80.
enlightened idea that it might be applied
to a wider audience in need of religious instruction.59

56 Henry-René d'Allemagne dates the game to 1640 in his comprehensive history of French goose games
(1950: 77), but Adrian Seville and fellow games historian Thierry Depaulis do not find any support
for the dating. Based on the verses dedicated to "Madame de Rouvil Abbesse de S. Julien" in the top
right corner of the print, they believe that it must be posterior to the establishment of the Abbey of
Saint-Julien de Rougemont in Dijon in 1673 (pers. comm.).
57 The print differs from standard goose games in having 72 instead of 63 squares. This is similar to the
number of squares in what is probably the earliest group of gyān caupaṛ charts, i.e. the 72-square
Vaiṣṇava charts (see History and Transmission in chapter three). It should, however, be noted that
several other goose games also divert from the traditional 63 squares.
58 Finet quotes a contemporary letter written by Pierron's associate in New France, Marie of the
Incarnation (1599-1672), who describes his didactic paintings in gruesome detail with images of
Iroquois being tortured by demons for shutting their ears to the Jesuit teachings (Finet 2012: 95).
59 Jacques Villotte, writing in 1730, mentions a Jesuit missionary called "Father N." who invented a
similar game in Armenia, also in the late 17th century. The game had a spiral track consisting of 46
illustrated squares which each explained "un mystère ou une des grandes vérités du christianisme"
(quoted in d'Allemagne 1950: 43).

50
Ganj
We do not have any evidence of religious goose games being introduced into India, but
we do have evidence from the late 17th century that the traditional goose game had
come to the attention of the Mughal court which the emperor Aurangzeb (r. 1658-1707)
had relocated to Aurangabad in Maharashtra in 1682 (Sarkar 1933: 15). The evidence
appears on a few folios dedicated to games amid scattered notes on the imperial court
appended to an Indo-Persian manuscript on scents and perfumes (Digby 2006a: 75).
The manuscript was transcribed in 1698 by Muhammad A'zam whom Digby suspects
might be the eponymous son of Aurangzeb. 60 A'zam refers to the game as bāzī-e firangī,
or a European game, and presents two closely related but not completely identical
descriptions which clearly show it to be an elaborated version of goose. 61 Each player
has a single pawn which moves along a unidirectional track according to the throw of
three cubic dice.62 The track includes 16 illustrated squares, several of which, such as
the bridge, the well, and the prison, are also found in traditional goose. Other squares,
such as the elephant, the singing-girl, the dragon (azhdar), and the emperor (bādshāh),
give the game a distinct Mughal feel, and seem to push the theme in the direction of
adventure and romance. Since A'zam not only gives the names of the squares, but also
indicates the spacing between them, it becomes possible to reconstruct the track except
for a few inconsistencies. Digby concludes that it was most likely a spiral track on a 13
x 13 grid with four or nine central squares joined together to form the kitty inscribed
with the word ganj, or treasure (ibid. 77). Since a central square consisting of only four
squares would break up the symmetry of the grid, a central square consisting of nine
squares seems more likely, making for a track with a total length of 161 squares when
counting the center as a single square.
60 A'zam was based in Pedgaon a couple of hundred kilometers south of Aurangabad from 1696-99
(Sarkar 1933: 78). Later, from 1701-05, he resided in Ahmedabad as governor of Gujarat (ibid. 79-82),
and would therefore have been in a position of power in western India around the time when gyān
caupaṛ is likely to have been invented.
61 Digby notes Akbar's elaborate expansions of paccīsī (i.e. caupaṛ) and ganjīfa as analogue examples of
how existing games were further refined at the Mughal court (Digby 2006a: 75). To these we might
add the 124-square Vaiṣṇava gyān caupaṛ chart (Va124#1) likely produced at the court of Baji Rao II
in Pune in the early 19th century, and the several 342-square Vaiṣṇava charts (Va342#1-7) produced
at the Rajput courts of the Punjab Hills throughout the 19th century (Topsfield 2006a: 156).
62 As suggested by Digby, the use of three cubic dice instead of the two used in goose may have been
inspired by the use of three stick dice in the game of caupaṛ as described by Abu'l-Fazl (Digby 2006a:
76).

51
A'zam's identification and
reconstruction of the game is supported
by a drawing of a later version (fig. 14)
commissioned by the same Richard
Johnson who also commissioned the
earliest known gyān caupaṛ chart
(Va72#7) during his stay in Lucknow in
1780-82 (see frontispiece).63 The game is
called ganj after the eponymous central
square which serves as a kitty, but
unlike the earlier version described by
A'zam, the spiral track is confined to an
Fig. 14: Ganj. Lucknow, 1780-82.
8 x 8 grid, with a central square
consisting of four squares, for a total of 61 squares when counting the center as a
single square. While the size of the track has been more than halved, the number of
illustrations has been almost doubled, with an illustration occupying every second
square beginning with the first. The illustrations expand upon those in the earlier
game, and maps out the journey of a lone adventurer who travels through the
wilderness, arrives at a walled city, enters the palace gardens, and finally descends into
a cave where he slays a dragon and takes away its treasure as represented by the kitty
in the center. The initial square, labeled tt̤ ilism, or talisman, indicates the magical and
ultimately illusory realms often encountered in the imaginative Persian tales and
romances known as dāstāns and qiṣṣahs.64 Tt̤ilisms are created by evil magicians
seeking to trap the hero of the stories and preventing him from completing his quest.
In the case of ganj, this means that the players must overcome fantastical creatures,
such as the phoenix-like sīmurgh and the dragon-like azhdahā, before arriving at the
treasure, which increases throughout the game as players land on illustrations
instructing them to add money to the kitty. Without doubt the most popular dāstān in
Mughal India was the Dāstān-e-Amīr Ḥamza, also known as Ḥamzanāma, or the story

63 Digby wrongly dates Johnson's appointment as Head Assistant to the Resident in Lucknow from
1782-84 (Digby 2006a: 69).
64 For an introduction to dāstāns and qiṣṣas, see the first chapter in Pritchett 1985.

52
of Amīr Ḥamza.65 Here we find the famous tt̤ ilism-e hoshrubā, or the stunning tt̤ ilism,
created by the sorcerer Afrāsiyāb, and consisting of three realms possibly represented
by the three concentric squares surrounding the central square in ganj (cf. Pritchett
1985: 5). Despite the distinctly Mughal theme of the game, the rules - which also appear
on the drawing - have clearly been adopted from goose (Digby 2006a: 81). They
emphasize the advantage of ganj over chess, backgammon, and ganjīfa, in that multiple
players - "as many as ten or twenty, all those who are in the room" - can join in the
game (ibid.). The same quality adheres to gyān caupaṛ, and may explain the apparently
excessive number of players (i.e. twenty-five) mentioned in the description of the 124-
square Vaiṣṇava chart (Va124#1) above.

If gyān caupaṛ were a direct descendant of ganj, which seems to have been a mere
curiosity of the late Mughal court, we would expect the Ṣūfī charts to have been among
the earliest and most widespread, but at present we are only aware of a handful of
such charts from before the 20th century, the oldest of which can be dated to c. 1805-10
(Sū100#1a). Furthermore, the political climate under Aurangzeb was not conducive to
neither Ṣūfīsm nor games, and after his death in 1707 power quickly began to slip from
the hands of the Mughals. Consequently, the closest connection that can be comfortably
established between ganj and gyān caupaṛ lies in the fact that Richard Johnson
commissioned copies of both games within a two-year period in late 18th-century
Lucknow. Though gyān caupaṛ would turn out to be the more successful of the two
games, ganj may very well have been the older, deriving more or less directly, as we
have seen, from the European game of goose. 66,67 Ultimately, the extent to which games
like goose and ganj influenced the development of gyān caupaṛ must remain a matter

65 See Pritchett 1991. Akbar famously commissioned an illustrated version of Ḥamzanāma in 1562
which would run into 1400 illustrations and take fifteen years to complete (ibid. 4-5).
66 Digby hypothesizes that goose and the Indian version of ganj had a common ancestor in the Islamic
Middle East, and that goose may have first entered Europe in the German-speaking parts of south-
eastern Europe where the Persian word ganj was phonetically translated into the German word
gans, meaning goose (Digby 2006a: 74, 81-3). Unfortunately, his argumentation is not supported by
direct evidence, and suffers from his apparent unawareness of Barletta's early reference to goose in
1480.
67 Further research needs to be done on the introduction of goose games into East Asia which seems to
have spawned variations similar to ganj. Two examples of illustrated spiral race games from 17th-
century China are presented in Lo 2004 (pp. 69-72), and several other examples are discussed in Ngai
2011 (pp. 97-105). Examples of Japanese e-sugoroku, similar to goose and dating back to at least the
17th century, can be found in Formanek & Linhart 2002 and Masukawa 2004.

53
of speculation. However, given the historical circumstances outlined above, and the
fact that the game mechanics of gyān caupaṛ had not previously been attested in India,
it certainly seems possible that whoever first invented gyān caupaṛ was aware of
goose, either through ganj, or, perhaps more likely, through the presence of variously
themed goose games among the European elites of India.

East Asian Influences

Contrary to the influence on gyān caupaṛ from European goose games, which can only
be detected by examining the underlying formal system, the influence from a family of
East Asian games commonly referred to as promotion games is more immediately
apparent in their visual design and representational value (Parlett 1999: 94-5).
However, the formal system governing their operation varies significantly from that of
gyān caupaṛ, indicating a different sphere of influence than that of goose. The sections
below follow the trail of religious promotion games from China via Tibet to Nepal
where evidence shows that they co-existed with gyān caupaṛ around the turn of the
19th century.

Xuanfo Tu
References to Daoist and Buddhist promotion games date back to 12th-century China 68,
but the earliest surviving description is found in the Xuanfo pu, or manual of Buddha
selection, written by Ouyi Zhixu (1599-1655) in 1653. 69 Zhixu was a renowned Chinese
monk, known as one of the four great masters of the Ming era, and posthumously
declared as the 9th Patriarch of the school of Pure Land Buddhism. He first
encountered the game of xuanfo tu, or the table of Buddha selection, in Nanjing,
eastern China, in 1619, and went on to create his own improved version in 1629. His
game was printed in 1631, and achieved a wide circulation which prompted him to
revise it first in 1641, then again in 1651, and finally sometime before his death in

68 Two Daoist and one Buddhist version are mentioned in the Tongzhi, or comprehensive treatise,
written by Zheng Qiao in 1161 (Ngai 2011: 47-8). Earlier still would be a reference to a Daoist version
in a poem by Wang Gui (1019-85) describing daily life at court (ibid. 95-6).
69 The manual was translated into English by the Protestant missionary Timothy Richard in 1907.
Unfortunately, he left out much of the preface which provides useful information on the background
of the game (McGuire 2014: 21). The most comprehensive English-language description of the
manual outside of Richard 1907 is found in Ngai 2011 (pp. 130-80).

54
1655. The final version was printed together with a detailed manual which remains the
earliest source for understanding the game (Ngai 2011: 108). No game charts are
known to have survived from the early period, but owing to a renaissance of the game
in 19th- and 20th-century China, several faithful reproductions of a later date can still
be found.

The game chart consists of 220 oblong

squares spiraling inward like the steps
of a gigantic staircase (fig. 15). The
squares are divided into fifteen sections,
or paths (men), each devoted to its own
particular theme, such as the "Path to
the Initial States and Fundamental
Causes," the "Path to the Four Evil
Reincarnations," and the "Path to
Bringing about Good [Deeds] and
Extinguishing Evil [Deeds]" (Ngai 2011: Fig. 15: Xuanfo tu. Modern reproduction. Graphics
131). The sections replicate the structure added by Ngai (2011: 147, fig. 4.2).
of the ten dharma realms of Buddhist
cosmology, beginning with the six paths of reincarnation and continuing with the four
enlightened states. In accordance with Zhixu's own convictions, it also adds a section
on the Pure Land teachings immediately before the final section which consists of a
single large square representing the attainment of Buddhahood (ibid. 175-6). The
squares within each section are inscribed with relevant terminology, providing a
detailed overview of the complex web of Buddhist doctrine. Individual squares are
further elaborated upon in the accompanying manual which also prescribes
repentance rituals to help players improve their current karmic situation regardless of
how far they have already progressed along the track to Buddhahood (McGuire 2014:
15-6). It is obvious that Zhixu considered xuanfo tu something far more than a game,
and, as Ngai remarks, the "teachings discussed [in the manual] are as serious and
academically profound as Zhixu's other writings and sūtra commentaries" (Ngai 2011:
146).

55
The representation of a spiritual journey from the lowest to the highest realms of
existence through a series of karmically related squares inscribed with cosmological
and doctrinal terminology is clearly reminiscent of gyān caupaṛ, but the method of
progress along the track is radically different. Players each control a single pawn
which begins in the title square of the first section in the bottom right of the chart.
They take turns throwing two six-sided stick dice, one after the other, both of them
inscribed with a single syllable on each face. The syllables on each die make up the
phrase na-mo a-mi-tuo-fo, or salutation to Amitābha Buddha, which is used by Pure
Land Buddhists to praise the lord of the Western Pure Land (McGuire 2014: 11). The
combination of syllables thrown determines if and where a player is allowed to move
his pawn depending on the square it currently occupies. The first move always lands
the pawn in one of the 21 squares in the first section in order to determine the player's
initial karmic condition, such as "clinging to [heterodox] views," "giving alms with
pride," or being a practitioner of the "four fundamental meditations" (Ngai 2011: 149-
56). Once a pawn has entered a square in the first section, the player will have to
consult the manual entry for that particular square to determine which throws will
take his pawn to which other squares on the chart. The process is repeated each time
the pawn enters a new square, moving it back and forth along the track until it ends up
in the central square and attains Buddhahood. Though this approach might seem
random from a purely game mechanical point of view, it makes good thematic sense as
the game has complete control over which squares lead to which other squares. This
means that apparent non sequiturs can be avoided, such as is often seen in gyān
caupaṛ when a throw of the dice or cowries moves a pawn between two thematically
unrelated squares.70 While predetermined connections in the form of snakes and
ladders are only found between certain squares in gyān caupaṛ, such connections are
found between all squares in xuanfo tu which does not allow for any other form of
movement.

Zhixu does not explain the rules of the game beyond the description of which throws
lead to which squares, and it must therefore be assumed that they were similar to
those of other promotion games current at the time (McGuire 2014: 13). Zhixu himself

70 If, for example, a player on sq. 20 of a standard 72-square Vaiṣṇava chart throws a "4," he will have
to move his pawn from charity (dān, sq. 20) to bad company (kusaṅg, sq. 24). For more details, see the
critical reading of 72-square Vaiṣṇava type a charts in chapter four.

56
mentions several examples of
promotion games relating to Buddhism,
most of which he felt were confused and
illogical, but he also makes clear that
they all ultimately derived from a
secular promotion game commonly
known as shengguan tu, or the table of
bureaucratic promotion (fig. 16). The
earliest known chart of shengguan tu
dates back to sometime in the second
half of the 17th century when it was
first described in the West in De Ludus
Orientalibus (Hyde 1694: II, 70-101), but
references can be found as far back as Fig. 16: Shengguan tu. China, 1840.
the Tang dynasty (618-907) in the 9th
century.71 The game design of shengguan tu is largely identical with xuanfo tu, except
that players do not ascend the spiritual levels of Buddhism, but rather the rungs of the
career ladder of Confucian bureaucracy. The game was allegedly made to prepare
prospective bureaucrats for the keju civil service exam, instituted in 605, which
included the memorization of the complete hierarchy of administrative positions. 72
Zhixu, however, also hints at another inspiration for xuanfo tu in explicitly basing the
design of his dice on the dice used to engage with the Zhancha shane yebao jing, or the
sūtra on the divination and examination of the retribution of good and evil deeds (Ngai
2011: 132-33). The sūtra describes a complex system of divination involving a total of
19 variously inscribed and numbered stick dice thrown to determine a person's karma
and suggest ways in which negative karma may be eliminated and positive karma
increased. We know from several works written by Zhixu that he had studied the sūtra
extensively, and, according to Ngai, about a third of the 189 attainable results in the

71 A description of the game by Fang Qianli in 838 provides a terminus ante quem for its invention.
Sources from the Song dynasty (960-1279) attribute it to Li He who is supposed to have designed it
during his time as Prefect of Hezhou in 830-32, but Ngai believes that it may go back even further to
the middle of the Tang dynasty (Ngai 2011: 41-6).
72 For further discussion of shengguan tu, see Stover 1974 (pp. 215-25), Lo 2004, and Ngai 2011 (pp. 39-
88).

57
sūtra correspond to legends in the squares of xuanfo tu (ibid. 142-3). It is, however,
clear that xuanfo tu was meant for didactic rather than divinatory purposes.

Sa Lam Rnam Bzhag

In discussing the origins of xuanfo tu, Zhixu claims that the first Buddhist adaptations
of the secular shengguan tu were made by Tibetan lamas who based their design on an
early Ming version by Xie Jin (1369-1415) (Ngai 2011: 109). This is demonstrably false
as xuanfo tu is listed among several other religious and secular promotion games in the
12th-century source mentioned above (fn. 68), but since Zhixu does not appear to have
had any ulterior motive in crediting the lamas with the invention of the game, it is
likely that he believed the story to be true. The perceived connection to Tibet is
interesting because of a Tibetan Buddhist promotion game known as sa lam rnam
bzhag, or arrangement of the paths and stages, which may help bridge the gap between
xuanfo tu and gyān caupaṛ.73

So far, no examples of the game or references to it dating from before the 19th century
have been published.74 Three examples from the late 19th or early 20th centuries (Ngai
2011: 326, 337, 339) are clearly influenced by Chinese landscape painting and Pure
Land Buddhist iconography (ibid. 359-61), and appear to be ornate yet simplified
versions of xuanfo tu with fewer squares and fewer connections (fig. 17). They are
played with a single cubic die inscribed with syllables corresponding to the six paths of
reincarnation, thus allowing for a maximum of six onward destinations from each
square.75 The destinations are written inside the squares themselves, eliminating the

73 The variant name sa gnon rnam bzhag, or description of overcoming the stages, is also encountered
(e.g. Tatz & Kent 1978: 19).
74 A Tibetan study of the game reports that every generation of Dalai Lamas since Jamphel Gyatso
(1758-1804) has painted their own version of it, all of which are now allegedly kept in the Potala and
Norbulingka palaces in Lhasa (Ngai 2011: 347). Attempts at verifying the claim have so far been
unsuccessful, and Tibetologists David Jackson, Dan Martin, and Jan-Ulrich Sobisch have all
responded to it with skepticism (pers. comm.). Dan Martin has even suggested that the Tibetan study
may have confused sa lam rnam bzhag with kun-bzang 'khor-lo, or the wheel of praise, which
children was often encouraged to draw for themselves in the past (pers. comm.).
75 The six syllables are most commonly recorded as a, sa, ga, ra, da, and ya. Tatz & Kent do not believe
that they have any special meaning (Tatz & Kent 1978: 12-13), but according to a local informant in
the late 19th century (Waddell 1895: 471-3) and an anonymous inquirer in 1932 (Finkel 1995: 30, fn.
5, and 45), they represent the six forms of rebirth as human, god, demon, ghost, animal, and hell-
being.

58
requirement of a manual, and making
the game much more accessible than
xuanfo tu. The visual design also
diverges from xuanfo tu by abandoning
the concept of distinct sections, and by
organizing the squares into an 8 x 8 grid
topped by two rows with 10 and 9
squares, respectively, for a total of 83
squares. Still, the overall sense of
progression remains the same, with the
forms and places of rebirth located
closer to the bottom, and the paths and
stages to Buddhahood located closer to
the top.76 I have not been able to find a
rules description for the specific sa lam
rnam bzhag charts discussed here, but
judging from the rules of other charts
from the same period, it appears that
the starting square was located above
the hells in the bottom rows, while the Fig. 17: Sa lam rnam bzhag. Tibet, late 19th or early
winning square was located in the 20th century.

central square of the topmost row (e.g. Tatz & Kent 1978: 12; Finkel 1995: 45).77

The earliest known sa lam rnam bzhag chart is a wood-block print which Tatz and Kent
consider to represent the original form of the game dating back to the 13th century
(Tatz & Kent 1978: 10), though the print itself, as pointed out by Schlieter, does not
seem to go back further than the 19th century (Schlieter 2012: 102, fn. 27). It consists of
72 inscribed squares organized into an 8 x 9 grid with only a few decorative elements

76 For a comprehensive analysis of the representational value of sa lam rnam bzhag, see Tatz & Kent
1978.
77 A rules description obtained by an anonymous inquirer in 1932 instructs players to begin "in the
third space bottom line from left" (Finkel 1995: 30, fn. 5, and 45). This seems unlikely given the fact
that sa lam rnam bzhag charts exclusively depict hells in the bottom row. Perhaps the meaning was
that players should begin in the third square from the bottom of the leftmost column, as is also the
case on a chart painted in 1971 by a young Tibetan artist exiled in India (Tatz & Kent 1978: 61).

59
added (fig. 18).78 Additional inscriptions
outside the grid attribute its invention
to the Tibetan Buddhist monk Sa-skya
Paṇḍita (1182-1251).79 As noted by Ngai,
the attribution is obviously legendary,
as is a similar attribution to the Sangpu
Neutok monastery in Lhasa established
by Ngok Lekpe Sherap in 1073 (Ngai
2011: 323-24). The format of the chart,
and its focus on legends above
illustrations, are reminiscent of the 72-
square Vaiṣṇava gyān caupaṛ charts
found in Nepal from around the turn of
the 19th century.80 This opens up the
possibility that early versions of Tibetan
sa lam rnam bzhag charts borrowed
their mechanics and theme from
Chinese xuanfo tu charts, and their Fig. 18: Sa lam rnam bzhag. Tibet, 19th century.
visual design from Nepalese gyān
caupaṛ charts. A possible explanation for this can be found in the fact that the Tibetan
sa lam rnam bzhag charts are likely to have been painted by Newari artists from the
Kathmandu Valley (ibid. 362-63) who also painted the Nepalese gyān caupaṛ charts. The
illustrated top panels of both types of charts provide a good example, as they exhibit
the same style of painting and iconographical features. The top panels of the sa lam
rnam bzhag charts depict a triad of enlightened beings seated on lotus thrones against
the backdrop of a Buddhist Pure Land (Ngai 2011: 325) 81, while the top panels of the

78 Other examples of sa lam rnam bzhag charts with only a few decorative elements added can be
found in Waddell 1895 (p. 472) and Finkel 2004c (p. 61). A further example from Bhutan can be found
in Tatz & Kent 1978 (p. 13).
79 For a paraphrase of the verses, see Tatz & Kent 1978 (pp. 10-12).
80 Two 72-square Vaiṣṇava charts from Nepal (Va72#21,22), and to a lesser degree a third chart
(Va72#24), follow the sa lam rnam bzhag charts from Tibet in placing greater emphasis on
illustrations.
81 The most commonly depicted triad appears to be that of Vajradhara, the tantric form of Śākyamuni
Buddha, flanked by the Tibetan Buddhist teachers Padmasambhava (8th cent.) and Tsongkhapa

60
gyān caupaṛ charts (Va72#19-25) depict the divine trinity of Brahmā, Viṣṇu, and Śiva in
similar surroundings.

The Kathmandu Valley is the only place

where sa lam rnam bzhag and gyān
caupaṛ are known to have co-existed, 82
and sa lam rnam bzhag even evolved its
own Nepalese variant known as cībhāḥ
kāsā, or the caitya game. The design of
cībhāḥ kāsā follows largely from that of
the less profusely illustrated sa lam
rnam bzhag charts, except that the
squares are organized in the form of a
caitya, or a Buddhist shrine or temple,
reminiscent of the famous
Svayambhunath caitya in Kathmandu.
The earliest known example (fig. 19)
may date as far back as the 18th century
(Yoshizaki 2003: L37),83 suggesting that
sa lam rnam bzhag could have been
even earlier, and perhaps even earlier
than gyān caupaṛ. As we do not know
what such earlier sa lam rnam bzhag Fig. 19: Cībhāḥ kāsā. Nepal, 18th century.
charts might have looked like, their
existence does not preclude the possibility mentioned above that the design of gyān
caupaṛ charts from the Kathmandu Valley influenced the design of 19th-century sa lam
rnam bzhag charts in Tibet, but it does raise the question of whether the influence
could have been the other way around. Until certain evidence of sa lam rnam bzhag or
cībhāḥ kāsā charts predating the earliest known gyān caupaṛ charts is brought to light,

(1357-1419) against the backdrop of the Pure Land of Amitābha Buddha (Ngai 2011: 338-39).
82 See, for example, the Nepalese sa lam rnam bzhag chart reproduced in Tatz & Kent 1978 (p. 14).
83 The chart was on display in the National Museum of Nepal (serial no. 343) when I visited it in the fall
of 2016. Two other examples, dating to the 19th or 20th century, are held in the Asha Archives in
Kathmandu. All three charts are reproduced in black and white in Yoshizaki 2003 (pp. 38-39).

61
we will have to content ourselves with the fact that they co-existed in Nepal around the
turn of the 19th century, and that one is likely to have influenced the other.

The earliest known Nepalese gyān caupaṛ charts (Va72#22-24) date from the early 19th
century.84 In comparison, the earliest known Indian gyān caupaṛ chart (Va72#7) only
dates from a few decades earlier, and does in fact include a reading which is otherwise
only found on the Nepalese charts and a later western Indian chart (Va72#3) associated
with them.85 Additional evidence that the Nepalese charts exerted their influence on
Indian charts can be found on the 342-square charts from the Punjab Hills which
derive their top panels from the Nepalese charts, and on two 72-square charts
(Va72#3,17) from western India which follow the Nepalese charts in replacing their
ladders with auspicious snakes. Against a Nepalese origin of gyān caupaṛ is the fact the
vast majority of charts derive from western India, and that the formal system
underlying them is much closer to the game of goose than to sa lam rnam bzhag. Also,
as will become clear in later chapters, the representational value of gyān caupaṛ is
closely aligned with the bhakti movement in western and northern India, and may
ultimately have derived from tantric charts of the subtle body used by tantric and
yogic practitioners in the same areas. All in all, though the jury is still out, I consider
any potential influence on gyān caupaṛ from sa lam rnam bzhag to have been limited
to the spheres of visual design and overall representational value - i.e. the concept of a
game simulating a spiritual journey from birth to liberation - and the origin of gyān
caupaṛ to have been located in western India.

South Asian Influences

The most obvious source of inspiration for gyān caupaṛ is, of course, the games that
were current in its own region at the time of its invention. Grid-based games have a

84 The only Nepalese charts which might date to before the 19th century are two charts (Va72#23,24)
dated to the late 18th century by Shimkhada (1983: 309, 313). Given Shimkhada's lack of experience
in dating gyān caupaṛ charts, and the fact that the charts do not appear to stand out from other
Nepalese charts now dated to the early 19th century or later, it seems reasonable to question the
validity of his dating.
85 This is the reading vaivasvat in sq. 65, probably referring to the seventh Manu presiding over the
current manvantara, or Manu age. Since the reading seems to stand somewhat outside the context of
the other readings on the 72-square Vaiṣṇava charts, it may simply have been an attempt at coming
to terms with the disputed reading found in the same square on other charts (see the variant
readings in sq. 65 in Appendix D1).

62
long history in South Asia, reaching all the way back to the urban centers of the Indus
Valley civilization, but apart from the possible emergence of sa lam rnam bzhag at an
earlier stage in Tibet and Nepal, games with inscribed squares appear to have been a
novelty introduced by gyān caupaṛ. This, however, does not mean that the squares of
grid-based games had not previously been associated with words and concepts, only
that they had not previously been directly inscribed with them. The following
discussion shows that the ideas expressed by gyān caupaṛ had indeed been associated
with a related family of Indian race games at least since the beginning of the 1st
millennium, and probably much longer.

Phañjikā
The very name of gyān caupaṛ, or the caupaṛ of knowledge, begs the question of how it
relates to the game whose name it carries. Before we begin to answer that question, we
will, however, turn our attention to the little known game of phañjikā which appears to
be an earlier member of the same family of race games as caupaṛ. The only known
reference to phañjikā - or phañjī, as it also called - appears in a passage of the
Krīḍāviṃśati section on games and pastimes in the 12th-century Mānasollāsa (MS
5.16.816-63). The passage is obscure and possibly corrupted, and Gondekar's critical
edition contains numerous emendations which sometimes seem to take the reader
further away from the original meaning.86 Part of the problem is that the passage is
more concerned with the circumstances of the game than with the game itself. It talks
a lot about the components of the game and the social interactions between the
players, but very little about how the game is actually played. This is probably because
readers were expected to know the game in advance, and therefore only needed to be
instructed in some of the finer points of gameplay which are now mostly lost on us.
Two previous attempts at paraphrasing the passage bear witness to its manifold
challenges by either leaving out substantial parts (Mishra 1966: 503-5) or throwing it
into even deeper obscurity (Arundhati 2004: 124-26). 87 Only by comparing phañjikā to

86 The critical edition of the Krīḍāviṃśati section is based on three manuscripts, the third of which
appears to be a copy of the second, or at least derive from the same source. The earliest manuscript
dates from 1671, more than 500 years after the composition of the text in 1131 (Gondekar 1925: vi).
Gondekar describes the manuscripts as "defective and full of scribal errors" (Gondekar 1961: vii).
87 A better understanding of the passage is signaled by a brief mention in Raghavan 1979 (p. 81), but
unfortunately he does not go into any further details.

63
the related games of paccīsī and aṣṭākaṣṭe as discussed below can we begin to make
sense of it.

The game is played on a 6 x 6 grid

described as a maṇḍala (MS 5.16.826-
30ab), and thus presumably belonging
in the category of bhadramaṇḍalas
which are characterized by their grid-
based designs and mainly used for
ritual purposes (Bühnemann 2007:
88
73ff.). The exact ornamentation of the
grid is not clear from the text, but it is
stated that a small "offset" (bhadraka)
should be added on each of the four
sides (caturdikṣu) (MS 5.16.827ab).89
Each player controls five cowries of the
same shape and color,90 and begins the Fig. 20: Phañjikā. Tentative reconstruction of game
board and starting positions.
game by placing them in one of the four
offsets, indicating that the game was played by four players (MS 5.16.835cd-837).91 The
goal of the game seems to have been to get all of one's cowries into a square called the
house of death (mṛtyugeha)92, and from there into another square called the house of
refuge (śaraṇāgāra) (MS 5.16.852). It cannot be determined whether the house of
refuge was an actual square in the grid, or merely synonymous with taking a cowrie
88 The function of the bhadramaṇḍala as an interface between game and ritual is discussed in chapter
six.
89 The translation of bhadra or bhadraka as "offset" is adopted from Bühnemann who borrows the term
from architecture (Bühnemann 1987: 63, fn. 94). In the context of maṇḍalas, a bhadra can either refer
to the grid diagram as a whole, or to a pyramidal figure within the diagram consisting of a base of
five squares with a row of three and then one square above (ibid. 46). In the case of the phañjikā grid,
the idea seems to be that of a small square replicating the main square on each of its four sides.
90 The related games of paccīsī and aṣṭākaṣṭe are played with four pawns per player, but an early
reference to the similarly related caupaṛ in the Caurāsī vaiṣṇavan kī vārtā, dated to the 17th century
(McGregor 1984: 209), states that it, too, was played with five pawns per player (Barz 1976: 120).
91 The text states that the game should be played by "five, seven, six, eight, nine, or sixteen players"
(khelakāḥ pañca saptāpi ṣaḍ aṣṭau nava ṣoḍaśa) (MS 818cd), but it is not clear how this would have
worked unless multiple offsets were drawn on each side of the maṇḍala.
92 Mṛtyu, or death, is also the name of an astrological house and one of the deities traditionally invoked
in bhadramaṇḍala rituals (see Bühnemann 1987: 64, no. 26, and 68, no. 114).

64
off the grid, but since all cowries apparently had to enter the house of death before
entering the house of refuge, it seems reasonable to assume that the house of death
was located in the center of the grid at an equal distance from the four offsets where
the cowries began the game (fig. 20). The movement of the cowries was controlled by
the throw of seven larger (sthūla) cowries generating a random number between one
and seven depending on the number of cowries which fell face down (MS 5.16.838-
46).93 Two results appear to have had one or more special applications which could
only be used in certain situations. If all the cowries fell face up, the throw was said to
be a "low seven" (kalasaptaka) (MS 5.16.839-46) which would force a player to return a
cowrie from the house of death to his offset and start its journey all over again (MS
5.16.855).94 If, on the other hand, five cowries fell face down, the throw was known as a
phañjikā, which would allow a player to move a pawn either from his offset on to the
grid, or from the house of death into the house of refuge (MS 5.16.857). In addition, a
phañjikā throw also appears to have awarded the player another throw, allowing for
multiple throws of phañjikā before a different result was obtained (MS 5.16.847).

Though the above description of phañjikā is neither certain nor complete, it seems
undeniable that the game had several things in common with the later game of paccīsī.
Paccīsī is a variant of caupaṛ played with six or seven cowries instead of dice, and also
takes its name from a throw of five cowries falling not face down but face up. Since
paccīsī literally means twenty-five, which constitutes the result of the throw, it is
tempting to understand phañjikā as a variant of pañcikā - or pañjikā, as suggested by
Mishra (1966: 505) - in the sense of a group of five cowries falling face down. 95 The

93 This is contrary to the usual method of only counting cowries which fall face up. The dual use of
cowries for both pawns and randomizing agents is also found in the game of aṣṭākaṣṭe discussed
below (Smith 1851: 341).
94 The square from which the pawn should be returned is referred to as daladeha (lit. body of leaves)
which might be understood as the lotus in the center of the bhadramaṇḍala corresponding to the
central square of the game (cf. Bühnemann 1987: 44-45). Gondekar emends the reading to talageha,
synonymous with talaṭallaka(?) in MS 5.16.856, apparently implying an underworld which might
also be understood as the central house of death.
95 The Kāśikāvṛttī commentary (c. 7th. cent.) on Pāņini's grammatical treatise Aṣṭādhyāyī mentions a
game called pañcikā which was played with five akṣa or śalākā dice (KV 2.1.10). Akṣa is sometimes
used to mean dice in general, while śalākā specifically refers to four-sided stick dice (Bhatta 1985: 66-
68). The passage, however, states that a player wins if all the dice fall face up (uttāna), and loses if all
the dice fall face down (avāñc), which would rather seem to indicate binary randomizing agents,
such as vibhītaka nuts or cowrie shells.

65
readings phañjikā and phañjī, as they appear in the manuscripts, refer to various kinds
of flora (ĀVŚK, p. 543), which does not fit the context very well and seems to call for an
alternative interpretation such as the one suggested here. 96 A further similarity
between the throws of paccīsī and phañjikā is that both award an extra throw and can
be used to enter a new pawn on to the playing field. 97 The main difference between
them is that a phañjikā throw cannot be used to move a pawn beyond entering or
exiting it from the grid, while a paccīsī throw can also be used to move an already
entered pawn twenty-five squares around the grid. It might therefore be suggested that
the more limited phañjikā throw was a predecessor of the more flexible paccīsī throw,
and perhaps even that the latter game to some extent derived from the former.

Though paccīsī is also played by four players whose goal is to get their pawns into the
center of the playing field, the cruciform shape of paccīsī makes it difficult to
reconstruct the direction of movement on the quadrangular grid of phañjikā. A better
candidate for this purpose is the game of aṣtākāṣṭe which is still widely played
throughout especially rural areas of India. 98 The game derives its name from the
highest throw of eight (aṣṭan) and the lowest throw of one (kaṣṭa, lit. anything bad),
and is played by four players seated on each side of a 5 x 5 grid, though different grid
sizes are encountered in different parts of the country. Each player controls four
pawns which are entered on to the centermost square of the row directly in front of
each player. The players take turns throwing four cowries or tamarind seeds, and
move their pawns accordingly anti-clockwise around the outer track of the grid until
they arrive back at the square to the left of the one on which they entered. They then
continue by moving into the inner track which they follow around clockwise until they
arrive back at the square directly above the one on which they entered. From there a
final move takes them into the central square of the grid which constitutes the winning
square.99 The main difference between the grids of aṣṭākaṣṭe and phañjikā is that the

96 An alternative suggestion might be to emend phañjikā and phañjī to pañjikā and pañjī with reference
to the calendars and almanacs, also known as pañcāṅgas, drawn up by astrologers (cf. Sircar 1952:
342).
97 The same is also true of other throws in paccīsī, but they are likely to have inherited those traits from
the original throw of twenty-five (cf. Temple 1884: 244-45; Rettberg 2008: 54).
98 The game is known under a great variety of names, and the Bengali name of aṣṭākaṣṭe is only
adopted here because it is the one most commonly encountered in the literature.
99 For an early description of aṣṭākaṣṭe similar to the one presented here, see Smith 1851 (p. 341).

66
former has an odd number of squares
along each side, while the latter has an
even number. As demonstrated by
Murray in his reconstruction of a
related race game thought to be played
on an 8 x 8 grid (aṣṭāpada) before the
invention of chess (caturaṅga) in the
middle of the 1st millennium, this,
however, does not rule out a similar
approach of entering and moving
pawns on evenly numbered grids
(Murray 1952: 129-30). An illustration of
how this approach might have been
applied in the case of phañjikā can be Fig. 21: Phañjikā. Tentative reconstruction of the path
of movement as seen from the perspective of the
seen in fig. 21. As shown in the player controlling the black pawns.
illustration, the players follow separate
yet interlocking paths, which is necessary for players to be able to land on each other's
pawns and send them back to start. The rules on interaction between friendly and
opposing pawns vary between versions of paccīsī and aṣṭākaṣṭe, and though little can
be said with any certainty regarding phañjikā, the possibility of sending the pawns of
other players back to start seems to be implied in the text (MS 5.16.850-51).

Besides having elements of design and mechanics in common with games like paccīsī
and aṣṭākaṣṭe, phañjikā also shares in an underlying cosmological and karmic
symbolism which would later become a key feature of gyān caupaṛ. The fact that
phañjikā is played on a bhadramaṇḍala grid signals that even though the game was
played for purposes of entertainment, it was framed in a way which lent it a certain
authority or legitimacy not otherwise associated with games. The pawns of each player
are referred to as his dhāman (MS 5.16.836ab), or the inhabitants of his house, with the
possible indication of a divine abode. The first goal of the players was to bring their
pawns to the house of death, which indicates that entry on to the grid represented
entry into the world of mortals, and that the journey through the squares represented
the journey through life. Once arrived at the house of death, a kalasapta throw would

67
send a pawn back to start, and hence condemn it to another round in the cycle of
rebirth. A throw of phañjikā, on the other hand, would allow the pawn access to the
house of refuge which might then be understood as a return to their divine abode,
access to the heavenly realm of their chosen deity, or perhaps even liberation from the
cycle of rebirth.100 The pawns could therefore be seen as individual souls, and the
cowries which moved them along as the forces of karma. A better manuscript of the
Krīḍāviṃśati is required to establish the accuracy of such an interpretation, but as
already demonstrated, it would only follow a well-known pattern of how
representational value has been attributed to grid-based games throughout the history
of South Asia.

Caupaṛ
Nothing much can be said about the relationship between gyān caupaṛ and its
namesake caupaṛ when viewed from a distance. Despite the fact that they are both
dice- or cowrie-driven race games, players in gyān caupaṛ only move a single pawn
each on an inscribed grid diagram, while players in caupaṛ move four pawns each on
an uninscribed cruciform game board (fig. 22).101 It is therefore possible that the
"caupaṛ" in gyān caupaṛ merely served as a placeholder for "game," similar to the
generic use of words like chess, draughts, and tables in the European literature, and
the invocation of shaṭranj, or chess, in the Ṣūfī versions of gyān caupaṛ often referred
to as shaṭranj al-'ārifīn, or chess of the wise. If, however, we take into account the
representational value attributed to caupaṛ, as will be done in the following, we begin
to see how it might have influenced gyān caupaṛ conceptually.

100 Similarly, the central square of aṣṭākaṣṭe was considered "the heaven of rest and undisturbed
repose" (Smith 1851: 341). The requirement of a special throw to enter pawns on to the grid and
remove them from the central square once they have entered it is also attested for the south Indian
game of tāyam which belongs to the aṣṭākaṣṭe family of games (Bell 1969: I, 17-20).
101 It should, however, be noted that a pawn in caupaṛ moves exactly 84 squares, which not only equals
the 84 lākh, or 8.400.000 birth situations (yoni) in the universe, but also the number of squares found
on Jaina gyān caupaṛ charts. If one counts the nine rows of eight squares on which a pawn is allowed
to move in caupaṛ, excluding the squares at the bottom of other players' home rows, which are in
fact skipped in some versions of the game (Ute Rettberg, pers. comm.), the total number of squares
equals 72 which is also the number of squares on the largest and earliest group of Vaiṣṇava gyān
caupaṛ charts.

68
At the end of the 19th century, Edward
Falkener described paccīsī as "the
national game of India" played in
"palaces, zenanas, and the public caffés"
(Falkener 1892: 257), but the closely
related game of caupaṛ had in fact
already been recognized as a favorite
pastime among the Hindus by Abu'l-Fazl
in the late 16th century (Blochmann
1873: 303). Caupaṛ figures prominently
in miniature paintings, folk tales, and
bhakti poetry, and generally appears to
have been a widespread and popular
game during the period when gyān Fig. 22: Caupaṛ. Oxford, 1694.
caupaṛ is likely to have been invented.
Though it exists throughout the subcontinent in a multitude of regional and local
variations, the versions most commonly encountered in north and western India are
caupaṛ and paccīsī.102 The two are most easily distinguished by their respective use of
stick dice and cowrie shells as randomizing agents, but it should be noted that the
differences between them go much further, and that caupaṛ is by the far the more
complicated game (e.g. Brown 1964, Finkel 2004b). The four arms of the cruciform
game board radiate from an empty center, with a player seated in front of each arm,
or, in the case of a two-player game, between two arms across from each other. Each
player controls four pawns - or 2 x 4 pawns in a two-player game - beginning either at
the center of the game board, or somewhere on the squares of his own arm. The
players move their pawns down the central row of their own arm, around the outer
rows of all four arms in a counterclockwise direction, and back up their own central
row and into the center. In a four-player game, players sitting across from each other

102 Today the game is best known in its modern Western incarnations as Parcheesi, first produced in
the US in 1867 (Whitehill 1999: 118), and Ludo, first registered in Britain in 1886 (Copisarow 2010:
208). Like snakes and ladders, Ludo has long since replaced its predecessors in India (Finkel 2004b:
57), giving rise to the mistaken notion that it is identical with paccīsī. Ludo, however, is a simplified
version of paccīsī targeted at children rather than adults. Cheap copies can often be bought in the
bazaars of India with a game of snakes and ladders printed on the reverse side of the board.

69
often act as partners who either win or lose together, but since the exact rules vary
between players and regions nothing more needs to be said about them here.103

The material most commonly used for caupaṛ, when not simply drawn on the ground,
was cloth. Known examples number in the thousands, but few predate the 20th
century, and none seems to go back further than the 18th century (Finkel 2006: 64). An
outdoor flagstone board at Fatehpur Sikri with squares made to human scale is often
claimed to be from Akbar's time, but others regard both that and Akbar's alleged
games with live women for pawns as mere legend. It is therefore possible that the
flagstones were only laid out by one of Akbar's successors in the 18th century (ibid. 73,
fn. 5). Graffiti boards can sometimes be found etched into the floors and seats of
temples and other structures which go back to early times, but care should be taken
not to confuse the date of the structures with the date of the graffitis they hold
(Topsfield 2006b: 19). Such confusion might very well underlie Vasantha's
undocumented claim that the earliest boards appear as engravings in the 8th-century
Mallikārjuna (c. 695-720) and Jyotirliṅga (c. 720-40) temples at Paṭṭadakal and Aihole in
northern Karnataka (Vasantha 2006a: 35). A more convincing case is that of two
engraved caupaṛ boards discovered in the city of Vijayanagara, also in Karnataka,
which was sacked and subsequently abandoned in 1565. According to Elke
Rogersdotter, who has documented 580 engraved boards for various games at the site,
the consistency of board types, find locations, and manners of engraving makes it
plausible that the boards date from the time of the living city itself (Rogersdotter 2015:
466). The low frequency of caupaṛ boards might be taken as an indication that the
game was not very popular at the time, or that the boards in question were only added
later, but considering the relative complexity of drawing up a caupaṛ board compared
to other board types found at the site, it might also simply be taken as an indication
that the favored material for caupaṛ boards were cloth.104

The earliest known description of caupaṛ occurs in the Ā'īn-i Akbarī, written by Akbar's
court historian A'bul-Fazl around 1590 (Blochmann 1873: iii), and provides a detailed,

103 Examples of early rules descriptions can be found in the Ā'īn-i Akbarī (Blochmann 1873: 303-4), the
Krīḍākauśalya (KK 156-85), Temple 1884 (pp. 243-45), and Falkener 1892 (pp. 257-64).
104 A similar explanation might be offered for the sparse evidence of 8 x 8 grids, commonly associated
with chess, engraved at the site (Rogersdotter 2015: 476). Though less complex in design than caupaṛ,
chess is further complicated by the need for differentiated pieces (i.e. pawn, rook, knight, etc.).

70
yet by no means exhaustive, summary of how the game was played at the time. 105 It is
apparent from the description that A'bul-Fazl considered it a secular gambling game,
but interestingly he also points out that Akbar used it to "[weigh] the talents of a man"
(ibid. 304). References in Ṣūfī romances and illustrations in miniature paintings go
back to the first half of the 16th century, and among poet-saints, such as Kabīr (15th
cent.), Guru Nanak (1469-1539), and Sūrdās (c. 1480-1560), the game came to serve as a
popular metaphor for the cycle of rebirth and the path to liberation (Topsfield 2006b:
19-21).106 As mentioned above, the only game that would have served as a better
metaphor for the same would have been gyān caupaṛ, and the fact that it is not
referred to by the poets lends weight to the argument that it had not been invented at
the time. According to Mopidi Kallappa, whose doctoral thesis examines traditional
Indian games with special emphasis on Andhra Pradesh, several references to one or
more regional variations of caupaṛ occur in Telugu literature between the 12th and
15th centuries (Kallappa 2006: 203, 205).107 This would make them the earliest known
evidence for the game, but literary references to games tend to be ambiguous, and I
am hesitant to draw any conclusions before they have been thoroughly examined by
board game historians proficient in Telugu.108 An even earlier reference which has
been variously attributed to chess, backgammon, caupaṛ, and gyān caupaṛ is found in

105 Earlier still is a poetical description of the game in the Ṣūfī romance Padmāvat, written by Malik
Muhammad Jāysī around 1540 (Shirreff 1944: vii), but it mostly focuses on a metaphorical
interpretation of the various throws and the pairing of pawns on the game board (see vv. 27.23,24,31
in Agrawal 2010 and Shirreff 1944).
106 As pointed out by Topsfield, there is much uncertainty about the dates of the poems attributed to the
poet-saints. The most we can say is therefore that caupaṛ seems to have entered the vocabulary of
bhakti poetry sometime in the early 16th century at the latest. For more references to caupaṛ in
north Indian bhakti texts, see the entry on caupaṛ in DoB (vol. I, p. 650).
107 Kallappa's thesis was supervised by Vasantha who may herself have made inflated claims about the
antiquity of both caupaṛ and gyān caupaṛ (see above), and in light of the fact that Kallappa's
discussion of caupaṛ (2008: 188-92) appeared ad verbatim on a now defunct website originally
maintained by Vasantha (www.gamepandit.com, last acc. 6 Sep, 2018), I remain skeptical of her
findings.
108 As an example, Velcheru Narayana Rao and David Shulman suggest that a passage in the Telugu
Krīḍābhirāmamu from the first half of the 15th century refers to caupaṛ, though the description
might as well apply to any other board game played with dice and pawns (Rao & Shulman 2002: 47,
fn. 37). Surprisingly, Kallappa's overview of references to games in Telugu literature only includes
the Krīḍābhirāmamu by virtue of its reference to a ram fight (Kallappa 2006: 204).

71
the 10th-century Ṛṣabhapañcaśikhā written in Prakrit by the Jaina author
109
Dhanapāla:

sārivva bandhavahamaraṇabhāiṇo jiṇa na huṃti païṃ diṭṭhe /

akkhehiṃ vi hīrantā jīvā saṃsāraphalayammi // (ṚPŚ 32)

Like pawns, the souls (jīva) on the game board of cyclical existence (saṃsāra),
though carried away by the senses/ dice (akkha), are freed from captivity,
slaughter, and death at the sight of you/the square (païm), O Lord!110

The reference to "captivity, slaughter, and death" seems to rule out gyān caupaṛ as
pawns are not able to block, capture, or otherwise interact with each other. 111 Whether
the verse then refers to backgammon, caupaṛ, or some other game hinges on the
understanding of the word paï (Skt. pada). It might be understood as the central square
in caupaṛ which comes into view when a pawn returns up the central row of its own
arm out of harm's way from the pawns of the other players. However, the significant
sculptural and literary evidence presented by Soar for the existence of a backgammon-
like game in the second half of the 1st millennium, and the lack of similar evidence for
the early existence of caupaṛ, indicates that she may be right in taking païṃ as a
reference to the last quarter of the backgammon board from where the pawns are
carried off into safety (Soar 2007: 208-9).

The representational value of caupaṛ is not explicitly stated in the form of legends or
other inscriptions as in the case of gyān caupaṛ. However, the arrangement of the
game board and the number symbolism associated with it are suggestive of multiple
layers of interpretation beyond the formal game system itself. Kabīr compares the
game board with the subtle body, and the movement of the pawns up and down the
four arms with the flow of the vital breath (prāṇa) through the energy channels (nāḍī),
the aim of which is to arrive at the central point between the eyebrows (trikuṭī) where
the three main energy channels meet (Vaudeville 1974: 159). The 17th-century Caurāsī

109 Johannes Klatt suggested that it might either refer to a form of backgammon, or to a form of chess
with safe squares for the king (Klatt 1879: 465-66). Micaela Soar favors backgammon, but notes that it
might also refer to either caupaṛ or gyān caupaṛ (Soar 2007: 208-9), while Topsfield seems to favor
gyān caupaṛ, though agreeing with Soar that the question cannot easily be settled (Topsfield 2006c:
75 and 89, fn. 2).
110 Translation adapted from Johannes Klatt (1879: 465).
111 An exception is provided by an 84-square Vaiṣṇava chart (Va84#4) which states that a pawn landing
on another pawn pushes it back along the game track (see Other Rules in chapter five).

72
vaiṣṇavan kī vārtā takes the metaphor even further, and compares the entire process
of playing the game with worshiping the divine lord (bhagavat, prabhu) and taking
refuge with him. The board is compared with the cycle of rebirth (saṃsāra), the central
square with liberation (mokṣa), the playing pieces with the senses (indriya)112, the "1"s
on the three dice with the three qualities (guṇa) of material existence (māyā) that must
be overcome, and the deliberations of the players before making a move with the
contemplations of the self before seeking refuge with the divine lord (Barz 1976: 118-
20). The association between the board and the world is even more explicitly stated in
an unidentified text paraphrased in an article in The Quarterly Journal of the Mythic
Society from 1923:113

The dice-board or piece of cloth (vadhra) is like a lotus flower of four petals and
contains four petals, each petal being divided into three strips containing eight
square divisions, and is to be considered as nature (Prakriti). The latter (the petal)
is also divided into eight parts, as the earth, water, fire, wind, sky, mind,
intelligence, and the ego. All these eight parts are of three different forms owing
to the three qualities, Satva, Rajas and Tamas. Thus each petal contains twenty-
four divisions. (Sastry 1923: 118)

The identification of the four arms of the game board with the concept of primordial
matter (prakṛti) is significant because it directly connects the symbolism of the caupaṛ
board with that of Vaiṣṇava gyān caupaṛ charts. The philosophical system of Sāṃkhya
enumerates 25 basic principles (tattva), the first of which is spirit (puruṣa), and the
remaining 24 of which are primordial matter and its constituents. The passage quoted
above equates the principles of intelligence (mahat, buddhi), mind (manas), ego
(ahaṃkāra), and the five gross elements (mahābhūta), which are the first to evolve
from primordial matter, with the eight squares in each of the three rows of each of the

112 As mentioned above (fn. 90), the version of caupaṛ described here is played with five instead of the
usual four pawns.
113 The text is referred to as the Mahārājavijaya, but I have not been able to identify any text with that
title. The closest candidate is the Rājavijaya by Raṇahastin who flourished in Madhya Pradesh
around 1400 (Pingree 1981: 108). Unfortunately, the text only exists in manuscript, and nothing much
is known about it except that it is an astrological text dealing with "omens for going to battle" ( CC, vol
2, p. 118). Since Sastry's article refers to the Mahārājavijaya in the context of games played during the
festival of Dīvālī, the connection with Rājavijaya does not appear obvious. It should, however, be
noted that the Krīḍākauśalya refers to a similar work known as the Samarasāra, or the essence of
war, in the context of determining the prospects of victory and defeat in games (KK 84).

73
four arms of the game board. It then assigns one of the three qualities (guṇa) inherent
in all primordial matter to each of the three rows as an illustration of how each of the
eight principles enumerated contain the qualities of truth (sattva), activity (rajas), and
inertia (tamas). Another and perhaps more obvious way to interpret the arms of the
game board would have been to equate each of the 24 squares with one of the 24
principles of material existence, but what is important here is that individual squares
are being associated with philosophical concepts. This follows the logic of gyān caupaṛ
where each square is inscribed with a concept which lends its meaning to the square
and to the pawns which land on it. In fact, several squares of Vaiṣṇava gyān caupaṛ
charts are inscribed with principles derived from Sāṃkhya, as well as with the three
inherent qualities and other associated concepts (see Realms of Existence in chapter
four).

If we accept that interpretations of caupaṛ similar to the ones described above was
current around the time when gyān caupaṛ was invented, it might be suggested that
gyān caupaṛ represents a shift from an implicit to an explicit identification of squares
with cosmological and other concepts. While the design of games like phañjikā,
aṣṭākaṣṭe, and caupaṛ certainly lends itself to a cosmological interpretation, it is only
with gyān caupaṛ that such an interpretation becomes manifest in the form of an
inscribed grid. The history of inscribed grid diagrams other than games, with which
gyān caupaṛ has much in common, goes back far beyond it, and it would therefore be
too simple, and indeed contrary to existing evidence, to suggest that it merely evolved
as an extension of the caupaṛ family of games. Still, the implicit identification of the
squares in that family of games with a spiritual journey through existence may indeed
have prepared the ground for the way in which gyān caupaṛ came to be
conceptualized.

Perhaps more than anything else, the above attempt at tracing the influences which led
to the invention of gyān caupaṛ has shown the difficulties in determining where one
game ends and another begins. Before the emergence of modern proprietary board
games, rules and formats were rarely fixed, but evolved continuously as new players
experienced with new designs and modes of play. The European game of goose may
have had the single biggest impact on the formal system of gyān caupaṛ, but it never

74
established itself in India, and when gyān caupaṛ arrived in Europe in the first half of
the 19th century, its relationship to goose was only dimly recognized. Similarly, the
Tibetan game of sa lam rnam bzhag may have inspired the idea of using a religious
grid diagram as the basis of gyān caupaṛ, but it, too, was unable to penetrate into India
beyond the confines of the Tibetan communities in which it continues to be played to
this day. As such, gyān caupaṛ reflects a tendency to absorb and integrate foreign
games, and ultimately transform them into something truly unique and deeply rooted
in already existing traditions of games, as exemplified by its namesake caupaṛ. That
the cultural forms and practices which influenced the making of gyān caupaṛ did not
limit themselves to games will be seen in later chapters as we begin to explore the
underlying concepts and their origins in tantric diagrams of the subtle body. First,
however, we will have to understand what exactly constitutes gyān caupaṛ and the
affordances that it offers.

75
 Chapter 3
Source Material

The primary sources for the study of gyān caupaṛ comprise nearly 150 unique and
mostly unpublished game charts, several of which exist in multiple copies and
variants.114 The majority was produced in 19th-century western India as a playful way
of engaging with the religious knowledge systems of Vaiṣṇava bhakti and Jainism. A
few charts date back to the late 18th century, and some were only made in the 20th
century, though the latter can often be traced back to known examples of earlier
charts. Besides Rajasthan and Gujarat, charts can also be found in several neighboring
states, as well as in the Punjab Hills, Nepal, and parts of the Middle East. An
undercurrent of tantric and yogic influence is visible especially in the Vaiṣṇava bhakti
charts, while individual groups of charts affiliate themselves with Ṣūfīsm and Advaita
Vedānta. A detailed catalogue of charts is provided in Appendix A, together with a
typological overview in Appendix B and a transcription of all available 72-square
Vaiṣṇava and 84-square Jaina charts in Appendix C. Secondary sources consists of
references, articles, and books written in a variety of Indian and non-Indian languages,
but unfortunately those of any substance cannot be traced back further than the late
19th century. It is, therefore, first and foremost to the charts themselves that we must
turn in order to understand the early history of gyān caupaṛ and its initial reception
among the religious communities and royal courts of late 18th- and early 19th-century
western India.

The sheer number and variety of charts that have come down to us indicate some of
the popularity they must once have enjoyed. The impression is only strengthened
when we consider the fragile nature of the charts, and the carelessness with which
they are often handled.115 Most charts survive in private collections inside and outside

114 An additional 30-35 charts have been reported but still awaits documentation (see Appendix A1).
115 Lakshmi Narayan Khatri, the owner of the Thar Heritage Museum in Jaisalmer, told me that he
found the chart (Va84#3) on display in his museum in a rubbish heap in the street where an elderly
lady had thrown it while cleaning up her house. Venkatasubramanian Balambal, who has written
about folk games in Tamil Nadu (Balambal 2005), explains that charts belonging to the contemporary

76
India without proper means of access, documentation, or storage. Temples, museums,
libraries, and research institutions rarely keep more than a single chart or two, and
even then questions of preservation and accessibility cannot be taken for granted.
Charts also come through the hands of auction houses and antique dealers, but prices
are usually prohibitive, and forgeries remain a real concern. Ultimately, the researcher
is often left with unsatisfying photographic reproductions and incomplete information
about provenance, size, material, etc. In the interest of future research, I have included
all the information presently available to me in Appendix A, though I have taken care
to mark out any charts whose authenticity appears to be in doubt.

Considering the wealth of more or less related charts produced both inside and outside
India throughout the 20th and 21st centuries, I have had to decide on certain criteria
for which charts to include and which charts not to include. My guiding principle has
been only to include later charts which share key characteristics with earlier charts,
and which can be presumed to be directly based on them. A case in point is the 72-
square Vaiṣṇava chart (Va72#26a) first published by Harish Johari in 1975. Though
translated into English and presented as a largely non-denominational tool for self-
realization, the original Sanskrit and Hindi terminology provided by Johari clearly
relates the chart to earlier 72-square Vaiṣṇava charts. This, together with his claim that
the chart was adapted from an early 19th-century chart from Uttar Pradesh (Johari
2007: 2), has led to its inclusion in the study. On the other hand, an 84-square Tantric
chart published by Chimanlals Private Limited in the 1970s and an 108-square non-
denominational chart first published by Chhote Bharany in 1984 have not been
included since they neither make any claims of authenticity nor conform to any other
known types of earlier charts. Similarly, charts which represent late developments that
came to form independent traditions have also been excluded from the study. This
includes the south Indian family of heavily illustrated and often uninscribed charts
known as parampad sopān in Tamil Nadu and vaikuṇṭh pāḷi in Andhra Pradesh, as well
as the idiosyncratic Bengali charts known as golok dhām.116

south Indian version of gyān caupaṛ known as parampad sopān are sometimes ritually disposed of
after use during the festivals of Mahāśivrātri and Vaikuṇṭh Ekādaśī (pers. comm.). If a similar
practice was traditionally associated with gyān caupaṛ, the number of lost charts may be
significantly higher than otherwise suspected.
116 Parampad sopān and golok dhām are briefly discussed in the section on History and Transmission
below.

77
A few cautionary words also need to be said about the prevalence of forgeries which
has only begun to be recognized in recent years. In 2006, Topsfield warned that a Jaina
chart (Ja84#39) painted in the Western Indian Style of the late 15th century contained
anachronisms and anomalies indicating that it was probably of a much more recent
make (2006a: 150, fn. 28). Since then, several charts showing signs of forgery have
come to my attention, and the phenomenon seems to have become more widespread
in recent years.117 I therefore remain skeptical of the provenance information provided
by a number of charts until a convincing case can be made for their veracity. I have
already mentioned the Jaina chart which was for many years believed to be the
earliest known gyān caupaṛ chart (Ja84#3a, fig. 9), but which must now be
reconsidered in the light of a strikingly similar chart (Ja84#3b) of an obviously much
later date. The two charts share a revealing feature found on several other suspicious
charts, namely that of a uniform pattern of abrasion inconsistent with actual usage
which would have resulted in a higher degree of wear and tear in the squares of the
playing field and along the folds of the charts. Several suspicious charts (e.g. Va72#30a-
q) carry colophons dating them from between the mid-17th to the mid-18th centuries
which would severely impact our understanding of the early history of the game if
accepted as authentic. Apart from a uniform pattern of abrasion, they often employ
word separation, western typography, and choices of expression inconsistent with
their alleged antiquity.118 I have tried to call out as many of these charts as possible,
and while I may erred on the side of caution in some cases, and overlooked signs of
forgery in others, I feel confident in stating that no chart pre-dating the late 18th
century has as yet come to light.

The present chapter begins by providing a general description of the charts and a
discussion of the dice, pawns, and manuals which accompanied them. It then goes on
to outline the history and transmission of existing charts beginning in western India in

117 In the late summer of 2018, a private collector from Germany sent me images of a chart (Ja84#24c)
that had been brought to his attention by a local dealer in western India. The chart was dated VS
1820 (1763/64 CE), but it was immediately obvious to me that it was a hand-drawn copy of a chart
(Ja84#24b) printed in Mumbai in VS 1959 (1902/03 CE). The collector declined to buy the chart which
was subsequently sold for nearly €30.000 to a Jaina family in India. This is only one of several such
cases known to me.
118 One of the more obvious examples is the designation of charts as sāṁp sīṛhī, or snakes and ladders,
which is a Hindi translation of the name of the eponymous British game from the late 19th century.

78
the late 18th century. The chapter concludes with a discussion of available evidence for
information about early uses and users of the charts. The reader is encouraged to refer
to Appendices A1 and A2 throughout for additional information on individual charts.

General Description
The defining characteristic of any gyān caupaṛ chart is a grid diagram with
sequentially numbered and inscribed squares, some of which are connected by snakes
and ladders or similar imagery. The numbering usually begins in the lower left corner,
and proceeds boustrophedon from bottom to top along rows of legends displaying an
overall, but by no means uniform, progression from predominantly negative legends
to predominantly positive legends. Some charts contain nothing more than this, while
others add decorative elements transforming the simple diagrams into more or less
fully developed paintings. The most common forms of decoration are floral borders,
architectural designs, and illustrations of deities, but some charts go even further in
including elaborate backgrounds completely filling out the empty spaces surrounding
the grid. Styles vary from the simple and folkish to the accomplished and elitist,
preventing the meaningful application of any single stylistic label to the charts. Neither
can the charts be comfortably assumed under any existing categories of painting, 119
though the analyses of the charts presented in chapter four suggest that they may
originally have been considered tantric in nature.

The stylistic variations of the charts, as well as the colophons which sometimes
accompany them, indicate that they were painted by private individuals and
professional artists alike. Several crudely drawn charts were obviously not produced
by professionals (fig. 23), and we therefore have to inquire into the underlying reasons
for drawing them. The most obvious answer would be that they were copied from
more accomplished versions for purposes of play, but since they also include the
legends, which are not necessary for playing them, the answer is not wholly satisfying.
Five Jaina charts explicitly state that they were copied for purposes of study

119 The Jaina charts are hesitantly classified as paṭas, or cloth paintings, by Talwar & Krishna (1979: 84),
while Shridhar Andhare classifies them as "miscellaneous" paṭas, together with letters of invitation
(vijñaptipatra) and pardon (kṣamāpaṇapatrika), figurative poems (citrakāvya), mystical drawings
(paṭaka) and diagrams (yantra), and various astrological and geographical drawings (Andhare 2000:
74).

79
(vācanārtha, paṭhanārtha),120 but given
the influence from Nāth and Haṭhayogic
traditions, we might speculate that other
charts were drawn by tantric or yogic
practitioners within the folds of
Vaiṣṇavism and Jainism for purposes of
meditation, visualization, or similar.121
Some of these may have been carried
around by mendicants, as evidenced by
a Jaina chart (Ja84#58) drawn on the
page of a notebook amidst itineraries of
pilgrimages and copies of Jaina texts. A
further possibility, which seems Fig. 23: 72-square Vaiṣṇava chart (Va72#3).
particularly relevant in some cases, is Rajasthan, 19th century.

that original charts may have been copied by private owners or collectors before being
sold off on the antiques market.122

The more elaborate charts were evidently made for wealthy patrons, some of which
belonged to the Rajput courts, while others were associated with Jaina institutions,
such as temples, shelters (upāśraya), and pilgrimage sites. Examples of the former
include a beautifully made, yet badly damaged, chart (Va72#2) from the court of Jaipur,
and a series of profusely inscribed charts (Va342#1-7) from the courts of the Punjab
Hills. Examples of the latter include an early 19th-century cloth chart (Ja84#10) in the
Shri Vishal Jain Kala Sansthan Museum in Palitana near Shatrunjaya, and a late 20th-
century wall painting (Ja84#31c) in the nearby Babu Derasar temple. Charts produced

120 I.e. Ja84#4,17,23,32,56.

121 During a visit to the Museum of Folk and Tribal Art in Gurgaon, Haryana, art historian Subhashini
Aryan, who chairs the trust managing the museum, informed me that tantric drawings known as
paṭakas, which often combine text, diagrams, and illustrations, should be drawn by the practitioner
himself in order to secure their magical efficacy.
122 Several charts reported in Topsfield 2006a were no longer at the Museum of Indology in Jaipur
when I visited it in 2013, though other previously unreported and mostly sketched charts were. One
of the sketches (Va72#4b) can be plausibly linked to an original chart (Va72#4a) exhibited in the
Ciancimino Gallery in London in 1971. A handmade copy (Va99#1) of an unknown printed chart
even includes the colophon of the original, telling us that it was printed at the Gyān Sāgar Press in
Mumbai.

80
for wealthy patrons may have been
commissioned from traveling artists, as
indicated by the design for a Jaina chart
(Ja84#25, fig. 24) on the page of what
appears to be an artist's sketchbook
(Finkel 2004c: 62), or from workshops
similar to the ones existing in modern
day Palitana. A workshop described by
Hawon Ku produces a variety of large
tīrthapaṭas, or paintings detailing the
pilgrimage site and its temples, based on
a single full-size model (Ku 2014: 7).
Interestingly, the artists who work there
are described as being exclusively
Hindu, which agrees with the claim of
art historian Pratapaditya Pal that the
same artists traditionally worked for
"Buddhist, Hindu, or Jain patrons" (Pal
1994: 24). This, together with the fact Fig. 24: Manuscript leaf with design for 84-square
that Hindu priests (pujārī) often served Jaina chart (Ja84#25). Rajasthan, 19th century.
in Jaina temples (Ku 2014: 7), provide a
possible clue as to why Jaina charts often display Vaiṣṇava influences.

Materials and Manufacture

Gyān caupaṛ charts were mostly drawn with ink and water-based pigments on cloth or
paper, though other materials are also known to have been used. 123 The simpler charts

123 A wooden Ṣūfī board (Sū100#2) inlaid with mother-of-pearl originates from Lahore or the Delhi-
Agra region in the second quarter of the 19th century. An unidentified chart embroidered on Chinese
raw silk in the Kutch district of Gujarat around 1900 is reported by Topsfield, who also mentions the
existence of bead-work charts in the same region (Topsfield 1985: 212, fn. 35). An embroidered textile
chart (Va100#1) derives from 20th-century Gujarat, while a wall painting (Ja84#31c) in the Babu
Derasar temple in Palitana and a tessellated coffee table (Va72#26b) of unknown origin are based on
printed charts from the second half of the 20th century. Finally, a late 20th-century Ṣūfī board
(Ṣū100#6b) from Turkey painted on polished stone or ceramic tile bases itself on a printed chart
from early 20th-century Istanbul.

81
were drawn directly on the material using only one or two colors, usually black and
red, while the more elaborate charts went through the standard process of preparing
the material, sketching and outlining the images, and only then adding color and
sometimes lacquer.124 The shape of the playing grid depends on the number of rows
and columns, but it is usually slightly rectangular with a vertical orientation. Sizes
range from manuscript folia to full-blown wall hangings, though most charts fall
somewhere in between, averaging about 50 cm per side. Printed sketches and
diagrams appear in books and articles beginning with two charts (Va72#14a, Va84#8)
published by Pārakh in 1886, only slightly predating the earliest known printed chart
(Ṣū100#10) from 1890. Charts dating from around the turn of the 20th century onward
are mostly printed, though hand-made charts continued to be made, albeit on a much
smaller scale (e.g. Va72#1). The renewed interest in hand-made charts since the late
20th century is almost exclusively tied
to the production of forgeries.

Several charts (Va72#15,

Ja84#7,12b,25,37,44) have come down to
us in an unfinished state which provides
important insights into the process of
how they were made (fig. 25). First the
grid was traced with single or double
lines in red or black, then the snakes
and ladders were sketched together
with any additional ornamentation, and
finally the squares were inscribed row
by row from the top down, probably to
avoid smearing the ink of freshly
Fig. 25: Unfinished 72-square Vaiṣṇava chart
written legends.125 Outlining and
(Va72#15). North India, 19th century.

124 For more detailed descriptions of painting techniques, see, for example, Coomaraswamy 1916 (vol. I,
p. 4), Talwar & Krishna 1979 (pp. 75-6), and Andhare & Bhojak 2015 (p. 21).
125 Harikṛṣṇa includes a passage explaining how to make a 500-square Vaiṣṇava chart invented by
himself (KK 248-53). Unfortunately, the explanation is not exhaustive, but it seems to indicate that
the topmost squares, representing the abodes of the gods, were inscribed first, followed by the
squares leading up to them, beginning with sq. 1 at the very bottom. This does not conform to the
picture established by Va72#15 and Ja84#7, which have been partially inscribed from the top down

82
Fig. 26: 84-square Jaina chart (Ja84#18), detail. Fig. 27: 84-square Jaina chart (Ja84#18), detail.
Mandsaur, Madhya Pradesh, 19th century. Mandsaur, Madhya Pradesh, 19th century.

coloration could either happen before or after the squares were inscribed, and charts
often show signs of having been corrected in the final stages of the process. Sometimes
legends have been crossed or blotted out, and then rewritten, but the most common
form of correction is the shortening and lengthening of snakes and ladders (figs. 26-27).
This is probably due to the fact that the snakes and ladders were drawn before the
squares were inscribed, thereby increasing the chance of misplacing them due to the
lack of context. Though legends have sometimes been switched around to
accommodate misplaced snakes and ladders, it is usually the snakes and ladders
themselves that have been corrected. At other times, through oversight or carelessness,
a mistake has simply been left unaddressed, even when confounding the meaning of
the chart.126

only, and it is likely that the method of production suggested by Harikṛṣṇa was unique to his own
greatly enlarged chart.
126 An example is provided by two Vaiṣṇava charts which accidentally switch around the snake leading
down from kusaṅg (bad company, sq. 24) and the ladder leading up from the adjacent susaṅg (good
company, sq. 25). The first chart (Va72#21) resolves the situation by also switching around the

83
The practice of drawing the snakes and ladders before writing the legends, probably to
avoid the former overlapping the latter, is significant for our understanding of the
extent to which the charts were standardized. Though we might reasonably have
expected the positions of the snakes and ladders to adapt to the positions of the
legends, depending on whether the terms invoked by them were negative or positive, it
appears that it was mostly the other way around. Once the snakes and ladders had
settled into place at an early stage in the development of the charts, they were rarely
shifted around, leaving any variations in the legends to conform to the already
established positions of the snakes and ladders. This is confirmed by the critical
readings which show less variant readings in the squares in which the snakes and
ladders originate, slightly more variant readings in the squares in which they
terminate, and by far the most variant readings in the squares in which they neither
originate nor terminate. The legends, however, do not vary uniformly across the
charts. They tend to be more stable in rows closer to the top and bottom, and less
stable in rows closer to the center. The procedure of inscribing the charts from the top
down might explain the greater stability in the upper squares since they would be the
first to be inscribed, and hence less prone to mistakes. It would not, however, account
for the corresponding stability in the lower squares. A possible explanation might be
the higher concentration of snake tails in the lower squares, which would have made
the legends associated with them more obvious, but perhaps an even better
explanation might simply be that the two extremes of the charts, representing the
absolute positives and negatives of existence, were more clearly defined than the
spaces between them.

Illustrations
A common misconception arising from the anachronistic labeling of gyān caupaṛ as
sāṁp sīṛhī, or snakes and ladders, is that the charts exclusively use the imagery of
snakes and ladders to indicate connections between squares. In addition to a number
of unique variations which can be attributed to the idiosyncracies of individual
charts,127 three major trends can be identified. The first is that of the Vaiṣṇava charts

legends, while the second chart (Va72#23) perpetuates the mistake by retaining the original legends.
127 Examples include four Jaina charts (Ja84#2,41,43,45) which replace snakes with finny fish or sea-
monsters (makara), possibly indicating their origin in coastal Gujarat, and a Vaiṣṇava chart (Va72#9)
which replaces ladders with something resembling strips of red and yellow cloth hung with metal

84
from Nepal (Va72#19-25) which
consistently replace ladders with benign
red, orange, and white snakes,
contrasting them with malign black and
blue snakes (fig. 28). While the three-
headed and usually white snake leading
from bhakti (sq. 54) to Vaikuṇṭh (sq. 68)
should probably be identified with Śeṣa,
on whose hood Viṣṇu rests during the
intervals of creation, the remaining
benign snakes may have resulted from a
greater focus on snakes and snake
worship in Nepalese culture. Another
possibility, further explored in chapter
four, is that the snakes in general
represent the energy channels (nāḍī) Fig. 28: 72-square Vaiṣṇava chart (Va72#20), detail.
Nepal, 19th century.
which form an important part of the
subtle body in yogic and tantric literature. The second trend is found on the Jaina
charts, about half of which represent ladders as a one or two lines, usually straight,
without any indication of rungs (fig. 29). Topsfield was the first to suggest that they
may in fact represent the lines (śreṇi) of transmigration by which the soul travel from
one body to another, and this now seems to be corroborated by the fact that several
Jaina charts include the reading śreṇi in the squares in which the lines originate. The
third trend only dates back to the early 20th century, and is exclusively found on Ṣūfī
charts from Turkey and Syria (Ṣū100#4ab,6abc,7,8,9) which replace ladders with
arrows (fig. 30).128

The combined presence of legends, snakes, and ladders leave little space for further
ornamentation within the squares of the playing grid. Some charts add various
background colors to the squares, and a few charts also manage to fit small

rings at the ends.

128 The only exception is found on a modern redesign of an unidentified Vaiṣṇava chart said to derive
from 19th-century Uttar Pradesh in north India (Va72#26a). It is, however, highly doubtful whether
the arrows were also a feature of the original chart.

85
Fig. 29: 84-square Jaina chart (Ja84#16), detail. Fig. 30: 100-square Ṣūfī chart (Ṣū100#6a), detail.
Vikrampur (Gujarat?), 19th century. Istanbul, early 20th century.

illustrations within them.129 Another popular form of decoration is cusped arches

which are often used to highlight the significance of individual squares in the central
column or near the top of the charts.130 Less conspicuous, but far more significant, is
the addition of little markings, usually in the form of squares, inside or between
especially the central column squares of many Jaina charts (fig. 31). 131 On a few charts
(Ja84#6,37,55, Ja95#1) the markings have been developed into footprints (fig. 32),
indicating that the tiny squares displayed by other charts should either be understood

129 This is most pronounced on the Nepalese charts which not only color the squares, but in two cases
(Va72#21,22) also fill them with figurative illustrations of the legends inscribed in them. A third
Nepalese chart (Va72#24) adds heads of deities in all the squares.
130 A Vaiṣṇava chart (Va72#6) and two Jaina charts (Ja84#6,18) are unique in decorating all squares with
cusped arches, giving the impression that one is looking at the facade of a grandiose palace (the same
is evidently the case with Ja84#52, though only the bottom left quarter of the chart is available).
131 The only non-Jaina chart to include this feature is a Vaiṣṇava chart (Va84#3) which appears to have
been influenced by Jaina charts. This is not only evident from the markings, here developed into
footprints, but also from the rungless ladders and the tiny circles in the bottom left of the chart. The
tiny circles, representing basic lifeforms known as nigoda, are another feature particular to Jaina
charts.

86
Fig. 31: 84-square Jaina chart (Ja84#9), detail. Fig. 32: 84-square Jaina chart (Ja84#6), detail.
Rajasthan, 19th century. Western India, 19th century.

as abstract representations of footprints, or perhaps rather as steps. This interpretation

is supported by an unpublished Gujarati manuscript and a verse found on two Jaina
charts (see Appendix E2, verse #7). The manuscript and the verse agree on referring to
the markings as footprints (Guj. pagathī, Raj. pagatyau), and the manuscript further
explains that they serve a game mechanical function similar to that of the ladders,
allowing players who land on them, and subsequently roll a "1" on the die, to ascend to
the square directly above (JBRR 1-2).132 Since the footprints always, though not
exclusively, occur in the central column squares enumerating the fourteen
guṇasthānas, or stages of perfection, they should probably be understood as
representing steps on the path toward liberation.

Except for the Vaiṣṇava charts from Nepal and the neighboring Punjab Hills, all of
which consistently include top panel illustrations of Brahmā, Viṣṇu, and Śiva only
occasionally found elsewhere, Jaina charts tend to be more fully developed as

132 This and other rules will be further explored in chapter five.

87
paintings than other types charts.133 This is partly due to the design of the grid
structure which lends itself more readily to ornamentation than the grids of other
charts. Jaina charts usually consist of a 9 x 9 grid with an additional square in the
bottom left, two additional squares at opposite ends of the 7th row, a cross of five
additional squares above the central square of the top row, and a further square, often
in the form of an inverted umbrella signifying the place of liberated souls
(īṣatprāgbhāra), at the very top. The two side squares are sometimes developed into
pavilions, and the five top squares into the apartments of a heavenly palace (vimāna)
decorated with flags and other ornaments. The bottom square usually becomes the
leftmost in an additional row of variously sized squares used for illustrations and
inscriptions outside the main playing grid (fig. 33). An alternative and less widespread
visual design embeds the additional top and side squares within the face and arms of a
person standing in the kāyotsarga pose of meditation. The main grid then becomes the
body of the person, with a pair of feet added below the grid (fig. 34).134 The significance
of this anthropomorphic iconography will be discussed further in chapter four, but for

Fig. 33: 84-square Jaina chart (Ja84#12a). Fig. 34: 84-square Jaina chart (Ja84#1). Gujarat, 19th
Rajasthan (Bikaner?), 19th century. century.

133 The only illustration consistently found on Ṣūfī charts is that of a mosque surrounding the winning
square above the main grid of north Indian Ṣūfī charts (Ṣū100#1ab,2,5,10).
134 A single chart (Ja84#38) is unique in only depicting the arms and feet, and not the head.

88
now it should be remarked that Topsfield is at least partly right in interpreting this
figure as the universe in the shape of the cosmic man (lokapuruṣa) (Topsfield 1985:
207).

Inscriptions
Additional text is often found outside the inscribed squares of the main playing grid. 135
The different forms of additional text can be divided into prose, verse, and colophons.
Prose passages are exclusive to Vaiṣṇava and Ṣūfī charts, while verses and colophons
are mostly found on Jaina charts.136 The languages employed are mostly western
Indian vernaculars, including Hindi, Rajasthani, Gujarati, Marathi, and Braj Bhāṣā,
though examples of Sanskrit and vernacularized Sanskrit can also be found. Passages
sometimes combine words and forms from different dialects and languages, and the
orthography varies greatly, even within the same passages, reflecting the linguistic
reality of the areas in which the charts were made. A closer linguistic study would be
helpful in determining the provenance of the charts more accurately, but this lies
outside the scope of the present thesis.

The prose passages found on Vaiṣṇava and Ṣūfī charts can be subdivided into those
that describe the rules of the game and those that list the positions of snakes and
ladders. More or less complete rules descriptions are found on at least three Ṣūfī 137 and
five Vaiṣṇava138 charts, while other charts, including Jaina charts, sometimes contain
brief statements about specific aspects of the rules. A detailed overview of the rules as
they pertain to 72-square Vaiṣṇava and 84-square Jaina charts is provided in chapter

135 Additional text inscribed on 72-square Vaiṣṇava and 84-square Jaina charts have been transcribed
in Appendices C1 and C2, respectively. Verses occurring across all charts have been transcribed and
tentatively reconstructed and translated in Appendix E. Legends and prose passages on charts other
than 72-square Vaiṣṇava and 84-square Jaina charts have been quoted in relevant passages
throughout the thesis.
136 An exception is provided by a series of seventeen closely related Vaiṣṇava charts (Va72#30a-q), all
but one of which include colophons. Since the charts are likely to be modern forgeries, the unusually
high frequency of colophons should probably be seen as an attempt at convincing prospective
buyers of their authenticity.
137 Ṣū100#1ab,10. The rules of Ṣū100#1b are translated into English on the chart itself, while the rules of
Ṣū100#1a are translated in Beveridge 1915a and paraphrased in Topsfield 1985 (p. 209, fn. 30). The
rules of Ṣū100#10 still await translation, as does the inscriptions on a further Ṣūfī chart (Ṣū362#1).
138 Va72#34 and Va84#4,9ab,10. Unusually, the rules on Va72#34 are written in verse and combined
with a detailed exposition of the chart (see Appendix E1, verse #3).

89
five. Lists of squares connected by snakes and ladders are found on a few Vaiṣṇava
charts,139 though they do not always correspond to the legends found in the squares
themselves. This might simply be due to the inattention of the authors, but it could also
indicate that the lists were sometimes copied in separation from the charts themselves.
Since inscriptions and illustrations surrounding the sequentially numbered grid are
not strictly necessary for playing the game, they may sometimes have been added
without proper attention to the context of the chart in question. This certainly seems to
be the case with two Jaina charts (Ja84#24ab) printed for public consumption around
the turn of the 20th century, yet inscribed with a much earlier verse hinting at tantric
and yogic influences (see Appendix E2, verse #1a).

While the prose passages are mainly descriptive of the game, the verses are mainly
interpretative. They tend to focus on the religious connotations of the game and the
spiritual benefits gained from playing it. They identify the grid diagram with the
cosmos, and the pawns with the souls that move around it. The dice are their karma,
the snakes their sins, and the ladders their virtues. Sometimes, however, more mystical
interpretations manifest themselves in or between the lines, indicating that the
macrocosmos might also be perceived as a microcosmos. This is true of the most
widespread of the verses which appear on about twenty-five, or close to half, of the
Jaina charts (see Appendix E2, verse #1a). Other verses occur much less frequently, the
majority only appearing on a couple of charts each. They are mostly written in the
popular dohā meter, though examples of savaiyā, kavitt, ṣaṭpadī, and other meters are
also found. Except for a single verse attributed to the 15th-century poet-saint Kabīr (see
Appendix E2, verse #5), I have not been able to trace any of the verses to other sources.
It therefore seems that they were written specifically for the charts, and should be
considered a natural part of them, even if their original meaning has sometimes been
forgotten.

Colophons constitute a valuable source of information about the provenance of the

charts. In some cases they consist of nothing more than a name, but in other cases they
139 Va72#6,28 and Va84#4,9ab,10. Va72#6 appears to have adapted its list from a similar list on Va72#28,
while a Jaina chart (Ja84#14) confusingly copies the list from Va72#6 almost ad verbatim. Harikṛṣṇa's
auto-commentary to the Krīḍākauśalya also presents a list of squares connected by snakes and
ladders (KK 241-45, comm.), although no chart accompanies the text. A late 20th-century Jaina chart
(Ja84#31a) is alone in giving a complete list of legends, whether associated with snakes and ladders
or not, as compensation for the many legends abbreviated on the chart itself.

90
provide detailed information about the artist and his patron, as well as the exact date
and place of production. Though I have only been able to identify a few of the persons
named, the fact that the same name never appears twice indicates that the charts were
made locally, and that they were not mass-produced until the turn of the 20th
century.140 Just as colophons can be powerful tools for determining the provenance of
an object, they can also be powerful tools for misleading collectors and researchers
alike. I have therefore taken great care in scrutinizing the colophons of the charts, only
accepting those which are written in the same hand as the rest of the chart, and which
does not provide a date inconsistent with the stylistic and linguistic features of the
chart or its overall state of preservation.

Finally, it should be noted that some

charts appear wholly uninscribed, or
only inscribed with the sequential
numbering indicating the direction of
play. This can usually be explained by
the fact that the chart was abandoned
before it was completed, or that it was
meant to be used as a model for
drawing other charts. Only in a few
cases do numbered but uninscribed
charts appear finished, and in all those
cases colophons have been added as an
indication of the same. Though the
legends are not necessary for playing Fig. 35: Uninscribed 84-square Jaina chart (Ja84#48).
gyān caupaṛ, numbered charts without Rajasthan, 19th century.

legends would appear to be a later influence from the modern game of snakes and

140 Nine of the seventeen apparently forged Vaiṣṇava charts mentioned above (fn. 136) provide yet
another exception by being attributed to the same artist, a certain Narotam Dās from the village of
Siriyari in Rajasthan. During a visit to nearby Deogarh, a local art dealer involved in the sale of the
charts to a private collector in Germany told me that a descendant of Narotam Dās still lived in the
village. The art dealer arranged a visit to the descendant who turned out to be a young man with
little or no knowledge of Narotam Dās or his activities as a painter. At the time of the visit, only a
single chart attributed to Narotam Dās had been sold, but a year later eight more had suddenly
turned up. In retrospect, I believe that the visit was arranged as a form of theatrical to convince me
of the authenticity of the charts.

91
ladders. Most uninscribed charts show signs of forgery (Va72#30bdgh), and can
therefore be disregarded, but a single chart (Ja84#48) dated VS 1902 (1845 CE) is more
difficult to decide (fig. 35). I have marked it as suspicious in Appendix A, but it is not
impossible that uninscribed, or at least less heavily inscribed, were also produced
before the invention of the modern game of snakes and ladders. 141

Dice and Pawns

Gyān caupaṛ charts have rarely come down to us together with any gaming equipment
that may originally have accompanied them. In cases where charts have been
exhibited or bought together with such equipment, the dice and pawns have invariably
been taken from the game of caupaṛ which traditionally includes sixteen pawns in four
different forms or colors and two or three stick dice, the latter replaced with six or
seven cowries if the paccīsī variant is played.142 Whether the borrowing of components
from other games reflects the historical situation is impossible to say, but given the
prevalence of pawns and dice related to caupaṛ in western India, it makes sense if the
same were also used for gyān caupaṛ which can be played with both stick dice and
cowries, and only requires players to have a single differentiated pawn each.

The charts themselves have little to say about the equipment with which they were
played, but the overall impression is that Vaiṣṇava, Ṣūfī, and Advaita Vedānta charts
were mostly played with six or seven cowrie shells (kauṛī, kapardikā, varāṭikā), while
Jaina charts were mostly played with a single stick die (pāśa, pāśaka).143 A possible
exception is the Nepalese Vaiṣṇava charts which are often referred to as nāgpāś
(snake-dice or snake-trap), possibly indicating that they were played with dice rather

141 An example is provided by a Vaiṣṇava chart (Va84#3) dated VS 1904 (1847 CE) which only has
legends in squares containing the head of a snake, the foot of a ladder, or a footprint (the latter
feature evidently borrowed from Jaina charts). The chart is painted in a colorful and folkish style,
possibly indicating that it was first and foremost used as a game.
142 When I visited the National Museum in Delhi in the autumn of 2013, a Jaina chart (Ja84#8) was
exhibited together with three yellow and three red dome-shaped caupaṛ pieces. Similarly, the
apparently forged Vaiṣṇava charts (Va72#30a-q) mentioned above were all sold together with
complete sets of often beautifully crafted dice and pawns obviously designed for the game of caupaṛ.
143 This is brought out by a few Vaiṣṇava (Va84#4,10, Va99#1) and Ṣūfī (Ṣū100#1ab) charts, as well as in
two verses appearing on Jaina charts (see Appendix E2, verses #3,8). Supporting evidence can be
found in several early secondary sources (KK 243 and 250, JBRR 1, Pārakh 1886, Dvivedi 1893,
Dampier 1895, Devdhar 1905).

92
than cowries.144 Since the related Tibetan game of sa lam rnam bzhag and its Nepalese
descendant cībhāḥ kāsā were both played with a single cubic die, this may also have
been the case with nāgpāś.145 Later printed versions of gyān caupaṛ generally seem to
favor the use of a single cubic die.146 This can probably be attributed to the diminishing
availability of cowries and especially stick dice, as well as to the influence of modern
games played with mass-produced cubic dice. The late 19th-century south Indian
version known as parampad sopān continues to be played with two stick dice, though
they, too, are increasingly being replaced with a single cubic die (Balambal 2005: 82).147

The only references to playing pieces are found in a rules description on a Vaiṣṇava
chart (Va84#4) and in a verse which appears on two Jaina charts (see Appendix E2,
verse #7). The rules description is written in Marathi, and uses cinha, or token, to
denote the pieces, whereas the verse is written in Rajasthani Braj Bhāṣā, and uses the
Sanskritic sār, or gaming piece, which has the further connotation of essence or soul.
The connotation is interesting because of an idea current in later secondary sources
that players should use personal objects as playing pieces in order to strengthen the
identification between themselves and the pieces (e.g. Johari 2007: 8). The earliest
direct evidence of this practice is found in a Marathi booklet accompanying a chart
(Va285#1) designed by the philosopher-saint Gulābrāv Mahārāj (1881-1915) sometime
in the early 20th century. According to a Hindi translation of the booklet, Gulābrāv
refers to the playing pieces as things or objects (vastu), and encourages players to think
144 Other exceptions include a 72-square Vaiṣṇava chart (Va72#34) played with a stick die inscribed
with the four goals of human existence (puruṣārtha): dharma (righteousness), artha (wealth), kāma
(pleasure), and mokṣa (liberation) (see Appendix E1, verse #3, stanza no. 5), a 124-square Vaiṣṇava
chart (Va124#1) played with two stick dice (AJMR, vol. 5, New Series, May-Aug 1831, p. 85), and a 285-
square Vaiṣṇava chart (Va285#1) played with either an unspecified die or an unspecified number of
cowries (Gulābrāv 1981: 7).
145 A Nepalese chart (Va72#25) currently in the Musée d'Ethnographie de la Ville de Genève in
Switzerland is indeed registered together with a six-sided cubic die (Lobsiger-Dellenbach 1954: 36,
no. 164).
146 See, for example, Johari 2007 (p. 8), Bharany 1993, Zaraev 2000, and Moskalev 2014. Several other
modern versions in my own private collection are also played with a single cubic die. An exception is
provided by a late 20th-century Jaina chart (Ja84#31a) which includes an image of a stick die in the
bottom right corner (the same was probably also once visible on Ja84#31c painted on the wall of the
Babu Derasar temple in Palitana).
147 Henry Beveridge describes what appears to be a parampad sopān chart printed in Chennai in 1895
as being played with "shells and tamarind nuts" (Beveridge 1915b: 3-4), indicating that parampad
sopān may originally have been played with cowries like the Vaiṣṇava gyān caupaṛ charts from
which it derives.

93
of them not as "this is my piece" (yah merī vastu hai), but rather as "I am this object"
(yah vastu maiṁ hūṁ) (Gulābrāv 1981: 6). Interestingly, a similar idea is expressed in a
verse on an undated, but probably 19th-century, woodblock print of a Tibetan sa lam
rnam bzhag chart (Schlieter 2012: 104). It is therefore possible that the practice was
adhered to by early users of gyān caupaṛ, but no evidence to this effect has been
recorded. On the contrary, early secondary sources suggest a more prosaic relationship
between players and pawns in stating that the game can either be played with gaming
pieces (nard, pyādā, viṭī) or naturally occurring objects such as betel nuts (supārī),
seeds (phal), or pebbles (khaḍā).148 The conclusion seems to be that the exact nature of
the playing pieces was not of any great concern, and that any identification between
players and pawns was implicit at most, and would probably only have been
encouraged under special circumstances when the charts were used for something
other than a mere pastime.

Game Manuals
The purely luck-driven mechanics of the formal game system underlying gyān caupaṛ
only require players to be able to identify the number thrown and move their pawns
accordingly, but the representational value attributed to the charts requires both
literacy and a detailed understanding of the religious knowledge systems expressed by
the legends. The mechanically related game of the goose spawned numerous
educational variants in 17-19th-century Europe with detailed explanations of
individual legends written directly on the game charts or in accompanying game
manuals. Evidence suggests the existence of similar manuals for gyān caupaṛ, but
considering the sparsity of the evidence and the emphasis on orality in Indian
knowledge traditions, learned preceptors are likely to have been the preferred
medium of instruction when playing the game. Two Vaiṣṇava charts (Va72#6,28) assert
that the secret (bhed) of gyān caupaṛ can only be grasped with the aid of a spiritual
teacher (satguru), and several other charts also make reference to the importance of

148 See KK 241-5 (comm.), JBRR 1, and Devdhar 1905 (p. 207). Dampier's statement that cowries were
used as both dice and pawns may sound confusing at first (Dampier 1895: 25), but parallel examples
are found in the games of phañjikā (MS 5.836cd) and aṣṭākaṣṭe (Smith 1851: 341) described in chapter
two.

94
having a teacher.149 Two charts (Va72#5, Va121#1) go even further, and describe gyān
caupaṛ as being played by the enlightened poet-saints (sant) themselves.150

The earliest known reference to a game manual is found in the previously quoted
description of a Vaiṣṇava chart (Va124#1) which mentions that it was gifted to the
Royal Asiatic Society together with a "translation of the inventor's account of the game"
(see introduction to chapter two). The account has since been lost, and it is therefore
impossible to know how exactly it went about describing the game. Johari claims that a
"book of chants containing schlokas" describing "the nature and meaning" of the
squares accompanied the 19th-century chart on which his modern redesign (Va72#26a)
is based. The śloka, or couplet, for a given square was meant to be chanted aloud by
any player who landed on it, but unfortunately that book, too, has since been lost
(Johari 2007: 2). The only existing game manual dating from before the 20th century
forms part of an unpublished Gujarati manuscript dealing with various topics related
to Jainism (JBRR, see Appendix F2). The manual begins by outlining the rules of the
game, and then goes on to list the legends of an unidentified Jaina chart (Ja84#34)
followed by a brief explanatory statement for each of them. The brevity of the
explanatory statements are reminiscent of the largely illegible notes or commentaries
written inside the squares of a Jaina (Ja84#39) and two Vaiṣṇava (Va163#1,2) charts.
Though the Jaina chart is likely to have been forged, and the Vaiṣṇava charts are the
only ones of their kind, it is possible that even standard charts would sometimes have
included explanations within the squares themselves. Whether the manuscript reflects
such a tradition, or whether it rather reflects a tradition of writing game manuals,
cannot be decided at present.

Several printed commentaries are known from the early 20th century onward when
gyān caupaṛ was beginning to disappear from its original context and be overtaken by

149 See Appendix E1, verse #3, and Appendix E2, verse #3. The word sadguru, often rendered as satguru
in the vernacular, is used by poet-saints with reference to spiritual teachers and the supreme being
(Vaudeville 1987a: 33-34). In the context of Jainism, which excludes the idea of a supreme being, the
meaning should probably be limited to that of spiritual teacher. The fact that Jaina charts use the
term at all can be seen as an example of influence from Vaiṣṇava charts, as well as a testimony to the
close relationship between Jaina and sant traditions in western India (Schomer 1987: 8).
150 See Appendix E1, verses #2ab. The phrase khelat sant sujān (the wise saints are playing) also occurs
in a popular bhajan, or devotional song, which has the spring festival of Holī as its object of play
rather than gyān caupaṛ. The full lyrics can be found here:
http://deshdharm.blogspot.com/2011/03/blog-post.html (acc. 20 Jan, 2019).

95
the commercial success of snakes and ladders. The earliest example is the previously
mentioned Marathi booklet accompanying the chart (Va285#1) designed by Gulābrāv
Mahārāj. The first part of the booklet introduces the game and presents a long list of
rules which greatly increases the complexity of playing an already highly complex
chart, while the second part explores the main philosophical concepts on which it is
based.151 While the chart and the accompanying booklet would certainly form an
interesting study in their own right, they cannot be used to generalize about the earlier
and much simpler versions of gyān caupaṛ which could easily be played without
reference to a manual. Examples of later manuals include the purely theological
treatise on a Ṣūfī chart (Ṣū100#4a) written by Shaykh Muḥammad al-Hāshimī in 1938
(Michon 1998), and a number of later commentaries written for a mostly Western
audience in an eclectic New Age blend of popular religion and mysticism. 152 While it is
quite possible that later commentaries follow an interpretive spirit similar to that of
earlier commentaries, they cannot be relied upon for a historical understanding of
gyān caupaṛ.

History and Transmission

In chapter two we saw that the earliest known evidence for gyān caupaṛ cannot be
traced back further than the late 18th century, and that the game itself probably was
not invented before the late 17th century at the earliest. In this section we look at the
distribution of existing charts in an attempt to trace their history and transmission. A
rough map of the production areas and transmission lines of the main groups of charts
can be seen in fig. 36 which also gives an approximate count of charts, excluding
copies and variants, found in the different areas. The majority are 72-square Vaiṣṇava
and 84-square Jaina charts from Rajasthan, though neighboring Gujarat also was a
center for especially Jaina charts. The earliest known Vaiṣṇava chart dates from 1780-
82 (Va72#7), while the earliest known Jaina chart dates from 1797 (Ja84#56), but it

151 My understanding of the booklet is limited to an abridged Hindi version published on the occasion
of the 100th anniversary of the birth of Gulābrāv Mahārāj in 1981 (Gulābrāv 1981). The Marathi
original was published as Śrautakrīḍāviśeṣa in volume 18 of Gulābrāv's collected writings (Gulābrāv
1957), and has recently been reissued as Mokṣpaṭ yā kheḷāsambandhīcī māhitī (Gulābrāv 2007).
152 See Johari 2007, Bharany 1993, Zaraev 2000, Moskalev 2014, and Tatz & Kent 1978 (on sa lam rnam
bzhag). An unpublished commentary on a Nepalese chart (Va72#21) written by a German initiate
into a contemporary Vaiṣṇava community was kindly forwarded to me by the author herself.

96
Fig. 36: Production areas and transmission lines of gyān caupaṛ charts in South Asia.

97
cannot be established with certainty whether the Vaiṣṇava or the Jaina charts
developed first. A closer examination of the charts provides several clues which lead
us to suspect that the Vaiṣṇava charts were the earliest, but this can only be fully
explored at the end of chapter four after the analyses of the critically read charts. For
now it must suffice to say that gyān caupaṛ began as either a Vaiṣṇava or a Jaina
phenomenon in western India sometime in the late 17th or early 18th century.

Beginning with the 72-square Vaiṣṇava charts, we can see that the western Indian
charts (type a) spread both south to Maharashtra (type b) and north-east to the
Kathmandu Valley in Nepal (type c).153 The Maharashtrian branch appears to have
stood in the shadow of the more popular 84-square charts in the region, while the
Nepalese branch established itself by developing its own unique visual style. The
squares of the Nepalese charts are colored yellow, blue, red, green and orange, and in
some cases (Va72#21,22,24) illustrated with humans, deities, and other figures. The top
panels are decorated with various landscapes foregrounded by Viṣṇu in the center,
Brahmā to the left, and Śiva to the right. The gods are usually seated or stood on lotus
thrones, and in one case (Va72#24) on their respective mounts Garuḍa (Viṣṇu), Haṃsa
(Brahmā), and Nandin (Śiva). However, the most striking feature is that the ladders are
replaced with red, orange, and white snakes, and that their number is reduced from
the usual ten to only six. Two western Indian Vaiṣṇava charts (Va72#3,17) follow the
same practice, further reducing the number of snakes substituting for ladders to four,
but since the two charts only appear in the 19th and 20th centuries, they cannot be
said to represent an intermediate stage in the transmission of charts from Nepal to
India, and thus cannot be used as evidence that gyān caupaṛ originated in Nepal.154 The
question of origins has already been discussed in chapter two, and need not be
repeated here, but as the map of production areas clearly shows, the main
concentration of charts is located in western India.

Continuing west along the trade route from Nepal to the Punjab Hills, we find the 342-
square Vaiṣṇava charts which Topsfield suggests may have been invented at the court
of Mahārāja Saṃsār Cand of Kangra (r. 1775-1823) (Topsfield 2006c: 84). The most

153 The characteristics of individual chart types are described in more detail in Appendix B.
154 A single Jaina chart (Ja84#49) also replaces ladders with snakes, but the legends on it appear
confused and influenced by Vaiṣṇava readings, indicating that the chart is most likely a modern day
forgery.

98
conspicuous feature of the charts is the
size and organization of the playing grid
which is divided into two halves
separated by a single column of
inscribed but unnumbered squares (fig.
37). Players can either start in the left or
the right grid, but as the game
progresses, snakes and ladders
connecting the two grids across the
central column can cause players to
change sides. The legends follow the
same overall scheme as the 72-square
Vaiṣṇava charts, but greatly expands on
it by, for example, increasing the Fig. 37: 342-square Vaiṣṇava chart (Va342#4). Punjab
number of hell squares from one to Hills, 19th century.

twenty-eight. While the ladders indicate influence from western Indian charts, the top
panels showing Brahmā, Viṣṇu, and Śiva seated on lotus thrones indicate influence
from Nepalese charts.155 Top panels showing the three deities side by side are also
found on some 72- and 84-square Vaiṣṇava charts from western India, suggesting that
stylistic influences from Nepal, including the substitution of snakes for ladders on two
western Indian charts, played a continuous role throughout the history of gyān caupaṛ.

The number of 84-square Vaiṣṇava charts is far smaller than the number of 72-square
Vaiṣṇava charts, but can be found in many of the same regions, including Rajasthan
(types a and b), Maharashtra (types c and d), and the Punjab Hills (type a). It is the most
diverse among the different groups of charts, but never seems to have grown large
enough to establish a sizable standard in any of the regions. The majority of 84-square
Vaiṣṇava charts are found in Maharashtra where local tradition attributes their
invention to the 13th-century poet-saint Jñānesvar. However, the two different types
found in Maharashtra are not only at odds with each other, but also with the 72-square
155 Perhaps the most obvious example of how Indian and Nepalese influences merged in the Punjab
Hills is found on an 84-square Vaiṣṇava chart (Va84#12) which includes both ladders and benign red
snakes as vehicles of promotion. The influence may have carried over to a Ṣūfī chart (Sū100#3) of
Persian origin which replaces ladders with curved red lines with pointed ends resembling wriggling
worms or small snakes.

99
Vaiṣṇava charts from which they are obviously descended. Type c only includes one or
two ladders, and focuses much more heavily on Sāṃkhya enumeration than the 72-
square charts, while type d does not include any ladders at all, and plays according to a
variant set of rules which allows pawns to branch off in different directions after
arriving at a specific square about a third of the way through the track. Several other
idiosyncratic charts, including the 124-square chart (Va124#1) which made its way to
the Royal Asiatic Society in 1831, were also produced in Maharashtra. Most of them
date from the late 19th century, and should probably be seen as attempts at further
developing or refining the game at a point in time when it had long since established
its own tried and tested formats.

It is tempting to speculate that the format of the 84-square Vaiṣṇava charts was
inspired by the earlier and much more numerous 84-square Jaina charts. Besides
having the same number of squares, the 84-square Vaiṣṇava type a and b charts from
Rajasthan follow the 84-square Jaina charts in adding a superstructure with additional
squares above the main playing grid, indicating that the former could have developed
from the latter. The 84-square Jaina charts, however, differentiate themselves from
the 84-square Vaiṣṇava charts by also adding squares at the sides of and below the
main grid. They also tend to include more illustrations surrounding the grid, longer
legends in individual squares, and verses interpreting the representational value of the
game. Despite the increased complexity of the 84-square Jaina charts, they remain
surprisingly stable throughout the period of their production, and only include two
variant types. The first type, divided into three subtypes (a1, a2, and a3), is by far the
most numerous and the most directly indebted to the 72-square Vaiṣṇava charts. The
second type (b) does away with the traces of Vaiṣṇava influence, and may be seen as an
attempt at purging the first type of them. The supposedly later development of type b
charts is not apparent from the available source material which dates the earliest
known type b chart (Ja84#56) to Śaka 1719 (1797 CE), and the earliest known type a
chart (Ja84#9) to VS 1870 (1813 CE). However, the opposite explanation, that the type a
charts should have begun adopting Vaiṣṇava legends after the development of the type
b charts, seems much less likely. As discussed further at the end of chapter four, it
would therefore seem that the type a charts came before the type b charts, but that the
latter branched off from the former at an early stage in the development of the charts.

100
Whatever the exact relationship between the two types, they never established
themselves outside Rajasthan and Gujarat,156 and did not spawn any major
variations.157 Interestingly, the Jaina charts include the same number of snakes (9) and
ladders (6) as the 72-square Vaiṣṇava charts from Nepal, but no definite conclusions
can be drawn from this, and it seems unlikely that the two groups of charts should
have influenced each other as they do not overlap in any other regards and have not
been found in the same geographical areas.

Another important group of charts is

the 100-square Ṣūfī charts which can be
traced back to early 19th-century Delhi
or Ajmer (Ṣū100#1ab) (fig. 38). Only a
few north Indian examples (type a) are
known to exist, and they all conform to
the same format, showing their most
obvious traces of influence from
Vaiṣṇava and Jaina charts in the two
long snakes reaching down from the top
left and right of the charts. They only
appear toward the end of the Mughal
period when the empire had more or
less collapsed, and they never managed
to establish their dominance in India.158
They did, however, travel west through
Fig. 38: 100-square Ṣūfī chart (Ṣū100#1a). Delhi or
the Persian and Ottoman empires where
Ajmer, 1805-10.
they established new variants (types b
and c) around the turn of the 20th century which continued to be printed at least into

156 Two Jaina charts (Ja84#24ab) printed in Mumbai around the turn of the 20th century are clearly
related to earlier charts from Rajasthan and Gujarat. All other known Jaina charts from outside
Rajasthan and Gujarat are from later in the 20th century.
157 Modern Jaina charts aside, a 95- and a 156-square chart are the only known examples of Jaina charts
with a number of squares other than 84.
158 See, however, the note in Shurreef & Herklots that gyān caupaṛ was popular among the respectable
classes of south Indian Muslims in the first half of the 19th century (1832: App. VII, pp. lii-liv).

101
the 1940s.159 Mughal interest in the game
can, however, be traced back to the
earliest known 72-square Vaiṣṇava
chart (Va72#7) which includes legends
in both Devanāgarī and Nastaʿlīq scripts,
though this may simply be due to the
fact that the chart in question was
commissioned by an Englishman
(Richard Johnson) in Lucknow at a time
when both scripts would have been
equally current. More telling is another
72-square Vaiṣṇava chart (Va72#8) from
early to mid-19th century which
translates the Vaiṣṇava terminology
written in Devanāgarī script into more
or less closely corresponding Ṣūfī
terminology written in Nastaʿlīq script
(Topsfield 2006a: 147-48). This chart is
unique in that it would allow players of
different faiths to land in the same
squares yet derive their own
independent meaning from them.

The different groups of charts discussed

above constitute the main versions of Fig. 39: 108-square Advaita Vedānta chart
(Ad108#1b). Maharashtra, 1905.
gyān caupaṛ as it existed throughout
India and beyond. Attempts at further developing the game into other formats have
already been touched upon with regards to Maharashtra, but it is important to note
that such attempts were also made elsewhere. An interesting example is presented by
the 108-square Advaita Vedānta charts found in late 19th-century Gujarat (types a
and b) and Maharashtra (type a). The type a charts indulge in great numbers of snakes
and ladders which often form long chains of connected squares, detailing the several

159 The latest known chart (Ṣū100#7) probably dates from sometime in the 1940s.

102
stages a player passes through as he
climbs up or falls down an entire
sequence of snakes or ladders (fig. 39).160
The south Indian version of gyān caupaṛ
variously known as parampad sopān,
mokṣ paṭhamu, and vaikuṇṭh pāḷi (fig.
40) constitutes yet another variation.
The earliest mentioned chart is a print
from late 19th-century Chennai which is
now lost to us, but seems to have shared
in the format of the profusely illustrated
poster-size charts still sold in temple
shops throughout south India
161
(Beveridge 1915b). Most examples
known to me consist of a 12 x 11 grid
with an additional row added above. Fig. 40: 132-square parampad sopān chart. Modern
The additional row is usually reserved print, Mysore.

for saints and deities, while the squares of the main grid are filled with a great variety
of images, including animals, flowers, and other motifs from nature, as well as
religious figures, mythological characters, and major temples. The top row of the main
grid is sometimes inscribed square by square with Telugu characters spelling out the
name of the game as pa-ra-ma-pa-da-so-pā-na-pa-ṭha-mu, or the board of the ladder
leading to Paramapada (i.e. Vaikuṇṭha), but apart from that, legends are rarely found
on modern prints. Older versions tend to mix illustrations and legends which might
indicate that the design developed gradually from the purely inscribed gyān caupaṛ

160 Though Devdhar suggests that players should only climb up one ladder or fall down one snake at a
time (1905: 207), Dvivedi notes with regard to the 108-square Advaita Vedānta type b charts, which
include far less snakes and ladders, that players should only stop climbing or falling when they reach
the end of a sequence (1893: 8). It is likely that both rules were applied to both types of charts
depending on the preference of the players.
161 Two such charts were bought by myself in Chennai in 2013, and several other copies available to me
indicate that they are also printed in various other locations throughout south India. An early
version of the game may have been designed by Kṛṣṇarāja Oḍeyar III in Mysore around the mid-19th
century (Sri Jayachamarajendra Art Gallery, Mysore, sr. no. 369, acc. no. 1224). The illustrations are
confined to the bottom third of the chart, while all squares carry inscriptions.

103
charts to the purely illustrated parampad sopān charts.162 Wakankar has suggested that
the game developed from Maharashtrian gyān caupaṛ charts traveling south with the
Maratha kings of the Tanjore Dynasty which established itself in modern day Tamil
Nadu from 1674-1855 (Wakankar 2007: 87).163

The spread of gyān caupaṛ also led to

the invention of hybrid games which
only had one or more key features in
common with the original. This includes
the Bengali game of golok dhām (fig. 41)
which enjoyed great popularity in
Kolkata around the turn of the 20th
century, and which was still being
circulated in cheap woodblock prints as
late as the 1960s.164 The game appears to
have been a local hybrid of sa lam rnam
bzhag and gyān caupaṛ which might
have resulted from the co-existence of
the two games in nearby Nepal (see Sa
Lam Rnam Bzhag in chapter two).165
Only a few copies of golok dhām are
known to exist, and the three different
Fig. 41: 64-square golok dhām chart. Kolkata, c. 1970.
types that I am aware of all share the

162 A description of three different charts, including an older chart which mixes illustrations and
legends, can be found in Balambal 2005 (pp. 87-94). An inscribed cloth chart, similar to Balambal's
"Board 1," was on display in the Chennai Government Museum when I visited it in 2013.
163 Wakankar has elaborated on this in a private correspondence with Topsfield where he explains that
some charts include pictures of the royal family of the Bhonsles which ruled the state of Tanjore
(Topsfield 2006a: 178, fn. 68).
164 The game appears in a list of items collected for the museum at the Indian Institute in Oxford in
1884 where it is described as "lately invented" (Topsfield 2006a: 178, fn. 65). The game is also
mentioned twice in the gospel of the Bengali mystic Śrī Rāmakṛṣṇa Paramahaṃsa (1836-86). The
entry for 29 September, 1884, describes Rāmakṛṣṇa watching some of his followers playing the game
(Nikhilananda 1974: 533), while the entry for 2 October, 1884, reads: "In the game of golakdham [sic]
one may advance a great deal, but still somehow one's piece may fail to reach the goal" (ibid. 541).
165 This point was further elaborated in an unpublished paper presented by myself at the Board Game
Studies Colloquium XIX in Nuremberg in 2016 (Schmidt-Madsen 2016).

104
same format.166 They consist of an 8 x 6 grid topped by five gradually diminishing rows
with six, four, three, two, and one square, respectively, for a total of 64 squares. Play
proceeds boustrophedon from the bottom left square, indicating birth, to the top
square, indicating golok dhām, or the heaven of Kṛṣṇa, according to the throw of
cowries. There are no snakes and ladders, but various forms of promotion and
demotion are activated if a player throws certain numbers when beginning his turn in
certain squares. The criteria for being promoted and demoted are written in the
relevant squares as in sa lam rnam bzhag, and several squares also carry small and
finely executed woodcut illustrations. What makes the game something more than a
mere hybrid of gyān caupaṛ and sa lam rnam bzhag is the popular motifs which
include famous pilgrimage and sightseeing sites, such as Varanasi and Taj Mahal, as
well as everyday secular locations, such as schools and bars. 167 Golok dhām never
seems to have spread outside Bengal, and perhaps not even outside Kolkata, but it still
bears witness to the continuous development of gyān caupaṛ through experimentation
and hybridization.

A final example that deserves mention is that of Mahārāja Kṛṣṇarāja Oḍeyar III (1794-
1868). Kṛṣṇarāja ascended the throne of the Princely State of Mysore just short of his
fifth birthday on 30 June, 1799, but the sovereignty of the British prevented him from
enjoying any real power, and from the time the British took direct control of the state
in 1831 he was merely a figurehead.168 Though he acquired the reputation of being a
suggestible spendthrift lacking in administrative abilities (Rice 1897: 418-37), the
artistic and literary legacy he left behind speaks of a mind both gifted and learned. He
devoted his considerable spare time to the study of "religious philosophy, mathematics,
numerology, and astrology" (Topsfield 2006d: 155), and wrote numerous works on a

166 Two types are in a private collection in London which includes multiple prints of each in both blue
and red color. A third type is in the Ramakrishna Museum at the headquarters of the Ramakrishna
Math and Mission in Kolkata. It has been published in Bengali in Sarkar 1999, and again in an
English translation in Sarkar 2002.
167 A similar tendency could apparently be seen in some later sa lam rnam bzhag charts, such as the
one played by Thubten Jigme Norbu (1922-2008), the eldest brother of the 14th Dalai Lama, during
his childhood in the 1930s: "Amongst the favourable spots was [sic] Lhasa, various pilgrimage centres
in India, and a number of mythical centres such as Devachen and Shambala" (Norbu & Harrer 1961:
93).
168 For biographical details about Kṛṣṇarāja, see, for example, Gopal & Prasad 2010.

105
great variety of subjects, including several treatises on games and puzzles. 169 The
treatises are richly illustrated with designs of his own inventions, many of which were
printed as lithographies and fashioned in wood or on copper plates. He even had the
walls of an entire room on the top floor of the Jaganmohan Palace in Mysore painted
with a wide selection of them (Finkel 2004d: 127). Several of his games carry legends
similar to those found in gyān caupaṛ, and also use mechanic of pro- and demotion as
an expression of karmic fruition, but no comprehensive study of them has as yet been
undertaken.170 Most of his writings only exist in manuscript, and many of the games
kept in the Sri Jayachamarajendra Art Gallery are in desperate need of restoration.171 It
can only be hoped that they will be saved in time, so the story of how Kṛṣṇarāja
combined elements of existing games to create his own highly inventive and artistic
hybrids can one day be written in full.

Uses and Users

The careful integration of formal system and representational value in gyān caupaṛ
indicates that the game was intended for a wider range of uses than most other
traditional board games. This is also borne out by several references to the religious
associations of the game in primary and secondary sources alike. Unfortunately, it is
rarely possible to speak of such uses in anything but general terms since no continuous
tradition of playing gyān caupaṛ survives in India or elsewhere. The uses to which the
game is put today may provide us with a glimpse of the uses to which it was put in the
past, but it would be misleading to conclude anything definite from such observations.
It should also be kept in mind that secondary sources describing the game as it was
played around the turn of the 20th century do not necessarily reflect the ways in which
it was played when it first appeared more than a century before. The popular appeal of
the game toward the end of the 19th century, as attested by several publications on the

169 Vasantha lists the following manuscripts written in mixed Sanskrit and Kannada: Caturaṅgada
baṇṇada mane, Caturaṅgacamatkṛtacakramañjarī, Caturaṅgasārasarvasva, Keṃpu kitābu,
Saṃkhyāśāstra, Śrīkṛṣṇarājacaturaṅgasudhākara, and the Kautukanidhi section of the Śrītattvanidhi
(Vasantha 2006b: 144). Wakankar adds the Caturaṅgavihāra to the list (Wakankar 1986: 298-99).
170 Vasantha was in the process of preparing a book on his games and puzzles when she passed away,
leaving only a brief introduction which asks more questions than it answers (Vasantha 2006a). Also
see Vasantha 2002 and 2006b, Finkel 2004d, and Topsfield 2006a (pp. 173-74) and 2006d.
171 An unpublished catalogue of the games kindly provided by the gallery shows several wooden and
paper boards severely damaged by water.

106
subject and the availability of cheaply printed charts, seems to have emphasized the
role of play above that of religion. An example of this is provided by Devdhar's
illustrated book of Marathi games from 1905 which describes an Advaita Vedānta chart
(Ad108#1b) as a game pure and simple, with only a footnote informing the reader that
it is meant to familiarize players with the jñān mārg, or path of higher knowledge
(Devdhar 1905: 207).172

Modern Traditions
Today the only traces of a living tradition of
playing gyān caupaṛ is found in the Jaina
communities of western India and during certain
religious festivals in south India.173 During my
visits to Jaina temples and religious centers in
Ahmedabad and Bhavnagar in the fall of 2013, I
was gifted with two modern charts used to
familiarize children and young adults with the
basic tenets of Jaina doctrine.174 One chart
entitled mokṣ śreṇī, or ladder to liberation, was
made with the blessing of Acharya Shri Hem
Prabh Surishvar, and forms part of a
Fig. 42: Modern 50-square Jaina chart
compendium of three games made exclusively from Mumbai.

172 As a counter-example one might point to the early 20th-century chart (Va285#1) designed by
Gulābrāv Mahārāj as a tool for religious instruction and practice. The booklet accompanying the
chart explicitly states that [y]ah khel vedānt-kathit mokṣ prāpti ke liye ek prakriyā mārg hai [this game
is a process route for the attainment of liberation according to Vedānta] (Gulābrāv 1981: 3). The
narrow scope of the game, however, makes it unlikely that it ever traveled beyond the community of
Gulābrāv's own followers.
173 A living tradition of playing the related game of sa lam rnam bzhag can also be found among Tibetan
Buddhist monks in north India, Nepal, and Tibet. Though Lama Jampa Losel described the game
primarily as a mnemonic device when I visited him at the International Buddhist Academy in
Boudha, Kathmandu, in the winter of 2016, the student monks that I talked to, some of whom had
also played it at the Central Institute of Higher Tibetan Studies in Sarnath, Varanasi, were obviously
invested in it primarily as a game. Some even accused it of robbing them of their sleep and
impacting negatively on their studies (pers. comm.). Also see Bell 1928 (p. 269) and Ngai 2011 (pp.
336-37).
174 Since then several similar charts produced within Jaina communities have come to my attention,
indicating that the charts gifted to me are not stand-alone examples.

107
for children (fig. 42).175 It has 50 squares, five snakes, and four ladders. Only a third of
the squares carry legends, while the remaining squares are either blank or illustrated
with photos of religious buildings or cartoonish drawings of animals, demons, and
hellish tortures. Some of the legends, such as devlok meṁ gayā (gone to heaven, sq. 20)
and aṣṭprakārī pūjā kī (eightfold worship, sq. 31) are reminiscent of the original charts,
while others, such as pāṭhśālā gayā (gone to school, sq. 13) and ṭī. vī. dekhte dekhte
khāyā (watching too much television, sq. 24), are modern innovations more closely
related to snakes and ladders (sāṁp sīṛhī). The other chart is entitled siddhśilā, or
abode of the perfected ones, and was made under the instruction of Muni Amityash
Vijay (fig. 43).176 It consists of 90 squares, ten snakes, and eleven ladders. Most squares
carry legends written in Gujarati, and many are illustrated with photos of especially
animals, or drawings of religious figures and scenes, though one square in particular

Fig. 43: Modern 90-square Jaina chart from Gujarat.

175 Published as 3 in 1 by Shri Prabhav Hem Sanskar Shibir.

176 Printed by Parshva Computer Graphic. No further publication details given.

108
diverges by including an airplane (sq. 67). While still attractive to children, the length
and complexity of several legends indicate that it was probably aimed at young adults,
or perhaps even families looking for an educational form of home entertainment.
According to the people who gifted the charts to me, they were not made for
commercial purposes, but intended to be circulated among the Jaina communities as a
means of keeping especially the younger generations within the fold of the religion. 177
This is certainly a far cry from the more lofty ambitions evidenced by the original
charts, but supports the argument presented below that the Jaina tradition of playing
the game was educational in nature.

The festivals of Vaikuṇṭh Ekādaśī (Dhanu, Dec-Jan) and Mahāśivrātri (Phālgun, Feb-
Mar), as celebrated in south India, provide an example of a more ritualized living
tradition of playing gyān caupaṛ. Both festivals take place over the course of a single
day, and include staying awake all through the night in praise of either Viṣṇu
(Vaikuṇṭh Ekādaśī) or Śiva (Mahāśivrātri). One of the means of achieving this is by
playing parampad sopān in one of its many Vaiṣṇava and Śaiva incarnations (Balambal
2005: 86).178 No study of this practice has as yet been conducted, and it is therefore
impossible to say how widespread it is, but in my own limited experience parampad
sopān charts do indeed become more readily available in temple shops in the days and
weeks leading up to at least Vaikuṇṭh Ekādaśī. It is unlikely that the popular tradition
of playing the game during festival nights existed prior to the late 19th century when
the charts began to be printed, but it is certainly possible that wealthy families who
had their own handmade charts would have taken them out to play on such
occasions.179 This would mirror the well-established practice of playing caupaṛ during

177 Modern charts published by other religious communities, such as Ṣūfīs, Sikhs, and the International
Society for Krishna Consciousness (ISKCON), appear to serve the same purpose, but the examples are
too few to constitute an actual tradition of playing the game.
178 I am thankful to Venkatasubramanian Balambal for relating her own childhood experiences of
playing parampad sopān on Vaikuṇṭh Ekādaśī in mid-20th century Tamil Nadu. She emphasized that
back then she had no idea about the religious meaning of the game, except that it was associated
with certain festival days. Surprising as it may sound, considering the numerous illustrations of
saints and deities found on the charts, it shows that the mere act of playing the game, whether one
understood it or not, was considered auspicious.
179 I have not been able to verify an often repeated claim that the original Jaina version of the game is
played during the important Śvetāmbara festival of Paryuṣaṇa (Bhādoṁ, Aug-Sep), and neither have
leading specialists John Cort and Mary Whitney Kelting (pers. comm.). The claim can be traced back
to a catalogue description from the late 1970s when it may to some extent still have been true (Jain &

109
the festival of Dīvālī (Kārttik, Oct-Nov) to secure the blessings of Lakṣmī (Raghavan
1979: 163), and may even have been inspired by it.

A third contemporary use of gyān

caupaṛ which cannot be said to
constitute a living tradition, but deserve
mention nonetheless, is the adoption of
the charts for purposes of self-
exploration in Western religious
movements inspired by ideas of Eastern
spirituality. The phenomenon can be
traced back to the publication of Leela:
The Game of Self-Knowledge by Harish
Johari in 1975.180 The book provides a
detailed commentary to a modern
redesign of a 72-square Vaiṣṇava chart Fig. 44: 72-square Vaiṣṇava chart (Va72#26a).
Modern redesign of early 19th-century chart from
(Va72#26a) with legends translated into Uttar Pradesh (Johari 2007: 2).
English and given a pan-religious, non-
denominational spin (fig. 44).181 Johari claims that the game "was designed by the seers
and saints as a key to the inner states and to learn the principles of dharma - usually
called Hinduism" (Johari 2007: 1). It allows players to go beyond their everyday roles
and identify with the source of their being, revealing their true self at the core of
existence (ibid. 1-2). Reasonable as this might sound to a student of South Asian
religious practices, the claim cannot be corroborated by evidence, and seems at best a

Fischer 1978: 43).

180 Republished in a boxed set with a game board in 1993, and again in 2007 as The Yoga of Snakes and
Arrows. It has been translated into Dutch (Amsterdam, 1979), German (Basel, 1991), Spanish
(Santiago de Chile, 1993), and Czech (Praha, 2008). Other examples of similar publications include
Bharany 1993, Zaraev 2000, and Moskalev 2014. A follower of the German-born Svāmī Sadānand Dās
(1908-77), who was one of the first non-Asians to be initiated into the Gauḍīya Vaiṣṇava tradition
back in the 1930s, tells me that she and her fellow disciples play on a Nepalese chart (Va72#21) for
purposes similar to those described by Johari (pers. comm.).
181 The three central squares in the top row provide a good example. Johari gives the traditional
readings "Brahma-loka" (sq. 69), "Vaikuntha-loka" (sq. 68), and "Rudra-loka" (sq. 67), associating the
squares with the realms of Brahmā (sq. 69), Viṣṇu (sq. 68), and Śiva (sq. 67), but translates them as
"absolute plane," "cosmic consciousness," and "plane of cosmic good" (Johari 2007: 126-29). See the
full transcription of the chart in Appendix C1.

110
loose approximation of how the charts might originally have been used. The earliest
chart known to have been used for similar purposes of self-exploration is Gulābrāv
Mahārāj's chart (Va285#1) from the early 20th century, but this presents an even more
radical diversion from the original Vaiṣṇava charts, and cannot be used to generalize
from (fig. 45).

Fig. 45: 285-square Vaiṣṇava chart (Va285#1). Modern redesign of

early 20th-century chart by Gulābrāv Mahārāj. Amravati,
Maharashtra, 1981.

111
Early Traditions
In our search for the historical uses of gyān caupaṛ, the first thing to note is the
intentionality of its design. Contrary to other traditional Indian board games, the
religious meaning of which is solely a matter of interpretation, gyān caupaṛ was clearly
invented with a specific religious meaning in mind. This is evident not only from the
legends in the playing grid, but also from the inscriptions added outside the playing
grid on many charts. The inscriptions consistently interpret the game as a religious
metaphor, describe it as containing a secret meaning,182 and mention the spiritual
benefits to be gained from actively engaging with it. 183 This would seem to indicate that
whoever invented it meant for it to be understood and used in a certain way. Whether
this was also the way in which it actually came to be understood and used is an
altogether different question. As anyone who has played a themed game will know, the
theme rarely survives more than the first few turns, after which the mechanics more
or less completely overtakes it. In the game of goose, for example, a player who lands
on the square illustrated with a drawing of an inn has to pay a stake to the kitty and
lose a turn. Thematically, this translates into breaking up the journey with a meal or a
drink and paying for it at the bar, but in the heat of the game players will tend to focus
solely on the mechanical effect of paying a stake and losing a turn rather than playing
out the narrative in their heads. Similarly, in a 72-square Vaiṣṇava game of gyān
caupaṛ, players might quickly forget that they have arrived at the virtue of compassion
(dayā, sq. 17) and consequently ascended to the realm of Brahmā (brahmlok, sq. 69),
and instead focus on the fact that they have landed on sq. 17 and jumped ahead to sq.
69. While a strong theme can attract players to a particular game, it cannot guarantee
that they will keep it in mind as they play along.

We do not possess any concrete evidence that contemporary uses of gyān caupaṛ for
purposes of education, ritual, or self-exploration reflect the original uses of the game.
The charts and the contexts in which they appear do, however, provide us with several

182 A text passage found on two Vaiṣṇava charts (Va72#6,28) speaks of the secret or mystery ( bhed) of
the game, while a verse found exclusively on Vaiṣṇava charts from the Punjab Hills speaks of its
message (vāṇī) (see Appendix E1, verse #1). Also see the verse on a 163-square Vaiṣṇava chart
(Va163#2) which seems to speak of the secret or mystery (Raj. gujh) of the game (see Appendix E1,
verse #5, stanza no. 2).
183 A verse found on nearly half of all Jaina charts says that the game "reduces sin, tears apart delusion,
and increases knowledge" (pāp ghaṭāraṇ moh vidāraṇ jñān vadhāraṇ) (see Appendix E2, verse #1a).

112
clues as to who might have played them and for what purposes. As we have already
seen, the charts were mostly produced for three different audiences: courts, religious
institutions, and private individuals. The latter category probably included noblemen
and wealthy merchants who patronized professional artists to paint the charts, as well
as people of more moderate means, such as village brahmins, astrologers, and yogic
and tantric practitioners, who prepared the charts themselves. While courts and
religious institutions appear to have been mostly associated with Vaiṣṇava and Jaina
charts, respectively, the affiliations of charts associated with private individuals would
obviously have varied depending on the religious observations of those individuals.

We know that board games were a common pastime at the Rajput courts of Rajasthan
(Sharma 1968: 130-32), and while miniature paintings usually show people playing
chess or caupaṛ, gyān caupaṛ is said to have been popular among the women in the
zenanas and elsewhere (Topsfield 1985: 205, fn. 6).184 As previously mentioned (fn. 158),
south Indian Muslims from the upper echelons of society also appear to have been
fond of gyān caupaṛ. This suggests that the Ṣūfī version of the game was more
widespread than evidenced by the few surviving charts, none of which derive from
south India, or that the game was sometimes played as a purely abstract race game
without paying attention to the legends in the squares. The popularity of the game
among Muslims might also explain why some Vaiṣṇava charts were inscribed in both
Devanāgarī and Nastaʿlīq scripts (Va72#7), and some even translated into Ṣūfī
terminology (Va72#8). The conclusion, however, seems to be that whatever other
purposes Vaiṣṇava charts might have been used for, they were perhaps more than
anything else used for purposes of pure entertainment, even if clothed in the garbs of
religion.

It is far less likely that Jaina charts associated with temples and religious centers were
used primarily as games. While the nature of the charts might have served a
legitimizing function for lay followers wanting to indulge in a pastime which was
otherwise frowned upon, it is difficult to imagine Jaina monks and nuns whiling away
time with a game no matter how pious. We know that charts would sometimes be
copied for purposes of study (Ja84#17,23,56), and it therefore seems evident that they
184 Topsfield received this information in a private correspondence with G. N. Sharma, but it is not
repeated in the section on games and amusements in his otherwise authoritative Social Life in
Medieval Rajasthan: 1500-1800 A.D. (Sharma 1968: 130-142).

113
were considered as having a strong didactic component. 185 This can also be seen from
the composition of the charts which models traditional cosmographical paintings,
emphasizes structural organization and enumeration, and often uses a technical
vocabulary beyond the grasp of the lay follower. In fact, Jaina disciples would not even
have to play the game in order to learn from it. Much more so than its Vaiṣṇava
counterpart, the Jaina version of gyān caupaṛ can be read as a map of doctrinal
knowledge, detailing the layout of the cosmos and the various paths that can be traced
through it in pursuit of final liberation. Today, modern charts closely resembling the
earlier charts can be found hanging (Ja84#31b) or painted (Ja84#31c) on the walls of
Jaina temples, confirming that they are to be studied as images rather than played as
games. Whether this was also the case with earlier charts is impossible to say, but some
of them are certainly so beautifully executed and well preserved (e.g. Ja84#18) that it is
hard to believe they were ever played on.

If the more elaborate Vaiṣṇava and Jaina charts produced for courts and religious
institutions were mainly used as pastimes and educational tools, the less accomplished
charts drawn by private individuals for personal use may have served altogether
different purposes. One of the many ways in which Vaiṣṇava charts differ from Jaina
charts is in their more selective and less comprehensive approach to describing the
cosmos envisioned by them. Except for the hierarchical ordering of the rows of the
charts according to different cosmographical realms, legends appear less oriented
toward a specific goal, and enumerations of cosmic principles are sometimes left
incomplete. This makes the charts poorly suited for teaching the specifics of any given
doctrine,186 but opens them up to a much wider range of possible interpretations than
the Jaina charts. It therefore seems only natural that they would have been used for
purposes of self-exploration, such as Johari suggested in the 1970s, but given the
supposed context of local priests, astrologers, and mendicants, we might also expect
them to have been used for purposes of divination or similar services offered for a fee.
Curiously, the only charts that directly associate themselves with divination are two
Jaina charts, which may indicate that divinatory uses were more widespread than
185 Anil Kumar Jain suggests that Jaina gyān caupaṛ charts were made by mendicants (sādhu) during
the rainy season to teach young disciples (dīkṣārthī) about religious doctrine (Jain, A. K. 1997: 214).
186 An exception to this is the 342-square charts from the Punjab Hills and the 500-square chart
described by Harikṛṣṇa Śarmā, both of which would appear to have directly based their
understanding of karmic fruition (karmavipāka) on Purāṇic and other sources.

114
might otherwise have been suspected.187 Only among yogic and tantric practitioners
are they likely to have been used for strictly personal purposes, such as self-
exploration, visualization, and meditation. 188 This would also have been true of the
Jaina charts, which include the same mystical undercurrent as the Vaiṣṇava charts,
albeit in a more subtle and perhaps only partly recognized way. 189 The more common
use of privately drawn Jaina charts would likely have been for purposes of playful
study or as objects of curiosity.

The discussion of Vaiṣṇava and Jaina charts begun in this section anticipates the
following two chapters which are devoted to a detailed analysis of the charts both as
they appear (chapter four) and as they are played (chapter five). We will therefore
have more to say about uses and users later when the intricacies of the charts have
been examined in full, and we can begin to glimpse some of the cultural forms and
practices other than games which may ultimately have inspired their invention
(chapter six).

187 An inscription on the 19th-century Ja84#12a instructs users to read omens (Guj. sukan, Skt. śakuna)
from the chart (see Appendix C2), while a verse on the late 18th-century Ja84#56 refers to the chart
as an "omen of worldly actions" (saṃsārīk kāṁmnā śūkan, see Appendix E2, verse #11).
Unfortunately, the reading on especially the latter chart is not fully clear to me, and requires further
investigation by scholars trained in reading 18th- and 19th-century Gujarati. A further reference to
divination is found on a museum plaque attached to a Ṣūfī chart (Ṣū100#3). The plaque describes the
chart as being used for "casting nativities, forecasts concerning chances of a sick man's death or
recovery, and probabilities of success or defeat of military expedition.". The related Tibetan Buddhist
game of sa lam rnam bzhag is also reported to have been used for divination around the turn of the
19th century (Waddell 1895: 471-73). For a description of a 19th-century Indian game explicitly used
for divination, see Ex. 3: Astrological Chart in chapter six.
188 A Vaiṣṇava chart (Va72#34) clearly exhibiting tantric and yogic influences claims that the die falls
"according to the fate" (bhāg anusāre) of the players (see Appendix E1, verse #3).
189 A Jaina chart (Ja84#56) directly compares the success or failure of the players to the weight of the
karmic matter holding them down (see Appendix E2, verses #10,11).

115
 Chapter 4
Critical Reading and Analysis

The formal system underlying gyān caupaṛ does not have any meaning in and of itself,
and can therefore be interpreted to mean just about anything. This, however, changes
when the system is manifested in the form of a game chart. The structure of the grid,
the organization of the legends, and the positions of the snakes and ladders not only
express the formal properties of the system; they also add an interpretational layer to
it, indicating that it was meant to be understood in a certain way. The main purpose of
the present chapter is to find out more exactly what that way is. The difference in
design between various groups of charts, and between individual types within those
groups, tells us that whatever the way is, it is not a single but rather a multitude of
ways. Still, for all their variety, the charts may have more in common than the mere
representation of different religious world-views. This is certainly true of the 72-
square Vaiṣṇava and 84-square Jaina charts analyzed below. Three main themes seem
to run through all levels of their design. The first is the representation of a
hierarchically structured cosmos which extends from the lowest to the highest realms
of existence; the second is the representation of karmic forces which bind and control
living beings within the cosmos; and the third is the representation of religious
practices which allow the incorporeal selves of beings to escape bondage and enjoy
ultimate liberation. This is true of both Vaiṣṇava and Jaina charts regardless of their
sectarian differences.

The main focus of the analyses is the legends which set gyān caupaṛ apart from most
other traditional board games and allow us to consider the charts with much less
recourse to speculation than would otherwise have been the case. The legends provide
direct access to a detailed understanding of the representational value of the charts
which can then be used as a guiding principle for interpreting formal elements of
structure and design. The laying out of the unidirectional game track in the form of a
grid takes it beyond its inherent linearity, and allows not only for a sequential, but also
for a spatial, organization of the legends within it, resulting in a more complex and

116
comprehensive representation of the cosmos.190 Similarly, the snakes and ladders not
only connect squares, but also karmically related legends, lending a strong sense of
theme to one of the key mechanics of the game. In these and other ways, an inherently
meaningless formal game system becomes invested with a meaning which, unlike the
meanings invested in many other traditional board games, is still available to us today.

It should, however, be remembered that there is a fine line between interpretation and
over-interpretation. The legends offer a unique insight into the original intention of
the charts, but at the same time run the risk of obscuring that intention if we forget the
game that lies at their root. The inscriptions are not an attempt at an exhaustive
description of the cosmos, nor do the mechanics offer an accurate simulation of its
inner workings. The charts are approximations whose main function is to stimulate
the imagination of the players, and allow them to experience a simple game as a
profound meditation on self and cosmos. Interpretations would have varied from
artist to artist, and from player to player, reminding us that the scope of our analysis is
limited to opening up an interpretational space and pointing out some of the more
obvious ways in which it might have been engaged with.

The analyses are based on the critical readings of 72-square Vaiṣṇava charts (type a)
and 84-square Jaina charts (type 1a) as presented in Appendix D. Diagrammatic
representations of the preferred readings and positions of snakes and ladders can be
seen in figs. 46 and 54 at the beginning of the introductions to the respective critical
readings. Snakes are indicated with red arrows, ladders with green arrows, and
footprints with small green squares. For the sake of readers not acquainted with the
terminology of the legends, the diagrammatic representations have been translated
into English in figs. 47 and 55, also at the beginning of the introductions to the
respective critical readings. Due to the often technical nature of the terminology, the
translations should not be considered exhaustive of the underlying concepts, but
merely used as a reference aid. It should also be restated that the critical readings are
not attempts at reconstructing hypothetical ur-charts, but rather tools for analysis and
discussion ensuring that idiosyncratic minority readings do not attract undue
attention. While a single main reading has been chosen as representative of each
190 Compare, for example, the 17th-century astronomical goose game Le Jeu de la Sphere ou de l’Univers
selon Tycho Brahe (Paris, 1661) which confines itself to a sequential organization of legends, ignoring
the spatial properties of the universe that it is trying to represent (Seville 2016b).

117
square, significant variant readings have been commented upon in the relevant
sections of the analyses. Finally, the analyses are followed by a discussion comparing
the two types of chart with each other.

72 71 70 69 68 67 66 65 64
tamoguṇ rajoguṇ satoguṇ brahmlok vaikuṇṭh śivlok ānand durati prakṛti

55 56 57 58 59 60 61 62 63
ahaṃkār ākāś vāyu tej satyalok subuddhi dur- sukh tāmas
buddhi

54 53 52 51 50 49 48 47 46
bhakti jal hiṃsā pṛthvī taplok gaṅgā yamunā sarasvatī vivek

37 38 39 40 41 42 43 44 45
jñān prāṇ apān vyān janlok agni manuṣya- avidyā suvidyā
janma

36 35 34 33 32 31 30 29 28
śabd narak ras gandh maharlok sparś uttamgati adharm sudharm

19 20 21 22 23 24 25 26 27
karmyog dān samān dharm svarglok kusaṅg susaṅg śok param-
ārth

18 17 16 15 14 13 12 11 10
harṣ dayā dveṣ nāglok bhuvarlok antarikṣ īrṣyā gandharv- tap
lok

1 2 3 4 5 6 7 8 9
janma māyā krodh lobh bhūlok moh mad matsar kām

Fig. 46: Diagrammatic representation of critically read 72-square Vaiṣṇava chart (type a).

118
72 71 70 69 68 67 66 65 64
quality of quality of quality of realm of Viṣṇu's realm of bliss hidden primor-
inertia activity goodness Brahmā heaven Śiva dial
matter
55 56 57 58 59 60 61 62 63
egoity space air fire realm of intelligent foolish happiness darkness
truth

54 53 52 51 50 49 48 47 46
devotion water injury earth realm of Gaṅgā Yamunā Sarasvatī discrimi-
austerities nating
judgment
37 38 39 40 41 42 43 44 45
know- vital disposing circulat- realm of digestive human ignorance right
ledge bodily bodily ing bodily men fire birth know-
wind wind wind ledge
36 35 34 33 32 31 30 29 28
sound hell taste smell realm of touch best un- righteous-
majesty course righteous- ness
ness
19 20 21 22 23 24 25 26 27
discipline charity equal dis- religion heaven bad good sorrow highest
of action position company company truth

18 17 16 15 14 13 12 11 10
joy com- hatred realm of atmo- inter- envy realm of austerity
passion nāgas sphere mediate gandhar-
space vas
1 2 3 4 5 6 7 8 9
birth phenome- anger greed Earth bewilder- intoxica- jealousy desire
nal reality ment tion

Fig. 47: Translation of critically read 72-square Vaiṣṇava chart (type a). Cf. fig. 46 above.

119
72-Square Vaiṣṇava Charts (Type a)191
The critical reading of the 72-square Vaiṣṇava type a charts reveals a high degree of
consistency in grid design, legends, and placement of snakes and ladders. Most
variations can be accounted for by the sectarian leanings of individual artists, the use
of synonymous expressions, the accidental switching around of readings, the blind
copying of mistakes from other charts, and the ambiguous placement of snakes and
ladders in the border area between squares. Only a few readings seem to have been in
serious dispute and caused artists to interpret them at odds with each other. The most
radical diversions are found on two charts (Va72#3,17) affiliated with the charts from
Nepal (type c), and may represent a transitional stage between western Indian and
Nepalese charts. A few charts include one or more additional squares above the main
grid, but since this feature appears to be a later borrowing, 192 it is not included in the
critically read chart which forms the basis of the analysis.

While the exact religious affiliation of the charts is difficult to determine, the overall
affiliation is clearly one of Vaiṣṇava bhakti. This is indicated by the designation of
Viṣṇu's heaven Vaikuṇṭha (sq. 68) as the winning square, by its location in the top row
directly above the seven cosmographical realms of the central column, and by the
ladder leading up to it from bhakti (sq. 54).193 Three charts invoke the name of Śrī Rām
which is widely used as a reference to the supreme being in bhakti poetry, especially
among the Rāmānandīs of northern and western India (Schomer 1987: 4-5). Two of the
charts (Va72#2,31) add the name in a separate square directly above the winning
square, while the third chart (Va72#10) identifies itself as śrī rāmjī gyān caupaṛ in the
first square at the bottom left. Va72#2 provides further hints about its sectarian
affiliation by replacing the reading suvidyā (right knowledge, sq. 45) with the reading
sevābhakti (devotion through service),194 and expanding the reading bhakti (sq. 54) to
bhakti śrī prabhujī kī (devotion to Śrī Prabhujī). The practice of sevābhakti and the use

191 Cf. figs. 46-47 on the previous pages.

192 The architectural superstructures added above the main grid on charts such as Va72#2,6,28 may
have been inspired by 84-square Jaina charts which include similar superstructures as a standard
feature.
193 A verse found on 342-Vaiṣṇava charts directly states that understanding the message (vāṇī) of the
gyān caupaṛ is akin to mastering the discipline of bhakti (see Appendix E1, verse #1).
194 The reading sevā (service) also appears in sq. 26 on Va72#31.

120
of Prabhu as a reference to the supreme divinity is especially associated with the
followers of the western Indian Puṣṭimārga sect established by Vallabhācārya in 1494
(Barz 1976: 17). Since the charts generally abstain from using sectarian terminology
beyond the broadest sweeps of that associated with Vaiṣṇava bhakti, we should
probably regard the above examples as attempts by individual artists at impressing
their own biases upon the charts.

The Bhagavadgītā and the Bhāgavatapurāṇa are considered scripture by Vaiṣṇava

bhaktas, or devotees, and together constitute the most easily identifiable textual basis
for the charts. Other texts were probably consulted as well, but the general nature of
the charts makes it impossible to determine such texts with any accuracy. The best clue
is offered by Harikṛṣṇa's description of his own 500-square Vaiṣṇava chart (KK 246-55).
No copies of the chart are known to have survived, but the list of square inscriptions
provided by him, although incomplete, makes it clear that the chart adhered to the key
concepts of smaller Vaiṣṇava charts while at the same time expanding upon them:

janmasthānaṃ mānavasya prathamaṃ parikīrtitam //

tato mohamayī sṛṣṭiḥ saptaprakṛtayas tathā /
caturdaśātra lokāś ca vāyūnāṃ daśakaṃ tathā //
indriyāṇi ca tanmātrā bhaktijñānādikaṃ tathā / (KK 250cd-252)

The first (square) is called the place of human birth. Then (comes) delusional
creation, the seven forms of primordial matter, the fourteen realms (of
existence), the ten (bodily) winds, the (five) sense and (five) action capacities
(indriya), the (five) subtle elements, devotion, knowledge, and so forth.

Harikṛṣṇa concludes his description of the chart by listing the titles of several texts
instrumental to its making:

dṛṣṭvā karmavipākārkaṃ purāṇaṃ gāruḍaṃ tathā /

śātātapasmṛtiṃ mātsyaṃ śrīmad bhāgavatādikam //
kṛto mayā karmapaṭṭo harikṛṣṇena dhīmatā /
satkarmaṇi pravṛttyarthaṃ tyāgārthaṃ ca kukarmaṇām // (KK 254-5)

Having consulted the Karmavipākārka, the Garuḍapurāṇa, the Śātātapasmṛti, the

Matsyapurāṇa, the Śrīmad Bhāgavatapurāṇa, and so forth, the karmapaṭṭa (i.e.
game board of karma) was made by me, the learned Harikṛṣṇa, for the furthering
of good actions and the abandonment of bad actions.

121
The Karmavipākārka and the Śātātapasmṛti are concerned with the description of
actions and their results. Taken together with the designation of the game as
karmapaṭṭa, they indicate Harikṛṣṇa's emphasis on the concept of karmavipāka, or
karmic fruition, which will also emerge as a major theme in the analysis presented
below. The three Purāṇas mentioned are oriented toward Vaiṣṇavism, and the
inclusion of the Bhāgavatapurāṇa seems to confirm our previous suggestion that it
formed an important part of the textual basis of the charts. This is rendered even more
likely when we consider the widespread popularity of the text in the formative period
of the charts which coincided with the production of several vernacular adaptations
from the end of the 16th century onward (McGregor 1984: 156).

122
72 71 70 69 68 67 66 65 64
tamoguṇ rajoguṇ satoguṇ brahmlok vaikuṇṭh śivlok ānand durati prakṛti

55 56 57 58 59 60 61 62 63
ahaṃkār ākāś vāyu tej satyalok subuddhi dur- sukh tāmas
buddhi

54 53 52 51 50 49 48 47 46
bhakti jal hiṃsā pṛthvī taplok gaṅgā yamunā sarasvatī vivek

37 38 39 40 41 42 43 44 45
jñān prāṇ apān vyān janlok agni manuṣya- avidyā suvidyā
janma

36 35 34 33 32 31 30 29 28
śabd narak ras gandh maharlok sparś uttamgati adharm sudharm

19 20 21 22 23 24 25 26 27
karmyog dān samān dharm svarglok kusaṅg susaṅg śok param-
ārth

18 17 16 15 14 13 12 11 10
harṣ dayā dveṣ nāglok bhuvarlok antarikṣ īrṣyā gandharv- tap
lok

1 2 3 4 5 6 7 8 9
janma māyā krodh lobh bhūlok moh mad matsar kām

Fig. 48: Reference chart for Realms of Existence (chapter four) with relevant squares highlighted in yellow.

123
Cosmos
Realms of Existence195
The main structuring element of the critically read chart is the vertical arrangement of
worlds or realms (loka) in the central column. It is the only series of squares which
cuts across the entire chart, and thus carries with it a sense of holding the chart
together and layering it into a hierarchy of individual rows. The layering, however, is
only loosely adhered to by the remaining squares of the chart, and only in a few cases
can a square be said to relate directly to the square in the central column of its row.
The realms merely provide a skeletal structure for a less rigid representation of key
concepts in the universe. This can also be seen from the fact that the central column,
together with the bottom and top rows defining the extremities of the chart, tend to
provide the most stable readings. The ladders add a sense of scaffolding by mostly
leading inward from the outermost columns toward the central column or squares
associated with the central column, such as the realms of Brahmā (sq. 69) and Śiva (sq.
67) flanking the top central square of the chart. In essence, the chart can be seen as a
map of the cosmos, complete with instructions on how best to ascend to its pinnacle.

The realms in the central column represent traditional Vaiṣṇava cosmography as

described in the Bhāgavatapurāṇa and related sources. The bottom three squares
represent the earth (bhūlok, sq. 5), the atmosphere (bhuvarlok, sq. 14), and the sky or
heaven (svarglok, sq. 23) which is said to extend from the sun (sūrya) to the pole star
(dhruva) (Kirfel 1920: 128). This threefold division of the world reaches back to early
Vedic times, and is associated with the three mystical utterances bhūr, bhuvar, and
svar ritually pronounced by Brahmins and famously included at the beginning of the
gāyatrī mantra (Gombrich 1975: 113). In later Vedic literature, four higher realms were
added above the heavens, all of which came to be a regular fixture of Purāṇic
cosmography (ibid. 117). They are represented on the charts in the fourth to the
seventh square of the central column as the realms of majesty (maharlok, sq. 32), men
(janlok, sq. 41), austerity (taplok, sq. 50), and truth (satyalok, sq. 59). According to the
Viṣṇupurāṇa, the realm of majesty is inhabited by the kalpavāsins who live for the
duration of a kalpa, defined as one day and one night in the life of Brahmā; the realm

195 Cf. fig. 48 on the previous page.

124
of men is inhabited by the sons of Brahmā, such as the Sanandanas and others; the
realm of austerity is inhabited by a class of beings known as Vairājas; and the realm of
truth, confusingly also known as the realm of Brahmā (brahmaloka), is inhabited by
those who have realized their identity with the supreme being (brahman), and will
never again experience death (VP 2.7.12-15). During the dissolution of the world at the
end of a kalpa, only the earth, atmosphere, and heaven are destroyed, though life in
the realm of majesty becomes so intolerable that its inhabitants flee up into the realm
of men (Kirfel 1920: 142).

The eighth and final square of the central column represents Vaikuṇṭha (sq. 68) in
accordance with the sectarian tendency to add a further realm dedicated to one's own
deity of choice on top of the realm of truth (Gombrich 1975: 130). Thus it is said in the
Bhāgavatapurāṇa that while ascetic practices lead to the four higher realms, only
bhakti leads to Vaikuṇṭha.196 Vaikuṇṭha is flanked on either side by the realms of
Brahmā (sq. 69) and Śiva (sq. 67) which led Dampier to conclude that the charts were
non-sectarian in nature (Dampier 1895: 25), but as argued above there can be little
doubt that the charts were oriented toward a Vaiṣṇava bhakti audience. The presence
of the three deities side by side rather invokes the syncretic concept of trimūrti which
perceives Brahmā, Viṣṇu, and Śiva as a divine trinity responsible for the creation,
preservation, and destruction of the world. This aspect is further highlighted by
illustrations of the three deities in the top panels of several Vaiṣṇava charts.197

The cosmographical elements of the chart emphasize the hierarchical arrangement of

the seven upper realms to the near exclusion of the seven continents (saptadvīpa) of
the earth, the seven netherworlds (pātāla), and the variously enumerated hells
(naraka). This is contrary to the emphasis of the Purāṇic literature which has precious
little to say about the realms of majesty, men, austerity, and truth, but devotes

196 Yogasya tapasaś caiva nyāsasya gatayo 'malāḥ / mahar janas tapaḥ satyaṃ bhaktiyogasya madgatiḥ //
(BhP 11.24.14) [the untainted destinations maharloka, janaloka, tapoloka, and satyaloka (are
reached) through yoga, austerity, and renunciation; my destination (i.e. vaikuṇṭha) (is reached)
through the discipline of bhakti].
197 Only a few charts included in the critical reading are decorated with top panel illustrations, among
them two charts (Va72#1,11) showing Brahmā, Viṣṇu, and Śiva side by side. Similar illustrations are
found on all 72-square Vaiṣṇava charts from Nepal (Va72#19-25), on all 342-square Vaiṣṇava charts
from the Punjab Hills (Va342#1-7), and on several 84-square Vaiṣṇava charts from Rajasthan,
Maharashtra, and the Punjab Hills (Va84#1ab,6,7,11,12).

125
considerable space to the other realms, especially the grueling tortures suffered in the
various hells.198 The eclectic approach of the 72-square chart is partly due to its size
since, for example, the 342-square charts include a total of twenty-eight hells, similar
to the number found in the Bhāgavatapurāṇa (BhP 5.26.7) and the Viṣṇupurāṇa (VP
2.6.2-5). However, it also seems to reflect a concern with higher spiritual progress
above and beyond that of the layman who merely stays the path by conforming to
social and religious norms. This will become apparent later in the analysis when we
turn our attention to the microcosmic aspect of the charts which identifies the seven
realms with the seven cakras of yogic meditation. The hells, which are usually counted
in multiples of seven, and named after the tortures one undergoes in them, are
represented by just a single non-specific square (narak, sq. 35). Surprisingly, the square
is located in the middle section of the chart, sharing the same row as the realm of
majesty (sq. 32) just above the row of heaven (sq. 23). Furthermore, the square
interrupts a series of other squares enumerating the five subtle elements (tanmātra,
sqs. 31,33,34,36), and might therefore more logically have been inscribed with the
missing subtle element of form (rūpa). This is in fact the case on several Nepalese
charts (Va72#19,21,22,23), and on the two western Indian charts (Va72#3,17) affiliated
with them, but since the reading is not consistent across the Nepalese charts it cannot
be concluded that it was original to them. Available evidence overwhelmingly points to
narak as the original reading, and though its position is indeed unexpected, it finds
support in the snake leading down to it from hiṃsā (injury, sq. 52).

A similar, if less acute, uneasiness surrounds the placement of the realm of nāgas
(nāglok, sq. 15) in the same row as the atmosphere (sq. 14). Nāgas, or snake-people, are
said to inhabit a subterranean realm accessible through bodies of waters, such as
lakes, rivers, and oceans. The realm is known as Pātāla, which can either refer to the
seven netherworlds collectively or to the lowest of them specifically (Gombrich 1975:
128). In any case, we should expect the placement of the realm of nāgas below rather
than above the earth (sq. 5). 199 However, given the association of nāgas with illusory
wealth and pleasure,200 it is possible that their realm should not merely be understood

198 See, for example, BhP 5.26.8-36 and VP 2.6.7-29.

199 A single chart (Va72#6) reads netherworld (pātāl) instead of Earth (bhūlok) in sq. 5, but still places
the realm of nāgas next to the atmosphere above.
200 See, for example, BhP 5.24.7-31 and VP 2.5.

126
as a cosmographical realm, but also as a metaphorical realm of allurement that the
incorporeal self would do best to avoid on its journey toward liberation. The same
applies to the realm of gandharvas (gandharvlok, sq. 11) which occupies the same row
as the realm of nāgas. Gandharvas constitute a class of semi-divine beings often
referred to as celestial musicians who, like the nāgas, albeit in a more positive sense,
bring forth images of luxury and leisure. Though their realm is said to be located
between the atmosphere (antarikṣa) and the sun (āditya) (Kirfel 1920: 6), which might
explain its position on the chart cosmographically, the nearby presence of two
interchangeable terms denoting the atmosphere (antarikṣ, sq. 13; bhuvarlok, sq. 14)
indicates that something more than a literal interpretation may be called for. A clue for
how to interpret the reading antarikṣ is provided by two Nepalese charts (Va72#21,22)
which illustrates it with a person reclining on a bed, his head propped up by a pillow.
The illustration conveys a sense of dreaming or fantasizing associated with the
conception of antarikṣa as a pleasure-ground for various classes of ghostly and semi-
divine beings.201 The modern commentator Johari seems to arrive at a similar
conclusion in glossing nāglok as the "plane of fantasy" (Johari 2007: 49-50),
gandharvlok as "entertainment" (ibid. 45-6), and antarikṣ as "nullity," which he explains
as a temporary loss of meaning brought about by over-indulgence in sensual pleasures
(ibid. 47-8).

201 Tato 'dhastād yakṣarakṣaḥpiśācapretabhūtagaṇānāṃ vihārājiram antarikṣaṃ yāvad vāyuḥ pravāti

yāvan meghā upalabhyante // (BhP 5.24.5) [and below that, as far as the wind blows and the clouds
are seen, is antarikṣa, a pleasure-ground for the hordes of yakṣas, rakṣas, piśācas, and pretas].

127
72 71 70 69 68 67 66 65 64
tamoguṇ rajoguṇ satoguṇ brahmlok vaikuṇṭh śivlok ānand durati prakṛti

55 56 57 58 59 60 61 62 63
ahaṃkār ākāś vāyu tej satyalok subuddhi dur- sukh tāmas
buddhi

54 53 52 51 50 49 48 47 46
bhakti jal hiṃsā pṛthvī taplok gaṅgā yamunā sarasvatī vivek

37 38 39 40 41 42 43 44 45
jñān prāṇ apān vyān janlok agni manuṣya- avidyā suvidyā
janma

36 35 34 33 32 31 30 29 28
śabd narak ras gandh maharlok sparś uttamgati adharm sudharm

19 20 21 22 23 24 25 26 27
karmyog dān samān dharm svarglok kusaṅg susaṅg śok param-
ārth

18 17 16 15 14 13 12 11 10
harṣ dayā dveṣ nāglok bhuvarlok antarikṣ īrṣyā gandharv- tap
lok

1 2 3 4 5 6 7 8 9
janma māyā krodh lobh bhūlok moh mad matsar kām

Fig. 49: Reference chart for Evolution and Involution (chapter four) with relevant squares highlighted in
yellow.

128
Evolution and Involution202
The cosmographical realms rising up through the central column of the chart are
complemented by a representation of the evolutionary process which brought them
into being. The terminology is derived from the philosophical system of Sāṃkhya
which enumerates 25 principles (tattva) underlying the cosmos and all its
manifestations.203 The two main principles are those of pure consciousness (puruṣa)
and primordial matter (prakṛti) which exist in and of themselves without having been
generated by any other principles. The remaining 23 principles are inherent in
primordial matter, and evolve from it during the process of creation. The first
principle generated by primordial matter is intellect (mahat, buddhi) which in turn
generates egoity (ahaṃkāra). At this point, evolution takes two different paths related
to the three qualities (guṇa) which constitute primordial matter and exist in different
states of equilibrium throughout all aspects of the manifested universe. Egoity
dominated by the quality of goodness (sattvaguṇa) generates mind (manas), the five
sense capacities (buddhīndriya), and the five action capacities (karmendriya), while
egoity dominated by the quality of inertia (tamoguṇa) generates the five subtle
elements (tanmātra) which in turn generate the five gross elements (mahābhūta). This
completes the process of evolution as set in motion by pure consciousness and
primordial matter.

Similar to the representation of the cosmographical realms, which leaves out the
netherworlds and collapses the hells into a single square, the representation of
Sāṃkhya on the chart is only partial. 204 This does not mean that we should regard the
representations as faulty, but merely as examples of how the chart expresses totalities
by invoking whatever it considers to be their most significant parts. In the case of

202 Cf. fig. 49 on the previous page.

203 As a curiosity, it should be noted that the earliest known exposition of the system found in
Īśvarakṛṣṇa's Sāṃkhyakārikā (c. 4-5th cent.) contains 72 verses equal to the number of squares on
the chart. The same number of verses is found in several later commentaries, such as the
Yuktidīpikā, the Jayamaṅgalā, the Tattvakaumudī, and the commentary by Gauḍapāda (Larson &
Bhattacharya 1987: 150-1), as well as in the chapter of the Bhāgavatapurāṇa explaining the system
(BhP 3.26). There is, however, no evidence to suggest that the number of verses influenced the
number of squares beyond, perhaps, a common predilection for 72 as an auspicious number.
204 A more complete representation of Sāṃkhya is found on the 84-square Vaiṣṇava type c charts which
include all 25 principles except pure consciousness (puruṣa).

129
Sāṃkhya, it is common practice to break down the 25 principles into smaller subsets,
and only enumerate various combinations of them (Larson & Bhattacharya 1987: 48-
53), which is exactly what appears to have happened on the chart. 205 Reading from the
top left in the opposite direction of the sequentially numbered squares, we find the
three qualities of inertia (tamoguṇ, sq. 72), activity (rajoguṇ, sq. 71), and truth (satoguṇ,
sq. 70) inherent in primordial matter, which itself appears at the opposite end of the
same row (prakṛti, sq. 64). The fact that pure consciousness does not appear anywhere
on the chart emphasizes that the system of Sāṃkhya represented is not the
rationalistic Sāṃkhya of the Sāṃkhyakārikā, but rather the theistic Sāṃkhya
developed within Vaiṣṇavism, and expressed through texts such as the
Bhāgavatapurāṇa.206 The Sāṃhyakārikā describes the union between pure
consciousness and primordial matter as the union between the lame and the blind (SK
21), but does not offer any concrete explanation of how the inherently passive and
ungenerative pure consciousness can spark the evolutionary process in the inherently
active and generative primordial matter. 207 The Bhāgavatapurāṇa, on the other hand,
explicitly identifies the masculine noun puruṣa (pure consciousness) with Viṣṇu,208 and
describes him as actively impregnating the feminine noun prakṛti (primordial matter),
causing her to give birth to the manifest universe.209

Viṣṇu is only represented on the chart by virtue of his heavenly paradise Vaikuṇṭha
(sq. 68), and it therefore seems likely that the chart should be understood as a
representation of the cosmos to the exclusion of its divine cause. It might be argued
that Vaikuṇṭha represents the re-absorption of the incorporeal self into the supreme

205 The Bhāgavatapurāṇa exemplifies the manifold ways in which the principles may be enumerated
(BhP 11.22.14-24), and then goes on to conclude: iti nānāprasaṅkhyānaṃ tattvānām ṛṣibhiḥ kṛtam /
sarvaṃ nyāyyaṃ yuktimattvād viduṣāṃ kim aśobhanam // (BhP 11.22.25) [thus the various
enumerations of the principles were made by the sages. All are correct because they are furnished
with arguments. How could the learned be at fault?].
206 A single chart (Va72#18) includes pure consciousness (puruṣ, sq. 65) next to primordial matter
(prakṛtimāyā, sq. 64), but still adheres to an overall Vaiṣṇava bhakti orientation.
207 The problem is discussed at length in Larson & Bhattacharya 1987 (pp. 73-95).
208 Puruṣeśvarayor atra na vailakṣaṇyam aṇv api / (BhP 11.22.11ab) [there is not the slightest difference
between puruṣa and īśvara (i.e. Viṣṇu)]. Also see Dasgupta 1966 (p. 24).
209 Daivāt kṣubhitadharmiṇyāṃ svasyāṃ yonau paraḥ pumān / ādhatta vīryaṃ sāsūta mahattattvaṃ
hiraṇmayam // (BhP 3.26.19) [the supreme man (i.e. Puruṣa or Viṣṇu) deposited his semen in his own
womb (i.e. Prakṛti) whose attributes (i.e. guṇas) became agitated by the divine power. She (i.e.
Prakṛti) brought forth the principle of intellect (which were as if) made of gold].

130
being in the form of Viṣṇu which therefore cannot be said to exist outside the chart.
This, however, would run counter to the popular belief that Vaikuṇṭha is an actual
place where the self enjoys a certain degree of individuality and experience even after
attaining liberation from the cycle of rebirth.210 The discussion hinges on the larger
discussion of whether liberation entails the extinction of the individual self in the
merging with a qualityless (nirguṇa) deity, or the survival of the individual self in the
deathless paradise of a qualified (saguṇa) deity.211 The invocation of the supreme being
in the form of Viṣṇu makes Vaiṣṇava bhakti inherently saguṇa, but the influence of
nirguṇa bhakti poets, such as Kabīr and Dādū, who included the names of Vaiṣṇava
deities among the names for the supreme being (Schomer 1987: 7), is never far off. A
saguṇa interpretation of the 72-square chart is indirectly supported by Harikṛṣṇa
whose description of an 84-square chart distinguishes between Vaikuṇṭha (i.e. saguṇa
liberation) and mokṣa (i.e. nirguṇa liberation), adding the latter directly above the
former, and thus outside the main playing grid and the cosmos as such.212 The accuracy
of Harikṛṣṇa's description is evidenced by two existing 84-square Jaina type c charts
(Va84#5,8) which follow him in adding mokṣa above Vaikuṇṭha.213 The idea that final
liberation - beyond even that attained in Vaikuṇṭha - exists somewhere outside the
main playing grid is also adhered to by 84-square Jaina charts which situate the
crescent-shaped realm of liberated souls (īṣatprāgbhāra) above the main grid and its
five-square superstructure.

The principle of intellect (mahat, buddhi) generated by primordial matter at the very
beginning of creation is not represented on the chart, but still invoked by the readings
subuddhi (intelligent, sq. 60) and durbuddhi (foolish, sq. 61) which appear close to
primordial matter in the second row from the top. At the other end of the same row we

210 Dasgupta laments the logical fallacy of regarding Vaikuṇṭha, which he equates with the supreme
being itself, as a spatio-temporal construction, but nonetheless admits that this is how it was often
perceived by devout Vaiṣṇavas (1966: 15-16). A similar point is argued by Edgerton with regard to
final liberation as described in the Bhagavadgītā (1972: 125-26).
211 See, for example, O'Flaherty 1987 and Staal 1987.
212 Harikṛṣṇa describes the game track as leading from birth to liberation (janmasthānādimokṣāntam)
(KK 244), and explains in his auto-commentary that players would first have to land on vaikuṇṭh (sq.
80), and then roll a "1" in order to proceed up to mokṣ (top sq. 1). Thus, it appears that an element of
nirguṇa bhakti was added to an originally saguṇa bhakti chart.
213 The only 72-square chart which reads mokṣ (top sq. 1) above vaikuṇṭh (sq. 68) is a modern redesign
(Va72#14b) of a 72-square chart (Va72#14a) from Maharashtra. It may therefore have been
influenced by the 84-square type c charts from Maharashtra described by Harikṛṣṇa.

131
find egoity (ahaṃkār, sq. 55) which evolves from intellect, and shares in the double
entendre of subuddhi and durbuddhi. On the one hand, the readings can be understood
as referring to evolutionary principles, while on the other hand they can be
understood as referring to karmic qualities as indicated by the snakes and ladders
associated with them. Another example is the reading tāmas (sq. 63) which can either
be understood as "darkness," in the sense of ignorance, or as "relating to the quality of
inertia" (tamoguṇa). One chart (Va72#18) explicitly reads tāmas ahaṃkār (egoity
dominated by the quality of inertia) with reference to the ten principles which evolve
from the inertia branch of egoity. Those ten principles, comprising of the subtle
(tanmātra) and gross (mahābhūta) elements, are the only other principles which are
mentioned on the chart, possibly explaining why sāttvika or sāttvika ahaṃkāra (egoity
dominated by the quality of goodness), from which the remaining eleven principles
evolve, is not included. While the five gross elements of space (ākāś, sq. 56), wind
(vāyu, sq. 57), fire (tej, sq. 58), water (jal, sq. 53), and earth (pṛthvī, sq. 51) appear
consistently on the charts, only the four subtle elements of sound (śabd, sq. 36), touch
(sparś, sq. 31), taste (ras, sq. 34), and smell (gandh, sq. 33) appear with equal
consistency. As already mentioned, the subtle element of form (rūpa) only occurs on a
few charts, and does not appear to be any more original than the reading narak (hell,
sq. 35) which sits uncomfortably between sound and taste.214

In the bottom left, diametrically opposite primordial matter (prakṛti, sq. 63) in the top
right, we find birth (janma, sq. 1), apparently contrasting the genesis of the universe
with the genesis of the incorporeal self. This is further indicated by the reading māyā
(phenomenal reality, sq. 2) in the square immediately following birth. Though it might
be tempting to understand māyā in the Advaita Vedāntic sense of illusion, it should be
remembered that Vaiṣṇavism, though heavily influenced by Vedāntic philosophy, has
its own understanding of the term. Gauḍapāda's commentary on the Sāṃkhyakārikā (c.
6th cent.) identifies māyā with primordial matter (SKB 22), and the Bhāgavatapurāṇa
has Viṣṇu himself wield it as the power of creation (Gail 1969: 50-51). It would
therefore seem that the incorporeal self of the player is separated from the supreme
214 As a further indication that the reading rūp is not necessarily more original than the reading narak
just because it fits the context better, it should be noted that the enumeration of the subtle elements
is incomplete across all but three 72-square charts (Va72#3,17,21), including one western Indian
(Va72#11) and two Nepalese (Va72#22,23) charts which include the subtle element of form but leave
out other subtle elements instead.

132
being and born into existence in sq. 1, whereupon it enters the phenomenal reality of
the manifest universe in sq. 2. The idea that sq. 1 does not represent a physical birth,
but rather a birth of the spirit, is also indicated by the fact that sq. 1 is the only square
in the grid which cannot be revisited during the game, since no snake leads further
back than sq. 2. According to this interpretation, the journey through the grid
represents the journey through existence, with the square of primordial matter
representing a point of transcendence to a purely spiritual existence beyond the
confines of materiality. The interpretation is supported, or at least hinted at, by the
reading durati (Hi. durnā, dūr, hidden or distant, sq. 65) in the next square after
primordial matter (sq. 64). Durati is the least consistent of all the readings on the chart,
and at least two charts (Va72#9,27) render it as durit or durgati in the sense of a bad
course or rebirth.215 This, however, fits poorly with its position on the chart, and the
fact that no snake leads down from it. A better suggestion is provided by two other
charts (Va72#15,29) which render it as duratyay in the sense of "difficult to go beyond."
This is exactly how Kṛṣṇa describes māyā, which we have seen to be equated with
primordial matter, in the Bhagavadgītā.216 If this understanding of durati is correct, it
would not only make sense of the juxtaposition between the bottom left and top right
squares, it would also explain a difficult reading which appears to have baffled many
an artist in the production of the charts.

The above discussion allows us to make an important observation regarding the

direction of play. If we consider the overall process of cosmic evolution as it appears on
the chart, we find that it begins at the end of the game track and continues in the
opposite direction of play. This is, of course, only true in a general sense, since, for
example, the gross elements appear before the subtle elements, but, as in most other
matters, a general sense is all that the chart is trying to accomplish. As players move
their pawns along the track from birth through life toward ever higher planes of
existence, they at the same time move against the direction of cosmic evolution toward
the point of creation from which it all began. The message seems to be that spiritual

215 The RSK derives durat from Skt. durita which may explain the readings on Va72#9,27. However, I
have chosen to follow BBSK, which equates both durat and durati with Hi. durnā and dūr, as this
makes better sense in the present context.
216 Daivī hy eṣā guṇamayī mama māyā duratyayā / mām eva ye prapadyante māyām etāṃ taranti te
(BhG 7.14) [this divine māyā of mine, composed of the (three) qualities, is difficult to go beyond; those
who take refuge with me will cross this māyā].

133
progress goes hand in hand with cosmic involution, and that to arrive at a state of
liberation is to arrive at a point beyond primordial matter where the universal spirit
reigns supreme.217 The process of involution is closely associated with tantric practices
(Flood 2006: 157-62), and the Bhāgavatapurāṇa follows these in describing it as turning
the process of evolution on its head, allowing the principles that were once generated
forth by each other to merge back into one another in reverse sequence (BhP 11.3.8-
15). This mirrors the experience of players moving their pawns forward and upward
along the track past the subtle and gross elements, egoity, intellect, and primordial
matter to Viṣṇu's heaven Vaikuṇṭha beyond. The same can be said to be represented en
miniature by the trinity of Brahmā, Viṣṇu, and Śiva who appear in their usual sequence
of creator, preserver, and destroyer, but who are encountered in the opposite and
therefore devolutionary sequence by the players as they move their pawns from right
to left along the top row. As will become clear in the experiential analysis in chapter
five, the brilliance of the chart design is such that what appears as a static
representation of the evolved cosmos becomes an interactive involution of the same
when engaged through play.

217 This is also true of other traditional board games where a counter-clockwise movement around the
board is often interpreted as a mystical expression of involution. Brenda Beck, for instance,
compares the counter-clockwise movement of pawns in caupaṛ to a yogi reversing the downward
flow of energies in his body through meditation (Beck 1982: 203), while Don Handelman and David
Shulman describe the counter-clockwise distribution of tokens in Indian mancala games as
"devolutionary," and as part of a process leading toward the reintegration of the fragmented self in
the universal spirit (Handelman & Shulman 1997: 33-35).

134
72 71 70 69 68 67 66 65 64
tamoguṇ rajoguṇ satoguṇ brahmlok vaikuṇṭh śivlok ānand durati prakṛti

55 56 57 58 59 60 61 62 63
ahaṃkār ākāś vāyu tej satyalok subuddhi dur- sukh tāmas
buddhi

54 53 52 51 50 49 48 47 46
bhakti jal hiṃsā pṛthvī taplok gaṅgā yamunā sarasvatī vivek

37 38 39 40 41 42 43 44 45
jñān prāṇ apān vyān janlok agni manuṣya- avidyā suvidyā
janma

36 35 34 33 32 31 30 29 28
śabd narak ras gandh maharlok sparś uttamgati adharm sudharm

19 20 21 22 23 24 25 26 27
karmyog dān samān dharm svarglok kusaṅg susaṅg śok param-
ārth

18 17 16 15 14 13 12 11 10
harṣ dayā dveṣ nāglok bhuvarlok antarikṣ īrṣyā gandharv- tap
lok

1 2 3 4 5 6 7 8 9
janma māyā krodh lobh bhūlok moh mad matsar kām

Fig. 50: Reference chart for Vices and Virtues (chapter four) with relevant squares highlighted in yellow.

135
Karma
Vices and Virtues218
Popular descriptions of gyān caupaṛ tend to emphasize the theme of vice (pāpa) and
virtue (puṇya) to the exclusion of most other aspects of the game. This is probably
because it is the most easily explained theme of the game, and the only one reflected in
the modern game of snakes and ladders. Furthermore, it is the theme most directly
expressed by the visual language of the charts in the form of the emblematic snakes
and ladders. Snakes are a common symbol of sexual arousal and worldly temptation in
Indian art and literature as exemplified by the netherworldly nāgas, and ladders are
sometimes used as a metaphor of the path to liberation in tantric, yogic, and bhakti
literature.219 In addition to the evidence of the charts themselves, several
commentators from the late 19th century link the snakes and ladders to the concepts of
vice and virtue, and frame the two within the larger concept of karma. Harikṛṣṇa
explains an unidentified 84-square Vaiṣṇava type c chart as follows:

sopānenordhvagamanaṃ sarpatuṇḍād adhasthitaḥ /

satkarmād ūrdhvagamanaṃ kucchite220 'himukhaṃ smṛtam // (KK 244cd-245ab)

One goes up by means of a ladder, and one is placed below because of the mouth
of a snake; one goes up on account of a good action, and one finds the mouth of a
snake in the case of a bad action.221

He then goes on to describe his own 500-square version of the game:

ataḥparaṃ pravakṣyāmi karmapaṭṭaṃ suśodhanam /

saṃsāriṇāṃ subodhārthaṃ karmapākaprasūcakam //

218 Cf. fig. 50 on the previous page.

219 See, for example, the references to muktisopāna, or the ladder of liberation, in Gorakṣaśataka (GŚ 2,
101), and the image of a narrow ladder (sīḍhī sāṃkarī) leading to liberation in Kabīr (KGS 20.2;
translated in Vaudeville 1974: 261).
220 Kucchite does not make sense to me, though the meaning seems clear from the context. In the
translation provided below, I understand it as kucite from √kuc, i.e. something bend or crooked in the
sense of a bad action.
221 Compare the following verse from the Sāṃkhyakārikā: dharmeṇa gamanam ūrdhvaṃ gamanam
adhastād bhavaty adharmeṇa / jñānena cāpavargo viparyayād iṣyate bandhaḥ // (SK 44) [one goes up
on account of merit, (and) one goes down on account of demerit. Liberation is striven for through
knowledge, bondage through the reverse].

136
 kena karmavipākena kīdṛśaṃ phalam aśnute /
tatsarvaṃ jñāyate yasya khelanān nātra saṃśayaḥ // (KK 246-47)

I will now explain the very splendid karmapaṭṭa (i.e. game board of karma)
which teaches the ripening of actions for the easy understanding of the
inhabitants of the cycle of rebirth. By the ripening of which action does one enjoy
which fruit? This is all understood from the playing of this (game); in that there is
no doubt.

Harikṛṣṇa suggests three things of consequence for the present discussion: that karma
is a central subject in gyān caupaṛ, that it is implied by the mechanic of snakes and
ladders, and that it is viewed through the lens of karmavipāka, or the ripening of
actions. Though he only writes about 84- and 500-square charts, the same is obviously
true of the critically read 72-square chart which dedicates around thirty squares to
positive and negative actions, such as charity (dān, sq. 20) and injury (hiṃsā, sq. 52),
and positive and negative states of being, such as equal disposition (samān, sq. 18) and
sorrow (śok, sq. 26). The bottom row contains the six negative tendencies toward anger
(krodh, sq. 3), greed (lobh, sq. 4), bewilderment (moh, sq. 6), intoxication or pride (mad,
sq. 7), jealousy (matsar, sq. 8), and desire (kām, sq. 9), which call to mind the group of
six inner enemies (ariṣaḍvarga) standing between humans and their spiritual
advancement.222 The enemies are called by slightly different names throughout the
literature, sometimes including the terms envy (īrṣyā, sq. 12), hatred (dveṣ, sq. 16), and
sexual excitement (harṣ, sq. 18), all of which appear in the second row from the
bottom.223 Still, the circumstance that six of them occur in sequence right after the
player has moved his pawn from birth (janma, sq. 1) to phenomenal reality (māyā, sq.
2) opens up the possibility that they were indeed intended as a representation of the
six inner enemies. It should also be noted that the second-row reading harṣ is alone
among the readings associated with the six inner enemies in not having a snake
connected to its square, and should therefore probably be interpreted in the positive
sense of joy rather than the negative sense of sexual excitement.

222 An early occurrence of the concept is found in the Arthaśāstra which refers to kāma, krodha, lobha,
māna, mada, and harṣa as śatruṣaḍvarga, or the group of six enemies (AŚ 1.6.1,11).
223 The only text that I am aware of which lists the terms as they appear in the bottom row of the chart
is the Mudgalopaniṣad, a short medieval Vaiṣṇava text, which only differs from the chart in listing
desire first rather than last (MU 4; cf. Gonda 1975).

137
Moving further up the chart, we find four pairs of opposites inscribed on adjacent
squares in each of rows three, four, five, and seven: good company (susaṅg, sq. 25) and
bad company (kusaṅg, sq. 24), righteousness (sudharm, sq. 28) and unrighteousness
(adharm, sq. 29), ignorance (avidyā, sq. 44) and right knowledge (suvidyā, sq. 45), and
intelligent (subuddhi, sq. 60) and foolish (durbuddhi, sq. 61). The duality (dvandva)
expressed by pairs of opposites is a recurrent theme throughout the religious literature
where it serves to exemplify that not only negatives, but also positives, must be
overcome in order to achieve spiritual liberation. 224 The pairs of opposites also
resonate well with the central mechanic of snakes and ladders as easily perceived
contrasts between vice and virtue. The snakes and ladders themselves always originate
in squares associated with either a vice or a virtue, except for the snake leading down
from the quality of inertia (tamoguṇ, sq. 72) in the top left corner of the chart. Though
it might plausibly be argued that inertia should be understood in the sense of a
personal as well as a cosmic quality, the more obvious reason for placing the head of a
snake in the last square of the game track is to ensure that pawns can fall down and
continue back up even if they overshoot the winning square at the center of the top
row. Overall, only four squares expressive of karmic qualities remain wholly
unconnected to snakes and ladders.225 The only reasonable explanation for this is that
the number of snakes and ladders were more important than making sure that every
karmic quality was served by a karmic connection.

As suggested by Harikṛṣṇa, the snakes and ladders are associated with negative and
positive actions, and should therefore be regarded as forming karmic links between
individual squares across the chart. The majority of snakes lead down to negative
states of being in the bottom row, while the majority of ladders lead up to
cosmographical realms in the central column and top row. This strengthens the
interpretation of snakes and ladders as karmic links, with the points of origination
indicating actions (karman) and the points of termination indicating results (vipāka).226
The exact karmic relationship between squares is not always clear, but the overall

224 Relevant examples include BhG 2.38, 4.22, 5.3, 7.27-8, 15.5 and BhP 3.24.44, 4.1.19, 9.19.19, 11.26.27.
225 I.e. joy (harṣ, sq. 18), equal disposition (samān, sq. 21), good company (susaṅg, sq. 25), and sorrow
(śok, sq. 26).
226 The ripening of action (karmavipāka) is an important subject in Purāṇic as well as Dharmaśāstric
literature, and has even given rise to an entire genre of its own. The New Catalogus Catalogorum lists
more than fifty texts with the word karmavipāka in their title (NCC, vol. 3, pp. 206-14).

138
correspondence usually is. While the ladder from bhakti (sq. 54) to Vaikuṇṭha (sq. 68)
indicates that a specific religious practice leads to a specific place of liberation, the
snake from injury (hiṃsā, sq. 52) to hell (narak, sq. 35) only indicates that a general
kind of action leads to a general place of suffering. Least clear of all is the previously
mentioned snake leading down from the quality of inertia to the gross element of earth
(pṛthvī, sq. 51), but even that might be explained with reference to the gross elements
evolving from egoity dominated by the quality of inertia, or simply by ignoring the
context of pṛthvī and reading it not as a gross element but as the terrestrial plane of
existence. One might also question the placement of negative qualities, such as egoity
(ahaṃkār, sq. 55) and ignorance (tāmas, sq. 63), in the topmost rows of the chart, but
this should probably just be understood as a reminder that dangers and pitfalls persist
all the way to liberation.

139
72 71 70 69 68 67 66 65 64
tamoguṇ rajoguṇ satoguṇ brahmlok vaikuṇṭh śivlok ānand durati prakṛti

55 56 57 58 59 60 61 62 63
ahaṃkār ākāś vāyu tej satyalok subuddhi dur- sukh tāmas
buddhi

54 53 52 51 50 49 48 47 46
bhakti jal hiṃsā pṛthvī taplok gaṅgā yamunā sarasvatī vivek

37 38 39 40 41 42 43 44 45
jñān prāṇ apān vyān janlok agni manuṣya- avidyā suvidyā
janma

36 35 34 33 32 31 30 29 28
śabd narak ras gandh maharlok sparś uttamgati adharm sudharm

19 20 21 22 23 24 25 26 27
karmyog dān samān dharm svarglok kusaṅg susaṅg śok param-
ārth

18 17 16 15 14 13 12 11 10
harṣ dayā dveṣ nāglok bhuvarlok antarikṣ īrṣyā gandharv- tap
lok

1 2 3 4 5 6 7 8 9
janma māyā krodh lobh bhūlok moh mad matsar kām

Fig. 51: Reference chart for Cycle of Rebirth (chapter four) with relevant squares highlighted in yellow.

140
Cycle of Rebirth227
An easily overlooked feature of the chart is the cyclical, or at least semi-cyclical, nature
of the game track which sets it apart from the purely linear track of goose as discussed
in chapters one and two. The cyclical effect is achieved by placing the winning square
before the end of the track, and then adding a snake in the final square, allowing
players to overshoot the target and loop back into the track. The final snake leads from
sq. 72 to sq. 51, and since there is also a snake leading down from sq. 55 to sq. 2, the
only square that cannot be revisited during the game is birth (janma) in sq. 1. The
understanding of birth as relating to the incorporeal self rather than any of its physical
bodies has already been touched upon, and need not be repeated here. Suffice it to say
that the near impossibility of attaining liberation in a single lifetime begun at the
lowest rung of the ladder, so to speak, and the presence of human birth
(manuṣyajanma, sq. 43) elsewhere on the chart, add further weight to the argument.
The birth of the incorporeal self in sq. 1 and the cyclical nature of the chart as a whole
suggest that it does not just represent a journey through a single lifetime, but through
the entire cycle of rebirth (saṃsāra) from entrance to exit.228 The location of Vaikuṇṭha
(sq. 68) inside the cycle of rebirth might be seen as contrary to such an interpretation,
but, as previously discussed, the question of whether Vaikuṇṭha should be considered
a metaphor for liberation, or an actual resting-place for the incorporeal self, is mostly a
theological one.

We have already seen that the snakes and ladders form karmic links between squares,
and it would therefore be obvious to focus on them as the main representation of the
process of rebirth on the chart. However, in order to land at the head of a snake or the
foot of a ladder, one first have to throw the dice or cowries, and these might in fact be
said to carry the same meaning. The association between dice and karma is not only
assumed by later commentators, but also put into words by the charts themselves, 229

227 Cf. fig. 51 on the previous page.

228 Johari makes this interpretation of the chart explicit by arguing that pawns should begin in
Vaikuṇṭha (sq. 68), and only move down to birth (sq. 1) on a throw of "6" with a six-sided die (Johari
2007: 8). Also see his commentary to sq. 1 which carries a similar sense (ibid. 28-29).
229 Examples include a verse on a Vaiṣṇava chart declaring that the die falls "according to the fate"
(bhāga anusāre) of the players (see Appendix E1, verse #3, stanza no. 6), and a verse on several Jaina
charts arguing that "having made a good throw" (bhala pāsā nikṣepa) one shall go to liberation
(mokṣa) without a following rebirth (see Appendix E2, verse #3).

141
suggesting that every throw of the dice represents an instance of karmic fruition. The
movement between squares could therefore be said to represent the transition
between different karmic stages, and possibly even between different rebirths. 230 A
player who identified his own incorporeal self with his pawn could even take this
interpretation one step further, and consider his progress along the track as an
expression of past, present, or future births. However, insisting on a direct translation
between formal system and representational value might not be the best approach to
this particular aspect of the game. Relating the throwing of dice and moving of pawns
to concepts of karma and rebirth on a more general level would seem to fit the overall
context better. This would also avoid conflicting with readings which address the
question of rebirth directly. The reading uttamgati (sq. 30), which literally translates as
the best course or condition, is sometimes used in the sense of liberation from
existence (e.g. DME, p. 93), but since it is located in the middle of the chart and does not
have any ladder ascending from it, a better suggestion would be to understand it in the
sense of a good rebirth.231 This would also fit well with its location directly below
human birth (sq. 43) which is considered the best possible rebirth since no other form
of rebirth allows for final liberation.

A few words also need to be said about the position of human birth four rows above
the earth (bhūlok, sq. 5) where one might have expected it to appear. This is
reminiscent of the realm of nāgas (sq. 15) and hell (narak, sq. 35) which also appear
above the earth in spite of being associated with regions below it. The simplest
explanation is that the high position of human birth reflects the importance attributed
to it. Another possible explanation is that it was placed in the same row as the world of
men (janlok, sq. 41) by way of association, even though the world of men is not
inhabited by ordinary men, but by the sons of Brahmā.232 Finally, a third explanation
might be that its position was influenced by the 84-square Jaina charts which identify
the fifth row with human beings and human rebirth in general. If the latter
explanation is indeed the right one, it would be the only instance in which the flow of

230 As discussed in chapter two, this is indeed the case in the Tibetan Buddhist game of sa lam rnam
bzhag where the different faces of the die is associated with the different categories of rebirth.
231 Johari suggests the translation "good tendencies," but this seems a little too vague, and ignores the
fact that gati is often used in the sense of transmigration or rebirth.
232 Johari describes "janlok" as being inhabited by perfected beings (siddha) and saints, but still
translates it as "human plane" (Johari 2007: 85-86).

142
influence from Vaiṣṇava to Jaina charts was reversed, as will be explored in more
detail in the discussion at the end of this chapter.

72 71 70 69 68 67 66 65 64
tamoguṇ rajoguṇ satoguṇ brahmlok vaikuṇṭh śivlok ānand durati prakṛti

55 56 57 58 59 60 61 62 63
ahaṃkār ākāś vāyu tej satyalok subuddhi dur- sukh tāmas
buddhi

54 53 52 51 50 49 48 47 46
bhakti jal hiṃsā pṛthvī taplok gaṅgā yamunā sarasvatī vivek

37 38 39 40 41 42 43 44 45
jñān prāṇ apān vyān janlok agni manuṣya- avidyā suvidyā
janma

36 35 34 33 32 31 30 29 28
śabd narak ras gandh maharlok sparś uttamgati adharm sudharm

19 20 21 22 23 24 25 26 27
karmyog dān samān dharm svarglok kusaṅg susaṅg śok param-
ārth

18 17 16 15 14 13 12 11 10
harṣ dayā dveṣ nāglok bhuvarlok antarikṣ īrṣyā gandharv- tap
lok

1 2 3 4 5 6 7 8 9
janma māyā krodh lobh bhūlok moh mad matsar kām

Fig. 52: Reference chart for Paths to Liberation (chapter four) with relevant squares highlighted in yellow.

143
Religious Practice
Paths to Liberation233
The main spiritual path represented on the chart, one might argue, is the game track
itself. As players move their pawns from square to square, climbing up ladders and
sliding down snakes, they gradually ascend the levels of existence and leave behind the
dualities of pain and pleasure until they finally arrive in the divine realm of Viṣṇu.
This picture, however, is complicated by the fact that three squares along the way
point directly to three separate, yet closely related, spiritual paths one might choose to
follow. Foremost among them is that of bhakti (devotion, sq. 54) which sits at the foot of
a ladder leading up to Vaikuṇṭha (sq. 68). Since bhakti is the only means by which
Vaiṣṇava bhaktas can reach Vaikuṇṭha, we might also have expected it to be the only
square from which Vaikuṇṭha could be reached in the game. This, however, is
obviously not the case, since players can easily overshoot bhakti and arrive at
Vaikuṇṭha by moving sequentially along the squares in the upper rows without the aid
of a ladder. Still, we would be wrong to take this as an indication that bhakti is not
central to the chart, or that it only represents an optional path to Vaikuṇṭha. Not only
does the ladder from bhakti lead up to the winning square, it is also placed higher up
on the chart than any other ladder, and bhakti itself is placed directly above the two
other spiritual paths of knowledge (jñān, sq. 37) and action (karmyog, sq. 19).234 Thus
the game is clearly a game of bhakti, and the reason that a pawn might reach
Vaikuṇṭha without ever landing on bhakti is merely an example of the inherent tension
between the formal system and the representational value attributed to it. If anything,
it should serve to remind us that gyān caupaṛ is an abstract rather than a concrete
simulation of different religious knowledge systems.

233 Cf. fig. 52 on the previous page.

234 This might seem odd considering that the game is called gyān rather than bhakti caupaṛ. However,
the title's emphasis on knowledge above devotion fits well with the overall didactic potential of the
game. The game is not as much about the path of devotion (bhakti) itself as it is about the knowledge
(jñāna) which leads to the path of devotion. It is also possible that the title was first suggested by the
Jainas, for whom knowledge plays a key role in liberation, and only later adopted by the Vaiṣṇavas
who then changed it from gyān bāzī to gyān caupaṛ in keeping with their own tradition of playing
caupaṛ at the royal courts.

144
The three paths of bhakti, knowledge, and action are first mentioned collectively in the
Bhagavadgītā, and since developed within a Vaiṣṇava context in the Bhāgavatapurāṇa.
While both texts agree that the path of bhakti is superior to the paths of knowledge and
action, they differ in their opinion about the relative importance of the latter two. The
Bhagavadgītā associates the discipline of knowledge (jñānayoga) with the proponents
of Sāṃkhya, and the discipline of action (karmayoga) with the proponents of Yoga,235
and describes the two disciplines as being of the same nature and leading to the same
goal.236 However, it considers disinterested action superior to the renunciation of
action, and therefore holds the discipline of action, which itself leads to the attainment
of knowledge, to be superior to the discipline of knowledge (Edgerton 1972: 167-68).
This is not reflected on the chart by the position of the discipline of action (sq. 19) two
squares below knowledge (sq. 37), or by the fact that the discipline of action is alone
among the three paths in not sitting at the foot of a ladder. A more convincing case for
the superior position of knowledge on the chart is made by the Bhāgavatapurāṇa
which promotes a brand of Vaiṣṇavism heavily influenced by ideas from the
philosophical school of Advaita Vedānta.237 According to Advaita Vedānta, the discipline
of knowledge is the sole means of overcoming one's ignorance (avidyā) about the
illusory nature of existence (māyā), and realizing one's unity with the impersonal deity
brahman. The description of brahman as saccidānanda, or truth-consciousness-bliss, is
a later development in Advaita Vedānta (Potter 1981: 75) which was adopted by
Vaiṣṇava philosophers, and also included among the teachings of Vallabhācārya (Barz
1976: 65) whose Puṣṭimārga sect was a major influence in western India during the
formative years of gyān caupaṛ. It is therefore possible that the ladder leading from
knowledge (sq. 37) to bliss (ānand, sq. 66) reflects an Advaita Vedānta aspect of

235 Loke 'smin dvividhā niṣṭhā purā proktā mayānagha / jñānayogena sāṃkhyānāṃ karmayogena
yoginām // (BhG 3.3) [in this world there is a twofold foundation, as previously stated by me, O
blameless one: the discipline of knowledge of the followers of Sāṃkhya, (and) the discipline of action
of the followers of Yoga].
236 Yat sāṃkhyaiḥ prāpyate sthānaṃ tad yogair api gamyate / ekaṃ sāṃkhyaṃ ca yogaṃ ca yaḥ paśyati
sa paśyati // (BhG 5.5) [what place is attained by the followers of Sāṃkhya, that is also obtained by
the followers of Yoga. He who sees Sāṃkhya and Yoga as one, he (truly) sees].
237 Adalbert Gail underlines the influence of Advaita Vedānta on the conception of bhakti in the
Bhāgavatapurāṇa, and agrees with Rudolf Otto in describing it more accurately as advaita-bhakti
(Gail 1969: 54). The term also occurs as the title of the 10th chapter in Jñāneśvar's Amṛtānubhāva
which fuses Advaita Vedānta and bhakti thought (Machado 1985: 64-66).

145
Vaiṣṇava theology.238 This would also help explain the high position awarded the realm
of bliss in the top row immediately prior to the divine realms of Śiva (sq. 67), Viṣṇu (sq.
68), and Brahmā (sq. 69).

The addition of a ladder leading up from the discipline of action (sq. 19) on three of the
critically read charts (Va72#10,18,33) may indicate a certain uneasiness about the
inferior position of the reading. If, however, we read it not only in the context of
knowledge and bhakti, but also in the context of other squares, another rationale for its
isolated position two squares below knowledge suggests itself. The bottom three rows
of the chart reach from the earth (bhūlok, sq. 5) to the heavens (svarglok, sq. 23), and
contain an abundance of karmically related readings. Since the discipline of action sits
at the far end of the third row, it seems just as obvious to associate it with the
karmically related readings as with knowledge and bhakti. This would explain why no
ladder leads up from the discipline of action, as one might have expected, since ladders
instead lead up from the karmically related squares associated with it in a much more
detailed and precise way. This, of course, entails a broader understanding of the
discipline of action which goes beyond that of a spiritual path pure and simple, but it
makes good sense from a structural point of view, and explains away some of the
ambiguity which would otherwise cling to the reading. It would also allow for an
understanding of the ladder leading up from compassion (dayā, sq. 17) to the realm of
Brahmā (brahmlok, sq. 69) as a spiritual subpath of the discipline of action, just as the

238 In his auto-commentary to the Krīḍākauśalya, Harikṛṣṇa describes an 84-square Vaiṣṇava chart with
just two ladders. One of the ladders leads from the discipline of action (karmyog, no sq. number) to
heaven (svarg, no sq. number), while the other leads from knowledge (jñān, sq. 56) to Vaikuṇṭha (sq.
80) (KK 241-45, comm.). The description is closely paraphrased by Pārakh, except that he only
mentions a single ladder leading from sq. 56 to sq. 80 (Pārakh 1886: 200). The ladder on the
corresponding chart (Va84#8) in Pārakh 1886 does indeed appear to lead from sq. 56 (vāyu, wind) to
sq. 80 (vaikuṇṭh), but neither does this agree with Harikṛṣṇa, nor does it make much sense. A more
likely square of origin would be the diagonally adjacent sq. 54 (jñānyog, discipline of knowledge).
The identification of knowledge with Vaikuṇṭha - as well as the addition of liberation (mokṣ, top sq.
1) above Vaikuṇṭha - may have resulted from the attribution of the charts to Jñāneśvar who borrows
heavily from Advaita Vedānta. However, it might also be the result of a simple mistake begun by
Harikṛṣṇa, and continued by Pārakh whose chart closely resembles two other charts (Va84#4,5)
which might easily predate it. None of the latter two charts connect wind or the discipline of
knowledge with Vaikuṇṭha, but one of them (Va84#5) connects the discipline of bhakti (bhaktiyog, sq.
55) - positioned directly above the discipline of knowledge (jñānyog, sq. 54) - with Vaikuṇṭha (sq. 80).
Whatever the truth of the matter, the only charts that consistently and convincingly promote an
Advaita Vedānta agenda are the four charts (Ad108#1ab,2,3) directly affiliated with that philosophy.

146
ladder leading up from right knowledge (suvidyā, sq. 45) to the realm of Śiva (śivlok, sq.
67) can be seen as a subpath of knowledge positioned at the opposite end of the same
row.

72 71 70 69 68 67 66 65 64
tamoguṇ rajoguṇ satoguṇ brahmlok vaikuṇṭh śivlok ānand durati prakṛti

55 56 57 58 59 60 61 62 63
ahaṃkār ākāś vāyu tej satyalok subuddhi dur- sukh tāmas
buddhi

54 53 52 51 50 49 48 47 46
bhakti jal hiṃsā pṛthvī taplok gaṅgā yamunā sarasvatī vivek

37 38 39 40 41 42 43 44 45
jñān prāṇ apān vyān janlok agni manuṣya- avidyā suvidyā
janma

36 35 34 33 32 31 30 29 28
śabd narak ras gandh maharlok sparś uttamgati adharm sudharm

19 20 21 22 23 24 25 26 27
karmyog dān samān dharm svarglok kusaṅg susaṅg śok param-
ārth

18 17 16 15 14 13 12 11 10
harṣ dayā dveṣ nāglok bhuvarlok antarikṣ īrṣyā gandharv- tap
lok

1 2 3 4 5 6 7 8 9
janma māyā krodh lobh bhūlok moh mad matsar kām

Fig. 53: Reference chart for The Subtle Body (chapter four) with relevant squares highlighted in yellow.

147
The Subtle Body239
So far we have limited our understanding of the chart to a representation of the
cosmos. The cosmos, however, does not only exist outside the body of the individual
person; it also exists within it. The identification of the human body with the universe
reaches back to the late Ṛgvedic puruṣasūkta which describes how the world was
created from the limbs of the cosmic man (RV 10.90), and finds its fullest expression in
the philosophy of the Upaniṣads which considers the incorporeal self (ātman) to be
identical with the supreme being (brahman). A similar view is also adopted in the
medical literature which describes the body as coincident with the world, and details
how anatomical features, bodily functions, and psychological qualities are analogous
to the elements, the gods, and the absolute (Wujastyk 2009: 195-96). In yogic and
tantric literature the body is often considered as containing the entire universe within
itself (Mallinson & Singleton 2017: 171), and in the tantric Pāñcarātra tradition
associated with Vaiṣṇavism the principles (tattva) of Sāṃkhya are not only considered
the building blocks of the cosmos, but also of the individual person (Flood 2006: 103-4).
A common religious practice among Vaiṣṇavas is to map the individual constituents of
the universe on to the universal form (viśvarūpa) of Viṣṇu for purposes of visualization
and meditation as exemplified by a passage in the Bhāgavatapurāṇa (BhP 2.1.23-37)
which associates a wide range of realms, beings, karmic qualities, cosmic principles,
and other concepts with different parts of the body (Edelmann 2013: 51-52). Gavin
Flood refers to this process as the "entextualisation of the body," and identifies it as
fundamental to tantric practices across traditions (Flood 2006: 28). Read in the context
of gyān caupaṛ, the passage in the Bhāgavatapurāṇa, and many others like it, could
almost be seen as a blueprint for how to inscribe the squares of a game chart.240

The pervasive homology between body and cosmos in Indian religious traditions
means that any map of the cosmos can also be read as a map of the body. It is therefore
only a matter of perspective whether one chooses to identify the game chart with the
cosmos or the body. The reason that the chart is not explicit about this double entendre
is simply that it does not need to be, since it is already implied in the cosmological

239 Cf. fig. 53 on the previous page.

240 An 84-square Vaiṣṇava chart (Va84#2) is alone in adding a verse descriptive of the universal form of
Śiva (see Appendix E1, verse #4).

148
readings themselves.241 There is, however, one kind of body that the chart makes
explicit reference to, and that is the psychophysical or subtle (sūkṣma) body which
exists separately from, yet coincidentally with, the physical or gross (sthūla) body. The
subtle body is especially associated with yogic and tantric traditions which conceive of
it as a series of cakras (lit. wheels) situated along its central axis and connected by an
extensive network of energy channels (nāḍī). The number of cakras varies between
traditions, but six is the number most frequently encountered from the 12th century
onward (Mallinson & Singleton 2017: 175). These are the mūlādhāra located at the anus
of the physical body, the svādhiṣṭhāna located at the genitals, the maṇipūra located at
the navel, the anāhata located at the heart, the viśuddhi located at the throat, and the
ājñā located between the eyes. A seventh cakra called sahasrāra is sometimes added at
the top of the skull or somewhere above it (ibid. 177-78). The energy channels
connecting the cakras are responsible for transporting winds (prāṇa) and other
energies around the subtle body, and are also numbered differently by different
traditions. The number most frequently mentioned is 72.000 which first appears in the
Bṛhadāraṇyakopaniṣad (BU 2.1.19), and later in key tantric and yogic texts, such as the
Gorakṣaśataka242 (c. 13th cent.) and the Haṭhayogapradīpikā243 (c. 15th cent.). The
Gorakṣaśataka goes on to say that 72 of the 72.000 nāḍīs are of special importance, and
that 10 of the 72 nāḍīs are of even greater importance (GŚ 17).

The only chart which allows the representation of the subtle body to take precedence
over the representation of the cosmos is a 72-square Vaiṣṇava chart (Va72#34) not
included in the critical reading because of its idiosyncratic design and readings
resulting from a strong Haṭhayogic influence.244 The chart replaces the cosmographical
realms of the central column with the system of seven cakras outlined above, and adds
the reading kuṇḍalinīśakti (sq. 23), or the power of Kuṇḍalinī, between the first and the

241 The only direct hint toward interpreting the chart as a map of the body is provided by a verse on a
72-square Vaiṣṇava chart (Va72#34) with a strong Haṭhayogic influence which states that the
supreme being (puruṣa) is visible in the physical body (piṇḍa), and that the body and the cosmic egg
(brahmāṇḍa) should be regarded as one (see Appendix E1, verse #3, stanza no. 2).
242 Ūrdhvaṃ meḍhrād adho nābheḥ kandayoniḥ khagāṇḍavat / tatra nāḍyaḥ samutpannāḥ sahasrāṇi
dvisaptatiḥ // (GŚ 16) [above the penis and below the navel is the seat of a bulb like a bird's egg; there
the 72.000 nāḍīs originate].
243 Dvāsaptatisahasrāṇi nāḍīdvārāṇi pañjare / (HYP 4.18ab) [there are 72.000 nāḍī passages in the cage
(i.e. the subtle body conceived of as a grid of squares not unlike a gyān caupaṛ chart)].
244 Cf. Appendix C1 for a full transcription of the chart.

149
second cakra.245 Kuṇḍalinī is often visualized as a coiled serpent lying at or near the
first cakra of the series, guarding the entrance to the central energy channel known as
Suṣumnā. When the serpent is awakened through various means of tantric and yogic
practices, it rises up through the cakras along the central axis of the subtle body until it
reaches the topmost cakra, granting the practitioner either immortality or liberation
(Mallinson & Singleton 2017: 178). This process is depicted on the chart in question by a
large black snake twisting and turning up through the central column of squares. The
other snakes on the chart, however, are not depicted as snakes, and neither are the
ladders. Instead they are drawn as simple lines curving between squares, and not
always taking the shortest route. This fits well with a verse on the chart which
describes it as containing nine energy channels (nāḍī) and 72 squares (koṭhā),246
thereby indicating that the lines, which would normally be identified as snakes, should
indeed be identified as energy channels in the subtle body. Furthermore, it is possible
that koṭhā (Skt. koṣṭha) should not merely be understood in the sense of squares, but
also in the sense of inner compartments or cavities. In the medical literature the term
refers to the bodily cavities in which the viscera lie, 247 and in the tantric and yogic
literature it refers to the cavities in or between the energy channels where the celestial
bodies are said to reside.248 On analogy with the energy channels, the cavities of the
subtle body are sometimes said to number 72.000, and sometimes only 72, and it is
therefore tempting to understand koṭhā in the double sense of squares and cavities.
This would not only provide a concrete basis for the number of squares in the grid, it

245 The cosmographical realms are still present on the chart, albeit in less prominent positions. The
seven netherworlds (pātāla) run along the bottom row of the chart (sqs. 1-7), followed by the realm
of death (mṛtyulok, sq. 8) and the earth (pṛthvī, sq. 9). The six remaining upper realms from the
atmosphere (bhuvarlok, sq. 62) to the realm of truth, here called the realm of Brahmā (brahmlok, sq.
67), are found in the top right of the two highest rows.
246 See Appendix E1, verse #3, stanza no. 3.
247 See, for example, the Carakasaṃhitā which gives a list of fifteen cavities containing various organs,
such as heart, liver, lungs, and stomach (CS 4.7.10).
248 See, for example, the Siddhasiddhāntapaddhati attributed to Gorakhnāth (c. 11-12th cent.), the
alleged founder of the Nāth tradition and original propagator of Haṭhayoga, but dated by Mallinson
to sometime around the 18th century (Mallinson 2011: 14): saptaviṃśatir nakṣatrāṇi dvādaśa rāśayo
nava grahā nava lakṣa tārāḥ pañcadaśa tithaya ete 'ntarvalaye dvisaptatisahasrakoṣṭheṣu vasanti
(...) // (SSP 3.13) [the twenty-seven asterisms, the twelve signs of the zodiac, the nine planets, the nine
hundred thousand stars, and the fifteen lunar days reside in the seventy-two thousand cavities in the
inner enclosure (of the energy channels)].

150
would also add an almost vertiginous sense of depth as one contemplates the cosmic,
gross, and subtle bodies in just a single image.

The chart discussed here only differs from the critically read chart in terms of
emphasis, and not in terms of representation. This is evidenced most clearly by a
reference to the nine energy channels and 72 squares or cavities on two of the charts
included in the critical reading (Va72#5,28). 249 Though both charts include the standard
number of ten snakes, one of them (Va72#28) explicitly refers to the snakes as energy
channels when listing their positions on the chart. 250 The only charts that include a
standard of nine snakes are the 72-square Vaiṣṇava charts from Nepal and the 84-
square Jaina charts. The Nepalese charts, however, also include six positive snakes
substituting for ladders, and the Jaina charts, while also referring to the snakes as
energy channels, do not otherwise associate themselves with representations of the
subtle body. It is therefore possible that the inscriptions on the two charts refer back to
an earlier phase in the development of the charts when they were more closely
associated with yogic and tantric concepts, or that they represent a later attempt at
adding a further representational layer to the charts. On the other hand, it is also
possible that the snakes were indeed intended as representations of the energy
channels, and that instead of only including the nine channels which flow through the
nine bodily apertures (eyes, ears, nostrils, mouth, anus, and urethra), the tenth channel
Suṣumnā, which flows through the aperture at the top of the skull (brahmarandhra),
was also added. Against this, and against the identification of snakes with energy
channels in general, is the fact that they always lead down, and never sideways or
upward. The Nepalese charts overcome this problem by distinguishing between
positive and negative snakes, and one might be forgiven for speculating whether this
was not the original order of things, only broken up when the game achieved wider
popularity and players began introducing ladders to avoid confusing positive and

249 Two verses attributed to Gorakhnāth mention the nine energy channels and seventy-two inner
cavities of the subtle body as a standard descriptive pair (i.e. nau nāṭikā koṭaṛī bahatari in GPS 5, and
nava nāḍī bahotari koṭhā in GB 133). Though the earliest references to Gorakhnāth date from the
13th century, the vernacular verses attributed to him, often showing influence of especially nirguṇa
bhakti, are believed to be several centuries later (Mallinson 2011: 5).
250 See the full passage on the chart in Appendix C1.

151
negative snakes. While this cannot be ruled out, existing evidence points to an origin in
western India of a game with both snakes and ladders.251

While the question of the exact representational value of the snakes cannot easily be
settled, the legends are less ambiguous in their reference to the energy channels of the
subtle body.252 The three sacred rivers Gaṅgā (sq. 49), Yamunā (sq. 48), and Sarasvatī
(sq. 47) appear in the same row as the realm of austerity (taplok, sq. 50) which would
not make much sense if they were to be understood literally as topographical features.
The rivers are said to join together at Prayag in modern day Allahabad (recently
renamed Prayagraj), though Sarasvatī is not visible in the landscape but believed to
flow underground. The supposed origin of Gaṅgā in the heavens might explain its high
position on the chart, but the context of the other rivers would seem to go against such
a suggestion. A more likely explanation is therefore that the rivers represent the three
main energy channels of the subtle body, known as Iḍā, Piṅgalā, and Suṣumṇā, with
which they are associated in tantric and yogic literature. Sarasvatī represents the
central energy channel Suṣumṇā, while Gaṅgā represents the energy channel Iḍā in
the left side of the body, and Yamunā represents the energy channel Piṅgalā in the
right side of the body (Vaudeville 1974: 130-1). 253 The vital bodily wind (prāṇa)
normally resides in Iḍā and Piṅgalā, but through yogic exercises it may be forced out of
those channels and into Suṣumnā, thereby causing Kuṇḍalinī to awake and begin its
ascent up through the cakras of the body (Mallinson & Singleton 2017: 178). 254 The vital
bodily wind (prāṇ, sq. 38) and the related disposing (apān, sq. 39) and circulating (vyān,
sq. 40) bodily winds are represented across from the three energy channels on the

251 Given the yogic context of the charts, it might be tempting to see a correspondence between the ten
snakes and ladders of the critically read chart and the ten dos (niyama) and don'ts (yama) of yogic
practice (e.g. HYP 1.17-18), but such an interpretation is not corroborated by the legends associated
with the snakes and ladders.
252 Additionally, the grid lines of the charts may also be identified as energy channels. This, at least, is
true for the inscribed vāstupuruṣamaṇḍala diagrams used as architectural floor-plans for
constructing temples and houses (Kramrisch 1980: I, 71).
253 The relative positions of the legends on the critically read chart do not fit the corresponding
positions of the energy channels in the subtle body. The chart (Va72#28) mentioned above, which
explicitly identifies the snakes with energy channels, seems to have noticed this and consequently
switched around the legends, so Sarasvatī now appears in the center (sq. 48), with Gaṅgā to the left
(sq. 47) and Yamunā to the right (sq. 49) when seen from the perspective of the chart itself.
254 A similar practice of ascent through Suṣumnā is described in BhP 2.2.24.

152
opposite side of the central column one row further down. 255 The three bodily winds
were already identified with inhalation (prāṇa), exhalation (apāna), and retention
(vyāna) of breath in the Atharvaveda (Zysk 2007: S107), and they should probably be
understood in the same sense here, albeit in a more strictly yogic context. Another
reading related to the subtle body is agni (sq. 42) whose central location on the chart
between the three energy channels and the three bodily winds indicates that it
represents the digestive fire said to reside in the center of the body.256

The cakras of the subtle body are not mentioned in the legends or the additional text
on any chart other than the one mentioned above (Va72#34). 257 However, as Gavin
Flood points out, the cakras only represent one of several systems of mapping concepts
on to the body (Flood 2006: 157). Other systems refer to the central axis of the body as
the merudaṇḍa, or the axis mundi in the form of the mythological Mount Meru, and
position the cosmographical realms (loka) along it.258 The seven upper realms in the
central column of the chart could therefore easily substitute for the seven cakras, with
the eighth realm of Vaikuṇṭha (sq. 68) substituting for liberation through the raising of
Kuṇḍalinī. This is indeed how the modern commentator Johari interprets the realms in
the central column (Johari 2007: 15). He even goes on to superimpose an image of a
cross-legged yogi extending over the first seven squares of the central column of the
chart (Va72#26a), leaving the eighth square with nothing but an orb of pulsating light
above the yogi's head. A later redesign of Johari's chart, made with tesserae on the
surface of a coffee table (Va72#26b), omits the legends in the central column, and

255 At least one chart (Va72#3) seems to have been confused about the fact that five bodily winds are
usually enumerated in Sāṃkhya (Larson & Bhattacharya 1987: 54-55). It remedies the situation by
emending dān (charity, sq. 20) to udān (rising bodily wind), and understanding samān (equal
disposition, sq. 21) in the sense of the identically named digestive bodily wind. One other chart
(Va72#17) follows the same approach, but leaves out the disposing (apān, sq. 39) and circulating
(vyān, sq. 40) winds above. Both charts are affiliated with the Nepalese charts, but none of those
adopt the reading udān, indicating that it originated with a minority of charts in western India.
256 See, for example, Vasiṣṭhasaṃhitā 2.8 as quoted in Mallinson & Singleton 2017 (p. 193). It should also
be noted that Agni is the deity associated with the central energy channel Suṣumnā (see, for example,
GŚ 23).
257 A possible exception is an early 20th-century chart from Gujarat (Va72#1) which reads sunlok (realm
of emptiness) instead of satyalok (realm of truth, sq. 59) in the seventh row of the central column.
Vernacular sun or suni derives from Sanskrit śūnya (empty), and is used by bhakti poets as a
synonym for the highest cakra in Haṭhayoga (DoB, pp. 2073-4).
258 See, for example, Amṛtasiddhi 1.15-19, Siddhasiddhāntapaddhati 3.1-5, and Nādabindūpaniṣad 1.3 as
quoted in Mallinson & Singleton 2017 (pp. 199-200, 271).

153
replaces them with variously petaled lotuses and mystic syllables associated with the
different cakras. The chart also adds two intertwined snakes reaching from the first to
the sixth cakra, probably representing the double-mouthed Kuṇḍalinī sometimes
referred to as Śaṅkhinī (White 1996: 254-55). Continuing in the same vein, one might
also suggest that the serpentine movement of the pawns along the game track
represents the gradual awakening and uncoiling of Kuṇḍalinī as it rises up through the
cakras of the central column.259 This is, of course, pure speculation, but nonetheless a
good example of how a yogically inclined mind might approach the chart, and bend it
to its own will and interpretation.

259 The coils of Kuṇḍalinī are counted differently in different texts, but one of the more frequent counts
is eight, which might then be said to correspond to the eight rows of the chart. See, for example,
Gorakṣaśataka 30, Pādmasaṃhitā 2.16, and Yogabīja 93 as quoted in Mallinson & Singleton 2017 (pp.
213, 215).

154
 top sq. 6
mukti kṣetra sphāṭikmay, 4.500.000
yojan pramāṇ, śrī arhatpadebhyo
namaḥ

top sq. 5
sarvārth-
siddhi
vimān

top sq. 2 top sq. 3 top sq. 4

vaijayant aparājit jayant
anuttar anuttar anuttar
vimān vimān vimān

top sq. 1
vijay
anuttar
vimān

76 77 78 79 80 81 82 83 84
mohnī karm bhadra subhadra sujāt sumanas & sudarśan amogh suprabandh yaśodhar
graiveyak graiveyak graiveyak priyadarśan graiveyak graiveyak graiveyak graiveyak
graiveyak

75 74 73 72 71 70 69 68 67
rājas acyut āraṇ ānat & devlok kṣe- sahasrār śukra abhīṣṭ tāmas
ahaṃkār devlok devlok prāṇat tra, bhavyā- devlok devlok siddhi ahaṃkār
devlok bhavya jīv sāgar

56 57 58 59 60 61 62 63 64 65 66
vaimānik, saudharm avrat doṣ īśān asaṃyamī devlok kṣe- sanatkumār māhendra brahm & vivek sāmānik,
vyantar, devlok kṣetra devlok doṣ tra, 400.000 devlok devlok lāntak bhavanpati,
5 jyotiṣī yoni devlok antarikṣ ka-
pāṭ jyotiṣī
55 54 53 52 51 50 49 48 47
12 bhāvnā, 5 dān 4 śikṣāvrat, pardroh manuṣya 5 mahāvrat, 3 guṇvrat, 7 vyasan 12 tap,
10 vinay 9 brahm- kṣetra, śubh kriyā, 5 dhyān saṃyam,
carya 1.400.000 kevaljñān, samyaktva
yoni, guṇ- śukla leśyā
sthān 14
38 39 40 41 42 43 44 45 46
8 jin pūjā, nīl leśyā kāpot leśyā teju leśyā tiryañc kṣe- śubh tiryañc dharm kṛṣṇa leśyā padma leśyā
jin bhakti tra, 400.000 bhavya dhyān
yoni, guṇ- pariṇām
sthān 13
37 36 35 34 33 32 31 30 29
āsrav 5 200.000 yoni 200.000 yoni 200.000 yoni vikalendrī śubhāśubh śubhāśubh śubhāśubh dharm
rodhan, caurindrī teïndrī beïndrī kṣetra, guṇ- sattā udīrṇā uday ārādhan
saṃvar sthān 10-11- icchā
12
20 21 22 23 24 25 26 27 28
upaśam yog 700.000 itar 700.000 yoni 700.000 yoni 5 sthāvar 700.000 yoni 700.000 yoni 1.000.000 śubh karm
nigod pṛthvīkāy apkāy kṣetra, guṇ- teükāy vāükāy vanaspati-
sthān 7-8-9 kāy

19 18 17 16 15 14 13 12 11
nāg- & stanit- & 5 mithyātva udadhi- & 10 nikāy agni- & parjīv suvarṇ- & vyavahār
vāyukumār diśākumār dvīpkumār kṣetra, guṇ- vidyut- spardh asurkumār rāśi
sthān 4-5-6 kumār

2 3 4 5 6 7 8 9 10
kām, krodh ajñān lobh ajñān moh 15 paramā- jñān, miśra, machar ahaṃkār ajñān māyā
400.000 yoni dhāmī, guṇ- śubh pari-
nārkī sthān 1-2-3 ṇām

1
700.000 yoni
nitya nigod

Fig. 54: Diagrammatic representation of critically read 84-square Jaina chart (type a1).

155
 top sq. 6
crystalline plane of liberation
top sq. 5
Sarvārtha-
siddhi
heaven
top sq. 2 top sq. 3 top sq. 4
Vaijayanta Aparājita Jayanta
heaven heaven heaven
top sq. 1
Vijaya
heaven
76 77 78 79 80 81 82 83 84
deluding Bhadra neck Subhadra Sujāta neck Sumanas & Sudarśana Amogha Supra- Yaśodhara
karma heaven neck heaven heaven Priyadar- neck heaven neck heaven bandha neck heaven
śana neck neck heaven
heavens
75 74 73 72 71 70 69 68 67
egoity Acyuta Āraṇa Ānata & heavens, Sahasrāra Śukra desired egoity
dominated heaven heaven Prāṇata capable and heaven heaven attainments dominated
by activity heavens incapable for one by inertia
souls sāgara year
56 57 58 59 60 61 62 63 64 65 66
vaimānika, Saudharma fault of not Aiśāna fault of not heavens, Sānat- Māhendra Brahmaloka discrimina- sāmānika,
vyantara, heaven observing heaven practicing 400.000 kumāra heaven & Lāntaka ting judg- bhavanapati,
five jyotiṣī vows restraint (gods), cap- heaven heavens ment jyotiṣī gods,
gods able and in- roof of inter-
capable mediate
souls space
55 54 53 52 51 50 49 48 47
twelve con- five charities four vows of injuring 1.400.000 5 gr. vows, five medita- seven vices twelve
templations, spiritual another humans, auspicious tions, three austerities,
ten proper discipline, capable actions, subsidiary purified re-
conducts nine chasti- mendicant white kar- vows straint and
ties souls, purifi- mic stain, right view
cation st. 14 omniscience
38 39 40 41 42 43 44 45 46
eightfold blue karmic gray karmic red karmic 400.000 auspicious virtuous black pink karmic
jina wor- stain stain stain plants & ani- transforma- meditation karmic stain stain
ship, jina mals, purifi- tion of cap-
devotion cation stage able plant &
13 animal souls
37 36 35 34 33 32 31 30 29
five hin- 200.000 200.000 200.000 beings with existence of stirring up arising of desire for
drances of four-sensed three-sensed two-sensed deficient auspicious of auspic- auspicious loyalty
karmic in- beings beings beings senses, puri- and in- ious and in- and in- towards
flux, stop- fication sta- auspicious auspicious auspicious religion
page ges 10-12 karma karma karma
20 21 22 23 24 25 26 27 28
activity of 700.000 non- 700.000 700.000 five station- 700.000 fire- 700.000 1.000.000 auspicious
suppression permanent earth-bodies water- ary beings, bodies wind-bodies individual karma
basic life- bodies purification plant-bodies
forms stages 7-9
19 18 17 16 15 14 13 12 11
vāyu- & diśā- & five false dvīpa- & group of ten vidyut- & envious of asura- & specifiable
nāgakumāra stanita- views udadhi- gods, purifi- agnikumāra another soul suvarṇa- souls
gods kumāra gods kumāra gods cation stages gods kumāra gods
4-6
2 3 4 5 6 7 8 9 10
desire, anger greed delusion fifteen para- knowledge, jealousy pride deceit
400.000 resulting resulting mādharmika mixed stage, resulting
forms of from from gods, purifi- auspicious from
hell-beings ignorance ignorance cation stages transforma- ignorance
1-3 tion
1
700.000 infi-
nitely exist-
ing perma-
nent basic
lifeforms

Fig. 55: Translation of critically read 84-square Jaina chart (type a1). Cf. fig. 54 above.

156
84-Square Jaina Charts (Type a1)260
The critical reading of the 84-square Jaina type a1 charts reveals a high level of
consistency in grid design, legends, and placement of snakes and ladders similar to
that of the critically read Vaiṣṇava charts. The main difference lies in the approach
taken to the legends. While the legends of the Vaiṣṇava charts usually represent a
single concept expressed by a single term, the legends of the Jaina charts often invoke
multiple concepts, and often use multiple words to express them. This makes the Jaina
charts more detailed and precise, but at the same time results in more textual
variations as readings are lengthened or shortened, or even influenced by slightly
different terminologies. The biggest challenge in deciding upon a single critical reading
for each square has therefore been the decision of which terms to include, and which
qualifiers to include for them. A case in point is the enumeration of the four conduct-
deluding passions in the bottom row (sqs. 3,4,9,10). Though the passion of pride is
traditionally referred to as māna, a majority of charts refer to it as ahaṃkāra, and
while all passions are qualified as anantānubandhī (resulting in endless worldly
existence) by one or more charts, only greed and pride are qualified as such by a
majority of the charts. For the sake of simplicity, I have only kept the key concepts in
the diagrammatic representation of the critical reading (fig. 54), and left it for the
interested reader to explore the full descriptions further in Appendix D2. Details and
variations relevant to the analysis have, of course, been commented upon in the
relevant sections below.

The critically read chart paints a general picture of Jaina doctrine without any strong
indications of sectarian bias. Anil Kumar Jain - who is the only one I am aware of to
have commented upon this aspect of the charts - considers them to be an exclusively
Śvetāmbara phenomenon (1997: 214). His assertion would seem to be supported by the
enumeration of the kalpa heavens in rows seven and eight, which follows that
identified as Śvetāmbara by Kirfel (1920: 291-92), and by the enumeration of the
graiveyaka heavens in row nine, which neither follows that identified as Śvetāmbara
or Digambara by Kirfel (ibid. 294), but corresponds with that of a finely illustrated

260 Cf. figs. 54-55 on the previous pages.

157
Śvetāmbara manuscript from 18th-century Rajasthan (Caillat & Kumar 2004: 89). 261
However, the distinction made by the chart between souls inhabiting basic lifeforms
(nigoda) permanently (nitya, sq. 1) and impermanently (itara, lit. other, sq. 2) belongs
to the Digambara tradition (Jaini 1980: 225). The equivalent Śvetāmbara terms are non-
specifiable (avyāvahārika) and specifiable (vyāvahārika), and - to complicate matters
even further - the latter is also found on the chart in the reading vyavahār rāśi (group
of specifiable souls, sq. 11). The reference to the plane of the five forms of stationary
beings (pāñc sthāvar kṣetra, sq. 24) likewise indicates Digambara influence, as the
Digambaras are alone in adding fire- and wind-bodies to the three earth-, water-, and
plant-bodies considered stationary by the Śvetāmbaras (Schubring 1935: 143, fn. 5). 262
Perhaps the most likely explanation is that the charts originated within one of the
communities, and then came to be accepted by the other, resulting in a mixed
terminology more or less applicable to both communities. 263 As discussed in the
comparative analysis at the end of the chapter, the 84-square Jaina type b charts,
which are not included in the critical reading, appear to be more closely aligned with
Śvetāmbara than Digambara tradition.

The majority of the concepts found on the critically read chart can be traced back to
the foundational Tattvārthādhigamasūtra accepted as authoritative by Śvetāmbara and
Digambara Jainas alike with only minor variations. Some concepts are also identified
with Jaina tantric and yogic traditions, and the verses which often appear outside the
main playing grid indicate similar influences. The most valuable contribution of the
verses is the clues they provide to the interpretation of the chart. Though they do not
always agree on how the chart should be interpreted, they demonstrate the manifold
ways in which the chart was approached, allowing us to open up a wider space of
interpretation than would otherwise have been possible. An unusually clear verse
found on two charts (Ja84#26,36) may serve as an example. The verse is written in

261 The only substantial variation between the chart and the manuscript is that they disagree on the
sequence of the third and fourth graiveyaka heaven.
262 It should be emphasized that the readings discussed here are the critical readings, and that several
variant readings are also found (see Appendix D2). The variant readings, however, do not follow a
clear pattern across the charts allowing us to distinguish between type a1 charts with and without
Digambara readings.
263 Today, modern charts can be found both within Śvetāmbara and Digambara communities.

158
Rajasthani Braj Bhāṣā, and as most other verses on the charts, it includes both
variations and corruptions. A tentative reconstruction and translation read as follows:

tagyau nava kaṣāya ke nava sarpa chava hiṃsyā tyāga kī cha ṛāṁṛī grahe /
nava tattva ke nava pagatyāṁ laho nigoda meṁ sāra raṣake nikase /
eka setī leke chava tāī cāle aṇa vidha jñāna pacīsī ṣelīyai /
aṅka pramāṇe anukrame koṭhā chai nigoda kā golāṁ ākāra jīva chai //

He who knows the true nature of reality (Skt. tattvajña) understands the nine
snakes as the nine passions and the six ladders as the six abandonments of
injury; he attains the nine footprints as the nine principles of reality. After having
placed your pawn among the basic lifeforms (i.e. nigod, sq. 1), you should move
out (of that square). You should move between one and six (squares). In this
manner you should play jñān paccīsī. The squares appear in sequence according
to the numbers (inscribed in them). The souls are in the form of clusters of basic
lifeforms.264

The implications of this and other verses are explored in the relevant sections of the
analysis below.

264 Also see Appendix E2, verse #7.

159
 top sq. 6
mukti kṣetra sphāṭikmay, 4.500.000
yojan pramāṇ, śrī arhatpadebhyo
namaḥ

top sq. 5
sarvārth-
siddhi
vimān

top sq. 2 top sq. 3 top sq. 4

vaijayant aparājit jayant
anuttar anuttar anuttar
vimān vimān vimān

top sq. 1
vijay
anuttar
vimān

76 77 78 79 80 81 82 83 84
mohnī karm bhadra subhadra sujāt sumanas & sudarśan amogh suprabandh yaśodhar
graiveyak graiveyak graiveyak priyadarśan graiveyak graiveyak graiveyak graiveyak
graiveyak

75 74 73 72 71 70 69 68 67
rājas acyut āraṇ ānat & devlok kṣe- sahasrār śukra abhīṣṭ tāmas
ahaṃkār devlok devlok prāṇat tra, bhavyā- devlok devlok siddhi ahaṃkār
devlok bhavya jīv sāgar

56 57 58 59 60 61 62 63 64 65 66
vaimānik, saudharm avrat doṣ īśān asaṃyamī devlok kṣe- sanatkumār māhendra brahm & vivek sāmānik,
vyantar, devlok kṣetra devlok doṣ tra, 400.000 devlok devlok lāntak bhavanpati,
5 jyotiṣī yoni devlok antarikṣ ka-
pāṭ jyotiṣī
55 54 53 52 51 50 49 48 47
12 bhāvnā, 5 dān 4 śikṣāvrat, pardroh manuṣya 5 mahāvrat, 3 guṇvrat, 7 vyasan 12 tap,
10 vinay 9 brahm- kṣetra, śubh kriyā, 5 dhyān saṃyam,
carya 1.400.000 kevaljñān, samyaktva
yoni, guṇ- śukla leśyā
sthān 14
38 39 40 41 42 43 44 45 46
8 jin pūjā, nīl leśyā kāpot leśyā teju leśyā tiryañc kṣe- śubh tiryañc dharm kṛṣṇa leśyā padma leśyā
jin bhakti tra, 400.000 bhavya dhyān
yoni, guṇ- pariṇām
sthān 13
37 36 35 34 33 32 31 30 29
āsrav 5 200.000 yoni 200.000 yoni 200.000 yoni vikalendrī śubhāśubh śubhāśubh śubhāśubh dharm
rodhan, caurindrī teïndrī beïndrī kṣetra, guṇ- sattā udīrṇā uday ārādhan
saṃvar sthān 10-11- icchā
12
20 21 22 23 24 25 26 27 28
upaśam yog 700.000 itar 700.000 yoni 700.000 yoni 5 sthāvar 700.000 yoni 700.000 yoni 1.000.000 śubh karm
nigod pṛthvīkāy apkāy kṣetra, guṇ- teükāy vāükāy vanaspati-
sthān 7-8-9 kāy

19 18 17 16 15 14 13 12 11
nāg- & stanit- & 5 mithyātva udadhi- & 10 nikāy agni- & parjīv suvarṇ- & vyavahār
vāyukumār diśākumār dvīpkumār kṣetra, guṇ- vidyut- spardh asurkumār rāśi
sthān 4-5-6 kumār

2 3 4 5 6 7 8 9 10
kām, krodh ajñān lobh ajñān moh 15 paramā- jñān, miśra, machar ahaṃkār ajñān māyā
400.000 yoni dhāmī, guṇ- śubh pari-
nārkī sthān 1-2-3 ṇām

1
700.000 yoni
nitya nigod

Fig. 56: Reference chart for Realms and Beings (chapter four) with relevant squares highlighted in yellow.

160
Cosmos
Realms and Beings265
The structure of the Jaina chart leaves little doubt that it was designed as a
representation of the universe. While the Vaiṣṇava chart can only be identified as such
by reading the legends, the Jaina chart includes additional squares at the top, sides,
and bottom of main grid which help visualize the formal structure of the inhabited
part (lokākāśa) of the ultimately uncreated and infinite universe (alokākāśa). The
inhabited part is traditionally conceived of as a stylized human being standing with
arms akimbo and legs apart. The upper world (ūrdhvaloka), corresponding to the head,
arms, and torso, is shaped like a traditional Indian drum, wide in the middle and

Fig. 57: The inhabited universe (lokākāśa) in Fig. 58: The inhabited universe in the form of the
Jainism. Rajasthan, 19th century. cosmic man (lokapuruṣa). Rajasthan, 19th cent.

265 Cf. fig. 56 on the previous page.

161
narrow at the ends; the middle world (madhyaloka), corresponding to the waist, is
shaped like a horizontally placed disc, though it is usually depicted vertically as if seen
from above; and the lower world (adholoka), corresponding to the legs and feet, is
shaped like the upper world, except that it has been cut in half, and thus left with a
narrow top and a wide base (fig. 57). The stylized form of the universe later evolved
into a fully anthropomorphic figure which became known as the cosmic man
(lokapuruṣa) (fig. 58). Depictions of the cosmic man can be found in Jaina art from the
16th century onward (Dundas 2002: 90), and appear to have directly influenced the
format of the Jaina chart. The main grid of the chart can be seen as an abstract
representation of the stylized body, with the additional top squares indicating the
head, the side squares the arms, and the bottom square the feet. As described in
chapter three, several charts explicitly add figurative head, arms, and feet to the main
grid, leaving little doubt as to how the design should be interpreted. On a more subtle
level, the lines of the grid can be said to represent the Jaina view that the universe is
made up of rows of atomic units (pradeśa) extending upward, downward, and
horizontally like threads in a piece of cloth
(Balcerowicz 2011: 140-41).

Contrary to the Vaiṣṇava chart, which only

loosely associates the rows with the realms
inscribed in the central column squares, the
Jaina chart explicitly associates the rows with
different categories of realms or beings, and
includes several readings related to those
categories in the respective rows. It labels the
central column squares as the planes (kṣetra)
of the particular realms or beings with which
the rows are associated, and sometimes
include additional squares at the far end of
the rows identifying them as karmic gateways
(dvāra) to those same realms and beings (fig.
Fig. 59: 84-square Jaina chart (Ja84#26),
266
59). The categories of realms and beings detail. Rajasthan, 19th century.

266 The additional squares at the end of the rows, referred to as "row titles" in the critical reading (see
Appendix D2), are not included on the diagrammatic representation of the critical reading since they

162
make it clear that the rows of the chart can be further identified with the three worlds
of the universe. Rows one and two represent the lower world, rows three through six
represent the middle world, and rows seven through nine represent the upper world.
The five additional squares arranged in a cross-like formation above the grid represent
the anuttara heavens which also belong to the upper world, while the square at the
very top represents the īṣatprāgbhāra, or the crescent-shaped place of perfection,
where the souls (jīva) reside after attaining liberation from the cycle of rebirth
(saṃsāra). The two side squares are inscribed with realms and beings from all three
worlds of the universe, which might be explained by the association of the side squares
with the arms of the cosmic man which extend all the way from the upper to the lower
worlds. This, however, neither conforms to the conventional depiction of the cosmic
man as standing with arms akimbo, nor with the traditional view that only single-
sensed beings exist in the triangular spaces corresponding to the arms (Jaini 1979:
130).267 The identification of the bottom square with the category of permanent basic
lifeforms (nitya nigod, sq. 1) also presents certain difficulties, albeit of a more
philosophical nature, since the permanent basic life forms are part of the collective
lifeforms in the universe, while at the same time embodying souls which have not yet
entered into the cycle of rebirth. Padmanabh S. Jaini has suggested that the idea of
souls existing outside the cycle of rebirth, whether in a state of pre-cyclical
confinement or post-cyclical liberation, may indicate remnants of a more linear system
of evolution from before the adoption of the cyclical system (Jaini 1980: 224-29).
Whether this is true or not, the location of the permanent basic lifeforms below the
grid and the liberated souls above the stylized head of the cosmic man do indeed seem
to indicate an entrance into and an exit from the cycle of rebirth.

Beginning with the lower world, the first row from the bottom is associated with hell-
beings (nārkī) which constitute the first of the four categories of rebirth (gati).268 Hell-

are only found on a minority of the charts. The section on Jaina Tantra and Yoga below discusses the
concept of karmic gateways further.
267 The inherent tension between the depiction of the cosmic man with arms akimbo and legs apart and
the depiction of him in the kāyotsarga pose of meditation with arms hanging down and legs straight
is further explored in the section on Jaina Tantra and Yoga below.
268 The term nārkī never occurs in the central column square of the row, and only in an additional
square at the end of the row on a handful of charts. However, the association between the row and
the rebirth category of hell-beings is implied by the reading nārkī in sq. 2 at the beginning of the row.

163
beings inhabit the seven realms of the lower world, and are said to be of 400.000
different kinds (cār lākh yoni nārkī, sq. 2). The square in the central column of the first
row refers to the fifteen kinds of paramādharmika, or extremely unjust, gods (panar
paramādhāmī, sq. 6) inhabiting the three uppermost realms of the lower world (Caillat
& Kumar 2004: 68), while the remaining squares of the row are mostly devoted to
negative types of karma increasing the chance of rebirth as a hell-being. The second
row is associated with the group of ten (das nikāy, sq. 15) in the central column square
and with the palace lords (bhavanpati, row title #2) in the additional square at the end
of the row. Both terms refer to the same group of ten different kinds of gods residing in
luxurious palaces in the jewel-colored hell (ratnaprabhā) in the uppermost realm of
the lower world (Kirfel 1920: 262). The row is mainly devoted to enumerating the ten
kinds of gods (sqs. 12,14,16,18,19), but also includes the group of specifiable souls
(vyavahār rāśi, sq. 11), contrasting with the group of unspecifiable souls (avyāvahārika)
identified on the chart as souls permanently inhabiting basic lifeforms (nitya nigod, sq.
1). Though we might have expected the group of specifiable souls in the first row of the
grid directly above the souls permanently inhabiting basic lifeforms, specifiable souls
exist throughout the inhabited universe and might therefore have been mentioned
anywhere in the grid.

Moving up to the middle world, the third row is associated with the five kinds of
stationary beings (pāñc sthāvar, sq. 24) which refer to single-sensed beings incapable
of moving at will. They include collective (sādhāraṇa) plant-bodies, comprising the
permanent basic lifeforms (nitya nigod, sq. 1) in the bottom square, and the non-
permanent basic lifeforms (itar nigod, sq. 21), the earth-bodies (pṛthvīkāy, sq. 22), the
water-bodies (apkāy, sq. 23), the fire-bodies (teükāy, sq. 25), the air-bodies (vāükāy, sq.
26), and the individual plant-bodies (pratyek vanaspatikāy, sq. 27) in the present row.
Except for the individual plant bodies, which are confined to the middle world,
stationary beings can be found throughout the inhabited universe (Jaini 1979: 109-10).
The fourth row is associated with beings with deficient sense organs (vikalendrī, sq. 33)
which include all beings with between one and four sense organs. Beings with two,
three, and four sense organs comprise various forms of animals confined to the middle
world, and are mentioned one after the other in sqs. 34-36. The fifth row is associated
with the second rebirth category of plants and animals (tiryañc, sq. 42) which includes

164
all beings other than hell-beings, gods, and humans. Except for basic lifeforms and
elemental bodies, which exist throughout the inhabited universe, the rebirth category
only includes plant and animal beings in the middle world. 269 The row does not offer
any examples of such beings, but contains a reference to the auspicious transformation
of plants and animals capable of liberation (śubh tiryañc bhavya pariṇām, sq. 43).270 The
sixth row is associated with human beings (manuṣya, sq. 51) which constitute the third
rebirth category. Human beings are exclusively found on two-and-a-half out of the
altogether forty-five ring-shaped continents comprising the middle world, and only
souls embodied as human beings within two-and-a-half regions of the central
continent Jambūdvīpa are capable of attaining liberation upon the death of their body
(Jaini 1979: 29). As was the case with the previous row, the remaining squares do not
exemplify the rebirth category further, but should still be considered related to it as
they list various Jaina vows and practices which only human beings are capable of
undertaking (sqs. 47,49,50,53,54,55).

The three rows representative of the upper

world are associated with the vaimānika
gods who derive their name from the flying
palaces (vimāna) they live in (fig. 60). Rows
seven and eight enumerate the twelve kalpa
heavens of traditional Śvetāmbara
cosmography referred to as devalokas, or
divine realms, on the chart. The two side
squares (sqs. 56,66) at either end of the
seventh row refer not only to the vaimānika
Fig. 60: 84-square Jaina chart (Ja84#15), detail.
gods, but also to the jyotiṣka (here: jyotiṣī), Western India, 19th century.
or stellar, gods which inhabit the upper realms of the middle world, and the
bhavanapati gods which inhabit the upper realms of the lower world. The ninth row is
associated with the nine graiveyaka, or neck, heavens located around the neck of the
cosmic man. Above the graiveyaka heavens, and indeed above the main grid, we find

269 Plant and animal beings in the upper and lower worlds are considered to be gods and hell-beings,
respectively (Jaini 1979: 109, fn. 9).
270 Jaina cosmology distinguishes between souls which are capable (bhavya) and incapable (abhavya) of
attaining liberation (Jaini 1979: 139-41).

165
the five anuttara, or highest, heavens located in the face of the cosmic man (top sqs. 1-
5). Although the anuttara heavens also belong to the cycle of rebirth, it seems obvious
that the 84 squares comprising the main grid, including the bottom and side squares,
symbolically represent the 84 lākh, or 8.4 million, potential birth-situations (yoni) in
the inhabited universe (Babb 2016: 123).271 A possible explanation for the location of
the anuttara heavens above the main grid is that those born into them are assured
liberation after a limited number of rebirths, and thus for all practical purposes on
their way out of the cycle (Tatia 1994: 110). Another and perhaps more likely
explanation is that the cross-like organization of the heavens are meant as an abstract
representation of the head of the cosmic man, further indicated by the addition of a
sixth square representing the crescent-shaped īṣatprāgbhāra, commonly referred to by
the charts as the plane of liberation (mukti kṣetra, top sq. 6), located at the top of his
head. The importance of the 8.400.000 birth-situations for the overall symbolism of the
chart can be seen from their enumeration across several squares:

700.000 permanent basic lifeforms (sāt lākh nitya nigod, sq. 1)

400.000 hell-beings (cār lākh nārki, sq. 2)

700.000 non-permanent basic life-forms (sāt lākh itar nigod, sq. 21)

700.000 earth-bodies (sāt lākh pṛthvīkāy, sq. 22)

700.000 water-bodies (sāt lākh apkāy, sq. 23)

700.000 fire-bodies (sāt lākh teükāy, sq. 25)

700.000 wind-bodies (sāt lākh vāükāy, sq. 26)

1.000.000 individual plant-bodies (das lākh pratyek vanaspatikāy, sq. 27)

200.000 two-sensed beings (be lākh beïndrī, sq. 34)

200.000 three-sensed beings (be lākh teïndrī, sq. 35)

200.000 four-sensed beings (be lākh caurindrī, sq. 36)

400.000 plants and animals (cār lākh tiryañc, sq. 42)

1.400.000 humans (caudah lākh manuṣya, sq. 51)

400.000 gods (cār lākh dev, sq. 61)

271 Cf. Appendix E2, verse #1.

166
The list corresponds with the established system of enumerating the birth-situations in
the universe (e.g. Tatia 1994: 53), although the permanent and impermanent basic
lifeforms are sometimes grouped together under the common category of collective
(sādhāraṇa) plant-bodies.272 An obvious reason for this is not only the problematic
position of permanent basic lifeforms partly outside the cycle of rebirth as discussed
above, but also the fact that they are held to be infinite in number. The stock of souls
for which they serve as bodies is inexhaustible, and souls are only released into the
cycle of rebirth at the same rate that other souls are liberated from it, thus keeping the
total number of souls within the cycle constant (Jaini 1980: 226). 273 Another distinction
often made within the category of collective plant-bodies is that between subtle
(sūkṣma) and gross (bādara) basic lifeforms. This is reflected on several charts which
either lump the two together in sq. 1
(e.g. Ja84#14) or use one (e.g. Ja84#9) or
two (e.g. Ja84#20) additional squares in
the bottom panel to invoke the two
concepts. Finally, as indicated by the
verse quoted at the outset of the
analysis, the basic lifeforms tend to join
together to form balls or clusters (gola)
containing an infinite number of souls
(Schubring 1935: 133-34). These are
often represented on the charts by tiny
Fig. 61: 84-square Jaina chart (Ja84#18), detail.
dots or circles drawn in the relevant
Mandsaur, Madhya Pradesh, 19th century.
squares below the main grid (fig. 61).

272 See, for example, the Jīv vicār, a popular treatise on the living beings of the universe (JV 46). It
should also be noted that several charts which do not refer to the basic lifeforms in sq. 1 as
permanent still enumerate them as 700.000, thus implicitly upholding the distinction between
permanent and non-permanent basic lifeforms.
273 Also see Schubring 1935 (pp. 133-34).

167
 top sq. 6
mukti kṣetra sphāṭikmay, 4.500.000
yojan pramāṇ, śrī arhatpadebhyo
namaḥ

top sq. 5
sarvārth-
siddhi
vimān

top sq. 2 top sq. 3 top sq. 4

vaijayant aparājit jayant
anuttar anuttar anuttar
vimān vimān vimān

top sq. 1
vijay
anuttar
vimān

76 77 78 79 80 81 82 83 84
mohnī karm bhadra subhadra sujāt sumanas & sudarśan amogh suprabandh yaśodhar
graiveyak graiveyak graiveyak priyadarśan graiveyak graiveyak graiveyak graiveyak
graiveyak

75 74 73 72 71 70 69 68 67
rājas acyut āraṇ ānat & devlok kṣe- sahasrār śukra abhīṣṭ tāmas
ahaṃkār devlok devlok prāṇat tra, bhavyā- devlok devlok siddhi ahaṃkār
devlok bhavya jīv sāgar

56 57 58 59 60 61 62 63 64 65 66
vaimānik, saudharm avrat doṣ īśān asaṃyamī devlok kṣe- sanatkumār māhendra brahm & vivek sāmānik,
vyantar, devlok kṣetra devlok doṣ tra, 400.000 devlok devlok lāntak bhavanpati,
5 jyotiṣī yoni devlok antarikṣ ka-
pāṭ jyotiṣī
55 54 53 52 51 50 49 48 47
12 bhāvnā, 5 dān 4 śikṣāvrat, pardroh manuṣya 5 mahāvrat, 3 guṇvrat, 7 vyasan 12 tap,
10 vinay 9 brahm- kṣetra, śubh kriyā, 5 dhyān saṃyam,
carya 1.400.000 kevaljñān, samyaktva
yoni, guṇ- śukla leśyā
sthān 14
38 39 40 41 42 43 44 45 46
8 jin pūjā, nīl leśyā kāpot leśyā teju leśyā tiryañc kṣe- śubh tiryañc dharm kṛṣṇa leśyā padma leśyā
jin bhakti tra, 400.000 bhavya dhyān
yoni, guṇ- pariṇām
sthān 13
37 36 35 34 33 32 31 30 29
āsrav 5 200.000 yoni 200.000 yoni 200.000 yoni vikalendrī śubhāśubh śubhāśubh śubhāśubh dharm
rodhan, caurindrī teïndrī beïndrī kṣetra, guṇ- sattā udīrṇā uday ārādhan
saṃvar sthān 10-11- icchā
12
20 21 22 23 24 25 26 27 28
upaśam yog 700.000 itar 700.000 yoni 700.000 yoni 5 sthāvar 700.000 yoni 700.000 yoni 1.000.000 śubh karm
nigod pṛthvīkāy apkāy kṣetra, guṇ- teükāy vāükāy vanaspati-
sthān 7-8-9 kāy

19 18 17 16 15 14 13 12 11
nāg- & stanit- & 5 mithyātva udadhi- & 10 nikāy agni- & parjīv suvarṇ- & vyavahār
vāyukumār diśākumār dvīpkumār kṣetra, guṇ- vidyut- spardh asurkumār rāśi
sthān 4-5-6 kumār

2 3 4 5 6 7 8 9 10
kām, krodh ajñān lobh ajñān moh 15 paramā- jñān, miśra, machar ahaṃkār ajñān māyā
400.000 yoni dhāmī, guṇ- śubh pari-
nārkī sthān 1-2-3 ṇām

1
700.000 yoni
nitya nigod

Fig. 62: Reference chart for Theory and Practice (chapter four) with relevant squares highlighted in yellow.

168
Karma
Theory and Practice274
As has already been demonstrated in the analysis of the Vaiṣṇava chart, the idea of
karma is one of the main driving forces behind the game. On the level of
interpretation, it is karma which causes the dice to fall as they do, and it is karma
which moves the pawns forward along the track, directing them toward the feet of the
ladders or the mouths of the snakes. While the exposition of karma on the Vaiṣṇava
chart is mostly implicit, and mostly a matter of simple cause and effect, the exposition
of karma on the Jaina chart adds several technical terms peculiar to the Jaina theory of
karma.275 The theory revolves around the interplay between the soul (jīva), which is
considered to be immaterial, and karma, which is considered to be a form of matter
(pudgala). The soul attracts karmic matter through activities (yoga) of body, speech,
and mind, causing a sheath, known as the karmic body (karmaśarīra), to be formed
around it. The karmic body functions as the vehicle of the soul when it transmigrates
between bodies, and it is only when the soul has completely shed its karmic body and
ceased all activity, both sinful and virtuous, that it becomes perfected (siddha) and
ascends to its final resting place at the apex of the universe (siddhaśilā).276 Though
conceptually simple, the intricacies of the theory are inordinately complex, and have
been expounded at great length in the large body of scholastic works and
commentaries devoted to the subject (Jaini 1980: 217). The game chart only reflects the
technical vocabulary developed in these texts to a very limited degree, but enough to
indicate that a high level of expertise would have been required in order to fully
understand it. Though the concepts invoked are central to the theory, they are by no
means exhaustive of it, and would only have been fully grasped by someone well
versed in the theory as a whole.277

274 Cf. fig. 62 on the previous page.

275 The centrality of the theory of karma in Jaina doctrine can be seen from the fact that three of the ten
chapters in the Tattvārthādhigamasūtra deal explicitly with various aspects of it, including the influx
(chapter 6), bondage (chapter 8), and stoppage (chapter 9) of karma also referred to on the chart.
276 To be more precise, the liberated souls reside in the non-universe (aloka) one yojana above the
abode (lit. rock) of the perfected ones (siddhaśilā) (Kirfel 1920: 301).
277 For detailed treatments of the Jaina theory of karma, see Glasenapp 1915, Schubring 1935 (pp. 112-
31), and Tatia 1951 (pp. 220-60).

169
Karma is divided into the categories of destructive (ghātiyā) and non-destructive
(aghātiyā) karmas, each of which is further divided into four main subcategories. The
chart only refers to the first subcategory of destructive karmas, known as deluding
karmas (mohnī karm, sq. 76), which is itself subdivided into insight-deluding
(darśanamohanīya) and conduct-deluding (cāritramohanīya) karmas. Deluding karmas
are arguably the most important type of karmas as they not only hinder the soul in
achieving liberation, but prevent it from even entering upon the path to liberation
(Jaini 1979: 117-18). The insight-deluding karmas cause the soul to hold erroneous
views of reality, which in turn cause it to act in ways that are detrimental to its own
liberation, thereby attracting conduct-deluding karmas which further strengthen the
insight-deluding karmas in a self-perpetuating downward spiral (ibid. 118-19). The five
erroneous views are represented in a single square (pāñc bhed mithyātva, sq. 17)
containing a snake leading back down to the permanent basic lifeforms (nitya nigod,
sq. 1).278 The four primary conduct-deluding passions (kaṣāya), consisting of the two
aversions (dveṣa) anger (krodh, sq. 3) and pride (ahaṃkār,279 sq. 9) and the two
attachments (rāga) deceit (māyā, sq. 10) and greed (lobh, sq. 4), are found in the bottom
row. The row also includes the negative qualities desire (kām, sq. 2), delusion (moh, sq.
5), and jealousy (machar, sq. 8) which are not counted among the four primary or nine
secondary passions. The inclusion of these terms, as well as the unconventional
grouping of anger with greed (sqs. 3-4) and pride with deceit (sqs. 9-10), may indicate
influence from 72-square Vaiṣṇava charts, as will be discussed at the end of the present
chapter.

Moving beyond the mere enumeration of various types of karma, the fourth row
introduces several technical terms related to karmic processes. Karmic influx and its
stoppage (āsrav and saṃvar, sq. 37) are key concepts in the theory of karma which

278 While it is indeed possible for a soul to be reborn as a basic lifeform, the idea expressed by the chart
that it might be reborn as a permanent basic lifeform runs counter to the understanding that such
lifeforms are only inhabited by souls which have not yet been released into the cycle of rebirth.
Whether this points to an inherent tension between game mechanics and theme, or a less rigid
understanding of the concept of permanent basic lifeforms, cannot be decided without further
evidence. Jeṭhābhāī's commentary explicitly states that sq. 1 represents 1.400.000 basic lifeforms
(caud lākh nigod), thereby conflating permanent and non-permanent basic lifeforms, but this is only
supported by a minority of the critically read charts (JBRR 3).
279 The traditional term māna is only found on a small minority of the charts included in the critical
reading.

170
cannot be covered in any detail here. Suffice it to say that karmic influx concerns the
process by which clusters of karmic matter (pudgalaskandha) enter into and attach
themselves to the soul (cf. Tatia 1994: 151-63), while stoppage of karmic influx
concerns the process by which karmic matter is prevented from entering into the soul
(cf. ibid. 213-47). At the other end of the same row we find the concepts of duration
(sattā, lit. existence, sq. 32), premature fruition (udīrṇā, lit. stirring up, sq. 31), and
period of fruition (uday, lit. arising, sq. 30) which refer to the qualities of individual
clusters of karmic matter. Duration denotes the entire period of time in which such
clusters exist, from their initial attraction to their fruition and subsequent wearing off;
premature fruition denotes the process by which they can be caused to mature and
take effect before their natural period of gestation is over; and period of fruition
denotes the period of time in which their effect is active (Tatia 1951: 257-59). The chart
further qualifies the three terms as auspicious and inauspicious (śubhāśubh, sqs. 30-
32), indicating that karma can either be meritorious (puṇya) or demeritorious (pāpa).
This is important, as all forms of karma, even those that direct the soul toward
liberation, are considered a binding force, and must ultimately be shed in order for the
soul to achieve liberation. The terms are organized from left to right in their logical
order - duration, premature fruition, and period of fruition - and while this follows the
direction of reading, it goes against the direction of play, indicating here as elsewhere
the tension between game mechanics and theme.

Another technical concept related to karma is represented in six squares spread across
the fifth and sixth rows in no particular order. Karmic stains (leśyā) indicate the
karmically induced coloring of the soul associated with its current level of spiritual
progress (Jaini 1979: 114). The karmic stains come in six different colors, ranging from
the predominantly negative black (kṛṣṇa leśyā, sq. 45), blue (nīl leśyā , sq. 39), and grey
(kāpot leśyā, sq. 40) to the predominantly positive red (teju leśyā280, sq. 41), pink
(padma leśyā,281 sq. 46), and white (śukla leśyā, sq. 50). The negative and positive
qualities of the coloring can be likened to auspicious and inauspicious karmic matter
in that the soul only becomes free from any coloring when it ceases all activity
immediately prior to liberation (Tatia 1951: 253). All 84-square Jaina type a2 charts
except two (Ja84#14,30) illustrate the concept of leśyā with a narrative scene from the
280 Listed as pīta (yellow) in Tattvārthādhigamasūtra (TAAS 4.2; cf. Tatia 1994: 97).
281 Sometimes translated as yellow.

171
 popular parable of the rose-apple tree (jambu) (fig. 63). The
parable tells the story of six men, each representing one of the
six colors of the soul, who wanted to pick rose-apples from a
tree, and argued about how best to go about it. The black-
souled man cut at the base of the tree with an axe, while the
blue-souled man cut at a big branch, and the gray-souled man
tried to break off a smaller branch. The red-souled man picked
an entire cluster of fruit off a branch,
while the pink-souled man only
picked the fruit they needed, and the
white-souled man remained on the
ground picking up whatever fruit had
already fallen off the branches by
itself (cf. Brown 1941: 48). The scene
is accompanied by another scene
from the equally popular story of
Madhubindu (fig. 64). It shows
Madhubindu (lit. honey-drop)
hanging from the branch of a banyan
tree and drinking drops of honey
without noticing the many dangers
Fig. 63: 84-square Jaina surrounding him. In fact, he does not
chart (Ja84#24b), detail.
Mumbai, VS 1959 (1902/03 even notice the demigod (vidyādhara)
CE). who has descended from the heavens
to rescue him. In a few moments he will fall to his death as a
symbol of the tarnished soul, forgetful of its misery and
dismissive of its salvation, all for the transient pleasure of
tasting yet another drop of honey (Vijaya 1948: 150-2). The
inclusion of the second narrative scene, which is of a much
Fig. 64: 84-square Jaina
more general nature than the first, and not specifically related
chart (Ja84#24b), detail.
to any of the readings on the chart, may have been occasioned Mumbai, VS 1959 (1902/03
by the motif of the banyan tree which serves as a nice contrast CE).

172
to the rose-apple tree. The narrative scenes are also found one above the other on an
18th-century painting from Rajasthan in the Albert Hall Museum in Jaipur.282

Finally, the concept of modification (pariṇāma), though not strictly related to karma,
needs to be mentioned. Everything that exists is said to be comprised of substances
(dravya), and substances are said to possess qualities (guṇa) which constantly acquire
new modes (paryāya) through the process of modification. Despite being immaterial,
the soul is counted among the substances by virtue of the qualities it possesses (Jaini
1979: 90-91). It therefore seems reasonable to suggest that the two references to
modifications on the chart are indeed references to the modification, or perhaps rather
transformation, of the soul. The first reference reads śubh pariṇām (sq. 7), or
auspicious transformation. The square has a ladder leading up from it, and though it
would be tempting to see the ladder - and, indeed, all snakes and ladders - as symbolic
of the transformation of the soul, the second reference occurs in a square without any
snakes or ladders connected to it. It reads śubh tiryañc bhavya pariṇām (sq. 43), or
auspicious transformation of plant and animal souls capable of liberation. References
also occur in a few variant readings in other squares, but only in one case in a square
with a snake or a ladder connected to it. 283 It therefore seems safe to conclude that the
concept should be considered in isolation from the snakes and ladders as yet another
example of a technical term which might or might not have been understood by those
who played the game.

The dry repetition of technical terms related to karmic and other processes lacks the
dynamic cause-and-effect approach of the Vaiṣṇava chart, and may point to an
increased focus on didacticism. The Jaina chart does, however, also incorporate the
concept of karma into the play experience in ways which at times go even further than
the Vaiṣṇava chart. As we have already seen, the 84 squares of the chart represent the
8.400.000 birth-situations in the universe, and the snakes and ladders expand on this
analogy by forming karmic links between squares similar to those found on the
Vaiṣṇava chart. Several snakes and ladders even terminate in squares representing
specific heavens or groups of beings, lending an even stronger sense of transmigration

282 Acc. no. 8545.

283 See sq. 45 in the critical reading in Appendix D2.

173
and rebirth to the chart.284 The symbolic interpretation of snakes as passions is
demonstrated by the verse quoted at the beginning of the analysis, though it is unclear
whether this interpretation should be considered general in nature, or taken as a
specific reference to doctrine.285 Other verses associate the snakes more generally with
negative karma,286 and the most frequent verse of all implies that they should be
understood as energy channels (nāḍī).287 Obviously, as in the case of the Vaiṣṇava chart,
multiple levels of interpretation are in play at once, and it is important that we do not
consider them to be mutually exclusive. The same is true of the ladders which not only
invoke concepts of karma and
transmigration, but also appear to
symbolize the lines (śreṇi) by which the soul
is said to travel from one body to another.
This is indicated by the imagery of lines
rather than ladders on several Jaina charts,
and by the reading śreṇi sometimes found
in their squares of origin.288 It also provides
a possible explanation for the curious
feature that three ladders - originating in
sqs. 7, 44, and 50 - appear in sequence
without indicating whether a player who
moves up one of them is allowed to
continue up the next one as well (fig. 65).
Fig. 65: 84-square Jaina chart (Ja84#1), detail.
While a rule discussed in chapter five Gujarat, 19th century.

284 Examples include the fault of not observing one's vows (avrat doṣ kṣetra, sq. 58) which leads to the
700.000 non-permanent basic lifeforms (sāt lākh itar nigod, sq. 21), and the twelve contemplations
and ten proper conducts (bārah bhāvnā das vinay, sq. 55) which leads to the fourth and fifth
graiveyaka heavens (sumanas graiveyak 4 priyadarśan graiveyak 5, sq. 80).
285 Since there are nine snakes on the chart, and only four primary passions (kaṣāya) in the karmic
system, any reference to doctrine would probably have to be to the nine secondary passions (no-
kaṣāya) (Jaini 1979: 131).
286 See Appendix E2, verses #9-11.
287 See Appendix E2, verse #1a. The interpretation of snakes as energy channels recalls the same
interpretation sometimes found on 72-square Vaiṣṇava charts (see The Subtle Body above), and will
be discussed in detail later (see Jaina Tantra and Yoga below).
288 The reading śreṇi occurs a total of nine times across all charts included in the critical reading, and
always in squares at the foot of a line or a ladder (sqs. 44,47,50,65). The reading is dominant at the
feet of the ladders in sq. 7 on 84-square Jaina type b charts and in sq. 50 on type a2 charts.

174
addresses this particular situation,
several charts combine the three
ladders into a single line or ladder with
two turns (in sqs. 44 and 50), closely
resembling the path of a transmigrating
soul making two of the maximum three
turns allowed between bodies (fig. 66).
The only problem with this explanation
would be that souls traveling to the
place of liberation, as in the present
case, always travel in a single straight
line (Tatia 1994: 47-50). This, however,
seems to be a minor point of objection,
though it might have prompted artists to
separate the continuous line into three
separate parts as evidenced by the
majority of charts. Fig. 66: 84-square Jaina chart (Ja84#53). Western
India, 19th century.

175
 top sq. 6
mukti kṣetra sphāṭikmay, 4.500.000
yojan pramāṇ, śrī arhatpadebhyo
namaḥ

top sq. 5
sarvārth-
siddhi
vimān

top sq. 2 top sq. 3 top sq. 4

vaijayant aparājit jayant
anuttar anuttar anuttar
vimān vimān vimān

top sq. 1
vijay
anuttar
vimān

76 77 78 79 80 81 82 83 84
mohnī karm bhadra subhadra sujāt sumanas & sudarśan amogh suprabandh yaśodhar
graiveyak graiveyak graiveyak priyadarśan graiveyak graiveyak graiveyak graiveyak
graiveyak

75 74 73 72 71 70 69 68 67
rājas acyut āraṇ ānat & devlok kṣe- sahasrār śukra abhīṣṭ tāmas
ahaṃkār devlok devlok prāṇat tra, bhavyā- devlok devlok siddhi ahaṃkār
devlok bhavya jīv sāgar

56 57 58 59 60 61 62 63 64 65 66
vaimānik, saudharm avrat doṣ īśān asaṃyamī devlok kṣe- sanatkumār māhendra brahm & vivek sāmānik,
vyantar, devlok kṣetra devlok doṣ tra, 400.000 devlok devlok lāntak bhavanpati,
5 jyotiṣī yoni devlok antarikṣ ka-
pāṭ jyotiṣī
55 54 53 52 51 50 49 48 47
12 bhāvnā, 5 dān 4 śikṣāvrat, pardroh manuṣya 5 mahāvrat, 3 guṇvrat, 7 vyasan 12 tap,
10 vinay 9 brahm- kṣetra, śubh kriyā, 5 dhyān saṃyam,
carya 1.400.000 kevaljñān, samyaktva
yoni, guṇ- śukla leśyā
sthān 14
38 39 40 41 42 43 44 45 46
8 jin pūjā, nīl leśyā kāpot leśyā teju leśyā tiryañc kṣe- śubh tiryañc dharm kṛṣṇa leśyā padma leśyā
jin bhakti tra, 400.000 bhavya dhyān
yoni, guṇ- pariṇām
sthān 13
37 36 35 34 33 32 31 30 29
āsrav 5 200.000 yoni 200.000 yoni 200.000 yoni vikalendrī śubhāśubh śubhāśubh śubhāśubh dharm
rodhan, caurindrī teïndrī beïndrī kṣetra, guṇ- sattā udīrṇā uday ārādhan
saṃvar sthān 10-11- icchā
12
20 21 22 23 24 25 26 27 28
upaśam yog 700.000 itar 700.000 yoni 700.000 yoni 5 sthāvar 700.000 yoni 700.000 yoni 1.000.000 śubh karm
nigod pṛthvīkāy apkāy kṣetra, guṇ- teükāy vāükāy vanaspati-
sthān 7-8-9 kāy

19 18 17 16 15 14 13 12 11
nāg- & stanit- & 5 mithyātva udadhi- & 10 nikāy agni- & parjīv suvarṇ- & vyavahār
vāyukumār diśākumār dvīpkumār kṣetra, guṇ- vidyut- spardh asurkumār rāśi
sthān 4-5-6 kumār

2 3 4 5 6 7 8 9 10
kām, krodh ajñān lobh ajñān moh 15 paramā- jñān, miśra, machar ahaṃkār ajñān māyā
400.000 yoni dhāmī, guṇ- śubh pari-
nārkī sthān 1-2-3 ṇām

1
700.000 yoni
nitya nigod

Fig. 67: Reference chart for Vows and Stages (chapter four) with relevant squares highlighted in yellow.

176
Religious Practice
Vows and Stages289
As described above, the sixth row of the chart is associated with the rebirth category of
human beings (cf. sq. 51), and includes several squares listing vows and practices
adhered to by the followers of Jainism. Most important among them are the five great
vows (pāñc mahāvrat, sq. 50) of non-injury (ahiṃsā), truthfulness (satya), non-stealing
(asteya), chastity (brahmacarya), and non-possession (aparigraha). The vows are
followed by laypeople and mendicants alike, but while laypeople practice them in a
limited sense as small vows (aṇuvrata), only mendicants practice them as the great
vows referred to here. The context, however, makes it clear that the vows of laypeople
are also implied in the reading, since two other squares in the same row invoke the
three subsidiary vows (tīn guṇvrat, sq. 49) and the four vows of spiritual discipline (cār
śikṣāvrat, sq. 53) which, together with the five small vows, complete the series of
twelve lay vows (Jaini 1979: 170). One of the four vows of spiritual discipline is the vow
of charity (dānavrata) which is subdivided into five kinds of charity also invoked by
the chart (pāñc prakār dān, sq. 54). In addition to the five great vows, two important
practices engaged in by mendicants to stop the influx of karma are also referred to.
One is the twelve contemplations of various aspects of life and the universe (bārah
bhāvnā,290 sq. 55), while the other is the twelve austerities divided into six internal and
six external austerities (bārah bhed tap, sq. 47).291 The three squares associated with
mendicant vows (sq. 50) and practices (sqs. 47,55) each have a ladder leading up from
them, amounting to half the total number of ladders on the chart. Furthermore, the
three ladders reach higher than any other ladders on the chart, and include the ladder
leading directly from sq. 50 to the place of liberation (mokṣ kṣetra, top sq. 6) identified
as the winning square. This not only serves to highlight the great importance attached

289 Cf. fig. 67 on the previous page.

290 The twelve bhāvanās are also referred to as anuprekṣās (cf. Tatia 1951: 290, fn. 2).
291 It is unclear to me what the ten vinayas (das vinay, sq. 55), mentioned together with the twelve
contemplations, refer to. The term vinaya usually refers to the venerations which constitute one of
the six internal austerities, but the venerations are only four in number, and it is difficult to see why
they should have been placed in sq. 55 rather than in sq. 47 together with the six internal austerities
themselves. Perhaps the most likely explanation is that vinaya should be understood in the sense of
proper conduct, with reference to the ten forms of righteousness (dharma) listed in TAAS 9.6
immediately prior to the twelve contemplations listed in TAAS 9.7.

177
to human birth as a prerequisite for liberation, but also indicates the very real chance
of achieving it if one takes up the path of the mendicant.

In addition to invoking the five great vows and containing the ladder leading up to the
place of liberation, sq. 50 also invokes the concepts of auspicious action (śubh kriyā),292
omniscience (kevaljñān), and white karmic stain (śukla leśyā). The actions (kriyā),
referred to as "urges" by Tatia, are enumerated as twenty-five, only two of which can
be identified as auspicious (i.e. those that cause the ascetic to abstain, and those that
lead to an enlightened world-view) (Tatia 1994: 153). Other actions in the form of
religious practices are mentioned in the row below where sq. 38 combines the
eightfold worship of the spiritual teachers (jin pūjā āṭh prakār) and the devotion
toward them (jin bhakti). The reference to the worship of spiritual teachers would
seem to preclude associations with the Śvetāmbara Sthānakvāsī and Terāpanthī sects,
both of which are opposed to image worship, and it is therefore possible that the
minority of charts which omit that particular reading are related to one of those sects.
The second reading, devotion toward the spiritual teachers, is interesting because it
invokes the concept of bhakti central to the Vaiṣṇava chart, and might therefore be
considered a borrowing. This will be explored in more detail at the end of the chapter,
but it should be noted that bhakti does indeed figure as a vibrant concept in Jainism.
This has been made especially clear by John E. Cort who demonstrates that it forms an
integral part of the religion, and cannot be dismissed as a mere imitation of Hindu
bhakti traditions (e.g. Cort 2002, 2016).

The concept of omniscience points in a completely different direction than the concept
of auspicious actions. Omniscience refers to the state entered into by mendicants on
the 13th and 14th stages of purification mentioned in the adjacent sqs. 42 and 51. The
stages of purification (guṇasthāna) are often visualized as a ladder with fourteen rungs
representing levels of spiritual advancement from false view (mithyādṛṣṭi) at the
bottom to omniscience without action (ayogakevalin) at the top. Jaina texts describe the
different stages and the complex procedures that govern the movement between them
in great detail, and one might be forgiven for suggesting that they constitute an

292 An alternative understanding of śubh kriyā would be as the auspicious rites used to mark special
occasions in the life of laypeople (Sangave 1959: 258), but this does not fit the context of the other
readings in the square.

178
interpreted formal system of their
293
own. This is, indeed, what seems to
have been on the mind of K. V. Mardia
when he designed a game about the
stages of purification based on gyān
caupaṛ for a book on the scientific
foundations of Jainism (1990: 107-8).
Mardia's game consists of 16 squares
organized into a 4 x 4 grid, and includes
"lower life" (sq. 1), "higher life" (sq. 2),
and the fourteen stages of purification
(sqs. 3-16) (fig. 68). The snakes and
ladders represent the possibilities of
sudden promotion and demotion
inherent in the system, and while the Fig. 68: Untitled game with snakes and ladders.
Reproduced from Mardia 1990 (p. 108).
imagery of snakes is not traditionally
used to represent a soul falling from a higher to a lower stage of purification, the
imagery of ladders (śreṇi) is in fact used to represent the twin paths of suppression
(upaśama) and destruction (kṣaya) of karma (Tatia 1994: 283-84).294 The word śreṇi is
identical with the word used to describe the lines of transmigration discussed in the
previous section, indicating a shared vocabulary between the processes of
transmigration and spiritual advancement. The reference to the stages of purification
therefore adds a further layer of interpretation to the chart, allowing players to engage
with it on multiple levels.

The enumeration of the fourteen stages of purification occurs in the first six rows of
the central column on the critically read chart, together with the different categories of
rebirth, thereby adding a second hierarchical system to the rows in question. 295 Stages

293 For a detailed overview of the guṇasthānas, see Tatia 1994 (pp. 279-84).
294 The ladders of suppression and destruction are mentioned in sqs. 7 and 71, respectively, on the 84-
square Jaina type b charts, though an actual line or ladder only leads up from sq. 7. A reference to
the activity of suppressing karma is found in sq. 21 (upaśam yog) on the critically read chart.
295 The stages of purification play a more prominent role on the 84-square Jaina type b charts where
they appear as the main readings in several central column squares, and also have a significant
presence in squares outside the central column.

179
one through three appear in sq. 6, stages four through six in sq. 15, stages seven
through nine in sq. 24, stages ten through twelve in sq. 33, stage thirteen in sq. 42, and
stage fourteen in sq. 51. The fourth stage, known as right view (samyagdṛṣṭi), marks
the beginning of deeper spiritual understanding, and only appears in the second row
after the player has moved past the deluding karmas of the first row. Similarly, the
fourteenth and final stage, which marks the state of the soul immediately prior to
liberation, appears in the sixth row associated with human rebirth necessary for
liberation. Though no ladders lead up from any of the squares enumerating the stages,
another game mechanical system of progress is found in the central column of the
main grid. This is expressed by the often abstracted footprints (pādukā) connecting the
squares vertically, and allowing players to move their pawn one square directly
upward on a roll of "1." The verse quoted at the beginning of the analysis identifies the
footprints with the nine principles (tattva), but considering their game mechanical
function and their position in the central column a more obvious suggestion would be
that they represent the stages of purification, even though they number nine rather
than fourteen.296 A further possibility, indicated by the reference to the game as caupaṛ
setruñj, or the caupaṛ of Shatrunjaya, is that they represent the steps one has to ascend
at the eponymous pilgrimage site.297

The fourth and final concept invoked in sq. 50 is the white karmic stain which is only
attained by those who have entered into the 13th and 14th stages of purification and
become omniscient (Jain 1992: 53-54). The reading is widely attested and its legitimacy
cannot be doubted, but a few charts (Ja84#3b,5,22,53) replace it with white or pure
meditation (śukla dhyān). Pure meditation is the highest of the four forms of
meditation traditionally identified in Jainism, the others being anguished (ārta),
wrathful (raudra), and virtuous (dharma) meditation (Jaini 1979: 252).298 Anguished

296 The nine principles include sentient entities (jīva), non-sentient entities (ajīva), karmic influx
(āsrava), demeritorious karma (pāpa), meritorious karma (puṇya), karmic bondage (bandha),
stoppage of karmic influx (saṃvara), wearing off of karma (nirjarā), and liberation (mokṣa) (Jaini
1979: 151).
297 See the frequently occurring verse #1a in Appendix E2. The implications of the reference to
Shatrunjaya will be further explored in the section Jaina Tantra and Yoga below.
298 It is unclear to me why the majority of charts number the meditations as five in sq. 49 ( pāñc dhyān).
The only fivefold enumeration related to meditation known to me is that of the five contemplations
(dhāraṇā) which constitute the first of four alternative meditations focused on objects (piṇḍa), words
(pada), forms (rūpa), and that which lies beyond forms (rūpātīta) (Sogani 2016: 168-69).

180
and wrathful meditation do not appear on the chart, but virtuous meditation (dharm
dhyān, sq. 44) appears in a square with a ladder leading up to sq. 50 where some charts
read pure meditation. This makes good sense since religious meditation can only take
the practitioner as far as the 12th stage of purification, while pure meditation can take
him to the 13th and 14th stages (Tatia 1994: 239-40), the latter of which is represented
in sq. 51 next to sq. 50. Though the inclusion of pure meditation would seem to be an
obvious choice from a purely analytic perspective, it may not have appeared that way
to the artists who were trying to accommodate several partly overlapping systems of
spiritual progress in the very limited space of just a few squares.

181
Jaina Tantra and Yoga
Despite the many idiosyncracies of Jaina doctrine, such as the uncreated nature of the
universe and the material conception of karma, it did not develop in isolation from the
multitude of other religious world-views with which it came into contact. The
incorporation of religious terminology and practices from non-Jaina systems is
evidenced throughout the literature, and played a key role in sustaining the
community and attracting new followers (Qvarnström 1998). A case in point is the
fourfold system of meditation (dhyāna) which Paul Dundas argues may have been
developed in response to the omnipresence of similar systems in other South Asian
religions (Dundas 2002: 166-9). Considering the previously discussed yogic and tantric
influences on the Vaiṣṇava chart, it would therefore make sense to look for similar
influences on the Jaina chart. We have already seen that the chart is modeled after the
cosmic man (lokapuruṣa), but if we consider the charts which develop the model into a
figurative illustration, we notice that in all cases the cosmic man is depicted with his
arms hanging down rather than held akimbo as we should expect. 299 The resulting pose
mirrors that of the kāyotsarga (abandonment of the body) pose of meditation which
forms one of six obligatory daily actions (āvaśyaka) prescribed for mendicants.300
While it cannot be ruled out that the arms were drawn as hanging down due to the
spatial constraints of the charts, the lack of any examples to the contrary would seem
to suggest otherwise.

The depiction of the cosmic man in the kāyotsarga pose adds at least two new possible
layers of interpretation to the chart. First, since the twenty-four spiritual teachers are
always shown in this position when depicted as standing, the chart takes on their
image, and turns into a possible object of worship (cf. jin pūjā, sq. 38) rather than a
mere representation of doctrine.301 The frequent decoration of the figure on the chart
with a crown and various ornaments is reflected in paintings of the cosmic man, but

299 Depictions of the cosmic man with his arms hanging down are attested in Jaina paintings, but they
are far less frequent than depictions of him with his arms akimbo. An example from within the
Digambara tradition can be seen in Pal 1994 (no. 103b, p. 232).
300 The other obligatory actions include upholding equanimity (sāmāyika), praising the twenty-four
spiritual teachers (caturviṃśatistava), venerating the mendicant teachers (vandana), repenting
(pratikramaṇa), and renouncing (pratyākhyāna) (Jaini 1979: 189-90).
301 This would run counter to the assertion by Talwar and Krishna that Jaina charts were not
considered objects of worship (1979: 84).

182
also in the image-worshiping (mūrtipūjaka) Jaina traditions which cut across sectarian
lines between Śvetāmbaras and Digambaras (Cort 2010: 170-71). Secondly, the multiple
identities of the figure as cosmic man, spiritual teacher, and meditating ascetic allow
us to adopt a microcosmic perspective on the Jaina chart similar to that adopted on the
Vaiṣṇava chart. Though the presence of several readings directly or indirectly related
to the subtle body makes the microcosmic aspect more obvious with regard to the
Vaiṣṇava chart, a close reading of the Jaina chart reveals that it may have been
influenced by similar ideas. This is further highlighted by the fact that the image of the
cosmic man in the kāyotsarga pose is indeed used as a standard representation of the
subtle body in tantric paintings (Khanna 2005: 10-11). Though the study of tantric and
yogic traditions within Jainism is still in its infancy, several recent contributions have
shown that the influence of such traditions is much greater than previously
recognized.302 The Jaina chart, despite its obvious focus on traditional Jaina doctrine,
adds further evidence to this effect.

The clearest indication of the tantric and yogic influences on the Jaina chart does not
come from the visual design or the legends, but from the verses added outside the
main playing grid. One verse in particular stands out because of the references it
makes, and because it features on nearly half of all Jaina charts (see Appendix E2,
verse #1a). The frequent occurrence of the verse, and the fact that it usually appears in
the bottom panel to the right of sq. 1, suggest that the grid was designed to incorporate
this and other verses within it. The verse is written in Braj Bhāṣā, and shows several
variations and corruptions across the charts on which it appears, indicating that the
artists were not always sure how to understand it, and in some cases ended up
completely garbling it (e.g. Ja84#38). One reason for this might have been the
unconventional content of the verse which brushes up against a more traditional
understanding of Jainism. A tentative reconstruction and translation of the verse read
as follows:

lākha corāsīya bhrama mahā nava nāṛī patana yatana seṁ tājī
copaṭa setruñja kī kahā rāmata eha anāmata brahma kī bājī
bājī rame tasa krodha same bhava māṁ na bhame dila hota hai rājī
pāpa ghaṭāraṇa moha vidāraṇa jñāna vadhāraṇa jñāna kī bājī

302 See, for example, Cort 1997, Dundas 1998, Qvarnström 2000, Gough 2012, and Chapple 2016.

183
 With great effort, one is freed from falling down the nine great energy channels
and roaming the eighty-four lākh (birth-situations). What is the game of caupaṛ
setruñj (i.e. the caupaṛ of Shatrunjaya)? It is the game of the nameless
Brahman.303 If one plays this game, one extinguishes one's anger and does not
roam around existence; one is joyful at heart. The game of knowledge reduces
sin, tears apart delusion, and increases knowledge.304

The first thing we notice about the verse is that it associates the 84 lākh birth-situations
(caurāsī) with roaming around, and the nine energy channels (nāḍī) with falling down,
clearly indicating that the number of birth-situations and energy channels refer to the
84 squares and nine snakes of the chart. Little is known about the theory of energy
channels in the context of Jainism, and Hemacandra's Yogaśāstra (12th cent.), which
remains a key text in understanding especially tantric influences on medieval Jainism
(Qvarnström 2002: 7), only refers to the three main energy channels Iḍā, Piṅgalā, and
Suṣumnā, and only in the context of observing the movement of breath for purposes of
divination (ibid. 111-9).305 However, a reference to the ten energy channels
(nāḍīdaśaka) of the subtle body (ātivāhika) can be found in a tantric ritual manual,
known as Nirvāṇakalikā, written by the Śvetāmbara author Pādliptasūri in the 11th or
12th century (Sanderson 2015: 10-11). The manual is a thinly disguised adaptation of
the Śaiva manual Siddhāntasārapaddhati written by Mahārājādhirāja Bhojadeva in the
first half of the 11th century (ibid. 3). Sanderson has discussed the widespread
influence of Śaivite tantric traditions on South Asian religions in a separate work
(Sanderson 2009), and David Gordon White has written specifically about the co-
existence of Śaivite Nāth and Jaina traditions at the holy sites of Girnar in Gujarat and
Mount Abu in Rajasthan (White 1996: 114-19, 331-34). 306 This is especially interesting in
light of the above reference to caupaṛ setruñj, or the caupaṛ of Shatrunjaya, a popular

303 I am thankful to Siddharth Y. Wakankar for confirming my translation of anāmata as "nameless."

The dictionaries generally explain it as a corruption by metathesis from Arabic amānat (pledge,
deposit) which does not make sense in the present context. Some charts read bhram instead of
brahm, indicating a game of roaming around the cycle of rebirth rather than a game of Brahman.
This should probably be attributed to the hesitancy of individual artists in invoking the concept of
Brahman on a Jaina chart.
304 Also see Appendix E2, verse #1a.
305 A recent anthology on Jaina yoga does not refer to energy channels outside the context of the
Yogaśāstra (Chapple 2016), and Sāgarmal Jain's overview of yogic and tantric influences on Jainism
notes a similar lack of references to concepts such as kuṇḍalinī and cakras (Jain, S. 1997: 305-6, 311-
12).

184
Jaina pilgrimage site in Gujarat. Though White does not mention Shatrunjaya as a
place of co-existence between Nāth and Jaina traditions, the invocation of the nameless
Brahman in the same line clearly suggests Nāth influence on the verse. While the idea
of Brahman as a supreme being does not find any place in the atheistic and uncreated
universe of the Jainas, the Nāths are known to refer to supreme reality, or Brahman, as
the nameless one (anāmā) (Mallik 1954: 35). They also make frequent mention of the
nine Nāths and the 84 siddhas, or perfected beings, which might be seen as a further
justification for the inclusion of nine snakes and 84 squares (cf. Dasgupta 1976: 204-10).

Returning to the question of energy channels, we find that the 13th-century

Gorakṣaśataka, attributed to Gorakhnāth, the alleged founder of the Nāth tradition,
mentions the ten main energy channels singled out from the altogether 72.000 energy
channels (GŚ 16-19).307 This concept was to become a fixture of both Nāth and
Haṭhayogic traditions, and though its impact on Jaina traditions remains to be studied,
it is worth noting that a form of Haṭhayoga was adopted by the Śvetāmbara
Terāpanthīs in 18th-century Rajasthan (Mallinson & Singleton 2017: xxi). The centrality
of the concept of energy channels among the Nāths can be seen from the fact that the
nine foundational Nāths were sometimes identified with the nine bodily apertures
(dvāra) connected to nine of the ten main energy channels (White 1996: 91). 308 As
previously noted, the Jaina charts sometimes include an additional square at the far
end of each row, identifying the rows as dvāras, or karmic gateways, to the realms and
beings with which they are associated.309 However, seen from a tantric or yogic
perspective, the use of the word dvāra would rather seem to identify the nine rows
306 White has also shown that the Nāths adopted the Jaina spiritual teachers Pārśvanātha and
Nemīnātha as Pārasnāth and Nīmnāth, and credited them with founding two Jaina suborders within
the Nāth tradition (White 1996: 119).
307 For a detailed discussion of the ten energy channels as they appear in the Nāth tradition, see
Banerjea 1962 (pp. 158-62).
308 The tenth energy channel Suṣumnā, sometimes identified as Śaṅkhinī, through which the Kuṇḍalinī
energy rises, flows through the aperture at the top of the skull (brahmarandhra), also known as the
tenth door (daśamadvāra) (White 1996: 254). The term navadvāra, or that which has nine doors, has
been used as a metaphor for the body since Vedic times (AV 10.8.43; ŚU 3.18), and also appears in the
Bhagavadgītā (BhG 5.13).
309 The oldest extant Digambara commentary on the Tattvārthādhigamasūtra, the Sarvārthasiddhi by
Pūjyapāda (6th cent.), uses the term āsravadvāra, or gateways of karmic influx, to describe the thirty-
nine different causes of karmic influx referred to in TAAS 6.6 (SS 6.5, comm.). These include the five
senses (indriya), the four passions (kaṣāya), the five forms of vowlessness (avrata), and the twenty-
five actions (kriyā) (Tatia 1994: 152-53).

185
with the nine bodily apertures. This would then, in turn, identify the entire chart as a
map of the subtle body, complete with energy channels and bodily apertures, inside
the surrounding image of a Jaina ascetic standing in the kāyotsarga pose of meditation.

In support of the above arguments a few additional examples of non-Jaina influences

on individual charts deserve to be mentioned. The earliest datable Jaina chart
(Ja84#56) includes two verses, each of which is prefaced by an invocation to a spiritual
teacher (tīrthaṅkara) and an attendant goddess (yakṣī). The first invocation mentions
the 23rd teacher Pārśvanātha together with the goddess Ambikā, while the second
invocation mentions the 17th teacher Kunthūnātha together with the goddess
Tripurā.310 A key function of the goddesses is to preside over the holy sites (tīrtha) of
the Jainas, and while Ambikā presides over Girnar in Gujarat, Tripurā (identified as
Padmāvatī) presides over Shravanabelagola in Karnataka (Cort 1987: 241). As
Sanderson has pointed out, the names of these and other goddesses are clearly derived
from the tantric goddesses of the Śākta Śaivas (Sanderson 2009: 243), and though this
borrowing was already firmly established in medieval Jainism, they still serve as a
reminder of the very real possibility of tantric influence on the charts. A verse found
on a chart (Ja84#4) dating from the turn of the 20th century is more explicit about its
Śaiva influences (see Appendix E2, verse #9). The verse interprets the chart according
to Jaina doctrine with the usual emphasis on karma and rebirth, and then goes on to
state that whoever plays the game will attain the final state (gati) which is described as
arriving at Śiva.311 While this may indeed indicate Nāth influence, it should be noted
that the equation of the final state of liberation with the name of a supreme deity is a
common feature in nirguṇ bhakti poetry. The influence of such poetry on the Jaina
chart is exemplified by a verse adopted from the Rajasthani tradition of songs
attributed to Kabīr (see Appendix E2, verse #5). The verse occurs on three charts
(Ja84#8,9,23), and derives from a song about the middle path which is sometimes
equated with the central energy channel Suṣumṇā (Vaudeville 1974: 261, fn. 1). 312 The
influence of bhakti poets naturally recalls the Vaiṣṇava charts, and the connection is

310 This runs contrary to the usual associations of Ambikā with the 22nd teacher Neminātha and
Tripurā, commonly identified as Padmāvatī, with Pārśvanātha. For a complete list of the teachers
and their associated yakṣas and yakṣīs, see Alphen 2000 (pp. 46-47).
311 Stanza no. 9: copaṛa setuja khelate prāṇīu gati lahanta / bhavi samajata kheliye tāte siva pohocanta [if
one plays caupaṛ śatruñjaya, the soul attains the final state; the restrained soul capable of liberation
should play; on that account it arrives at Śiva].

186
further strengthened by a final verse which appears on several Jaina charts (see
Appendix E2, verse #3). The verse emphasizes the importance of associating oneself
with a true guru (sadguru), as in the bhakti traditions, though only as a preliminary
means to begin following the five great vows (mahāvrata).313 This is a good example of
how the Jaina charts incorporate other religious traditions as subservient to Jaina
doctrine.

312 hadda calai so mānava behada calai so sādha / hada behada doū tejai tākara matā agādha // (KGS
20.6) [he who walks between boundaries is a man, he who goes beyond them is a saint, but he who
transcends the limited and the limitless, his greatness is unfathomable!] (as translated in Vaudeville
1974, p. 262). For an introduction to Kabīr's use of tantric language and imagery, see Vaudeville 1974
(pp. 120-48).
313 Stanza no. 2: sadaguru ke saṃyoga bhayo vyavahāra rāsī / mahāvratī munīśvara jīva kaika bhaye
avināsī [those who associate with the true guru enter the group of specifiable souls (i.e. vyavahār
rāśi, sq. 11); the few souls, the chiefs of sages, who follow the great vows, become indestructible].

187
Comparative Analysis
The above analyses of 72-square Vaiṣṇava type a and 84-square Jaina type a1 charts
have shown that the charts concern themselves with many of the same ideas, albeit in
accordance with their own particular world-view. They organize the grids
hierarchically as representations of a vertically oriented cosmography, incorporate
systems of karma linking individual squares across the charts, and emphasize various
religious practices ultimately aimed at reaching a state of liberation whereby players
can finish and win the game. Additionally, they both hint at a deeper level of
interpretation allowing us to change perspective from the macrocosmic to the
microcosmic. However, the difference in design is not only a question of conflicting
world-views, but also one of conflicting ideas about what and how the game should
communicate. The Vaiṣṇava chart only devotes a single column to the cosmographical
realms, and distributes positive and negative karmic qualities throughout the entire
chart without a clear pattern of integration into the whole. The further presence of
terms related to Sāṃkhya and yoga gives the overall impression of a somewhat loosely
structured chart focused on the individual experiences of its users rather than the
exposition of any specific doctrine. This fits well with our earlier observation that the
chart may have been used for purposes of meditation, visualization, divination, and
self-exploration beyond that of mere play. The Jaina chart, on the other hand, presents
a much more detailed view of the universe and the lifeforms which inhabit it. The
three uppermost rows and the additional squares above the main grid are almost
exclusively devoted to the realms of the upper world, while the rows below mainly
focus on the inhabitants of the middle and lower realms, with special attention to the
religious practices of lay and mendicant followers of Jainism. This, coupled with
several technical terms related to the Jaina theory of karma, provides a much more
exhaustive representation of Jaina doctrine, supporting the view that the chart was
primarily used as a didactic tool for lay followers and young disciples. A concrete
example of this can be seen in the tendency to refer to overall concepts, such as the
five false views (sq. 17) and the twelve austerities (sq. 47), without specifying their
contents, thereby leaving it for the players to expound on them, possibly in front of a
religious teacher presiding over the game.

188
If we compare the charts more closely, we find several direct correspondences
between them, indicating that they borrowed from each other, or, perhaps more likely,
that one chart based itself on the other. Both charts have nine columns in the main
grid, though the Vaiṣṇava chart only has eight rows against nine rows on the slightly
larger Jaina chart. As shown in fig. 69, five snakes and three ladders appear in nearly
identical positions within the two grids when adjusting for the additional row on the
Jaina chart. Less obvious correspondences can also be found between the remaining
snakes, while the remaining ladders on the Jaina chart join together in a three-part
structure not found on the Vaiṣṇava chart. The similarities are corroborated by several
related readings which fit logically into the Vaiṣṇava chart, but at times appear slightly
out of place on the Jaina chart, indicating that it was the latter which borrowed from
the former (fig. 70). Similar to the placement of the snakes and ladders, several
readings in the upper half of the Jaina chart appear one square above the related
readings on the Vaiṣṇava chart, as if the extra row on the Jaina chart had been inserted
somewhere in the middle of the chart. While the Vaiṣṇava readings īrṣyā (envy, sq. 12),
hiṃsā (injury sq. 52), bhakti (devotion, sq. 54), and sukh (happiness, sq. 62) have been
translated into the corresponding Jaina readings parjīv spardh (envious of another
soul, sq. 13), pardroh (injuring another, sq. 52), jin bhakti (devotion toward spiritual
teachers, sq. 38), and abhīṣṭ siddhi sāgar (desired attainments for a period of one
sāgara,314 sq. 68) without indicating who borrowed from who, other readings appear
more closely affiliated with the Vaiṣṇava than the Jaina chart.315

314 A sāgara, or sāgaropama, is an unfathomable measure of time said to equal 10.000.000 x 15.000.000
x 1 palyopama years. A single palyopama is said to equal the number of years it would take to empty
out a hole filled with tightly packed sheep's wool if the hole measured 1 yojana (c. 5-10 km) in
diameter and 1 yojana in depth, and if one only were to take out a single fiber of wool every 100
years (Tatia 1994: 273).
315 A possible reason for adopting an only slightly modified version of the readings might have been
that they were connected to snakes or ladders which were also adopted. This would have made it
more convenient to keep the readings more or less intact since they had to retain an overall positive
or negative sense justifying their association with the snakes and ladders to which they were
connected. The same reason can be applied to almost all of the adopted readings discussed here. One
notable exception is the Jaina reading jin bhakti (devotion to spiritual teachers, sq. 38) which is
unique in appearing below rather than above the related Vaiṣṇava reading bhakti (devotion, sq. 54),
and in not adopting the snake associated with the Vaiṣṇava reading. This makes good sense since the
Jainas would naturally be interested in deemphasizing the key role played by bhakti on the Vaiṣṇava
chart.

189
 J-top#6

J-top#5

J-top#2 J-top#3 J-top#4

J-top#1

J76 J77 J78 J79 J80 J81 J82 J83 J84

J75 J74 J73 J72 J71 J70 J69 J68 J67

V72 V71 V70 V69 V68 V67 V66 V65 V64

J56 J57 J58 J59 J60 J61 J62 J63 J64 J65 J66
V55 V56 V57 V58 V59 V60 V61 V62 V63

J55 J54 J53 J52 J51 J50 J49 J48 J47

V54 V53 V52 V51 V50 V49 V48 V47 V46

J38 J39 J40 J41 J42 J43 J44 J45 J46

V37 V38 V39 V40 V41 V42 V43 V44 V45

J37 J36 J35 J34 J33 J32 J31 J30 J29

V36 V35 V34 V33 V32 V31 V30 V29 V28

J20 J21 J22 J23 J24 J25 J26 J27 J28

V19 V20 V21 V22 V23 V24 V25 V26 V27

J19 J18 J17 J16 J15 J14 J13 J12 J11

V18 V17 V16 V15 V14 V13 V12 V11 V10

J2 J3 J4 J5 J6 J7 J8 J9 J10
V1 V2 V3 V4 V5 V6 V7 V8 V9

J1

Fig. 69: Diagrammatic representation of related snake and ladder positions on the critically read charts. The Vaiṣṇava chart (numbered V1-72) is shown
inside the Jaina chart (numbered J1-84 and J-top#1-6). Vaiṣṇava and Jaina snakes and ladders are shown with continuous and dashed lines, respectively.

190
 J-top#6

J-top#5

J-top#2 J-top#3 J-top#4

J-top#1

J76 J77 J78 J79 J80 J81 J82 J83 J84

J75: rājas J74 J73 J72 J71 J70 J69 J68: abhīṣṭ J67: tāmas
ahaṃkār V71 V70 V69 V68 V67 V66 siddhi sāgar ahaṃkār
V72 V65 V64

J56 J57 J58 J59 J60 J61 J62 J63 J64 J65: vivek J66
V55: ahaṃ- V56 V57 V58 V59 V60 V61 V62: sukh V63: tāmas
kār

J55 J54 J53 J52: pardroh J51 J50 J49 J48 J47
V54: bhakti V53 V52: hiṃsā V51 V50 V49 V48 V47 V46: vivek

J38: jin J39 J40 J41 J42 J43 J44 J45 J46
bhakti V38 V39 V40 V41 V42 V43 V44 V45
V37

J37 J36 J35 J34 J33 J32 J31 J30 J29

V36 V35 V34 V33 V32 V31 V30 V29 V28

J20 J21 J22 J23 J24 J25 J26 J27 J28

V19 V20 V21 V22 V23 V24 V25 V26 V27

J19 J18 J17 J16 J15 J14 J13: parjīv J12 J11
V18 V17 V16 V15 V14 V13 spardh V11 V10
V12: īrṣyā

J2: kām J3: krodh J4: lobh J5: moh J6 J7 J8: machar J9: ahaṃkār J10: māyā
V1 V2: māyā V3: krodh V4: lobh V5 V6: moh V7: mad V8: matsar V9: kām

J1

Fig. 70: Diagrammatic representation of related readings on the critically read charts. The Vaiṣṇava chart (numbered V1-72) is shown inside the Jaina chart
(numbered J1-84 and J-top#1-6). Relevant squares have been highlighted in yellow.

191
 top sq. 6
siddhśilā

top sq. 5
sarvārth-
siddhi
vimān

top sq. 2 top sq. 3 top sq. 4

vaijayant aparājit jayant
vimān vimān vimān

top sq. 1
vijay
vimān

76 77 78 79 80 81 82 83 84
mahāmohnī bhadra subhadra sujāt kṣāyik sumanas sudarśan & amogh & yaśodhar
karm graiveyak graiveyak graiveyak samyaktva graiveyak priyadarśan suprati- graiveyak
graiveyak bandh
graiveyak
75 74 73 72 71 70 69 68 67
kṛṣṇa leśyā nīl leśyā 5 viṣay sevā 4 lokpāl anivṛtti- mahā- yaśgrāhī suprati- bāl tapasvī
karaṇ, upa- mahoday bandh
śam śreṇi, bhavyā- bhakti
kṣāyik śreṇi bhavya jīv kārak
56 57 58 59 60 61 62 63 64 65 66
saudharm īśān sanatkumār māhendra asaṃyamī brahm lāntak śukra sahasrār ānat & āraṇ &
devlok devlok devlok devlok devlok devlok devlok devlok prāṇat acyut
devlok devlok

55 54 53 52 51 50 49 48 47
14 pūrv- 200.000 200.000 pardroh apūrvkaraṇ śukla leśyā madhya 7 vyasan kṣayopa-
dhārak beïndrī teïndrī, guṇsthān pariṇām śamik
200.000
caurindrī
38 39 40 41 42 43 44 45 46
vidyamān sañjñī sthūlvrat padma leśyā apramatta tīn guṇvrat upaśam jīv hiṃsā anivṛtti-
arhat bhakti pāñceñdrī ārādhak guṇsthān moh karaṇ
manuṣya guṇsthān

37 36 35 34 33 32 31 30 29
āsrav teju leśyā 1.000.000 700.000 pramatta sādhu sevā, śubhāśubh dharm apūrv-
rodhak pratyek vāükāy virat guṇ- śuddhā- sattva ārādhak karaṇ
saṁvarāt- vanaspati- sthān, rādhak
mak kāy sarvvratī
20 21 22 23 24 25 26 27 28
bhāv sādhu 700.000 700.000 700.000 deś virat deś thakī sadā śubh puṇya yathā-
saparigrahī pṛthvīkāy apkāy teükāy guṇsthān, viṣay tyāgī pariṇām prakṛti, pravṛtta-
śrāvakvratī śubhoday karaṇ

19 18 17 16 15 14 13 12 11
asurkumār nāg- & mithyātva vidyut- avirat agnikumār maithun apratyā- apratyā-
suvarṇ- guṇsthān kumār, samyaktva sevā khyānī khyānī
kumār miśra guṇsthān māyā mān
guṇsthān
2 3 4 5 6 7 8 9 10
400.00 yoni sañjñī paramā- vanaspati- diśā-, stanit- upaśam anantānu- anantānu- apratyā-
nārkī pāñcendrī dhāmī kāy, sañjñī & pavan- śreṇi, bandhī bandhī khyānī
tiryañc, pāñcendrī kumār viśudh māyā krodh krodh
tivra kaṣāy manuṣya pariṇām
1
asañjñī
pāñcendrī
tiryañc

Fig. 71: Diagrammatic representation of majority readings on 84-square Jaina type b charts. Squares where possible Vaiṣṇava influence can be traced on the
corresponding 84-square Jaina type a1 charts have been highlighted for purposes of comparison (cf. fig. 70).

192
The bottom row contains the greatest overlap between Vaiṣṇava and Jaina readings,
and while the negative qualities expressed by them fit well into the context of the
Vaiṣṇava chart, only the Jaina readings krodh (anger, sq. 3), lobh (greed, sq. 4),
ahaṃkār (pride, sq. 9), and māyā (deceit, sq. 10) are relevant to the four conduct-
deluding passions. The readings kām (desire, sq. 2), moh (delusion, sq. 5), and machar
(jealousy, sq. 8) are neither counted among the primary nor the secondary passions,
and therefore do not accord well with the overall focus on key terms related to
doctrine. Even more revealing is the fact that the exact same readings appear on the
Vaiṣṇava chart, and that the Jaina chart appears to have copied the adjacency of anger
(sq. 3) and greed (sq. 4) despite the doctrinal association between anger (sq. 3) and
pride (sq. 9) as aversions, and between greed (sq. 4) and deceit (sq. 10) as attachments.
Vaiṣṇava influence also seems to underlie the readings tāmas ahaṃkār (egoity
dominated by inertia, sq. 67) and rājas ahaṃkār (egoity dominated by activity, sq. 75)
on the Jaina chart.316 Both readings derive from Sāṃkhya where they denote different
aspects of the principle of egoity. The Vaiṣṇava chart reads tāmas (darkness, lit.
relating to the quality of inertia, sq. 63) and ahaṃkār (egoity, sq. 55) in the
corresponding squares, and since Sāṃkhya does not traditionally play any role in
Jainism, and only the Vaiṣṇava chart is concerned with enumerating its principles,
again the Jaina chart seems to have adopted the readings from the Vaiṣṇava chart. 317
The reason for adopting the readings is not clear, though they might have been used in
a mystical sense, as indeed they are in tantric traditions, including the Vaiṣṇava
Pāñcarātra tradition (Flood 2006: 103-4). Finally, the reading vivek (discriminating
judgment) appears in related positions on both the Vaiṣṇava (sq. 46) and the Jaina (sq.
65) charts. While it fits well with the positive qualities on the Vaiṣṇava chart, and also
came to be associated with the means of escaping from the cycle of rebirth in the early
history of Sāṃkhya (Larson & Bhattacharya 1987: 5), it seems less convincing in the
context of the Jaina chart. The Tattvārthādhigamasūtra identifies it as a subcategory of
the first internal austerity, given as penance (prāyaścitta) (Tatia 1994: 232-33), but this

316 The readings tāmas ahaṃkār and rājas ahaṃkār also appear on several 84-square Vaiṣṇava charts
from Maharashtra (types c and d in Appendix D1), but since these appear to be later than the Jaina
charts, it is more likely that the 84-square Vaiṣṇava charts derived the readings from the 84-square
Jaina charts than the other way around.
317 The terms rajas and tamas is sometimes used to express the concepts of motion (dharma) and rest
(adharma) in Jaina traditions (Jaini 1979: 99), but this does not seem to be the case here.

193
reads strangely specific on the Jaina chart which usually avoids detailing categories,
not to mention subcategories. A more likely explanation is therefore that it was
adopted from the Vaiṣṇava chart because of the ladder which leads up to happiness on
the Vaiṣṇava chart and to desired attainments for a period of one sāgara on the Jaina
chart.

Having established the general flow of influence from the Vaiṣṇava to the Jaina chart,
the question of the relationship between the 84-square Jaina types a1 and b charts
remains to be answered. The critically read type a1 chart is represented by 29 unique
charts, while the type b chart is represented by 11 unique charts. Though the present
thesis does not include a full critical reading of the type b charts, fig. 71 shows the
majority readings as they appear on the charts in question. If we consider the squares
which show traces of possible Vaiṣṇava influence on the type a1 chart, we can see that
they have been more or less completely purged of those traces on the type b chart. The
problematic readings desire (kām, sq. 2), delusion (moh, sq. 5), and jealousy (machar,
sq. 8) have been removed or replaced with more fitting readings, and the misleading
adjacency of anger (krodh, sq. 3) and greed (lobh, sq. 4), as well as pride (ahaṃkār, sq.
9) and deceit (māyā, sq. 10), has been abandoned. 318 Similarly, the Sāṃkhya-inspired
readings tāmas ahaṃkār (egoity dominated by inertia, sq. 67) and rājas ahaṃkār
(egoity dominated by activity, sq. 75) have been replaced with the non-controversial
readings bāl tapasvī (child ascetic, sq. 67)319 and kṛṣṇa leśyā (black karmic stain, sq. 75).
Perhaps the most obvious example of lingering Vaiṣṇava influence is found in the
substitution of the Ānata and Prāṇata heavens (ānat prāṇat devlok, sq. 65) for
discriminating judgment (vivek, sq. 65). While the substitution itself is not problematic,
the retainment of the ladder leading up from the square is, since the heavens are not
indicative of the positive actions and inner states usually associated with a square at
the foot of a ladder. The only Vaiṣṇava-influenced readings that have been kept are

318 The representation of the conduct-deluding passions on the type b chart runs into problems of its
own because of the attempt at separating them into passions resulting in endless worldly existence
(anantānubandhī) and passions obstructing partial renunciation (apratyākhyānī) (cf. Jaini 1979: 119).
While pride lacks the former distinction, greed is not represented at all. This problem, however, is
not a result of Vaiṣṇava influence, but perhaps rather a result of trying to deal with such influence.
319 I presume that the long snake leading down from this square is indicative of the prohibition against
initiation (dikṣā) of children under eight years of age (Jaini 1979: 244).

194
vidyamān arhat bhakti (devotion to an existing arhat,320 sq. 38) and pardroh (injuring
another, sq. 52), none of which are at odds with traditional Jaina doctrine.

The image that emerges of the type b chart is one of a chart which seeks to purge the
remnants of Vaiṣṇava influence still visible in the type a1 chart. However, the purge
seems to go beyond even Vaiṣṇava influence and direct itself toward Jaina elements
which were not considered desirable. Consequently, all references to the tantric and
yogic undercurrent of the type a1 chart discussed above are missing on the type b
chart. References to meditation (dhyāna) and karmic gateways (dvāra), which might
indicate bodily apertures connected with energy channels (nāḍī), are missing, and
none of the charts include the surrounding cosmic figure standing in the kāyotsarga
pose of meditation. Furthermore, all the type b charts which include the popular verse
referring to the nine energy channels read nārī instead of nāḍī.321 While nārī is an
accepted orthographical variant of nāḍī in western Indian vernaculars (RSK, p. 2784),
the fact that it only occurs on type b charts indicates that it represents a conscious
attempt at changing the reading "energy channels" (nāḍī) to "women" (nārī).322 The
negative conception of women implied by associating them with downward-leading
snakes might be seen as indicative of Digambara tradition which does not admit the
possibility of women becoming mendicants and attaining liberation (Jaini 1979: 39-40).
However, the more likely scenario that the type b chart represents a Śvetāmbara
attempt at purging Digambara influence from the type a1 chart is supported by the fact
that the type b chart removes references to the Digambara concepts of five forms of
stationary beings (pāñc sthāvar in sq. 24 on the type a1 chart) and permanent and non-
permanent basic lifeforms (nitya and itar nigod in sqs. 1 and 21 on the type a1 chart).
This does not mean that all type a1 charts should be considered Digambara, since, for
example, both the type a1 and b charts follow the Śvetāmbara organization of the
kalpa heavens in rows seven and eight, but it does suggest a line of transmission from

320 Arhat (lit. worthy) is often used synonymously with jina and tīrthaṅkara as an epithet of the twenty-
four spiritual teachers, but it can also be used more broadly as an epithet of those who have attained
omniscience (kevalajñāna) (Wiley 2006: 39).
321 See Appendix E2, verse #1a. The only exceptions are Ja84#56, which leaves out the reference
completely, and Ja84#6 which reads narapati (lord of men, king).
322 One chart (Ja84#15) removes the exclusive focus on women by reading nar nārī (men and women)
instead of nāv nārī (nine women). All the charts retain the reading anāmata brahma (the nameless
Brahman) which apparently was not considered controversial by the artists.

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the Vaiṣṇava type a chart via the mixed Śvetāmbara-Digambara type a1 chart to the
primarily Śvetāmbara type b chart. If this interpretation of the material is correct, the
branching off of the type b chart from the type a1 chart must have happened at an
early point in the history of the game since, as already pointed out, the earliest datable
Jaina chart (Ja84#56) is a type b chart from 1797, while the earliest datable type a1
chart (Ja84#16) is from 1812. While this might lead to the conclusion that the type b
chart is earlier than the type a1 chart, and perhaps even earlier than the Vaiṣṇava
charts, the arguments presented above seem to preclude such an interpretation. Not
only does the influence of readings seem to flow in the opposite direction, it also makes
little sense that the type a1 chart would have begun adopting Vaiṣṇava readings if it
had been based on the type b chart which does not include Vaiṣṇava readings.

The identification of Nāth influences on the 84-square Jaina type a1 chart may also
help us to understand the origins of similar influences on the 72-square Vaiṣṇava type
a chart, and bring us closer to the very beginnings of gyān caupaṛ. While the Vaiṣṇava
chart clearly expresses its affiliation with Haṭhayogic ideas and concepts, it remains
silent on the subject of what might have occasioned their inclusion. However, since the
Nāth influence on the Jaina chart is primarily connected with readings adopted from
the Vaiṣṇava chart, it is likely that the Vaiṣṇava chart shared in the same influences.
Monika Horstmann has recently described the close relationship between Jaina, Nāth,
and nirguṇa bhakti traditions in 16th- and 17th-century Rajasthan, and demonstrated
how a mutual relationship of interdependence existed between especially the bhakti
and Nāth traditions (Horstmann 2017: 2-3). In an earlier study on the 16th-century
bhakti poet Dādū (d. 1604), she has shown how he interweaved saguṇa Vaiṣṇava and
nirguṇa Nāth traditions in his songs, and how especially Haṭhayoga figured
prominently in the songs of both Dādū and other bhakti poets (Thiel-Horstmann 1983:
2-3).323 This strengthens the argument that the Vaiṣṇava chart first developed in a
Vaiṣṇava bhakti environment influenced by tantric and yogic ideas current in the
formative period of the game in the late 17th and early 18th centuries. The
identification of these ideas may also have occasioned the later attribution of the
charts to the 13th-century poet-saint Jñāneśvar, who was initiated into the Nāth

323 An example of a late 18th-century grid map of the subtle body produced by followers of Dādū in
Uttar Pradesh is clearly reminiscent of gyān caupaṛ, and suggests a possible inspiration for the game
charts (see Anatomical Chart in chapter six).

196
tradition, and whose writings on yoga echo those of its alleged founder Gorakhnāth
(Mallinson 2011: 5).

If we were to suggest a concrete place and time conducive to the invention of gyān
caupaṛ, we might choose the rule of Mahārāja Savāī Jay Siṃh II (1688-1743) of Amer in
the first half of the 18th century. The royal family of Amer had long been associated
with Vaiṣṇavism, and until the mid-19th century they patronized a great variety of
Vaiṣṇava groups, including the followers of Dādū (Hastings 2002: 60-62). After the
Mughal emperor Aurangzeb dismissed all entertainers and artists from his court in
1688, many sought patronage in Amer which was known for its religious and artistic
tolerance. This resulted in a period of "experimentation and development by artists,
writers, scholars, and religious practitioners" (ibid. 70) which became even more
pronounced when Jay Siṃh founded Jaipur in 1727 and invited "artists, musicians,
scholars, pandits, merchants and others" (ibid. 71) to join him in the new city. 324 Jaipur
quickly grew to become one of the largest and most important centers in Rajasthan,
and though Jay Siṃh was a traditionalist at heart and remained skeptical of the
autonomy of more recently formed bhakti groups (ibid. 81), he succeeded in creating
an environment where one might imagine gyān caupaṛ appearing as the latest craze
among many others. More research on the games of the period needs to be done in the
Rajasthan State Archives, to which I have not had access during my fieldwork, but for
now it is worth noting that Jaipur and its surrounding areas are by far the richest in
terms of existing gyān caupaṛ charts.325

324 Among those invited were several Jesuits who were to assist Jay Siṃh in his ambitious astronomical
program (Maclagan 1932: 133-5). As mentioned in chapter two, Jesuits had been experimenting with
religiously themed goose games since the late 17th century, and it is therefore possible that the
Jesuits at the court of Jay Siṃh were instrumental in bringing such games to his attendance.
325 Unfortunately, many of them are kept in jealously guarded private collections with limited or no
access (see the list of reported yet undocumented charts at the beginning of Appendix A).

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 Chapter 5
Simulation and Narrative

In the late 1990s and early 2000s when the field of computer game studies was in the
process of wrestling free from disciplines such as literature and film studies which had
until then contained it, a divisive debate was raging over the question of whether
games should be considered primarily as representations or simulations. 326 On one side
were the narratologists who approached games as engines for interactive storytelling,
while on the other side were the ludologists who approached them as formal systems
capable of simulating dynamic processes. An important proponent of the ludological
side of the argument was Gonzalo Frasca who argued that the capacity for simulation
set games apart from traditional media, such as books, movies, and visual arts, and
opened up a wide range of possibilities which would only be limited by a narrative
approach. He followed existing definitions of simulations in considering games,
whether digital or non-digital, as simplified systems modeling other and more complex
systems by only retaining "some of the behaviours of the original system" (Frasca 2003:
223). An example of such a simplified system is chess which appears to have been
conceived of as a simulation of battle, and continues to be described in similar terms.
Likely invented in northern India during the Gupta era (4-6th cent.), the game was
referred to as caturaṅga, or that which has four limbs, adopting the traditional word
for the Indian army which consisted of foot-soldiers (pawns), horsemen (knights),
chariots (modern day rooks), and elephants (modern day bishops). 327 The earliest
known reference to the game is found in the Harṣacarita written by Bāṇabhaṭṭa during

326 See Espen Aarseth's editorial in the first issue of the Game Studies journal for a brief but well-
informed account of the emerging field of computer game studies during those early years (Aarseth
2001). The study of non-digital games remains underrepresented within the wider field of game
studies, but recent years have seen an increased interest in the subject. The launch of the Analog
Game Studies journal by a group of people from within the field of computer game studies represents
an important shift in orientation (Torner et al 2016).
327 The origin of chess has been the subject of much debate among board game historians, and the final
word still remains to be said. For an overview of the key arguments, see Mark 2007 who, like many
others, leans toward an Indian origin of the game.

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the reign of king Harṣa in the first half of the 7th century. The work chronicles the life
and deeds of the king, and describes his rule as one under which "the arranging of
armies (only occurs) on chessboards" (aṣṭapadānāṃ caturaṅgakalpanā).328 Though it
might be argued that chess is not a very good simulation of battle because it cannot be
applied to real-life situations with any accuracy, this does not alter the fact that the
game does indeed attempt to simulate "some of the behaviors of the original system." It
pits two opposing forces against each other, differentiates between powers of
individual unit types, and includes rules for advancing, retreating, killing, and
capturing.329 The game is not meant to represent any single battle, but rather to
simulate the operations of every battle past, present, and future. As Frasca would
argue, though every game of chess generates the story of a battle, the game itself
cannot be understood with reference to those stories, but only with reference to the
operations that make those stories possible (ibid. 224).

A simulational approach to games is also taken by Don Handelman and David Shulman
in their study of cosmologically themed games in Indian myth and ritual, such as the
game of backgammon (sārīkrīḍā, pāśakakrīḍā) played by Śiva and Pārvatī in Purāṇic
mythology,330 and the dice or calculation games played in connection with the Vedic
Rājasūya and Aśvamedha rituals. Invoking the concept of analogue models, defined by
structural rather than isomorphic resemblances with the modeled (Black 1962: 222-23),
Handelman and Shulman identify four key characteristics of a cosmological game: it
should present a simplified version of the cosmos, yet retains its relationship with it
through structural homologies; it should be governed by rules which allow players to
engage with it as if they were engaging with the actual cosmos itself; it should generate

328 The full passage is found toward the end of the second chapter (ucchvāsa), and has been discussed
at length by Renate Syed who hypothesizes that chess developed from didactic war room exercises
played out with clay figures in sandboxes (2005, 2008).
329 Later developments in the history of chess reoriented it toward a more realistic portrayal of military
operations. The 12th-century Mānasollāsa exemplified three different battle formations (vyūha),
adopted from existing literature on warfare, which the players could choose between as their
opening positions (Bock-Raming 1995: 311). The 16th-century Hariharacaturaṅga enlarged the game
board to a 17x17 grid, and introduced additional pieces, unit types, and battle formations (Bock-
Raming 2001). The European tradition of Kriegsspiele, or war games, continued the transformation of
chess from an abstract representation toward a realistic simulation, culminating in the elaborate
interactive models of Georg Leopold Baron von Reisswitz and his son in the first quarter of the 19th
century (see, for example, Vego 2012 and Peterson 2012: 203-51).
330 For further discussions of the game played by Śiva and Pārvatī, see Syed 1998 and Soar 2007.

199
and actualize hypothetical futures already contained within the space of its own
possible outcomes; and it should influence that which it models, granting it not only
the power of divination, but also that of transformation (Handelman & Shulman 1997:
63-68). This, of course, does not mean that every time somebody sits down to play a
game of caupaṛ, sārīkrīḍā, or something similarly themed, the fate of the universe is
perceived as hanging in the balance, but it does indicate the seriousness with which
the simulational power of such games were treated in certain contexts. 331 It was, for
example, the fear of this very power which dictated that the king should never
participate in the game played during the Rājasūya ritual. Instead, he should merely
receive the spoils from the victor, thus avoiding the risk of losing and unbalancing the
cosmos (ibid. 63).

In order to fully appreciate the power of simulation inherent in gyān caupaṛ, first of all
we need to understand how it was played. Only then can we begin to inquire into the
experiences afforded by the charts, and the ways in which those experiences might
have been interpreted by the users. In this chapter we will therefore begin by
attempting to reconstruct the rules of 72-square Vaiṣṇava and 84-square Jaina charts
as they were played at the height of their popularity in the 18th and 19th centuries. We
will then apply the reconstructed rules to the critically read versions of the charts, and
conduct a sample playthrough of each chart for four imaginary players. This will allow
us to document the flow of the game, and provide us with a basis for analyzing and
discussing play experiences in the final part of the chapter.

Rules of Play
Instructions for playing gyān caupaṛ were rarely included on the charts themselves,
and never on the 72-square Vaiṣṇava and 84-square Jaina charts under consideration
here.332 This was probably due to the oral transmission of rules between players who
did not see the need to commit them to writing. Charts which do pay attention to rules
are usually later adaptations which diverge from the original game system, such as a

331 The identification of mundane objects with cosmic forces is a key principle in monist traditions in
India, allowing for the manipulation of the former to realize an effect in the latter (Edgerton 1972:
115).
332 A few of the charts include references to the basic operations of the game, such as the use of dice or
cowries and the function of snakes and ladders, but actual rules descriptions are never included.

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Haṭhayogic (Va72#34) chart and the ladderless 84-square Vaiṣṇava type d charts, none
of which are included in the critical readings. A notable exception is the earliest
known Ṣūfī charts (Ṣū100#1ab) which may have been prompted to include rules
descriptions because the game had only recently been adopted by the community. The
two charts in question contain a more or less complete description of the rules as they
relate to the Ṣūfī version of the game, which does not appear to have been very
different from other versions. As such, they offer a valuable insight into how the game
was played at the time of their production in the early 19th century, but the fact that
certain details, such as counting a throw of five facedown cowries as a "10," are not
reflected in later rules descriptions, should remind us that we can no more hope to
find a single original set of rules than a single original chart.333 Rules vary over time
and between players, and not only are the same games played with different rules, the
same components are also used to play entirely different games. 334 In fact, most games
historians would argue that this is one of the most important ways in which new
games develop.335 The explicit nature of the representational value of gyān caupaṛ
makes it a less obvious template for designing radically new games than, say, an
uninscribed 8 x 8 grid, but the point remains the same: only by understanding the
common rules which relate the different versions of gyān caupaṛ to each other can we
begin to understand the particulars which set them apart.

333 On Ṣū100#1b, the rules are written in Persian below the chart, and paraphrased in English above it.
The English paraphrase reads: "Directions for playing this Game, which is termed Hazard: Take six
cowries in your hand, shake and throw them on the Table, should five fall on their faces, and one on
its back, it counts ten, upon which you move your Man to the Square next Annihilation, and until
such time as you throw ten your man cannot leave that square. After having left the first square you
move on according to the number of Cowries that fall upon their backs, should they fall all on their
backs, or faces, it counts six, you thus proceed until you arrive in the ninth or Empyrean Heaven,
which ends the Game - On the Road you will meet with much danger, such as Serpents of Avarice, of
pride, Heart poisoners, and Devils, who are ready to devour and cast you down, there are also
Ladders on the Road to Heaven; should you get to the foot of one, you proceed to the Top,
consequently you will have many Ups and Downs eer [sic] you arrive in Arshillah [sic]." (quoted
from Topsfield 2006a: 153). Cf. the similar description of Ṣū100#1a in Topsfield 1985 (p. 209, fn. 30).
334 For an example from India, see hastyaśvājagavāṃ krīḍā, or the game of elephants, horses, goats, and
cows, which uses the components of paccīsī for a game of placement rather than movement (KK 285-
87).
335 See, for example, Murray's suggestion that chess evolved from a race game played on an identical
board (Murray 1952: 129-30), or Ulrich Schädler's theory that backgammon evolved from the Roman
games of duodecim scripta and alea (Schädler 1995: 95).

201
The earliest and most comprehensive secondary sources available for the
reconstruction of the rules of 72-square Vaiṣṇava and 84-square Jaina charts are the
Krīḍākauśalya (KK), written in Sanskrit with a Hindi auto-commentary by Harikṛṣṇa
Śarmā in 1872, and a chapter on Jñān bājī ramvānī rīt (JBRR), or the rules of playing
gyān bājī, in an untitled manuscript written in Gujarati by Lallu Jeṭhābhāī in 1877/78. 336
Harikṛṣṇa provides a detailed account of the rules for an unidentified 84-square
Vaiṣṇava type c chart, elaborating on the much more rudimentary account found on
an existing chart (Va84#4) dated approximately to the same time as the
Krīḍākauśalya.337 An account of the rules for a 72-square Vaiṣṇava chart would of
course have been preferable, but the one provided by Pārakh adds little of value
(Pārakh 1886: 200-1), while the one provided by Dampier gives the impression that he
had not fully understood the game, or else had witnessed an otherwise unattested way
of playing it (Dampier 1895). We therefore mostly have to rely on the rules for 84-
square Vaiṣṇava charts to reconstruct the rules of 72-square Vaiṣṇava charts. Jeṭhābhāī
describes the rules for an 84-square Jaina chart, but unfortunately his description
stands quite alone, and it is therefore impossible to say how widely it was applied. It
does, however, provide valuable information on how to understand several features of
the Jaina charts which has not been addressed in previous studies. Similar to the rules
descriptions found on the charts themselves, most rules descriptions in early
secondary sources tend to focus on later adaptations of the game, and are therefore of
less importance to the task at hand. 338 Publications beginning from later in the 20th
century were written after the charts had ceased to be current, and often include rules
and practices that cannot be verified by earlier sources. It should also be noted that the
modern children's game of snakes and ladders enjoyed worldwide success throughout
the 20th century, and may have influenced later interpretations of the rules for gyān
caupaṛ.

336 As the texts are presented in full in Appendix F, they will only be treated in summary here.
337 A slightly later description of the rules for another 84-square Vaiṣṇava type c chart (Va84#8) is little
more than a translation of the Hindi auto-commentary of the Krīḍākauśalya into Marathi (Pārakh
1886: 200).
338 Examples include rules for two 108-square Advaita Vedānta charts (Dvivedi 1893, Devdhar 1905:
207), a 285-square Vaiṣṇava chart (Gulābrāv 1981), and a 500-square Vaiṣṇava chart (KK 246-55). The
manual for a 124-square Vaiṣṇava chart has unfortunately been lost (AJMR 5: 85, Pargiter 1916).

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Basic Rules
Available evidence makes it clear that gyān caupaṛ was conceived of as a simple race
game in which two or more players competed to be the first to reach the designated
winning square near the end of a track of sequentially arranged squares. The track
was laid out in the form of a grid which had to be traversed row by row from bottom
to top, and sometimes included additional squares above the grid. Each player had a
single pawn which began the game in the first square of the track, and moved forward
according to the throw of dice or cowries. Whenever a pawn ended its move in a
square showing the foot of a ladder, it was moved up to the square at the top of the
ladder. Conversely, whenever a pawn ended its move in a square showing the head of
a snake, it was moved down to the square at the tip of the snake's tail. The first player
to have his pawn reach the central square in the top row of the grid, or another square
somewhere above it, was declared the winner.

While not directly contradicting any of the rules described in our sources, the above
outline does not fully explain them either. At first glance, it leaves us wondering about
the number of dice or cowries used, and in the case of the former, which kind of dice.
It also raises the question of where exactly the winning square was located, and what
would happen if a pawn moved beyond it instead of landing on it. On a more subtle
level, it fails to address situations in which a pawn would land in the square of another
pawn, or move to the top of a ladder which shared its square with the foot of yet
another ladder. The answers to these and other questions would have depended on the
design of individual charts and the preferences of individual players, and thus cannot
be given in a simple straightforward manner. The questions will therefore be
addressed one by one in the following sections, with special emphasis on how they
might have been answered in the case of 72-square Vaiṣṇava and 84-square Jaina
charts.

Randomizing Agents
The two kinds of randomizing agents most commonly referred to in our sources are
cowrie shells and four-sided stick dice. Historically, a key difference between Vaiṣṇava
and Jaina charts seems to have been that the former were predominantly played with
cowries, while the latter were predominantly played with stick dice. Sources disagree

203
on the exact number of cowries used for the Vaiṣṇava charts, but six and seven are the
most frequently mentioned, and it is therefore likely that both counts were used. 339
This would also mirror the number of cowries used in the popular game of paccīsī
which is a simplified version of caupaṛ played with cowries instead of stick dice
(Murray 1952: 132). Contrary to paccīsī, which had its own particular ways of
calculating the fall of the cowries, the result of a throw in gyān caupaṛ was usually
arrived at simply by adding together the number of cowries that had fallen faceup.
With regard to the Jaina charts, Jeṭhābhāī only mentions the use of a single stick die
(Guj. pāso) for playing the Jaina charts (JBRR 1). This is corroborated by inscriptions on
three existing charts (Ja84#5,6,23), and by the depiction of a stick die on two modern
charts (Ja84#31ac) clearly based on earlier charts. 340 The four faces of a stick die are
usually configured as 1-2-5-6 or 1-3-4-6 (Lüders 1907: 17), 341 though configurations of 0-
1-2-3, 0-1-2-4, and 0-1-3-4 are also recorded for Tamil Nadu (Murray 1952: 134;
Balambal 2005: 40-43).342 The only clear indication of which configuration was used for
gyān caupaṛ is found in an inscription on the back of a Jaina chart (Ja84#5) stating that
it should be played with a single stick die configured as 1-2-5-6. It is uncertain whether
the die used with the modern charts mentioned above follows the same configuration
since the only visible face shows four pips. This could either indicate that "4" was the
highest possible throw of the die, or perhaps simply that the die should have four
sides, which might otherwise easily have been overlooked toward the end of the 20th
century when the charts were made and stick dice had all but been replaced by cubic
dice.

339 A 99-square Vaiṣṇava chart (Va99#1) states that four, five, six, or seven cowries can be used,
indicating the variations that may have existed between different groups of players. Dampier
describes a 72-square Vaiṣṇava chart (Va72#13) as being played with nine cowries (Dampier 1895:
25), and while this may indeed have been the case, it should be noted that his observations about the
game does not always appear to have been accurate. The most trustworthy source for 72-square
Vaiṣṇava charts is Pārakh who says that they should be played with seven cowries (Pārakh 1886:
200).
340 As mentioned in chapter three, the depiction of the die on Ja84#31c is no longer visible, but can be
inferred from Ja84#31a.
341 The Krīḍākauśalya prescribes a configuration of 1-2-5-6 for caupaṛ when played with three dice, and
a configuration of 1-3-4-6 when played with only two dice (KK 160-4). The south Indian version of
gyān caupaṛ known as parampad sopān is sometimes played with two dice configured as 0-1-2-3 and
capable of yielding results between 1 and 12 when thrown together (see Balambal 2005: 43).
342 Stick dice configured as 1-2-3-4 are generally not encountered after the Gupta era (4-6th cent.)
(Finkel 2004a: 40).

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Special Throws
Harish Johari gives the rule for his modern redesign of a 72-square Vaiṣṇava chart
(Va72#26a) that the pawns should begin the game in Vaikuntha-loka (translated as
cosmic consciousness, sq. 68). Players would then take turns rolling a six-sided die, and
only on a roll of "6" would they be allowed to move their pawn out of Vaikuntha-loka
and along the bottom row squares to bhu-loka (translated as physical plane, sq. 6)
(Johari 2007: 8).343 The rule is not attested in any other sources, and is likely to be of
Johari's own invention, as is several other rules given by him, but the requirement of
special throws in special situations is not in itself alien to gyān caupaṛ. A rule for an 84-
square Vaiṣṇava chart given by Harikṛṣṇa, and corroborated by an inscription on a
related chart (Va84#4), states that players must throw a specific number in order to
advance their pawns from Vaikuṇṭha (sq. 80) to the winning square mokṣa (liberation,
top sq. 1) above. Harikṛṣṇa gives the required number as one faceup cowrie out of a
total of seven cowries (KK 241-5, comm.), while the related chart is more lenient in
allowing both one and five faceup cowries out of a total of six cowries. The rule is
important because it is not otherwise obvious how pawns should proceed from the
main grid to the top square in the case of charts which do not include a ladder
connecting the two. Several 72-square Vaiṣṇava charts also include one or more
additional squares above the main grid, and we might infer that similar rules applied
to them.344 On the whole, however, 72-square Vaiṣṇava charts seem to have avoided
rules involving special throws.

According to Jeṭhābhāī, the rules for 84-square Jaina charts introduce several more
situations in which special throws are required of the players (JBRR 1-3). The
requirement is always a roll of "1" on a four-sided stick die, thus giving players a much
better chance of success than the Krīḍākauśalya which requires exactly one out of
seven cowries to fall faceup.345 Jeṭhābhāī describes four situations in which a special
throw is required of the players. The first situation is at the beginning of the game

343 Sergei Moskalev appears to have adopted a variation of this rule for his modern redesign of a 100-
square Ṣūfī chart from Turkey. He states that pawns should begin in the winning square visâl (Ara.
wiṣāl, unity, top sq. 1), and that players should roll a "1" on a six-sided cubic die before they are
allowed to leave the square and begin the game proper in rızâ (Ara. riḍā, contentment, sq. 1)
(Moskalev 2014: 22-24). Thanks to my former student Natalia Jonny Nielsen for providing me with a
translation of the relevant paragraph in Moskalev's book.
344 See Va72#2,6,10,12ab,14b,17,18,20,22,28,31,33,34.

205
when a roll of "1" is required to move a pawn from nitya nigod (permanent basic
lifeforms, sq. 1) to nārkī (hell-beings, sq. 2).346 This means that it can take several turns
before a pawn leaves the first square and begins its journey along the track. The
second situation is when a pawn begins its turn in a square containing the foot of a
ladder. Only if the player rolls a "1" is the pawn allowed to ascend to the top of the
ladder; any other roll simply moves the pawn forward as usual. 347,348 This means that
pawns do not automatically climb ladders when they arrive at their feet, but have to
wait a full turn, and then only succeed on a roll of "1." The importance of this rule
cannot be overstated as it solves the inherent ambiguity of the Jaina charts which
include two squares (sqs. 44,50) containing both the top and the foot of a ladder. Using
Jeṭhābhāī's rule, a pawn which has successfully ascended the ladder from sq. 7 to sq.
44 has to roll another "1" on its next turn in order to continue up the ladder from sq. 44
to sq. 50, and similarly with the ladder from sq. 50 to top sq. 6. Another and less
satisfactory solution to a similar situation on 108-square Advaita Vedānta type b charts
is given by Dvivedi who says that connecting snakes and ladders must be followed to
their conclusion as if they represented a single continuous snake or ladder (Dvivedi
1893: 8).

345 A simple experiment with a set of seven cowries brought home from India showed that each cowrie
had approximately 45% chance of falling faceup when thrown, and approximately 55% chance of
falling facedown. Using these approximations as exact numbers results in the following statistics for
a throw of seven cowries: 0 faceup (1.5%), 1 faceup (8.7%), 2 faceup (21.4%), 3 faceup (29.2%), 4
faceup (23.9%), 5 faceup (11.7%), 6 faceup (3.2%), and 7 faceup (0.4%). In other words, the most
frequent result would be two, three, or four cowries falling faceup, while a single cowrie falling
faceup would only occur on every eleventh or twelfth throw as opposed to a "1" on every fourth
throw of a stick die. Thanks to my colleague Toke Lindegaard Knudsen for carrying out these
calculations for me.
346 Ane te jyāṁ sūdhī ek dāṃṇo paṛe tyāṁ sūdhī nāṁṣvo ane jyāre ek dāṁṇo paṛe eṭle prathamnā
gharmāṁthī nīklī bījā gharmāṁ āvvu (JBRR 1) [and one should keep throwing until one throws a "1,"
and when one throws a "1," one should move out of the first square and into the second square].
347 Paṇ je gharmāṁ pagathī tathā nīsarni hoy ane ek dāṁṇo paṛe to pagathīe upar ek gharmāṁ tathā
nīsarnīe cheṛā sūdhi gharmāṁ caḍhvuṁ (JBRR 1-2) [however, if you throw a "1" in a square with a
footprint or a ladder, you should move one square above the footstep or to the square at the top of
the ladder].
348 A similar rule is recorded in the margin of an 84-square Vaiṣṇava chart (Va84#5). The rule is written
in Marathi next to the ladder leading up from the discipline of devotion (bhaktiyog, sq. 55) to
Vaikuṇṭha (sq. 80): ek aṅk paḍe tā bhaktiyogāce (vai)kuṇthās jāye [if you throw a "1," you shall go
from bhaktiyog to vaikuṇth]. Since 84-square Vaiṣṇava charts are likely to have been influenced by
both 84-square Jaina and 72-square Vaiṣṇava charts, it is likely that the rule was adopted from the
Jaina charts.

206
The third situation described by Jeṭhābhāī occurs when a pawn begins its turn in a
square with a footprint. On a roll of "1," the pawn moves one square directly upward
from its current position, including from the central square in the top row to top sq. 1
above the main grid.349,350 As in the case of the ladders, any other roll moves the pawn
forward along the track in the usual manner. The fourth and final situation is when a
pawn begins its move in top sqs. 1-5. Similar to the situation at the beginning of the
game, a roll of "1" is required for the pawn to advance to the next square, while any
other throw leaves it stranded for the turn. 351 The top squares on the Jaina charts are
numbered separately from the squares of the main grid, and the sequence most
commonly followed corresponds to top sqs. 1-2-4-3-5 on the critically read chart (cf.
figs. 46-47). If a pawn begins its turn in top sq. 5, it continues to top sq. 6 on a roll of "1,"
and wins the game.352

Endgame
In the modern children's game of snakes and ladders the winning square is usually
placed at the top left which makes for a fairly simple endgame. If pawns are required
to land exactly on the winning square, any throw in excess of the number of squares
between the pawn and the winning square can either be ignored, or applied by
bouncing the pawn back from the winning square (see fig. 72). In gyān caupaṛ,
however, the situation is a little more complicated since the winning square, or the
square leading up to the winning square, is usually located in the central square of the

349 Em ramte sūṛtālīs tathā esīnā gharmāṁ vīṭī āvethī ek dāṁṇo paṛe to upar vīmāṁnmāṁ caḍhe (JBRR
2) [thus, during the game, if a pawn lands in the 47th square (containing the foot of a ladder) or the
80th square (containing a footprint), and one throws a "1," it moves to the vimān (i.e. top sq. 1)
above].
350 Below the rule on Va84#5 that a throw of "1" is required to climb the ladder to the winning square
(see fn. 346), a second rule states that a role of "1" is also required to move from the discipline of
knowledge (jñānyog, sq. 54) to the discipline of devotion (bhaktiyog, sq. 55) directly above: (e)k aṅk
paḍe tā jñā(n)yogāce bhaktiyogas jāye [if you throw a "1," you shall go from jñānyog to bhaktiyog]. No
footprint or otherwise appears in sq. 54, but it seems likely that this rule, too, was adopted from the
Jaina charts.
351 Te caḍhiṁ valī ek ek dāṁṇo paṛe to pānchmā vimāṁnmāṁ sarvārthsidh vimāṁnmāṁ caḍhvuṁ (JBRR
3) [when one has ascended (to top sq. 1), then every time one throws a "1," one should climb up (one
square) toward the fifth vimān, the sarvārthsiddh vimān (i.e. top sq. 5)].
352 E pachī ek dāṁṇo paṛe to upar sidhsīlā muktiïṁ caḍhi jaī bājī pūrī thaī (JBRR 3) [then (i.e. when one
has reached top sq. 5), if one throws a "1," one climbs to siddhśilā mukti (i.e. top sq. 6) above, and the
game is finished].

207
top row. This means that pawns can overshoot the target and become stranded on the
wrong side of the winning square, so to speak. Different sources propose different
solutions to this problem, and it therefore seems likely that no standard solution was
applied to the game as a whole, and perhaps not even to individual types of charts.

Fig. 72: Modern snakes and ladders endgame. A pawn in sq. 96 throws "6," and ends up in sq. 98.

The only early evidence we have for 72-square Vaiṣṇava charts is Dampier's assertion
that pawns moving past the winning square (sq. 68) may either land on the final
square of the track (sq. 72), and follow the snake back down to sq. 51, or move past the
final square and continue playing from sq. 1 (Dampier 1895: 25). This, however, is not
attested for any other known version of gyān caupaṛ.353 The Krīḍākauśalya states that
pawns overshooting the top central square (sq. 80) of an 84-square Vaiṣṇava chart
should keep moving back and forth between sqs. 80 and 84 until they land on sq. 80
and subsequently throws a "1," allowing them to move up to the winning square (top
sq. 1) directly above (KK 245, comm.). Since there is no snake leading down from sqs.
80-84, this effectively means that once a pawn has moved beyond the final snake of the
chart in the first square of the top row (sq. 75), it is barred from falling back down the
grid (see fig. 73). As this would seem to go against the representational value of the
charts, disrupting the sense of cyclical rebirth, and establishing a point of no return
well before the attainment of Vaikuṇṭha (sq. 80) and final liberation (top sq. 1), we can
hypothesize that the rule was instituted to shorten an otherwise seemingly endless
game. If pawns had to land on sq. 80 and throw a "1" with seven cowries (a less than
10% chance), or risk falling back down the grid, the game could easily have gone on for
a very long time before anyone actually managed to finish it.

353 Johari's rule that pawns moving past sq. 68 may either land exactly on sq. 72, and follow the snake
back down to sq. 51, or forfeit their turn, is not attested either (Johari 2007: 9-10). It was probably
adapted from the modern game of snakes and ladders which sometimes applies a similar rule for
landing on the winning square at the far end of the top row.

208
Fig. 73: 84-square Vaiṣṇava chart endgame. A pawn in sq. 83 throws "6," and ends up in sq. 81.

If we were to apply the same endgame rule to the 72-square Vaiṣṇava charts, we would
get a thematically more satisfying result. Having moved past the top central winning
square (sq. 68), pawns would keep on roaming between sqs. 68 and 72 until they
arrived either at the winning square or at the snake leading down from the top left
square (sq. 72). This would mean that the cyclical effect would still be in play, and since
no additional throw is required after a pawn lands on sq. 68, it would also mean that
pawns would have a fifty-fifty percent chance of either finishing the game or falling
back into the cycle of rebirth once they had arrived in the leftmost section of the top
row (fig. 74). Mechanically, however, the solution does not seem very satisfying. As my
own experiments with the rule has taught me, it quickly becomes difficult to keep track
of which direction the pawns are currently moving in when they constantly shoot back
and forth between the two squares. Furthermore, as discussed below, the narrative
flow of the game is dependent upon a sense of progress or regress in each turn, and

Fig. 74: 72-square Vaiṣṇava chart endgame. A pawn in sq. 70 throws "6," ends up in sq. 68, and wins the
game.

209
this aspect is lost if a pawn spends multiple turns landing on the same squares
between sqs. 68 and 72 before finally settling on one of them. For these reasons, I
believe that even though the rule may have originated with the 72-square Vaiṣṇava
charts, it was not original to them, but only introduced later to make the game quicker
and less frustrating for the players. A more convincing solution to what originally
happened when a pawn overshot sq. 68 and moved beyond sq. 72 at the end of the
track is suggested by Jeṭhābhāī who, however, only prescribes it for the 84-square
Jaina charts.

Jeṭhābhāī's endgame rule states that a pawn which overshoots the top central square
(sq. 80), or fails to roll a "1" when beginning its turn in that square, should continue
forward to sq. 84 at the end of the row, and then move back toward sq. 76 at the other
end of the row, where it should follow the snake down to sq. 52. 354 It is unclear whether
a pawn which lands in sq. 80 on its way back from sq. 84 is allowed to move up to top
sq. 1 on a roll of "1," and what happens if a pawn overshoots sq. 76 when returning
from sq. 84. Since Jeṭhābhāī does not mention the possibility of turning back from sq.
76 to sq. 84, or losing any count in excess of what is needed to land on sq. 76, the most
logical interpretation would be that the pawn arrives in sq. 76, follows the snake down
to sq. 52, and completes any remaining count as usual, i.e. by moving forward from sq.
52 (fig. 75). While this would work just fine for the 84-square Jaina charts, it would in
fact work even better for the 72-square Vaiṣṇava charts. Since they position the final
snake at the very end of the track beyond the winning square, pawns would never
have to change direction, thereby eliminating the possibility of confusion which still
remains to some limited degree on the 84-square Jaina charts. All in all, it seems
probable that the rule originated with the 72-square Vaiṣṇava charts, and only came to
be adopted by the 84-square Jaina charts with the minor addition that pawns would
have to change direction when they reached the far end of the track.

354 Paṇ ek dāṁṇo na paṛe to corāsīnā gharmāṁ āvī tāthī sāṁme pāṭopāṭ pāchā corāsīnā pherāmāṁ
[read: gharmāṁ?] pharā karvu te phartā chotermā gharthī sarp gale māṭe pāchā bāvannā gharmāṁ
uttarī pāchā upar caḍhvu (JBRR 2-3) [however, if one does not throw a "1" (when one is in sq. 80),
then, after arriving in the 84th square, one should turn around in the 84th square (and move) back
to the opposite end (of the row). After having moved back down from the mouth of the snake in the
76th square to its end in the 52nd square, one should climb up again].

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Fig. 75: 84-square Jaina chart endgame. A pawn in sq. 83 throws "6," and ends up in sq. 79, then throws "5,"
and ends up in sq. 54.

Other Rules
The rules outlined in the previous sections give us a good idea of how the charts and
their commentators intended for the game to be played. This, however, does not mean
that those were the only rules in circulation, or that players did not ignore, change, or
add to them as they saw fit. Adopting rules from one game into another is common
practice and a frequent source of variants and hybrids. Related games, such as caupaṛ
and aṣṭākaṣṭe, might have inspired players to experiment with controlling multiple
pawns, requiring special throws to enter them on to the grid, sending them back to
start when another player's pawns landed on them, creating safe squares for them, etc.
Traces of this ongoing process may be found in chart-specific variant rules, such as the
special throws of "10" for Ṣūfī charts (Topsfield 1985: 209, fn. 30; 2006a: 153), "14" for
Advaita Vedānta charts (Devdhar 1905: 207), and "25" for a 285-square Vaiṣṇava chart
(Gulābrāv 1981: 7), as well as Harikṛṣṇa's statement that the game should be played by
two or four people (KK 241-45, comm.), as if it were a game of caupaṛ or paccīsī. A
further example provided by the Marathi instructions on an 84-square Vaiṣṇava chart
(Va84#4) is of special interest because it is the only source which takes up the question

211
of pawn interaction. It states that a pawn landing in the square of another pawn
displaces that pawn and causes it to move backward along the track. 355 It is not clear
from the text how far back the displaced pawn should be moved, but judging from
similar rules in related games, it would either be moved back to sq. 1, or to the square
previously occupied by the displacing pawn. The former rule is essential to caupaṛ and
also attested for the modern game of snakes and ladders (Bell 1969: II, 11), while the
latter rule is most commonly associated with the goose games (Parlett 1999: 96), calling
to mind the game mechanical similarities between gyān caupaṛ and goose discussed in
chapter two. Whether the rule of pawn displacement was inspired by caupaṛ, goose, or
snakes and ladders, all of which were current in the late 19th and early 20th centuries
to which the 84-square Vaiṣṇava chart can be approximately dated, it demonstrates
that gyān caupaṛ, despite its lofty thematic aspirations, existed alongside more
widespread and thematically neutral games. While the act of displacing another pawn
makes good sense in a purely competitive and wholly secular game, it sits awkwardly
with the narrative of spiritual progress through good deeds promoted by gyān caupaṛ.

Perhaps the most interesting rules variant in the present context is the one alluded to
by Shridhar Andhare in a brief catalogue description of an 84-square Jaina chart
(Ja84#29) (Andhare et al 2000: 126). Andhare notes in passing that players would have
to "[give] the right answer" before their pawns were allowed to ascend the ladders of
the chart, effectively turning the game into a combined race and trivia game with a
strong didactic component. Unfortunately, he does not provide any reference for the
rule, but a similar idea was conveyed by Param Pujya Acharya Shri Gunaratna Sagar
Maharaj Saheb when I visited him at a pilgrim's rest house (dharmaśālā) in Palitana in
September 2013. He was 81 years old at the time, and told me that he remembered
teachers playing it with their students in his youth, asking them to elaborate on the
inscriptions in the squares before they were allowed to advance. He was not clear on
whether the rule only applied to the ladders, as suggested by Andhare, but since there
are only six ladders on a standard 84-square Jaina chart, we might infer that it also
applied to the footprints, and possibly even to the squares as a whole. It is not difficult

355 Donhī cīnhe yekvaṭ jālī yāṇeṁ pahīle cīnhe māgeṁ sarteṁ [if two pawns come together (in the same
square), then the first pawn (i.e. the pawn that was already there) moves back along the track].
Thanks to Amit Deshmukh for helping me with the translation of this passage. A similar passage is
also found on another 84-square Vaiṣṇava chart (Va84#10), but the exact meaning is not clear to me.

212
to imagine a teacher penalizing an eager student for not properly understanding the
inscription in a square by canceling his move, forcing him to lose a turn, or similar.

Other variant rules were not merely superimposed on the charts, but caused actual
changes to the design. Though the vast majority of charts number the squares
sequentially from bottom to top with little, if any, variation, three 72-square Vaiṣṇava
charts present a slightly different route through the grid (see Va72#27,31,32 in
Appendix C1). Pawns enter the sixth row at the right end as usual (sq. 46), but only
continue as far left as the penultimate square (sq. 53) before changing up to the
seventh row above (sq. 56). From there they follow the usual route right along the
seventh row and left along the eighth row until the end of the track (sq. 72), except that
they skip the winning square (sq. 68), and continue on down from sq. 72 to sq. 54 at the
far left of the sixth row. From there a ladder takes them back up to the winning square.
Unnecessarily confusing as it may sound, it stresses the connection between bhakti (sq.
54) and Vaikuṇṭha (sq. 68), instituting them as the last two squares of the track.
Furthermore, the two squares immediately prior to sq. 54 - egoity (ahaṃkār, sq. 55)
and the quality of inertia (tamoguṇ, sq. 72) - both have a snake leading down from
them, making the endgame a good deal more hazardous as pawns have to cross two
snakes in order to reach the ladder beyond, and probably risk bouncing back to the
snakes if they overshoot the ladder. An even more radical redesign of the track, which
cannot be gone into here, is found on the 84-square Vaiṣṇava type d charts which
abandon ladders all together, and branch off the track in five different directions at sq.
31. Mention should also be made of a 124-square Vaiṣṇava chart (Va124#1) which
introduces a dead end from which pawns apparently cannot return, and the 342-
square Vaiṣṇava charts which divide the grid into two halves, each consisting of 171
sequentially numbered squares, allowing players to begin the game in one half, and
cross over to the other half if they land on a connecting snake or ladder.

Sample Playthroughs
Just as the conceptual and formal affordances of the charts help us understand their
static mode of representation, so the experiential affordances help us understand what
happens when the charts are activated through play and the mode of representation
changes from static to interactive. The analysis of experiential affordances at the end

213
of the chapter is based on a single four-player playthrough of each of the two critically
read charts, and should therefore be considered purely heuristic in nature. A statistical
survey of thousands of games would likely yield quite different results, and reveal
patterns that are not evident from the sparse empirical data provided here. Still, the
playthroughs do offer valuable insights into how the game is experienced by the
players, and how it might have been interpreted by those trying to draw lessons from
it.

72-Square Vaiṣṇava Chart (Type a)

The table below shows the progress of a four-player game of gyān caupaṛ played on the
critically read 72-square Vaiṣṇava type a chart (cf. figs. 46-48). The playthrough was
conducted according to the following rules established above:

• Each player has a single pawn beginning in sq. 1

• Players take turns throwing seven cowries, moving their pawn forward
according to the number of cowries that fall faceup

• If a pawn ends its move at the head of a snake or the foot of a ladder, it
automatically moves to the other end of the snake or ladder in question

• The first pawn to end its move on sq. 68 wins the game

• If a pawn overshoots sq. 68, it continues to sq. 72 where it slides down to

sq. 51, and continues its move as normal

The table lists the number and title of squares occupied by the pawns of the four
players throughout the game. Each turn the pawns move forward by between 0 and 7
squares depending on the fall of the cowries. Snake and ladder movement is indicated
by ▼ and ▲ as in the critical reading, and explanatory notes are added in parentheses
whenever a pawn overshoots sq. 68, and moves back down the grid from sq. 72. As
seen from the playthrough, player #4 won the game in turn 16, player #1 came in
second in turn 21, player #3 came in third in turn 22, and player #2 came in last in turn
24. All four results are below the average for the popular version of snakes and ladders
published as Chutes and Ladders by Milton Bradley in 1943. It has been calculated that
it takes approximately 39 turns to complete a game of Chutes and Ladders (100 squares,
10 snakes, 9 ladders) when played with a single six-sided die and the rule that pawns

214
must land exactly on the final square of the track in order to win (Althoen et al 1993:
71-3; cf. Audet 2012).

Turn Player #1 Player #2 Player #3 Player #4

1) 1 1 1 1
janma janma janma janma
2) 4 5 6 3
lobh bhūlok moh krodh
3) 7 9 9 7
mad kām kām mad
4) 10 14 13 10
tap bhuvarlok antarikṣ tap
▲23 ▲23
svarglok svarglok
5) 26 18 15 29
śok harṣ nāglok adharm
▼6
moh
6) 31 22 16 9
sparś dharm dveṣ kām
▲60 ▼4
subuddhi lobh
7) 34 65 8 14
ras durati matsar bhuvarlok
8) 38 70 11 18
prāṇ satoguṇ gandharvlok harṣ
9) 45 71 14 23
suvidyā rajoguṇ bhuvarlok svarglok
▲67
śivlok (throws 3, moves 1,
slides down the snake
to sq. 51, and moves 2)
10) 71 53 18 26
rajoguṇ jal harṣ śok

(throws 2, moves 1,
slides down the snake
to sq. 51, and moves 1)

215
Turn Player #1 Player #2 Player #3 Player #4
11) 52 56 22 31
hiṃsā ākāś dharm sparś
▼35 ▲60
narak subuddhi
12) 40 60 64 32
vyān subuddhi prakṛti maharlok
13) 43 65 65 36
manuṣyajanma durati durati śabd
14) 45 69 67 42
suvidyā brahmlok śivlok agni
▲67
śivlok
15) 70 72 72 48
satoguṇ tamoguṇ tamoguṇ yamunā
▼51 ▼51
(throws 3, moves 2, pṛthvī pṛthvī
slides down the snake
to sq. 51, and moves 1)
16) 52 55 53 54
hiṃsā ahaṃkār jal bhakti
▼35 ▼2 ▲68
narak māyā vaikuṇṭh
17) 40 3 56 -
vyān krodh ākāś
18) 41 6 60 -
janlok moh subuddhi
19) 46 10 64 -
vivek tap prakṛti
▲62 ▲23
sukh svarglok
20) 65 30 67 -
durati uttamgati śivlok
21) 68 33 71 -
vaikuṇṭh gandh rajoguṇ

(throws 4, moves 1,
slides down the snake
to sq. 51, and moves 3)

216
Turn Player #1 Player #2 Player #3 Player #4
22) - 36 54 -
śabd bhakti
▲68
vaikuṇṭh
23) - 37 - -
jñān
▲66
ānand
24) - 68 - -
vaikuṇṭh

84-Square Jaina Chart (Type a1)

The table below shows the progress of a four-player game of gyān caupaṛ played on the
critically read 84-square Jaina type a1 chart (cf. figs. 47-49). The playthrough was
conducted according to the following rules established above:

• Each player has a single pawn beginning in sq. 1

• Players take turns throwing a stick die configured as 1-2-5-6, moving their
pawn forward according to the number shown

• If a pawn begins its turn on sq. 1, it only advances on a roll of "1"

• If a pawn begins its turn at the foot of a ladder, it only ascends to the top
of the ladder on a roll of "1"

• If a pawn begins its turn in a square with a footprint, it moves one square
directly upward on a roll of "1"

• If a pawn begins its turn in top sqs. 1-5, it only advances on a roll of "1"

• If a pawn ends its move at the head of a snake, it automatically moves

down to the tail of the snake

• If a pawn overshoots sq. 80, it continues to sq. 84, and moves back toward
sq. 76 where it slides down to sq. 52, and continues its move as normal; if
it ends its move in sq. 80 (containing a footprint) on its way back from sq.
84, and subsequently rolls a "1," it moves up to top sq. 1 as normal

217
 • The first pawn to end its move in top sq. 6 wins the game

The table showing the Jaina playthrough reads similarly to the table showing the
Vaiṣṇava playthrough except for a few minor differences. The pawns move forward 1,
2, 5, or 6 squares each turn depending on the throw of the die, and movement by
ladder or footprint is indicated differently than movement by snake to accommodate
for the fact that the former is only activated on a roll of "1." The notation for ladders
and footprints is added in superscript after the relevant squares (e.g. 7▲44 and 15footprint),
and a subsequent roll of "1" activating a ladder or a footprint is noted in parentheses at
the end of the entry for the square in question. Since none of the pawns in the
playthrough moved backward in the top row, or climbed through top sqs. 1-6,
notations for such moves need not be taken into account.

The biggest difference between the two playthroughs is that the Jaina game is a lot
slower and longer than the Vaiṣṇava game. To avoid taking up unnecessary space, it
was decided only to record the same number of turns for the Jaina playthrough as for
the Vaiṣṇava playthrough. As shown in the table, player #4 won the game in turn 19,
while players #1-3 were at sqs. 25, 2, and 22, respectively, at the end of the recording in
turn 24. Player #1 would go on to finish the game in turn 75 after spending 20 turns
moving through the top squares, player #2 would finish it in turn 120 after spending 32
turns moving through the top squares, and player #3 would finish it in turn 132 after
climbing the ladder from sq. 50 to top sq. 6 just like player #4 did in turn 19.

Turn Player #1 Player #2 Player #3 Player #4

1) 1 1 1 1
nitya nigod nitya nigod nitya nigod nitya nigod
2) 1 1 1 1
nitya nigod nitya nigod nitya nigod nitya nigod

(throws 1)
3) 1 2 1 1
nitya nigod kām, nārkī nitya nigod nitya nigod

(throws 1)
4) 1 4 1 2
nitya nigod ajñān lobh nitya nigod kām, nārkī

218
Turn Player #1 Player #2 Player #3 Player #4
5) 1 5 1 7▲44
nitya nigod ajñān moh nitya nigod jñān, miśra, śubh
pariṇām
(throws 1)
6) 2 11 1 9
kām, nārkī vyavahār rāśi nitya nigod ahaṃkār

(throws 1)
▲44
7) 7 13 2 10
jñān, miśra, śubh parjīv spardh kām, nārkī ajñān māyā
pariṇām ▼8
machar
8) 12 14 7▲44 15footprint
suvarṇ- & asurkumār agni- & vidyutkumār jñān, miśra, śubh das nikāy,
pariṇām guṇsthān 4-6
9) 13 20 12 21
parjīv spardh upaśam yog suvarṇ- & asurkumār itar nigod
▼8
machar
10) 9 26 14 26
ahaṃkār vāükāy agni- & vidyutkumār vāükāy
11) 15footprint 32 20 32
das nikāy, śubhāśubh sattā upaśam yog śubhāśubh sattā
guṇsthān 4-6

(throws 1)
12) 24footprint 38 22 33footprint
sthāvar, jin pūjā & bhakti pṛthvīkāy vikalendrī,
guṇsthān 7-9 guṇsthān 10-12
13) 33footprint 43 23 35
vikalendrī, śubh tiryañc bhavya apkāy sañjñī teïndrī
guṇsthān 10-12 pariṇām

(throws 1)
14) 39 44▲50 25 37
nīl leśyā dharm dhyān teūkāy āsrav, saṃvar
15) 45 46 30 38
kṛṣṇa leśyā padma leśyā śubhāśubh uday jin pūjā & bhakti
▼9
ahaṃkār
16) 10 51footprint 32 39
ajñān māyā manuṣya, guṇsthān 14 śubhāśubh sattā nīl leśyā

219
Turn Player #1 Player #2 Player #3 Player #4
footprint
17) 12 56 33 44▲50
suvarṇ- & asurkumār vaimānik, vyantar, vikalendrī, dharm dhyān
jyotiṣī guṇsthān 10-12
(throws 6)
18) 14 57 38 50▲top#6
agni- & vidyutkumār saudharm devlok jin pūjā & bhakti mahāvrat, śubh kriyā,
kevaljñān, śukla leśyā

(throws 1)
19) 16 59 43 top sq. 6
udadhi- & dvīpkumār īśān devlok śubh tiryañc bhavya mukti kṣetra
pariṇām
20) 18 64 44▲50 -
stanit- & diśākumār brahm & lāntak devlok dharm dhyān
21) 19 65▲68 46 -
nāg- & vāyukumār vivek padma leśyā

(throws 1)
22) 21 68 48 -
itar nigod abhīṣṭ siddhi sāgar sāt vyasan
▼10
ajñān māyā
23) 23 73 16 -
apkāy āraṇ devlok udadhi- & dvīpkumār
24) 25 75 22 -
teükāy rājas ahaṃkār pṛthvīkāy
▼2
kām, nārkī

Experiential Analysis
An often repeated distinction between narrative and drama is that narrative takes
place in the past whereas drama takes place in the present. Frasca builds on this
premise by adding that simulation is "the form of the future" (Frasca 2003: 233). What
this means is that a simulation contains within itself a range of possible scenarios and
outcomes, all of which only exist hypothetically until one or more of them are realized
by the simulation. It would therefore be wrong, or at least severely limiting, to
consider the playing of gyān caupaṛ primarily as a narrative or a drama. This,
however, is not to say that gyān caupaṛ is not generative of narrative and drama. On

220
the contrary, we might say that everything that has happened in the game up until any
given point in it is the narrative, while the expectation of what might happen next is
the drama. If we take player #4 in the Vaiṣṇava playthrough as an example, we might
retell the player's initial turns as the story of someone born into the world (janma, sq.
1), struggling through anger (krodh, sq. 3) and intoxication or pride (mad, sq. 7) until he
begins practising asceticism (tap, sq. 10) which leads him to heaven (svarglok, sq. 23).
At the beginning of his fifth turn we find him in great excitement as to whether his
new-found positivity in life will last. As he rolls the seven cowrie shells around in the
palm of his hand, he carefully inspects the chart, pondering the possible outcomes of
his throw. A throw of "4" or "5" would lead him to the highest truth (paramārth, sq. 27)
or righteousness (sudharm, sq. 28), which would take him even further upward on his
spiritual quest, while a throw of "1" or "6" would lead him into bad company (kusaṅg,
sq. 24) or unrighteousness (adharm, sq. 29), causing him to fall back down to the life of
sin and misery that he thought he had left behind for good. With bated breath, he
releases the cowries from his hand, and lets his karmic destiny unfold itself.

Emergent game narratives, such as the one described above, is what Gordon Calleja
refers to as alterbiographies. He defines alterbiographies as stories generated in the
interpretational space between the formal properties of a game, including its
representational value, and the imagination of a player (Calleja 2009: 4). The stories
are neither pre-scripted, nor purely a product of the imagination, but the result of a
cyclical process where the input of the player and the output of the game reinforce
each other and produce disparate narrative units which can then be molded into a
coherent whole. Though Calleja specifically applies the concept of alterbiography to
video games, his focus on "spatially navigable virtual environments" (ibid. 2) applies
equally well to gyān caupaṛ. The inscribed grid diagram, representing the cosmos and
the forces at work within it, creates a virtual environment which players navigate by
throwing dice or cowries and moving their pawns along the track. It might be argued
that players have no real agency in the game, and thus do not control the input that
generates the output, but this does not detract from the fact that the game always
suggests a narrative, however random or predestined one might perceive it. Another
aspect of alterbiography discussed by Calleja is focalization which concerns the mode
in which the player experiences the story (ibid. 4). A game will often suggest a certain

221
mode, but ultimately it is the player himself who makes the choice. In the case of gyān
caupaṛ, the single pawn controlled by each player suggests experiencing the
alterbiography from the perspective of an individual entity, but whether that entity is
conceived of as external or internal to the player himself depends on the mode in
which he chooses to play the game. Whereas one player might experience the game as
an objective simulation of the workings of the cosmos, another player might
experience it as a deeply personal reflection of his own life.

The interpretational space of gyān caupaṛ is framed as a spiritual journey from birth to
liberation. The stages in between depend upon the design and religious affiliation of
the individual chart, but the exact sequence in which the stages are arrived at is
determined by the fall of the dice or cowries, and it is this sequence which generates
the story. Reading the squares one by one from beginning to end might leave us with a
general sense of progression from lower to higher and worse to better, but the
sequential arrangement of the squares can hardly be said to constitute a story in and
of itself; and even if it did, the players would probably feel that they were missing out
on parts of it as their pawns jumped ahead, skipping across several squares each turn,
or even returned to an earlier square. The purpose of the squares, we might therefore
say, is not to tell a story, but to facilitate the telling of a story. As players move their
pawns between different squares, they are encouraged to form mental connections
between them, stringing together narratives that only exist somewhere between the
output of the game and the input of their own imagination. This conforms not only to
Calleja's concept of alterbiography, but also to Frasca's concept of simulation as
something other than narrative. Whether the narratives are dismissed as irrelevant to
the game experience, kept in the mind as quaint little fictions, considered revealing of
one's own life experience, or even acted upon in the reality outside the simulation, is of
no consequence to the simulation itself. It offers players the chance to discover a story
beyond the usual one of winning and losing, but whether they choose to accept it or
not is for them to decide. In the following we will look at some of the experiences
afforded those players who do indeed choose to accept the stories that emerge from
the playing of the game.

222
Entering the Chart
The game begins with a simple gesture: the players take their pawns, and place them
in the first square of the chart. Innocent and inconsequential as this may seem, it takes
away their attention from the chart as a whole, and focuses it on a single square. They
enter into the chart, so to speak, and no longer perceive the cosmos from the outside
in, but from the inside out. For the rest of the game, regardless of whether their
attention remains fixed on the chart, or periodically drifts away from it, the squares
currently occupied by their pawns will determine their outlook on the game both
mechanically and thematically. The position of a pawn not only indicates how far the
player who controls it have progressed along the game track, but also where he is in
relation to the other players, and which squares immediately ahead of him he might
possibly land on in his next turn. This kind of engagement is what game scholars refer
to as immersion, and though it is a psychologically complex phenomenon which may
take place on many different levels, it is always present to some extent when one plays
a game. Johan Huizinga famously referred to it as the magic circle (Huizinga 1980: 10-
12), but as this gives the impression that players can only be either wholly inside or
outside the circle, and that a sharply delineated dividing line exists between games
and reality, most modern game scholars prefer a more nuanced approach. 356 The
debate over the question of immersion cannot be entered into here, but it is worth
noting that a player might be deeply immersed in the mechanics of a game without
giving any thought to the thematics of it, and vice versa. For an outside observer, it
might therefore not be immediately obvious whether a player immersed in a game of
gyān caupaṛ is competing to win, constructing a spiritual biography, or both.

The immersion offered, and indeed demanded, by games is reminiscent of that

required for meditation and visualization, especially in cases where physical objects
serve to focus the attention. An example is provided by Madhu Khanna's study of a
tantric scroll from 19th-century Gujarat or Rajasthan. The scroll depicts the heavily
inscribed outline of a person standing in the kāyotsarga pose of meditation

356 Important contributors to our understanding of immersion in games include Mihaly

Csikszentmihalyi and Stith Bennett (1971), who study how flow is maintained in play and games, and
Gordon Calleja whose study of presence and immersion in games develops a model highlighting six
different kinds of player involvement: kinesthetic, spatial, shared, narrative, affective, and ludic
(Calleja 2011: 43-44).

223
reminiscent of the imagery on several Jaina gyān caupaṛ charts (see Jaina Tantra and
Yoga in chapter four). Thirteen cakras connected by the Suṣumnā energy channel are
depicted along the central axis of the body, including the kuṇḍalacakra in the form of
the thrice coiled Kuṇḍalinī serpent. Khanna identifies the scroll as an instructional
chart used for visualizing the subtle body, and hence as an example of the visual
language of tantra combining theory and practice (Khanna 2005: 13-14). What this
means is that the textual and visual elements of the scroll can either be engaged with
intellectually as sources of knowledge, or they can be entered into spiritually as part of
a religious practice. Though the extent to which gyān caupaṛ formed part of a religious
practice remains undocumented, the representational value and interactive nature of
the charts certainly afford such usage, and may hint at their ultimate origins in tantric
and yogic diagrams.357

Following the Path

The design of gyān caupaṛ dictates a steady progress from bottom to top interrupted by
sudden advances and setbacks in the form of snakes, ladders, and footprints. Though
the 84-square Jaina chart is only slightly larger than the 72-square Vaiṣṇava chart, the
pacing of the two games feels very different. This is evident from the very beginning of
the playthroughs recorded above where the Vaiṣṇava players rush forward from the
first throw of the cowries, while the Jaina players spend between two and six turns in
sq. 1 before the required roll of "1" finally allows them to continue to sq. 2. If we
compare the position of the pawns at the beginning of the twelfth turn halfway
through the playthroughs, we find that three of the Vaiṣṇava players are already in the
top row, while the highest positioned Jaina player has only just entered the fifth row in
the middle of the chart. Twelve turns later, all four Vaiṣṇava players have reached the
winning square as compared with only one Jaina player. 358 The main reason for this
discrepancy is the restraint on sudden promotion put in place by the Jaina chart which

357 A tantric painting from Nepal dated c. 1700 uses the imagery of dark and light squares connected by
snakes as the basis for a depiction of the cosmos presided over by Viṣṇu (Topsfield 2006a: 175).
Though clearly not intended as a game, it demonstrates how the visual language of tantra may have
inspired the formalized ludic elements of gyān caupaṛ. Further examples of this are provided in
chapter six.
358 As mentioned above, the Vaiṣṇava endgame adopted in the playthrough is only one of several
possible endgames, some of which may have caused the game to go on for several more turn. Still,
the automatic ascension of ladders would almost always result in a quicker and more dynamic game.

224
only gives players a one-in-four chance of ascent after successfully landing on either a
ladder or a footprint. Another aspect of pacing is the range of possible outcomes of a
player's throw. While the seven cowries of the Vaiṣṇava game can fall in eight different
configurations resulting in a score between 0 and 7, the stick die of the Jaina game can
only fall in one of four different ways resulting in a score of 1, 2, 5, or 6. The uneven
probabilities of the different outcomes of a cowrie throw somewhat mitigates the
wider range, but the range itself heightens the drama as the Vaiṣṇava player is
confronted with the possibility of landing on the seven squares in front of his pawn,
while the Jaina player only has to consider the first, second, fifth, and sixth square.

Despite the many external similarities of the two charts, the playthroughs reveal them
to be delivering distinctly different game experiences. Mechanically speaking, the
faster pacing of the Vaiṣṇava game, the more frequent shifts up and down the grid, and
the wider range of possible outcomes each turn make it more dramatic and less
tedious than the Jaina game. Thematically speaking, this translates into two different
views of worldly existence and the liberation from it. The Vaiṣṇava chart simulates life
as a series of constant revolutions where the speed with which one climbs up is only
matched by the speed with which one falls down. Liberation is freely available to
everybody, and can in fact be achieved quite quickly if only one turns toward the right
path. The Jaina chart, on the other hand, simulates a much more gradual progress
through life where the gains are usually small and the losses often big. Because of the
patience required to sit through games which can easily last for a hundred turns or
more, it even seems likely that many players would have abandoned the game before
finishing it. This, however, would probably have been met with approval by Jaina
teachers, since the patience required to play the game almost matches that required to
attain liberation.

Creating the Narrative

The moves of each of the players in the playthroughs above create a unique sequence
of squares and legends which can be strung together as a narrative. 359 This is true even
of the three Jaina players which did not complete the game in the 24 recorded turns. In

359 Johari suggests that players should write down the sequence on a piece of paper to allow them to
review and interpret it after the game (Johari 2007: 10). The method is not documented in earlier
sources, but it might have served as a valuable mnemonic aid.

225
fact, we might easily imagine a situation in which a player was only allowed a
predetermined number of moves which would then form the basis for an analysis of
that player's karmic situation, or be used to answer a question asked of the chart
before the game began. While the sequence of squares is determined randomly by the
fall of the dice or cowries, it is also limited by them in the sense that the Vaiṣṇava
players can never land on more than the seven squares directly in front of them, while
the Jaina players can never land on more than the first, second, fifth, or sixth square in
front of them. Furthermore, the positions of the snakes, ladders, and footprints remain
fixed in place, ensuring that the same negative and positive qualities always lead to the
same results. The design of individual charts therefore have a great deal of control
over the narratives they create, ensuring that they do not lead to non sequiturs
challenging the received notions of the religious knowledge systems that they are
trying to emulate.360

The distribution of positive and negative squares across the charts change gradually
from a predominance of negative squares in the lower rows to a predominance of
positive squares in the higher rows. This means that players in the lower rows are
more likely to land on a negative square, while players in the higher rows are more
likely to land on a positive square. However, if players in the lower rows could never
land on a positive square, and players in the higher rows could never land on a
negative square, the snakes and ladders connecting the higher and lower rows would
not make sense thematically, and the narrative flow would break down. This explains
the presence of squares like austerity (tap, sq. 10) and compassion (dayā, sq. 17) near
the bottom of the Vaiṣṇava chart, and squares like breaking vows (avrat doṣ kṣetra, sq.
58) and deluding karma (mohnī karm, sq. 76) near the top of the Jaina chart. These are
the kind of squares which uphold the narrative tension of the game by keeping alive
the possibility that the karmic fate of the players can be reversed at any moment. In
turn 12 of the Vaiṣṇava playthrough, player #3 has just arrived in the top row of the
chart, and appears to be well on his way to liberation. Over the next two turns, he
edges ever closer to Vaikuṇṭha in sq. 68, but in the third turn he stumbles at the
360 An even greater degree of control is exercised by the Tibetan Buddhist sa lam rnam bhzag charts
which connect each square with up to six other squares located anywhere on the chart. As
demonstrated by Jens Schlieter in his analysis of one such chart, this allows players to either follow
the slower but safer sūtra path, or the quicker but more dangerous tantra path (Schlieter 2012: 107-
10).

226
finishing line, and is sent back down to a square two rows below. Conversely, in turn 7
of the Jaina playthrough, player #1 is moving through the bottom row full of conduct-
deluding passions when he attains a suddens spiritual insight resulting in an
auspicious transformation of his soul (jñān, miśra, śubh pariṇām, sq. 7), promising to
send him several rows up the chart on his next turn. Unfortunately, he fails to throw
the required "1," but still manages to escape to a realm of bhavanapati gods in the row
above (suvarṇkumār 2, asurkumār 1, sq. 12).

An important narrative function of the snakes is that they allow players to revisit the
lower rows of the charts, and possibly walk in their own footsteps. This generates a
sense of patterning which can be used to identify specific challenges facing the players
in their own personal narratives. A good example is provided by player #1 in the
Vaiṣṇava playthrough who twice climbs the ladder from right knowledge (suvidyā, sq.
45) to the realm of Śiva (śivlok, sq. 67), and twice falls back down from the quality of
inertia (tamoguṇ, sq. 72) through injury (hiṃsā, sq. 52) to hell (narak, sq. 35). This
creates a narrative of a person repeatedly approaching liberation, and repeatedly
misstepping at the very last moment. Exactly what such a lesson teaches the player in
question depends on the purpose with which he plays the game, but it might be
interpreted to mean that his thirst for knowledge alone will not serve to liberate him,
or that he must not relax his concentration and think that the goal is achieved before
he has actually arrived at it. As such, it is not only the narratives that are unique to the
players who generate them, but also their interpretation.

Interpreting the Experience

Formal game systems can essentially be reduced to a question of winning or losing.
The easiest way to arrive at an answer to such a question is to use a binary
randomizing agent to produce one of two results. However, the attraction of games is
not only that they produce winners and losers, but that they do so in interesting and
challenging ways. Every turn of a game should change the state of the formal system,
thereby upsetting the balance between the players and increasing the excitement of
what might happen next. Gyān caupaṛ adds to the tension by inscribing each square
with a legend which can be interpreted on its own or in the context of the previous
squares visited by the player. This opens up a vast interpretational space which must

227
have been explored by the players despite the lack of early sources describing how it
was done except in the most general terms. Attempting to reconstruct the methods
from the charts alone would lead us too far into the realm of speculation, but a few
observations on the subject will serve to highlight some of the interpretational
potential inherent in the charts.

The most obvious analogy for interpreting a game of gyān caupaṛ is provided by the
systems of divination prevalent in its own day. While the charts lend themselves to a
much wider range of uses, including ones that have little or nothing in common with
divination, the basic procedure of generating random results and interpreting them in
the context of an inquirer clearly reflects the experience of playing gyān caupaṛ. An
Indian manual of dice divination known as the Pāśakakevalī instructs the inquirer to
throw a four-sided stick die configured as 1-2-3-4 three times to obtain a sequence of
numbers which can then be translated into one of 64 different results (Weber 1860:
162; cf. Schröter 1900: xiv).361 The manual provides a brief explanation of each of the
results in the intentionally vague and often mystical language of oracle texts, treating
of popular subjects such as business, marriage, offspring, travel, and disease (Weber
1860: 165). The exact interpretation of the results depends on the inquirer himself, or
perhaps more likely on a diviner consulted to arrive at them. 362 That interpretations
were not necessarily based on concrete textual passages, but rather on a more flexible
system of associating different throws of the dice with different qualities of answers,
can be seen from the fact that some diviners interpreted the results directly from the
dice themselves.363

361 The earliest known manuscript of the text forms part of the Bower Manuscript which can be dated
to the Gupta era (4th-6th cent.). Numerous later manuscripts are referenced in the New Catalogus
Catalogorum under the title Pāśakevalī (NCC, vol. xii, 76-77). Similar manuals are known throughout
Asia (Dotson 2015: 1-2), and seem to have been especially popular in Tibet (Ekvall 1963: 32).
362 An alternative method of arriving at the results is exemplified by an early 18th-century manuscript
which presents them in the form of an 8 x 8 grid with a result inscribed in each square (Weber 1860:
166). As suggested by Schröter, it is likely that the inquirer was meant to drop an object on to the
diagram, and read the result inscribed in the square where the object came to rest (Schröter 1900:
xv). This would have closed the gap between divination and game even further.
363 An example is provided by a travel account of a tour of Rajasthan in 1835. A diviner from Jodhpur
trained in the popular system of dice divination known as raml spun four dice strung together on a
piece of wire, and provided an answer to the inquirer's question after carefully inspecting the dice
(Boileau 1837: 181-82).

228
If we compare the above procedure to gyān caupaṛ, we find that especially the legends
on the critically read Vaiṣṇava chart - which are more general in nature than those on
the critically read Jaina chart - might easily serve as the basis for an answer to a
question posed in the context of divination. However, the method of arriving at the
legends would have required more than just a single roll of the die or throw of the
cowries, and it therefore seems likely that any interpretation of a game of gyān caupaṛ
would have taken into account the entire sequence of squares landed upon. We have
already suggested that the number of turns could be fixed before the beginning of the
game, and the progress made by the players used as the basis of interpretation, but a
more logical modus operandi might be to stop the game whenever the first player
arrived at the winning square. In our playthrough of the Vaiṣṇava chart, this would
have stopped the game in turn 16 when player #4 reached Vaikuṇṭha in sq. 68. Players
#1-3 would then have finished the game in hell (narak, sq. 35), phenomenal reality
(māyā, sq. 2), and the gross element of water (jal, sq. 53), respectively. In the Jaina
playthrough, the game would have stopped in turn 19 when player #4 reached the field
of liberation (mukti kṣetra, top sq. 6), leaving players #1-3 stranded among the udadhi-
and dvīpakumāra gods (sq. 16), in the Aiśāna heaven (sq. 59), and in the process of the
auspicious transformation of plant and animal souls capable of liberation (śubh
tiryañc bhavya pariṇām, sq. 43), respectively. It is, of course, also possible that the game
would have continued until all players had reached the winning square, which would
have allowed them to factor in the number of turns spent reaching it when
interpreting the game.

Unless further evidence is brought forth, we must content ourselves with concluding
that gyān caupaṛ affords a great wealth of experiences, and an even greater wealth of
interpreting them. On the most basic level, players might simply have considered it a
competitive race game with the added bonus that it could generate fun, interesting,
and perhaps even memorable stories.364 On more advanced levels, players could have
used it to divine their own karmic fate, ask for guidance in their decisions, evaluate
their understanding of key religious concepts, or something else entirely. It is also

364 When I played a game with my students on the earliest datable 72-square Vaiṣṇava chart (Va72#7),
my supervisor Kenneth G. Zysk joined in, and used his office key as a pawn. The University of
Copenhagen was then in the process of shutting down the section of Indology, and it generated a
good round of laughs when, in the final turn of the game, the key ended up in hell (narak, sq. 35).

229
possible that the religious connotations of the game were used to legitimize the act of
playing it, or, conversely, that the mere act of playing it was considered auspicious and
thus generative of positive karma. In the next and final chapter, we will continue our
quest for answers by looking into some of the related cultural forms and practices
which existed alongside the game, and might even have contributed to its invention.

230
 Chapter 6
Related Cultural Forms and Practices

The question of whether games evolved from related cultural forms and practices, or
vice versa, is a thorny one which can no more be resolved than the question of the
chicken and the egg. The pioneering games historian Stewart Culin, who worked
within the fields of museology and ethnography, believed that games originated in
divinatory practices (Culin 1895: xvii-xviii), and while this view is still met with today,
game scholars have become more careful in presupposing religious origins where they
cannot be corroborated by direct evidence. A more fruitful approach to the question
would be to look at the shared features of games and non-games, as Johann Huizinga
did in his seminal study of the play-element in culture. Huizinga suggested that play is
a defining characteristic of man, and that it not only preexists human culture, but acts
as a civilizing force which pervades ancient and modern societies alike (Huizinga 1980:
1-5). The ludic, or playful, element, he argued, is shared by a great number of cultural
forms and practices, whether classified as games or not.

The form most relevant to the current study is that of the grid diagram which has
served as an interface between games and non-games since the time of the Indus
Valley civilization where it was used as a means of both city-planning 365 and time-
pass.366 While the grids of early Indian games, such as backgammon and chess, may
have been based on grids originally used for other purposes, the earliest documented
example of a game played on a non-game diagram is that of phañjikā discussed in
chapter two. The 12th-century Mānasollāsa describes the game grid of phañjikā as a

365 The city-plans of large urban settlements in the Indus Valley civilization can best be described as
quasi-grids since only north-south-going streets ran the entire length of the cities, while east-west-
going streets merely connected individual north-south-going streets (Ohji 1990: 55-56). The first
example of a city-plan forming a perfect grid is Sirkap in modern day Pakistan which flourished
from the 2nd century BCE to the 1st century CE (ibid. 56).
366 Archaeological evidence of grid-based games can be found scrawled on to terracotta an d mud-baked
bricks (Rogersdotter 2011: 52-53). Kenoyer also suggests that carved objects made from shell and
ivory "may have been used in ritual games or the pastimes of wealthy city dwellers" (quoted in ibid.
53).

231
maṇḍala composed of 6 x 6 squares (MS 5.16.826-27), indicating a maṇḍala of the grid-
based bhadramaṇḍala type. Gudrun Bühnemann has written extensively about
bhadramaṇḍalas (e.g. Bühnemann 1987, 2007, 2011), and a brief survey will serve to
exemplify their ludic properties, and how these might have both influenced and been
influenced by games.

The individual squares of a

bhadramaṇḍala are combined to form
differently colored geometric designs
suggesting various shapes, such as
enclosures (paridhi), wells (vāpī), offsets
(bhadra), creepers (vallī), chains
(śṛṅkhalā), and crescent moons
(khaṇḍendu) (Bühnemann 1987: 46). The
designs are usually centered around an
eight-petaled lotus from which the chain
designs extend like the four arms of a
caupaṛ board (fig. 76).367 The diagram is
outlined in three different colors
representative of the inherent qualities Fig. 76: Sarvatobhadramaṇḍala. Modern print.

(guṇa) of primordial matter (prakṛti),

indicating its cosmological nature and association with Sāṃkhya (ibid. 48).
Bhadramaṇḍalas are drawn up with colored grains and powders, and used for a wide
range of ritual purposes, the most common of which is the concluding ceremonies
(udyāpana) of religious observances (vrata) (ibid. 49). The ritual involves the invocation
of deities into areca or betel nuts (supārī) which are subsequently placed in different
parts of the diagram.368 The association between deities and squares functions as a

367 As caupaṛ boards usually consist of four strips of cloth joined at the center, it cannot be determined
whether the proper orientation of the arms is toward the cardinal or intermediate directions. The
orientation of the chain designs in bhadramaṇḍalas toward the intermediate directions is replicated
in two 18th-century caupaṛ boards embroidered on square pieces of cloth (Finkel 2004b: 50). Later
examples of similar designs are rare in India, but seem to have survived into modern times in the
Middle East (Finkel 2002).
368 See plates I, III, and V in Bühnemann 1987 for examples of where areca nuts are placed in different
types of bhadramaṇḍalas.

232
mental inscription of the diagram which can also be said to occur when different
representational values are assigned to the squares of an otherwise uninscribed game
grid.369 Furthermore, the use of areca nuts and the act of placing them in specific
squares are reminiscent of games such as caupaṛ and gyān caupaṛ where players
manipulate pawns, often in the form of areca nuts or similarly shaped pieces, across
the squares of the grid.370 We already know that it was a bhadramaṇḍala which
suggested the grid of phañjikā, and it is therefore possible that ludic elements
pertaining to rituals associated with maṇḍalas also had a certain bearing on the formal
system of the game, especially if the rituals involved acts of randomization and object
manipulation.

Topsfield has tentatively suggested that gyān caupaṛ, as we know it today, originated
with the Jainas from "mandala-like grid diagrams used in doctrinal texts to clarify the
interconnections of karmic causation" (Topsfield 2006a: 175). However, the only
example he gives is the undocumented karmic diagram reported by Vasantha in an
11th- or 12th-century manuscript of the Mahānisīhasutta (see introduction to chapter
two). I have already noted my reservations about Vasantha's claim that the diagram
constitutes a prototypical Jaina chart, and the comparative analysis at the end of
chapter four has shown that gyān caupaṛ is more likely to have been of Vaiṣṇava
origin. If anything, the design of the Jaina charts would indicate that they originated in
cosmographical paintings of the lokākāśa and lokapuruṣa type, but given the evidence
for a Vaiṣṇava origin of the game, I consider it more likely that they were adapted to
the format of cosmographical paintings to align them more closely with Jaina religious
tradition. At the same time, I agree with Topsfield that cultural forms and practices
other than games exerted a strong influence on the invention of gyān caupaṛ, and
caused it to be described both in terms of a game and a spiritual journey.

Below I present three examples of inscribed grid diagrams dating from between the
mid-18th and mid-19th centuries. They originated in different religious communities
for different purposes, but share with gyān caupaṛ their existence at the interface
369 The history of physically inscribed grid diagrams goes back to the architectural ground-plans known
as vāstupuruṣamaṇḍalas which first appear in the 6th-century Bṛhatsaṃhitā (Meister 2007: 253).
Vāstupuruṣamaṇḍalas later came to be used for "ritual, astrological, meditational, [and] devotional"
purposes (ibid. 257), and may have given rise to the drawing of mystical yantra diagrams which, in
turn, seem to lie at the root of gyān caupaṛ.
370 Jeṭhābhāī specifically suggests the use of areca nuts (supārī) as pawns in gyān caupaṛ (JBRR 1).

233
between a game and something other than a game. The first example is a chart of the
subtle body reminiscent of gyān caupaṛ not only in its design, but also in its inclusion
of snakes connecting squares inscribed with positive and negative qualities. The
second example is a cosmographical chart with a strong focus on actions and their
results, including two lines or ladders connecting religious practices with squares at
the very top of the chart. The third and final example is an astrological chart cross-
referencing the zodiacal signs with the planets passing through them, and indicating
the corresponding auspicious or inauspicious results. The chart carries an inscription
which explains how it can be used either as a game, an instrument of divination, or an
astrological table.

Ex. 1: Anatomical Chart

In 1849 the Calcutta Review published a slightly revised version of a prize-winning
article written by a young Indian educated in the British mode at the Free Church
Institution established in Kolkata in 1843. Bābū Bipin Bihārī Som, written as Baboo
Bipin Behari Shome, was born into the lowly śūdra class of traditional Indian society,
and presented his article, entitled The Physical Errors of Hinduism, as a polemical
attack against the religious world-view of the brahmins whom he described as "the
narrow-minded and meanly jealous authors of our national religion" (Shome 1849:
399). Despite the obvious prejudice of the article, it has value as a historical document
because it is based on oral testimony rather than scripture, and because it includes a
series of rare tantric drawings which speak for themselves. Two drawings depicting
the anatomy of the subtle body were sketched from originals which had previously
belonged to Gaṅgā Govind Siṃh (fl. 1750-95).371 Siṃh was a wealthy and influential
revenue administrator in Bengal under the auspices of Governor-General Warren
Hastings. Soon after Hastings left India in 1785, Siṃh came under pressure from his
enemies and rivals, and in 1786 he retired from his duties, and lived out the rest of his
life as a devout Vaiṣṇava, donating generously to temples, pilgrims, and brahmins. 372 It
was likely during this latter period of his life that he had the drawings prepared by a

371 A recent book on the history of the cakra system in the West devotes its opening chapter to
reproducing and discussing the charts, but unfortunately the author is not able to add much to the
information already provided by Shome (LeLand 2016: 33-43).
372 See entry on "Ganga Govind Singh" by P. J. Marshall in ODNB (accessed online, 1 Aug, 2018).

234
group of paṇḍits from Uttar Pradesh
who appear to have been followers of
the poet-saint Dādū (1544-1603).373 As
previously mentioned, the teachings of
Dādū, like those of other nirguṇa bhakti
poet-saints, were heavily influenced by
the Nāth tradition and the Haṭhayogic
system associated with it (see The Subtle
Body in chapter four). This influence is
in full evidence on the two drawings
which take the form of anatomical
sketches of the subtle body
superimposed on a naked male figure
with upraised arms and palms facing
outward. One of the drawings is of
special interest in the present context
Fig. 77: Anatomical chart. West Bengal, late 18th
because it replaces the torso with an
cent.
inscribed grid diagram reminiscent of a
gyān caupaṛ chart (figs. 77-78).374

The torso consists of an 11 x 8 grid, though two

Fig. 78: Anatomical chart, detail. West
Bengal, late 18th cent.
squares each at the top and bottom of the left-
and rightmost columns remain uninscribed, and
only serve to connect the arms and legs of the
figure to the grid. Furthermore, the central
column has been divided into eleven rather than
eight squares, leaving the grid with a total of 83
inscribed squares, or 84 squares if counting the
additional illustrated but uninscribed square
above the central column. Three legends also
appear in and above the head of the figure, and

373 The article merely refers to them as being "known by the name of Daudus" (Shome 1849: 438).
374 Topsfield mentions the chart in a footnote, remarking on the similarity between some of the legends
with those of gyān caupaṛ, but does not discuss it in any detail (Topsfield 2006a: 177, fn. 64).

235
two more are found above each of the arms. The squares do not appear to have been
numbered in the original, and the numbering in the sketch presented in the article is
only used to refer to a separate list of corresponding legends. Unfortunately, the
majority of the legends have been translated, thereby obscuring the original
terminology, but the diagrammatic representation in fig. 79 at the end of the current
section indicates a strong focus on the subtle body and its microcosmic properties. The
squares in the central column have been illustrated in accordance with the legends
which position a tortoise and a serpent as the mythological foundation of the cosmos at
the bottom of the column, the cakras along the central axis of the body in the squares
above, and the aperture at the top of the skull (brahmarandhra) in the square at the
very top. Ten short snakes connect adjacent squares at either side of the diagram, with
the heads located in positive squares, and the tails in negative squares, creating pairs
of opposites, such as "Compassion" and "Envy," or "The love of one's own religion" and
"Irreligion, or Impiety." The dualistic nature of the squares connected by the snakes is
further highlighted by the legends above the arms which read "The fruits of virtue"
above the right arm, and "The fruits of vice" above the left arm.

The lack of sequentially numbered squares and causal relationships between the
squares connected by the snakes indicate that the drawing was not designed as a game
chart. This is further evidenced by the fact that it was prepared for Siṃh as an
exposition of tantric knowledge, and perhaps even as a tool for meditation and
visualization similar to other tantric drawings. However, the affinities with gyān
caupaṛ cannot be disregarded. Apart from the formal properties of the grid and the
snakes, it is the conceptual underpinnings of the drawing which bear the most striking
resemblance with gyān caupaṛ. While the other anatomical drawing sketched in the
article focuses exclusively on the cakras and the energy channels (nāḍī) connecting
them, the grid-based drawing also shows how various concepts are mapped on to the
body in imitation of the cosmos itself.375 According to Shome, who got his information
from the Kolkata paṇḍits of his day, each of the principles inscribed on the sketch
corresponds to a material organ in the human body (Shome 1849: 440). This reminds
us of the suggestion found on some Vaiṣṇava charts that the squares in gyān caupaṛ
should be identified with the visceral compartments (koṣṭha) of the physical body or
375 An inscription on the non-grid-based drawing describes the process of mapping concepts on to the
body through meditation, but stops short of visualizing it (Shome 1849: 439).

236
the internal cavities (also koṣṭha) of the subtle body. Though the original legends have
not been preserved in Shome's sketch, many of them can be easily reconstructed and
shown to be closely related to similar legends on 72-square Vaiṣṇava charts. Examples
include the three qualities of "Goodness" (satoguṇ, sq. 70), "Passion" (rajoguṇ, sq. 71),
and "Ignorance, or Darkness" (tamoguṇ, sq. 72), the three realms of "Bramha"
(brahmlok, sq. 69), "Vishnu" (vaikuṇṭh, sq. 68), and "Shiva" (śivlok, sq. 67), and several
positive and negative qualities, such as "Anger" (krodh, sq. 3), "Egotism" (ahaṃkār, sq.
55), "Compassion" (dayā, sq. 17), and "Charitableness" (dān, sq. 20).376 The distribution
of legends on Shome's sketch does not match that of any known gyān caupaṛ chart, but
the overall principles of distribution are much the same. The central column is strictly
hierarchical with a double focus on cosmography and the cakras, while the remaining
legends are distributed loosely across the chart in groups of twos and threes wherever
possible. The exact concepts and their distribution would naturally have varied from
tantric drawing to tantric drawing, just as they do from game chart to game chart, with
the added concern that the game charts had to function as such, and thus required a
general progression from predominantly negative legends in the lower rows to
predominantly positive legends in the higher rows.

The similarities in design between the drawing sketched by Shome and the 72-square
Vaiṣṇava charts indicate a shared origin in tantric drawings of the subtle body and the
process of mapping cosmic principles, presiding deities, karmic qualities, and other
concepts on to it. The reason that we only possess one grid-based tantric drawing of
this nature that I am aware of, while we possess numerous examples of gyān caupaṛ
charts, probably has to do with the great secrecy surrounding the tantric drawings. 377

376 A further association with the ladderless 84-square Vaiṣṇava type d charts, as well as the modern-
looking printed Va84#7, is the four stages of liberation (mukti), known as sālokya (sameness of
realm), sāmīpya (proximity), sārūpya (similarity of form), and sāyujya (unity), inscribed in the
rightmost squares of the top row on both the charts and the tantric drawing.
377 Shome strongly emphasizes this point in describing the reaction of the paṇḍits when he showed
them the drawings: "All the Pandits, to whom they were shown, were equally startled at the sight,
and, after reading them a little, exclaimed, 'Oh, you have exposed the most secret parts of our
Shastras! [W]e have never seen such things before; – better keep them to yourself, and do not show
them to the public.' On being asked, why they required such privacy, they answered, 'Because these
two maps, as we see by reading them, exhibit the theories on which all the Bijmantras, or the
principal incantations, are founded[;]' and they pointed out some of the Mantras on the maps,
requesting us at the same time, to beware of pronouncing them, on account of our being by caste, a
Sudra." (Shome 1849: 437).

237
Apparently, the secrecy could not be upheld when some clever mind decided to turn
them into a game and represent the process of meditation, visualization, or otherwise
with a formal system of dice and pawns. This, at least, is how we might envision a
gradual or sudden change of usage from one of tantric practice to one of more or less
ritualized play, if that is indeed what happened. It is also worth noting that the original
from which Shome drew his sketch is contemporary with the earliest known gyān
caupaṛ chart (Va72#7) commissioned by Richard Johnson from a local artist in
Lucknow between 1780-82. Johnson was employed in the East India Company's
revenue administration in Kolkata from 1785-90 (Falk & Archer 1981: 22), and must
therefore have known - or, at least, known of - Gaṅgā Govind Siṃh who served as
revenue administrator for Bengal until his retirement in 1786. Siṃh is likely to have
had the original drawings prepared after he retired, and it is not impossible that some
connection existed between himself and Johnson who was an avid collector of
paintings and manuscripts.378 This, of course, does not tell us anything about the
transition from tantric drawing to game chart, but it does leave us with the fascinating
possibility that Johnson may in fact have been acquainted with both.

378 Johnson's collection includes numerous manuscripts and miniature paintings from north and north-
east India, including Murshidabad, the capital of Mughal Bengal, where Siṃh returned to his family
home after his retirement. For a description and catalogue of Johnson's collection, see Falk & Archer
1981.

238
 Bramha
randra

Karpara
Chakra

[head]
The goose

The fruits [neck] The fruits

of virtue of vice
The state of
[right arm] The waking The dream- [left arm]
profound Orjya Triganti Sálokya Sámípya Sárúpya Sayujya
state ing state
sleep

The faculty
leading to
seek the Ignorance, Bishunda Sohang- Devoted-
Goodness Passion Tangpada Tatpada
Supreme or darkness Chakra pada ness
Being, or
Spirituality

Anáhata
Covetous- Compas- The vowel The vowel The Letter Chakra Useful
Múrddhni The heart The belly Ignorance
ness sion a u m Manasha knowledge
Chakra

Mani pura The state

State of Want of
Envy Good sense Bramha Vishnu Shiva of youthful- Old age Wisdom
Gastric fire childhood knowledge
ness

False The navel

The love of False ostentation Self-
Leanness Kárana- Discrimi-
Wickedness one's own Pedantry ostentation of bodily Adhishtán Obesity conceited-
of body deha nation
religion of wisdom accomplish- Chakra ness
ments

The habit of
Irreligion, Adhára
The mind Intelligence Attention Egotism Happiness Misery Birth Death reproach-
or Impiety Chakra
ing

The enjoy- The enjoy- The enjoy-

The place The endless
Religious The place The place ment of ment of ment of Charitable-
of intelli- serpent,
penance of the mind of life visible imaginary optional ness
gence Ananta
objects object[s] objects

The state of
[right leg] The family Brahmá- [left leg]
Anger Fire Water The air The tortoise a mendi- Pride
state chári
cant

Fig. 79: Diagrammatic representation of fig. 77 with inscriptions as they appear in Shome 1849 (p. 441). Red lines indicate snakes connecting squares.

239
Ex. 2: Cosmographical Chart
The third sketch published by Shome is
based on a cosmographical chart
acquired from "a native gentleman, to
whom it was presented by a pandit"
(Shome 1849: 422). According to Shome,
it "professes to be founded on the
description of the mountain [Meru],
contained in the Srimat Bhágavata"
(ibid.), but a closer inspection reveals
that much more than a mere
description of Mount Meru is at stake.379
The chart consists of 177 squares
organized into a diamond-like shape
with a central column extending above
and below the main grid (figs. 80-81).
The bottom part of the grid is embedded
within a decorative outline resembling a
face with two eyes, and the squares at Fig. 80: Cosmographical chart. West Bengal, early
the top are ornamented with terraces 19th century.
and domes. A line and a ladder connect a dome on the left and right, respectively, with
two squares at the top of the central column, and the sun and moon shines down from
above. As was the case with the tantric chart discussed above, the original legends
have been replaced with numbers referring to a separate list in which the majority of
the legends only appear in translation (ibid. 423). The diagrammatic representation in
fig. 82 at the end of the current section shows that the central column can indeed be
likened to the axis mundi of Mount Meru, beginning with the netherworlds at the

379 The Bhāgavatapurāṇa agrees with other Purāṇic descriptions of Mount Meru that it has the shape of
an inverted cone likened to the pericarp of a lotus. It has a diameter of 16.000 yojanas at the base and
32.000 yojanas at the top, and it extends 84.000 yojanas above the surface of the earth and 16.000
yojanas below it (BhP 5.16.7; cf. Ali 1966: 48). The diagram presented here does not conform to this
description, though it might be seen as an abstract representation of the four-petaled lotus-shape of
the Jambudvīpa continent with Mount Meru above and below its center.

240
Fig. 81: Cosmographical chart, detail. West Bengal, early 19th century.

bottom, and continuing with the upper realms and the cosmic principles to the realms
of Viṣṇu, Vaikuṇṭha, and Goloka at the top. The two columns adjacent to the central
column contain the realms of gods, demi-gods, and celestial bodies circling the various
levels of the mountain. At the bottom of the two columns we find the gates of heaven
and hell, opening into the heavens on the left and the hells on the right. The hells
number twenty-eight as in the Bhāgavatapurāṇa, though the Mahāraurava hell
appears twice, and less than half of the hells carry the same names as in the text ( BhP
5.26.7).380 A vice is mentioned in the square above each hell, presumably indicating the
various vices leading down to the various hells, but they also do not correspond to the
vices given in the text (BhP 5.26.8-36). The heavens on the left side of the central
column number twenty-nine, with the heaven of Brahmā appearing twice, and while
the Bhāgavatapurāṇa speaks of the heavens in general terms (BhP 5.17.11-13), it does
not specify their names. Neither does it mention the virtues leading up to them, though
the chart includes a virtue in each square below the heavens.

If we look at the chart from a tantric perspective, the central column does not only
represent Mount Meru as a cosmographical feature, but also as the axis (merudaṇḍa)

380 BhP 5.26.37 says that there are hundreds and thousands of such hells in Yama's abode (yamālaya),
and that only some of them are described here.

241
identified with the spinal column of the subtle body (White 1996: 328). 381 This is the
axis along which the cakras are situated, and around which the central energy channel
Suṣumnā flows (Mallinson & Singleton 2017: 199-200). If we interpret the central
column as such, we might further interpret the pyramidal shape of the top half of the
chart as the three-dimensional śrī yantra, known as mahāmeru, used in tantric
practices (Khanna 2007: 148).382 Whether the reference to mahāmeru is valid or not, the
common association between the pyramidal shape and a cross-legged yogi facing the
observer reminds us that the left-right dichotomy of the chart should be reversed,
identifying the heavens on the left side with the right side of the body, and the hells on
the right side with the left side of the body. This is further indicated by the sun on the
left, identified with the energy channel Piṅgalā and the right side of the body, and the
moon on the right, identified with the energy channel Iḍā and the left side of the body
(Banerjea 1962: 160). Looking at the topmost squares of the two columns adjacent to
the central column, we can see that Brahmā and the quality of passion (rajoguṇa) on
the left preside over the right side of the body, while Śiva and the quality of inertia
(tamoguṇa) on the right preside over the left side of the body. The overall Vaiṣṇava
orientation of the chart can be seen from the fact that Viṣṇu and the quality of
goodness (sattvaguṇa) are positioned in the middle, presiding over the central energy
channel and the path to final liberation.

The association of the left side of the body with vices and hells, and the right side of the
body with virtues and heavens, would seem to indicate a distinction between the left-
hand tantric practices (vāmācāra) of transgression, and the right-hand tantric practices
(dakṣiṇācāra) of non-transgression.383 It is even possible that the reading
"Panchata[t]wa" (i.e. pañcatattva) in the central column should be understood with
reference not only to the five gross elements (mahābhūta) and the five aspects of Kṛṣṇa
in Gauḍīya Vaiṣṇavism, but also to the five tantric essentials, known both as the

381 The existence of Mount Meru within the subtle body is mentioned in the 17th-century Haṭhayoga
manual known as the Śivasaṃhitā (ŚS 2.1) and in the 18th-century Nāth yogic text known as the
Siddhasiddhāntapaddhati (SSP 3.10).
382 In support of the latter suggestion, it should be noted that the part of the grid rising above the two
central horizontal rows has exactly 84 squares, corresponding to the 84.000 yojanas Mount Meru is
said to rise above the surface of the earth (see fn. 377).
383 Haṭhayoga texts of the Nāth tradition emphasize the importance of the left side of the body as "the
locus of the most critical transformations occurring within the subtle body" (White 1996: 230).

242
pañcatattvas and the pañcamakāras, which include the transgressive partaking of meat
(māṃsa), fish (matsya), parched grain (mudrā), spirituous liquor (madhu), and sexual
intercourse (maithuna) (White 1996: 460, fn. 148). If we consider the line and the
ladder leading up to the topmost squares, it becomes apparent that the chart passes
judgment on the practices of the two sides and their respective efficacy in attaining
liberation. Each side culminates in a single square which stands outside the dominant
scheme of locating vices and virtues above or below their corresponding hells and
heavens. The square associated with the left side of the body on the right side of the
chart reads "Absorption," which might either have been translated from sāyujya,
sometimes identified as the fourth and final state of liberation (see fn. 374), or from
samādhi or lāya, often used synonymously to express absorption into the absolute
(Mallinson & Singleton 2017: 327-28). From "Absorption" a ladder leads up to "True
Light," the original wording of which is less important than the fact that it appears two
squares below "Goloka," and that it is separated from it by "The power of ignorance."
While yogic and tantric practitioners may advance far on the path to liberation, the
chart seems to say, they will always be separated from the ultimate goal by a
fundamental ignorance. The only way to overcome the ignorance is by following the
path associated with the right side of the body on the left side of the chart where a
direct line leads from "Faith" to "Goloka." The reading "Faith" could have been
translated from a more general term, such as śraddhā or dharma, but given the context
of Goloka, it seems almost certain that the original reading was bhakti. Contrary to the
chart of the subtle body discussed in the previous section, the cosmographical chart
discussed here should therefore only be considered tantric to the extent that it
recognizes the relative efficacy of tantric and yogic practices, and might best be
described as being primarily Vaiṣṇava bhakti in orientation.

If we accept the tantric and yogic underpinnings of gyān caupaṛ, as demonstrated in

chapter four, we can say that the Vaiṣṇava charts appear to have subsumed such
traditions under the supreme authority of bhakti.384 There are no indications that the
cosmographical chart examined here was used for purposes of play, or that it impacted

384 Tantric and yogic traditions, and especially those of the Nāths, were integrated into traditions of
both Śaiva and Vaiṣṇava bhakti (Vaudeville 1974: 120). A recent doctoral thesis on the formation of
bhakti identity in early modern north India argues that the rise of bhakti was "fundamentally linked
to, among other things, a Sufi-inflected critique of tantric religiosity" (Burchett 2012: 14).

243
directly on the development of gyān caupaṛ, but several aspects of it are clearly related
to the design and dynamics of the game. While 72-square Vaiṣṇava charts can be said
to be divided into a left and a right half by the central column of squares, the demands
of the game, which necessitate a mix of positive and negative legends across the entire
chart, make it difficult to distinguish conceptually between the two sides. Still, the
sequence of the realms of Brahmā (sq. 69), Viṣṇu (sq. 68), and Śiva (sq. 67) in the top
central row indicates that the charts were drawn from the perspective of a person
facing the players, with Śiva on the right representing the left side of the body, and
Brahmā on the left representing the right side of the body. 385 It is even possible that this
was the reason that the three paths to liberation - i.e. the disciplines of action
(karmyog, sq. 19), knowledge (jñān, sq. 37), and devotion (bhakti, sq. 54) - were located
on the left side of the charts identified with the right, and thus non-transgressive, side
of the body.

The gyān caupaṛ charts which have the most in common with the cosmographical
chart are the 342-square Vaiṣṇava charts (cf. fig. 37). They divide the grid into two
halves consisting of 171 squares each, separated by a central column containing the
netherworlds, the upper realms, and a few other realms, including the regions of the
sun and the moon. Together the two halves list a total of twenty-nine hells, two of
which appear twice, connected by snakes leading down from various vices. The charts
do not include the heavens found on the cosmographical chart, and they do not make
any clear distinction between the two halves, except that only ten hells appear in the
left half, while nineteen hells appear in the right half. No further correspondence can
be made between the 342-square Vaiṣṇava charts and the cosmographical chart, but
the positioning of the legends on the latter does indicate a more general relationship
with the design of gyān caupaṛ. Since each vice is placed directly above a hell, and each
virtue directly below a heaven, the chart follows a similar procedure of identifying
specific negative and positive actions with specific negative and positive states of
being. The implied relationship between the squares might also have been expressed
with snakes and ladders, but since the squares always appear directly above and

385 The sequence seems to have confused the artist of a 72-square Vaiṣṇava chart (Va72#11) who not
only reverses it, but also underlines the reversal by adding the moon (candralok, sq. 71) on the left
side of the chart, and the sun (sūryalok, sq. 64) on the right side.

244
below each other, no such visual device was necessary. 386 This reveals that the concept
of directly linking squares conceptually and visually was not exclusive to gyān caupaṛ,
but also appeared on related charts which were not designed to be used as games.

The above examples have shown that the sketches published by Shome provide
substantial evidence for the argument that gyān caupaṛ originated in tantric diagrams
of the subtle body and its relation to the foundational principles of the universe.
Tantric and yogic traditions had played a major role in the development of bhakti since
early modern times, and it therefore seems likely that mystical diagrams originally
designed for purposes of meditation and visualization were adopted by bhakti
communities, and gradually changed into the less serious and more playful cultural
form of a game privileging the practice of bhakti above those of tantra and yoga.

386 The only exception is four rows of three squares each at the bottom of the left side of the chart. Here
the two lower rows only include virtues, while the two higher rows only include heavens. This
appears to be a mistake which, however, can easily be corrected if one pairs the virtues in the first
row with the heavens in the third row, and the vices in the second row with the heavens in the
fourth row.

245
Fig. 82: Diagrammatic representation of fig. 80 with inscriptions as they appear in Shome 1849 (p. 423). Green lines indicate lines or ladders connecting
squares.

246
Ex. 3: Astrological Chart
The third and final example is an
elaborate astrological game chart
currently held in a private collection in
Mysore (fig. 83). According to the
current owner, it was formerly in the
possession of a Brahmin family
employed as pujārīs, or priests, at
Mysore Palace.387 Considering that the
chart appears to date from the 19th
century, this would likely associate it
with Mahārāja Kṛṣṇarāja Oḍeyar III
(1794-1868) who designed numerous
games and puzzles during his almost
seventy years on the throne of the
Princely State of Mysore (see History
and Transmission in chapter three). The
Fig. 83: Navagrahapraśnapaṭa. Mysore, mid-19th
chart contains a 9 x 12 grid with century.
illustrations above and to the left
identifying the columns with the nine planets (navagraha) and the rows with the
twelve zodiacal signs (rāśi). A further series of illustrations on the right depicts the
guardians of the eight directions (lokapāla), while illustrations in the bottom corners
show two four-armed deities identified as the moon (candra) on the left and,
presumably, the sun (sūrya) on the right. As evident from the diagrammatic
representation in fig. 85 at the end of the current section, the squares are sequentially
numbered like on a gyān caupaṛ chart, beginning with sq. 1 in the bottom left, and
continuing boustrophedon to sq. 108 in the top left. They are inscribed with Sanskrit
legends written in Kannada script, and, in addition to the square numbers, they also

387 The current owner allegedly bought the chart from the family in question before they dumped it,
together with the rest of their inherited belongings, in the Cauvery River to rid themselves of a curse
inflicted by the practice of sorcery sometime in the family's past. Whether the chart was in any way
associated with the alleged practice of sorcery cannot be established.

247
include a second number indicating which other square a pawn landing on them
should move to. The legends describe the auspicious or inauspicious effects of having a
given planet passing through a given sign relative to one's natal moon sign (see below).
The same legends often appear in multiple squares, and revolve around themes such
as wealth (dhana, vitta), good fortune (sabhāgya), disease (roga), and danger (bhaya).
Auspicious legends lead to squares higher up on the chart, while inauspicious legends
lead to squares farther down, though a few mistakes appear to have crept in, such as
death (maraṇa) in sq. 66 leading up to loss of wealth (dhanakṣaya) in sq. 75, and wealth
(dhana) in sq. 103 leading down to fortunate (sabhāgya) in sq. 19.

An inscription in Kannada below the grid refers to the chart in Sanskrit as

navagrahapraśnapaṭa, or board for querying the nine planets, and contains
instructions on how to use it.388 According to the instructions, the game can either be
played as a pastime, or as a means of providing a positive or negative answer to a
specific query. In either case, the game is played with nine cowries or tamarind seeds
as a symbolic representation of the nine planets, allowing for throws between 0 and 9.
Each player controls a single pawn which begins outside the grid, and moves
sequentially through the squares according to the numbers thrown. Whenever a pawn
lands on a square, it subsequently moves up or down the grid according to the second
number inscribed in that square.389 The instructions provide two conflicting statements
about the end of the game which either occurs when a pawn reaches sq. 108, or when
a pawn in sq. 108 throws a "1," thereby allowing it to enter the illustrated row of the
nine planets above the grid.390 If the game is played as a pastime, the winner is the first
player to fulfill whichever of the two victory conditions was agreed upon. If, however,
it is played for the purpose of divination, players who reach sq. 108 in the top left
corner will receive a positive answer to their query, while players who land in any
other square in the top row (sqs. 100-107) will receive a negative answer.

388 Thanks to Raghu Dharmendra for providing me with a translation of the Kannada text.
389 Two squares do not contain a number linking them to another square on the chart. The lack of an
onward link from sq. 1 might indicate that some players would begin the game with their pawns in
that square, while the similar lack in sq. 69 is probably a mistake.
390 The south Indian version of gyān caupaṛ known as parampad sopān includes a similar rule that
pawns must enter and travel along a series of illustrations of deities above the grid on successive
throws of "1" in order to win (Balambal 2005: 83). The astrological game chart discussed here
predates the earliest known parampad sopān chart by approximately half a century, possibly
indicating that parampad sopān existed as far back as the mid-19th century.

248
The design of the chart is based on similar astrological tables detailing the
gocaraphala, or the auspicious and inauspicious effects of planets transiting through
particular zodiacal signs in relation to one's own natal moon sign. This is further
indicated by the illustration of Candra, or the deity of the moon, below the illustrations
of the zodiacal signs on the left. The main difference between this and other
gocaraphala charts is that each row is identified with a specific zodiacal sign, whereas
normally the rows would be identified with numbers from one through twelve. If, for
example, the user of the chart was born with the moon in the eleventh sign of
Aquarius, the first row would be identified with Aquarius, the second row with the
twelfth sign of Pisces, the third row with the first sign of Aries, the fourth row with the
second sign of Taurus, and so forth. The user would then be able to check the effects of
different planets transiting through different signs relative to his own natal sign by
cross-indexing the planets with their current positions in the signs. The reason for
including an illustration of a specific zodiacal sign for each row was probably purely
aesthetic, and could easily have been ignored by anyone using the chart as a
traditional gocaraphala chart. A gocaraphala chart published in a recent almanac
demonstrates the close correspondence with the game chart (fig. 84). Several legends

Fig. 84: Diagram showing the effects of planetary transits (gocaraphala). Printed in the almanac
(pañcāṅga) published by Jyotirved Vijñān Saṃsthān in Varanasi for the year 2017-18.

249
are identical between the two charts, and those that are not follow the same concept of
providing auspicious and inauspicious results relating to worldly matters, such as
health, business, and family. The instructions on the game chart explicitly state that it
can also be used for traditional astrological purposes in addition to those of enjoyment
and divination.391 That this was the original purpose of the chart before it was turned
into a game can be seen from the fact that sq. 108, identified as the winning square in
the game, carries the legend daridra (poor) as an indication of the effect of having the
sun in one's own natal moon sign. Such a legend would hardly have been considered
appropriate for a winning square if the chart had originally been designed as a game.

The chart provides a rare glimpse into the process of how a non-game chart could be
converted into a game chart. In the present example, it appears that the formal system
of gyān caupaṛ was superimposed on an astrological gocaraphala chart by numbering
the squares sequentially from bottom to top, and interlinking them by a secondary
system of numbers similar in function to the usual snakes and ladders. Since it appears
likely that the chart was invented by Kṛṣṇarāja, or by someone acquainted with his
games, we might speculate whether gyān caupaṛ came about in a similar way. We
know that Mahārāja Saṃsār Cand of Kangra (r. 1775-1823), at whose court the 342-
square Vaiṣṇava charts are likely to have been invented, was much given to games
(Topsfield 2006c: 84), and it is not at all unthinkable that another Mahārāja, or one of
his attendants at court, first had the idea to convert a tantric grid diagram of the subtle
body into the game that came to be known as gyān caupaṛ.

391 The close relationship between astrology, divination, and games in general is exemplified by the
Krīḍākauśalya which is a treatise on games embedded within a larger astrological work known as
the Bṛhajjyotiṣārṇava. The second chapter of the Krīḍākauśalya is entirely devoted to divinatory
practices for securing victory and defeat in games (KK 84-155).

250
 [sūrya, [candra, [maṅgala, [budha, [guru, [śukra, [śani,
[Rāhu] [Ketu]
sun] moon] Mars] Mercury] Jupiter] Venus] Saturn]

108 107 106 105 104 103 102 101 100

[meṣa,
daridra anartha ×ra× kṛśa saṃhāra dhana naṣṭa vināśa vināśa
Aries]
91 74 104 94 10 19 1 80 99

91 92 93 94 95 96 97 98 99
[vṛṣabha,
dhana mahādhana dhana manoratha saṃtoṣa roga lābha vitta vitta
Taurus]
108 108 107 108 108 85 108 108 108

90 89 88 87 86 85 84 83 82
[mithuna,
siddhi iṣṭasiddhi ghanaśoka tejovṛddhi pramāda bhaya p[ī]ḍana kalaha kalaha
Gemini]
91 92 52 105 73 78 61 80 81

73 74 75 76 77 78 79 80 81
[karkaṭaka,
du[ḥ]kha kaṣṭa dhanakṣaya manakṛśa dhanāgama vibhūṣaṇa dehaśoṣaṇa saṃtāpa saṃtāpa
Cancer]
72 61 72 69 86 85 60 65 65

72 71 70 69 68 67 66 65 64
[siṃha,
roga bādha śatrubādha mana[ḥ]- dhanahāni dhanalābha maraṇa arthakṣaya arthakṣaya
Leo]
55 56 4 siddhi 1 78 75 29 63

55 56 57 58 59 60 61 62 63
[kanyā,
vadha str[ī]sukha anartha dainya ārogya mṛtyu mahādainya nṛpabhaya nṛpabhaya
Virgo]
36 74 3 56 77 50 5 44 46

47 46
54 53 52 51 50 49 48
[tulā, mahat- mahat-
śatrukṣaya dhanāgama arthasiddhi bhūṣaṇa kṛśa vittanāśa lakṣmikara
Libra] sukhaṃ sukhaṃ
55 56 70 58 32 40 84
80 80

39
37 38 40 41 42 43 44 45
[vṛścika, mano-
mahābhaya kāryanāśa daridra saṃpatti sutodaya mitravirodha vittabhramśa vittabhramśa
Scorpio] vyāmala(?)
18 37 (3)4 77 (6)0 (12) 11 28
38

36 35 34 33 32 31 30 29 28
[dhanus,
hanabhaṃga rogaṃ ripuvṛddhi śatrukṣaya arthanāśa atisākhya makṣaroga āyu[ṣ]kṣaya āyu[ṣ]kṣaya
Sagittarius]
19 20 28 40 1 50 12 26 27

19 20 21 22 23 24 25 26 27
[makara,
saṃpatti dhanaṃ s[a]bhāgya ripup[ī]ḍā anartha s[a]bhāgya saṃpatti s[a]bhāgya s[a]bhāgya
Capricorn]
32 35 39 19 5 42 61 44 44

18 17 16 15 14 13 12 11 10
[kumbha,
bhaya vipatti d[u]rbhāgya hemalābha vittalābha bhāgya hāni kalaha kalaha
Aquarius]
1 2 3 20 41 30 1 8 8

2 3 4 5 6 7 8 9
[mīna, 1
kṣama kṛśa baṃdhana dehatyāga ārogya vipatti bhaya bhaya
Pisces] bhraṣṭa×
17 1 1 1 24 1 3 3

Fig. 85: Diagrammatic representation of fig. 83. Green and red numbers indicate the squares to which a pawn is promoted or demoted when it lands on the
various squares.

251
 Conclusion
An element of play is woven into the cultural fabric of India with a thread that is
sometimes visible from the side of religion, and sometimes from the side of games. A
hymn in the tenth book of the Ṛgveda bemoans the fate of a hapless gambler who lost
himself and his family to dice (RV 10.34), while the Vedic rājasūya rite of royal
consecration speaks of a cosmic dice game played for the benefit of the king
(Heesterman 1957: 140-57). The four throws of the dice (kṛta, tretā, dvāpara, kali) lend
their names to the four ages (yuga) of mythology (González-Reimann 1989), and the
dice game played by Śiva and Pārvatī at the top of Mount Kailāsa holds the universe
itself in the balance (Soar 2007: 210-16). A game of dice also stands at the center of the
Mahābhārata epic (Shulman 1992), setting in motion the events that lead to the battle
of Kurukṣetra and the song of the Bhagavadgītā. The Brahmasūtra argues that manifest
existence is nothing but the sport (līlā) of the supreme deity (brahman) (BS 2.1.33), and
the poems of the medieval bhakti saints use dice and games as metaphors of life and
liberation.392 On the first day of the month of Kārttika, during the festival of Dīvālī, it is
customary to stake money on games in order to attract Lakṣmī, the goddess of wealth,
to one's house in the coming year (Raghavan 1979: 163), and in the temple of Śrīnāthjī
in Nathdwara, the Brahmin priests manipulate little silver sets of caupaṛ when the
deity plays the game in the afternoon.393 The list of examples goes on and on, and that
of gyān caupaṛ is no exception.

The story of gyān caupaṛ, as it has been told here, begins in late 17th- or early 18th-
century western India. It was there that the game first emerged as an adaptation of
tantric diagrams of the subtle body within the Vaiṣṇava bhakti communities. While the
practice of visualization and meditation associated with the tantric diagrams may have
suggested the application of a formal game system, it is perhaps more likely that it was
suggested by the Tibetan Buddhist game of sa lam rnam bzhag, or its Nepalese variant
cībhāḥ kāsā, played on a grid of inscribed squares similar to that of gyān caupaṛ.

392 See, for example, the entry on caupaṛ in DoB (p. 650).
393 Personal communication with Ute Rettberg who has done extensive field work on caupaṛ in India
(cf. Rettberg 2008: 37-39).

252
However, the history of sa lam rnam bzhag cannot at present be traced beyond that of
gyān caupaṛ, and therefore it might as well have been the format of gyān caupaṛ which
suggested the format of sa lam rnam bzhag. In any case, the formal system adopted by
gyān caupaṛ was not that of sa lam rnam bzhag, but rather that of the European game
of goose which had first arrived in western India in the mid-16th century. Goose never
succeeded in establishing itself in India, but gave rise to a Mughal variant in the late
17th century, and may also have inspired early versions of gyān caupaṛ around the
same time. The main structural difference between goose and gyān caupaṛ is that the
former is played on an ovoid spiral track, while the latter is played on a boustrophedon
track within a grid. This suggests that the formal system of goose was mapped on to a
pre-existing tantric diagram in a fashion which may or may not have been inspired by
sa lam rnam bzhag.

The game was adopted by the Jaina communities at an early stage, and redesigned in
accordance with Jaina doctrine. The main grid of the 72-square Vaiṣṇava charts was
expanded with an extra row at the top, and three extra squares were added at the
sides and bottom, for a total of 84 squares corresponding to the 84 lākh birth-situations
(yoni) in the universe. An additional group of independently numbered squares were
then added above the main grid like a head to a torso, with the squares at the sides and
bottom acting as arms and feet. Remnants of tantric and yogic influences on the group
of Jaina charts most directly influenced by the Vaiṣṇava charts indicate that the
resulting figure may have been that of a Jaina ascetic standing in the kāyotsarga pose
of meditation, but considering the widespread tradition of visualizing the universe in
the form of a cosmic man (lokapuruṣa), that is probably how most players would have
understood it. A second group of Jaina charts which developed alongside the first
completed the transformation from the Vaiṣṇava charts by replacing all surviving
readings, and removing any references to the subtle body and practices of meditation.

We do not know what the earliest form of gyān caupaṛ looked like, or how it was
played, but when the first charts appear in the historical record toward the end of the
18th century, they have already developed a standard design which continues with
little variation throughout the 19th century. We only have a couple of examples of
Jaina charts diverging from the 84-square format, but several examples of Vaiṣṇava
charts diverging from the 72-square format. However, except for the 84-square

253
Vaiṣṇava charts in Rajasthan and Maharashtra, and the 342-square Vaiṣṇava charts in
the Punjab Hills, none of them managed to establish lasting traditions. Around the turn
of the 19th century, the game was adopted by the Ṣūfī communities of north India, but
it does not appear to have been very successful until the turn of the 20th century when
it reached modern day Turkey where copies are still being printed to this day. Gyān
caupaṛ also traveled widely within the subcontinent itself, even reaching as far as the
Kathmandu Valley in Nepal, but western India always remained the heartland. South
India was the only other place where the game took root, but the heavily illustrated
and often uninscribed form in which it did so was more popular and less demanding
than its parent form in western India. The same was true to an even greater degree
when gyān caupaṛ went overseas and became a major inspiration for the modern
children's game of snakes and ladders. By then, nothing was left of the religious
knowledge after which it had been named, and even less of the tantric diagrams on
which it had been based.

The ingenuity of gyān caupaṛ lay in its integration of game mechanics and theme
which had not previously been seen in the history of Indian games. Similar approaches
had been suggested by earlier games of the caupaṛ family, but never with such careful
attention to detail. In gyān caupaṛ the playing field is the cosmos, and the single pawn
controlled by each player an incorporeal soul traveling through the cycle of rebirth.
The dice or cowries are the karmic forces at work, and the act of throwing them a
sympathetic link between players and pawns. The squares are the various states of
existence that the souls may experience on their journey, and the snakes and ladders
the vices and virtues that will push them away from or pull them toward the ultimate
goal of final liberation. Though the track followed by the pawns is linear and
unidirectional, it does not have a beginning or an end. Rather, it continues round and
round the grid like the cycle of rebirth it is meant to represent, and the only way to
escape from it is to land on a specific square, and sometimes even subsequently make
one or more auspicious throws. An important lesson inherent in the design is that no
matter how close you are to the goal, you can still miss it and fall back down to a lower
state of existence; another, and more hopeful, lesson is that if only you try hard
enough, or play long enough, you will always reach it in the end.

254
Though we can plausibly reconstruct most of the rules of the game, we know very little
about the uses to which it was put beyond that of mere play. An analysis of the
experiences which the game affords its users shows that the more general and context-
dependent readings of the Vaiṣṇava charts lend themselves more readily to
interpretation than the readings of the Jaina charts which are more focused on
cosmographical hierarchies and doctrinal intricacies. This would seem to suggest that
the Vaiṣṇava charts were used as a means of divination, self-exploration, and other
forms of consulting and communicating with a higher power. The Jaina charts, on the
other hand, would have served well as didactic tools for teaching laypeople and young
initiates about the basic tenets of the religion. The same overall uses are evidenced by
the communities in which the game is still found today. The Vaiṣṇava chart and
commentary published as a pan-religious guide to self-knowledge by Johari in the
1970s found an audience among Westerners in search of Eastern spirituality, and has
since inspired several similar publications. The simplified Jaina charts printed in
modern India are targeted at a younger audience than the original charts, but may still
be seen as forming part of a long-standing tradition of using the charts to impart
religious knowledge. The ritual playing of the south Indian version of gyān caupaṛ
during the festivals of Mahāśivrātri and Vaikuṇṭh Ekādaśī may also hint at similar uses
in earlier times, but this cannot be verified beyond reports of Śvetāmbara Jainas
playing the game during the Paryuṣaṇa festival in the 1970s.

Rather than continuing the search for ever more fleeting glimpses of evidence for the
origins and early uses of gyān caupaṛ, perhaps a better and ultimately more fruitful
approach would be to inquire about the function of the grid diagram as an interface
between games and related cultural forms and practices. The two often share in the
same ludic qualities, whether formalized as a game system or a religious practice, and
the difference between them can be difficult to define. While it is often taken for
granted that a ludic relationship exists between them, very little actual research has
been done on the subject. The present thesis has pointed to the game of phañjikā,
described in the 12th-century Mānasollāsa, as the earliest documented example of a
game played on a grid diagram traditionally associated with religious rituals. 394 The

394 Other examples outside India include the far earlier games of twenty squares and senet. The former
may have doubled as a divinatory device in Mesopotamia (Becker 2007), while the latter may have
doubled as a ritual object in Egyptian funerary rites (Kendall 1978).

255
group of grid-based diagrams known as bhadramaṇḍalas, to which the diagram in
question belongs, might therefore provide a good starting point for future research.
The most comprehensive treatise on bhadramaṇḍalas is the Bhadramārtaṇḍa which
appears in the encyclopedic and as yet only partly published Bṛhajjyotiṣārṇava
(Bühnemann 2007: 73-118). The work was written by the astrologer Harikṛṣṇa in the
1860s and 70s, and also includes the Krīḍākauśalya which discusses numerous games,
including gyān caupaṛ, and the means of divining one's own success or failure in them.
It is obvious from the organization of the material in the Bṛhajjyotiṣārṇava, which
includes astrological tables, ritual diagrams, divinatory practices, and games, that
Harikṛṣṇa ultimately considered them to have been cast from the same mold. Though
he does not discuss the exact relationship between them, a closer study would likely
reveal several correspondences in design, operation, and purpose which have not
previously been recognized. This could then, in turn, lead us to a better understanding
of how gyān caupaṛ came to be, and came to be used.

We began our study among the fairy-tale books and traditional board games of a
modern day children's room, and that is where we shall end it as well. There is a good
chance that we found our game of snakes and ladders in a compendium with many
other classics from all over the world. Several of them, such as chess, ludo, and
backgammon, are closely associated with India, just like snakes and ladders, though
their exact origins and early usage remain unknown. In another cosmic cycle, where
more attention were paid to such matters, this need not have been the case, but we
cannot change the past actions of the present cycle, and will have to rely on future
ones to adjust our path. The burgeoning field of board game studies is trying to do just
that, but passionate and dedicated as most of the scholars who venture into it are, they
cannot hide the fact that their numbers are few, and that those who study the games of
India are even fewer. Still, as this and other studies have shown, the research
materials required can be found if only one looks closely enough, though any living
memory of the games is fading fast. During a conversation with my friend Anirban
Dash, assistant professor in the Department of Pali at the University of Pune, I asked
him whether he had ever played anything remotely like gyān caupaṛ in the village in
Orissa where he grew up. He said that he had not, but after carefully going over a
game chart together with me, he slowly began to remember that he had in fact played

256
something like it. His grandmother, he said, would draw a grid on the ground with a
stick, and though the squares were neither numbered nor inscribed, she would trace a
route through them, and explain what each of them meant. Anirban and his friends
would then each put a pebble or a piece of twig in heaven (devaloka), and take turns
throwing cowries and moving their pawns down to hell (naraka), and back up again,
through a series of dimly understood realms and concepts. That was all he
remembered, but still it was enough to make me happy I asked. And him, too.

257
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286
The Game of Knowledge
Playing at Spiritual Liberation
in 18th- and 19th-Century Western India

by

Jacob Schmidt-Madsen

Part 2
Appendices

Department of Cross-Cultural and Regional Studies

University of Copenhagen

2019
 Table of Contents
Appendix A: Game Charts . . . . . 287
A1: Provenance . . . . . 288
A2: Description . . . . . 309

Appendix B: Typology . . . . . . 344

B1: Vaiṣṇava Charts . . . . 346
B2: Jaina Charts . . . . . 354
B3: Ṣūfī Charts . . . . . 357
B4: Advaita Vedānta Charts . . . 359
B5: Unidentified Charts . . . . 361

Appendix C: Transcriptions . . . . . 362

C1: 72-Square Vaiṣṇava Charts . . . 363
C2: 84-Square Jaina Charts . . . . 388

Appendix D: Critical Readings. . . . . 474

D1: 72-Square Vaiṣṇava Charts (Type a) . 478
D2: 84-Square Jaina Charts (Type a1) . . 504

Appendix E: Game Verses . . . . . 567

E1: Verses on Vaiṣṇava Charts . . . 568
E2: Verses on Jaina Charts . . . 578

Appendix F: Game Texts . . . . . 594

F1: Krīḍākauśalya 241-55 . . . . 594
F2: Jñān Bājī Ramvānī Rīt. . . . 604

i
 Appendix A
Game Charts

The tabular overview presented in Appendices A1 and A2 only includes charts whose 11. Several 19th-century Jaina charts; L. D. Institute of Indology, Ahmedabad, Gujarat;
existence I have been able to verify personally or through trusted sources. The existence of reported in Topsfield 2006a: 151, fn. 32.395
several other charts has been reported, but remains unverified:
12. Jaina chart; private home, Jodhpur, Rajasthan; reported by the local scout of a private
1. 72-square Vaiṣṇava chart; Rajasthan, 19th cent.; two upper rows missing; reported in collector from Germany (pers. comm.).
Topsfield 2006a: 148, fn. 16.
13. Unidentified chart; L. D. Institute of Indology, Ahmedabad, Gujarat, acc. no. "14382
2. Vaiṣṇava chart; titled moksha patama; published by Ganesh Prakash Press, Madras, (jnanbaji sacitra)."
Tamil Nadu, 1895; inscribed in Tamil; colored (illustrations?); likely of the south Indian
14. Unidentified 95-square chart; Kutch, c. 1900; 10 snakes, 14 ladders; uninscribed;
parampad sopān variant; previously in the British Museum, London, acc. no. "14003 e. 2
embroidered in chain-stitch on Chinese raw silk; private collection of the royal family of
(10)" (changed to "OP 218(10)"), but now missing; reported in Beveridge 1915b.
Lathi, Bhavnagar District, Gujarat; reported in Topsfield 1985: 212, fn. 35.
3. 84-square Jaina chart; western India, early to mid-19th cent.; 9 snakes, 5 ladders; Julia
15. Two unidentified 95-square charts; Museum of Indology, Jaipur, Rajasthan; reported in
McDivitt Emerson collection, US; reported in Topsfield 2006a: 151 (no. 9).
Topsfield 1985: 212, fn. 35.396
4. 84-square Jaina chart; VS 1904 (1847/48 CE); 10 snakes, 8 ladders; Museum of Indology,
16. Unidentified chart; Government Museum, Jhansi, Uttar Pradesh; reported by Deepak
Jaipur, Rajasthan; reported in Topsfield 2006a: 151 (no. 10).
Sharma, curator at the Government Museum in Kannauj, Uttar Pradesh (pers. comm.).
5. 84-square Jaina chart; Udaipur, Rajasthan, VS 1960 (1903/04 CE); Museum of Indology,
17. Unidentified chart; Rajasthan Oriental Research Institute, Bikaner, Rajasthan; reported
Jaipur, Rajasthan; reported in Topsfield 2006a: 151 (no. 13).
by Usha Goswami of the same institute (pers. comm.).
6. 84-square Jaina chart; VS 1868 (1811/12 CE); L. D. Institute of Indology, Ahmedabad,
18. Unidentified chart; Hijra community, Karachi, Pakistan; ladders in the form of tree
Gujarat; reported in Topsfield 2006a: 151, fn. 32.
trunks with carved steps; inscribed in Perso-Arabic and Devanāgarī scripts; lacquered
7. Jaina chart; western India, VS 1963 (1906/07 CE); painted on cloth; 70 x 56 cm; L. D. cloth; reported by Indologist Renate Syed (pers. comm.).
Institute of Indology, Ahmedabad, Gujarat, acc. no. Gol. 17; reported in Andhare & Bhojak
19. Several unidentified charts (c. 15 according to museum director); Shree Sanjay Sharma
2015: 176.
Museum & Research Institute, Jaipur, Rajasthan; reported by museum director Tilak
8. Jaina chart; western India, 19th cent.; painted on cloth; 41.5 x 35 cm; L. D. Institute of Sharma (pers. comm.).
Indology, Ahmedabad, Gujarat, acc. no. Gol. 36; reported in Andhare & Bhojak 2015: 176.
20. Unidentified chart; previously in the British Museum, London, acc. no. "14003 e. 2 (10)"
9. Jaina chart; Gujarat (Patan?), VS 1885 (1828/29 CE); 53 x 48, 5 cm; reported in Neven (changed to "OP 218(10)"), but now missing; reported in Beveridge 1915b.
1976: 30 (no. 61); cf. Topsfield 2006a: 151, fn. 32.

10. Jaina chart; Dehla Upashray, Ahmedabad, Gujarat; reported by Ramji Savaliya, director
395 Some of these charts may be identical with Ja84#15,16,17 and reported charts nos. 7 and 8 above.
of B. J. Institute of Learning and Research, Ahmedabad, Gujarat (pers. comm.).
396 One of these charts may be identical with Ja95#1.

287
Appendix A1: Provenance
The provenance table includes the following information about the charts:

ID#
Chart identified by: [religious affiliation] + [no. of squares] + # + [serial number] + [lower
case letter if chart exists in multiple variants]. An ID preceded by an asterisk (*) indicates a
possible forgery.

Title
Title of the game transliterated exactly as it appears on the chart.

Artist
Name of the artist as it appears on the chart or in secondary sources.

Date
Date of production as it appears on the chart. When no date is given on the chart, an
approximate date is suggested based on available documentation and personal estimates.

Place
Place of production as it appears on the chart. When no place is given on the chart, an
approximate place is suggested based on available documentation and personal estimates.

Size (W x H)
Size of the actual chart, disregarding any space surrounding the frame or border. Width
given before height.

Material & Color

Chart material and colors.

Current Location
Current location of the chart.

Defects
Any visible damage suffered by the chart.

Publication
Previous reproductions and descriptions of the chart. Others than those given here may
occur.

288
Vaiṣṇava Charts
72-Square Vaiṣṇava Charts

ID# Title Artist Date Place Size (W x H) Material & Color Current Location Defects Publication
Va72#1 - - 20th cent. Gujarat 53.5 x 55 cm Cotton cloth; red, Calico Museum, Staining and -
orange, tan, black Ahmedabad, Gujarat, stretching
acc. no. 325
Va72#2 - - Late 18th or early Rajasthan (Jaipur?) - Paper; red, yellow, Maharaja Sawai Man Eaten away by Topsfield 1985: 216
19th cent. green, blue, pink, Singh II Museum, rodents around (no. 2, fig. 2)
black, white Jaipur, Rajasthan edges
Va72#3 - - 19th cent. Rajasthan - Paper; red, black Previously at Tearing around Topsfield 2006a: 158
Museum of Indology, edges and along (no. 3, fig. 2)
Jaipur, Rajasthan central fold; staining
Va72#4a - - 19th cent. Western India - Paper; only black- Exhibited in 1971 at Tearing around AAW 1972(?) (p. 31);
and-white image Ciancimino Gallery, edges; staining; detail in AAW 3:7, 9
available Chelsea, UK bottom row missing Oct, 1971 (p. 15)
Va72#4b - - 20th cent. Rajasthan - Paper; black Museum of Indology, Bottom row missing -
Jaipur, Rajasthan,
acc. no. 1180
Va72#5 ganpaṭ, copaṛ kī - 20th cent. Western India - Paper; red, yellow, Museum of Indology, Tearing along folds; -
gaṁn purple, black Jaipur, Rajasthan smearing
Va72#6 gyān caupaṛ - 19th cent. Western India - Paper; red, yellow, Museum of Indology, Staining and -
green, black Jaipur, Rajasthan creasing
Va72#7 - Commissioned by 1780-82 Lucknow, Uttar 52.5 x 52 cm Paper; red, yellow, India Office Library, - Falk & Archer 1981:
Richard Johnson Pradesh black London, acc. no. 468 (no. 361iv);
(1753-1807) from Johnson Album 5, no. Victoria & Albert
unknown artist 8 Museum 1982 (no.
91); Topsfield 1985:
215 (no. 1, fig. 1);
Topsfield 2006c: 79
(fig. 5)
Va72#8 - - Early to mid-19th Punjab or northern 52 x 57 cm Paper; red, green, Pitt Rivers Museum, Tearing, staining, Topsfield 2006a: 157
cent. Rajasthan black, white Oxford, acc. no. and abrading (no. 2, fig. 1);
1895.29.1; donated Topsfield 2006c: 82
by Max Müller in (fig. 8)
1895
Va72#9 - - Late 19th cent. or North India 41 x 41 cm Paper; red, yellow, Wellcome Library, Staining Serikov 2008: 299
early 20th cent. black London, MS Indic (fig. 1); cf. Topsfield
Alpha 276 2006a: 146, fn. 11
Va72#10 jñān copaṛ - 19th cent. (late 18th Rajasthan 32 x 32.2 cm Paper; only black- Arthur M. Sackler Creasing along Rossi 1998: 211 (no.
or early 19th cent. and-white image Museum, Boston, acc. central fold 94); cf. Topsfield
acc. to Rossi 1998: available no. 35.1983 2006a: 146-47 (no. 1)
211)

289
ID# Title Artist Date Place Size (W x H) Material & Color Current Location Defects Publication
Va72#11 - - Early 19th cent. Marwar or southern - Paper; red, yellow, Private collection of Tearing, staining, Topsfield 1985: 217
Rajasthan green, blue, orange, late Kumar Sangram and smearing (no. 3, fig. 3);
black, white Singh of Nawalgarh, Topsfield 2006c: 80
Jaipur, Rajasthan (fig. 6)
Va72#12a sāṁp sīṛhī - 20th cent. Rajasthan - Paper; red, yellow, Private collection of - Bhanawat 1965; cf.
(Bhanawat 1965) green, blue, orange, Kuṁvar Kesrī Siṃh Topsfield 1985: 212,
black, white (Udaipur?) fn. 35
Va72#12b - - 20th cent. Rajasthan - Thick paper; red, Private collection of - Cf. Topsfield 1985:
yellow, green, blue, Mahendra Bhana- 212, fn. 35
black, white wat, Udaipur,
Rajasthan
Va72#13 - Sketched by G. R. 1895 Saharanpur, North - Black-and-white - - Dampier 1895: 27; cf.
Dampier (d. 1918) India print on paper Topsfield 2006a: 145
from unknown
original
Va72#14a Sopānpaṭ Reprinted from 1886 Maharashtra - Black-and-white - Tearing along edges Pārakh 1886
(Pārakh 1886: 199) unknown original print on paper and folds in
attributed to available copy
Sopāndev (born c.
1277) (Pārakh 1886:
199)
Va72#14b jñānpaṭ Designed by Akshay Sep 2013 Maharashtra - Digital image; - - Bhosle 2013
Bhosle from un- multiple colors
known original
attributed to Jñāne-
śvar (c. 1275-96)
(Bhosle 2013)
Va72#15 - - 19th cent. North India 31 x 33.5 cm Paper; black Joost van den Bergh, Tearing around -
Ltd., London edges; staining
Va72#16 - Sketched from Original from late Mumbai, - Paper; black Papers of Bernhard Only inscriptions Original printed in
printed original by 19th or early 20th Maharashtra Kölver, University of clearly visible in Mumbai
Bernhard Kölver cent. Leipzig, Germany available photocopy
(1938-2001)
Va72#17 dhārmik sap sīḍī - 20th cent. Bhuj, Gujarat? - Reused paper; red, Private collection, Visible imprint from -
(later inscription on black London text on back
back of chart)
Va72#18 dhārmik sap sīḍī - 20th cent. Bhuj, Gujarat? - Paper; red, black Private collection, Staining -
(later inscription on London
back of chart)
Va72#19 - - Late 19th cent. or Nepal - Cloth; red, yellow, British Museum, Abrading Cf. Topsfield 2006a:
early 20th cent. green, blue, pink, London, acc. no. 146, fn. 11
black, white 2001.5.29.01
Va72#20 - - 19th cent. Nepal 51.3 x 69.8 cm Paper; red, yellow, Museum aan de Eaten away by Topsfield 2006a: 160
green, blue, orange, Stroom, Antwerp, rodents around (no. 5, fig. 4)

290
ID# Title Artist Date Place Size (W x H) Material & Color Current Location Defects Publication
pink, black, white Belgium, acc. no. edges; abrading
AE.1973.0012
Va72#21 - - 19th cent. (sq. 65 Nepal 62.2 x 63.5 cm Cloth; red, yellow, Sold at Christie's, - Slusser 1982, pl. 331;
shows Nepalese king (excl. top panel) green, blue, orange, New York, 13 Sep, Topsfield 2006a: 159
Rājendra Vikram Śāh pink, tan, black, 2011, lot 291 (no. 4, fig. 3);
(r. 1816-47) acc. to white Topsfield 2006c: 81
Katrin Stamm, pers. (fig. 7)
comm.)
Va72#22 - - Early 19th cent. Nepal 91.5 x 122 cm Cloth; red, yellow, Nepal National - Shimkhada 1983: 310
green, blue, orange, Museum, (fig. 2); cf. Topsfield
pink, tan, black, Kathmandu 1985: 206 (no. 5)
white
Va72#23 - - Early 19th cent. (late Nepal 61 x 76 cm Cloth; only black- Nepal National Tearing along central Shimkhada 1983: 313
18th cent. acc. to and-white image Museum, fold; abrading (fig. 5); cf. Topsfield
Shimkhada 1983: available Kathmandu 1985: 206 (no. 6)
313)
Va72#24 - - Early 19th cent. (late Nepal 61 x 86.5 cm Cloth; red, yellow, Field Museum of Abrading Shimkhada 1983: 309
18th cent. acc. to green, blue, orange, Natural History, (fig. 1); cf. Topsfield
Shimkhada 1983: pink, tan, black, Chicago 1985: 205 (no. 4)
309) white
Va72#25 Baīkhonta Kasa, - Early 20th cent. Nepal 45 x 58 cm Cotton cloth; only Musée d'Ethno- - Lobsiger-Dellenbach
baikhonta kella black-and-white graphie de la Ville 1954 (pl. XII, no. 163);
(Lobsiger-Dellenbach image available de Genève, Geneva, cf. Topsfield 1985:
1954: 36, no. 163) Switzerland 206 (no. 8)
Va72#26a gyan chaupad Designed by Harish 1975 (original chart Original chart from 36 x 33 cm Color print on paper; - - Johari 2007: foldout
(Johari 2007: 1) Johari (1934-99) from from mid-19th cent. Uttar Pradesh (Johari multiple colors
unknown original acc. to Johari 2007: 2) 2007: 2)
Va72#26b - - Late 20th cent. - - Tessellated coffee - - Acc. 20 Dec, 2018:
table; multiple colors http://www.pinterest.
com/pin/9042390499
1377588/
Va72#27 - - 19th cent. Rajasthan - Cloth; red, green, Private collection, Tearing along folds -
blue, orange, brown, Jaipur, Rajasthan
black, white
Va72#28 gyān copar - Late 18th or early Rajasthan 56.5 x 62.5 cm Paper mounted on Private collection, Tearing and creasing -
19th cent. (Shekhawati?) cloth; red, yellow, Munich, Germany along central fold
green, black
Va72#29 jñānaḥ copaḍ Vyās Rūp Rām 6th day of the bright Vādhāvās (Vadhava 41 x 42 cm Paper; red, black Private collection, Staining -
half of Jyeṣṭha (Jeṭh), village near Surat, Munich, Germany
VS 1872 (13 Jun, 1815 Gujarat?)
CE)
*Va72#30a - (Made for?) Ācārya Late 20th cent. (VS Bhāvāpurī (?), 74 x 92 cm Cloth; red, yellow, Private collection, - -
Cand Prabhu 1775 (1718/19 CE) Palitana, Gujarat green, blue, pink, Munich, Germany
acc. to colophon) tan, gray, white,

291
ID# Title Artist Date Place Size (W x H) Material & Color Current Location Defects Publication
black
*Va72#30b dharm kā khel (Made for?) Ācārya Late 20th cent. (VS Bhāvāpurī (?), 62 x 95 cm Cloth; red, yellow, Private collection, - -
Tulsī Mahārāj (8th 1712 (1655/56 CE) Palitana, Gujarat green, blue, orange, Munich, Germany
Ācārya of Śvetām- acc. to colophon) pink, tan, gray, white,
bara Terāpantha, black
1914-97?)
*Va72#30c - (Made for?) Dharm Late 20th cent. (8th Bhāvāpurī (?), 51 x 82.5 cm Cloth; red, yellow, Private collection, - -
Guru Paramānand day of the bright(?) Palitana, Gujarat green, blue, pink, Munich, Germany
Mahārāj half of Pūs, VS 1782 tan, gray, white,
(11 Jan, 1726 CE) acc. black
to colophon)
*Va72#30d - (Made for?) Ācārya Late 20th cent. (VS Siriyari, Rajasthan 58 x 69 cm Cloth; red, yellow, Private collection, - -
Rūp Muni Mahārāj 1812 (1755/56 CE) green, blue, orange, Munich, Germany
acc. to colophon) pink, tan, gray, white,
black
*Va72#30e - Guru Narotam Dās; Late 20th cent. (VS Siriyari, Rajasthan 70 x 102 cm Cloth; red, yellow, Private collection, - -
made for Āsjī Gokul- 1818 (1761/62 CE) green, blue, orange, Munich, Germany
nāth, Saraṇ Maṭh, acc. to colophon) pink, tan, gray, black,
Deogarh, Rajasthan white
*Va72#30f - (Made for?) Ācārya Late 20th cent. Siriyari, Rajasthan 65 x 92.5 cm Chart sewed into Private collection, Slightly faded -
Bhikṣu (founder of (caturmāsa, VS 1818 table cloth with Munich, Germany
Śvetāmbara Terā- (Jul-Nov, 1761 CE) ruffled trim around
pantha sect, 1726- acc. to colophon) edges; red, yellow,
1803) green, blue, orange,
pink, tan, gray, black,
white
*Va72#30g - (Made for?) Prem Late 20th cent. (VS Kālāpur (Kālupur 60 x 73 cm Cloth; red, yellow, Private collection, - -
Muni Ācārya 1825 (1768/69 CE) area in Ahmed- green, blue, orange, Munich, Germany
acc. to colophon) abad?), Gujarat pink, tan, gray, black,
white
*Va72#30h sāp nisaḍī - Late 20th cent. (VS - 64 x 90 cm Cloth with ruffled Private collection, - -
1868 (1811/12 CE) trim around edges; Munich, Germany
acc. to colophon) red, yellow, green,
blue, orange, pink,
tan, gray, black,
white
*Va72#30i jñān coṁpaḍ Navrotam [sic] Dās Late 20th cent. (VS Siriyari, Rajasthan 70.5 x 107 cm Cloth; red, yellow, Private collection, Slightly faded; -
1819 (1762/63 CE) green, blue, orange, Munich, Germany abrasions
acc. to colophon) pink, purple, tan,
gray, black, white
*Va72#30j - Narotam Dās Late 20th cent. (VS Siriyari, Rajasthan 60.5 x 105 cm Cloth; red, yellow, Private collection, Slightly faded; -
1818 (1761/62 CE) green, blue, orange, Munich, Germany abrasions
acc. to colophon) pink, tan, gray, black,
white
*Va72#30k - - Late 20th cent. - 60 x 98 cm Chart sewed into Private collection, Inscriptions faded -

292
ID# Title Artist Date Place Size (W x H) Material & Color Current Location Defects Publication
table cloth with Munich, Germany
decorative hangings
around edges; red,
yellow, green, blue,
orange, pink, tan,
gray, black, white
*Va72#30l sāp siḍī Narotam Dās Late 20th cent. (VS Siriyari, Rajasthan 58 x 85 cm Chart sewed into Private collection, Slightly faded; -
1818 (1761/62 CE) table cloth; red, Munich, Germany abrasions
acc. to colophon) yellow, green, blue,
orange, pink, tan,
black, white
*Va72#30m jñān caupaḍ, Narotam Dās Late 20th cent. (3rd Siriyari, Rajasthan 76 x 108 cm Chart sewed into Private collection, Slightly faded; -
sāṁp siḍī day of Māgh, VS 1818 table cloth; red, Munich, Germany abrasions
(28 Jan, 1762 CE) acc. yellow, green, blue,
to colophon) orange, pink, tan,
gray, black, white
*Va72#30n jñān caupaḍ Narotam Dās Late 20th cent. (VS Siriyari, Rajasthan 59 x 103 cm Chart sewed into Private collection, Slightly faded; -
1818 (1761/62 CE) table cloth; red, Munich, Germany abrasions
acc. to colophon) yellow, green, blue,
orange, pink, tan,
gray, black, white
*Va72#30o jñān caupaḍ, Narotam Dās Late 20th cent. (VS Siriyari, Rajasthan 61 x 138 cm Chart sewed into Private collection, Slightly faded; -
sāṁp siḍi 1818 (1761/62 CE) table cloth with Munich, Germany abrasions
acc. to colophon) ruffled trim around
edges; red, yellow,
green, blue, orange,
pink, purple, tan,
gray, black, white
*Va72#30p jñān caupaḍ Narotam Dās Late 20th cent. (VS Siriyari, Rajasthan 100 x 112 cm Chart sewed into Private collection, - -
1818 (1761/62 CE) table cloth; red, Munich, Germany
acc. to colophon) yellow, green, blue,
orange, pink, tan,
gray, black, white
*Va72#30q jñān caupaḍ, Narotam Dās Late 20th cent. (VS Siriyari, Rajasthan 102 x 158 cm Cloth with ruffled Private collection, Inscriptions faded -
sāṁp siḍi 1818 (1761/62 CE) trim around edges; Munich, Germany
acc. to colophon) red, yellow, green,
blue, orange, pink,
turquoise, brown,
tan, gray, black,
white
Va72#31 - - 19th cent. Rajasthan - Paper; red, black Government Tearing, staining, -
Museum, Kota, and creasing
Rajasthan, acc. no. 75
Va72#32 - - 19th cent. Rajasthan - Paper; red, green, Government Tearing, staining, -
brown, black Museum, Kota, and creasing
Rajasthan, acc. no. 76

293
ID# Title Artist Date Place Size (W x H) Material & Color Current Location Defects Publication
Va72#33 sāṁp nasainī - 19th cent. Rajasthan 43 x 31.5 cm Paper framed and Maharaja Sawai Man Staining -
(catalogue only) mounted on Singh II Museum,
cardboard; red, Jaipur, Rajasthan,
black acc. no. 4733
Va72#34 gyāṁn vilās Rasik Rāy 19th cent. Rajasthan 67 x 71.5 cm Paper; red, black Maharaja Sawai Man Tearing along folds; -
Singh II Museum, staining
Jaipur, Rajasthan,
acc. no. 5805
Va72#35 krīḍāsāriṇī - - Uttar Pradesh - - Ganganath Jha - -
(catalogue only?) Research Institute,
Allahabad, Uttar
Pradesh, acc. no.
49664
Va72#36 - - 19th cent. Marwar, Rajasthan 72 x 77 cm Cotton cloth; various Shree Sanjay Sharma - -
colors Museum & Research
Institute, Jaipur,
Rajasthan

84-Square Vaiṣṇava Charts

ID# Title Artist Date Place Size (W x H) Material & Color Current Location Defects Publication
Va84#1a - - Late 19th cent. Rajasthan - Cotton cloth; red, Ashmolean Museum, Extensive tearing Topsfield 2006a: 161
yellow, blue, pink, Oxford, acc. no. EA (no. 7, fig. 5)
black, white 1987.29
*Va84#1b - - 20th cent. Rajasthan - Cloth painting; red, Private collection, Staining -
yellow, green, blue, Melbourne, Australia
orange, pink, black
Va84#2 - - 20th cent. Rajasthan - Paper; black Museum of Indology, Staining and -
Jaipur, Rajasthan smearing
Va84#3 gyāṁn copaḍ Drawn by Mahātmā 9th day of the dark Vikupur (?), - Paper; red, yellow, Thar Heritage Tearing and staining -
Paṇḍit Hīrcand from half of Jeṭh, VS 1904 Rajasthan green, blue, orange, Museum, Jaisalmer,
original by Gusāī (9 May, 1847 CE) black Rajasthan
Harikis Purī
Va84#4 Sopāndevī khelpaṭ Attributed to Nivṛtti Late 19th cent. or Maharashtra 45.5 x 45.5 cm Paper; black Marathi Manuscript Creasing along -
(catalogue only) (catalogue only) early 20th cent. (catalogue; does not Collection Centre, central fold
agree with available Pune, Maharashtra,
image) acc. no. 378
Va84#5 - - 20th cent. Maharashtra - Paper; red, black Wellcome Library, Staining and -
London, MS Indic creasing
Raghavan M.17
Va84#6 - - 20th cent. Rajasthan - Cloth painting; red, Private collection, - -
yellow, green, blue, Mysore, Karnataka
orange, pink, black,

294
ID# Title Artist Date Place Size (W x H) Material & Color Current Location Defects Publication
white
Va84#7 jñānpaṭ Reprinted from 20th cent. Maharashtra - Black-and-white Private collection, - Wakankar 2007: 90
unknown original print on paper Ahmedabad, Gujarat
Va84#8 jñānpaṭ Reprinted from 1886 Maharashtra - Black-and-white - Tearing along edges Pārakh 1886
(Pārakh 1886: 199) unknown original print on paper and folds in
attributed to Jñāndev available copy
(i.e. Jñāneśvar) (c.
1275-96) (Pārakh
1886: 199)
Va84#9a Jñāneśvar khel Attributed to Late 19th or early Maharashtra 45.5 x 45.5 cm Paper; black Marathi Manuscript Tearing and creasing -
Jñāneśvar (c. 1275- 20th cent. (acc. to catalogue; Collection Centre, along central folds
96) does not agree with Pune, Maharashtra,
available image) acc. no. 185
Va84#9b - - Late 19th or early Maharashtra - Paper; black Papers of late Ram- Staining Acc. 20 Dec, 2018:
20th cent. chandra Chintaman https://maharashtrati
Dhere (1930-2016), mes.indiatimes.com/
Deccan College, pune-
Pune, Maharashtra news/mokshapat/arti
cleshow/55082597.c
ms
Va84#10 Jñāneśvarācā khel Sketched by Bern- Late 19th or early Maharashtra 41.5 x 46.5 cm Paper; black Papers of late Signs of staining in Cf. Topsfield 2006a:
hard Kölver (1938- 20th cent. Bernhard Kölver, available photocopy 149, fn. 25
2001) from unknown University of Leipzig,
original attributed to Germany
Jñāneśvar (c. 1275-
96)
Va84#11 - - Mid-19th cent. Punjab Hills 38 x 41 cm Paper; only black- Regional Design Tearing Dane 1982: 201; cf.
and-white image Centre, Bangalore, Topsfield 1985: 206
available Karnataka (no. 9); Topsfield
2006a: 149, fn. 21
Va84#12 copaṛ - 19th cent. Rajasthan c. 73 x 70 cm Paper; red, yellow, Indian Institute Staining, creasing, Cf. Topsfield 2006a:
green, blue, black, Library, Bodleian and abrading 149 (no. 6)
white Libraries, Oxford,
acc. no. JL 337

342-Square Vaiṣṇava Charts

ID# Title Artist Date Place Size (W x H) Material & Color Current Location Defects Publication
Va342#1 - - c. 1830 Kangra, Punjab Hills 48.6 x 62.2 cm Paper; red, yellow, Bhuri Singh Staining and Topsfield 2006a: 167
green, blue, orange, Museum, Chamba, abrading (no. 21, fig. 11);
pink, black, white Himachal Pradesh Sharma 2008: 157; cf.
Topsfield 1985: 211,
fn. 33a

295
ID# Title Artist Date Place Size (W x H) Material & Color Current Location Defects Publication
Va342#2 - - 19th cent. Kangra, Punjab Hills - Paper; red, yellow, Kangra Art Museum, Tearing and creasing -
blue, black, other? Dharamsala, along folds; staining
Himachal Pradesh
Va342#3 Sān-chaupari - VS 1896 (1839/40 CE) Punjab Hills - Embroidered rumāl; Indian Museum, Staining and Bhattacharyya 1995,
(Bhattacharyya 1995: only black-and-white Calcutta, West abrading pl. XLI
122) image available Bengal
Va342#4 gyān coṁpaḍ - Mid- to late 19th Chamba, Punjab 56.5 x 57 cm Paper; red, yellow, British Museum, - Cf. Topsfield 2006a:
cent. Hills green, blue, orange, London, acc. no. 173 (no. 22)
pink, brown, black, 1999.8.9.01
white
Va342#5 - - First half of 19th Punjab Hills - Paper; red, black Wellcome Library, Fragment; tearing -
cent. London, MS Indic around edges;
Beta 781 creasing along fold
Va342#6 jñān cauṁpaḍ - Early 19th cent. Kangra, Punjab Hills - Paper; only black- Private collection of Tearing and creasing Topsfield 1985: 223
and-white image Chhote Bharany, along folds; staining (no. 21, figs. 9);
available New Delhi and abrading Topsfield 2006c: 85
(fig. 11); cf. Topsfield
2006a: 156, fn. 46
Va342#7 copaḍ - Mid- to late 19th Kangra, Punjab Hills - Paper; only black- Private collection of Tearing and creasing Topsfield 1985: 224
cent. and-white image Chhote Bharany, along folds; staining (no. 22, fig. 11); cf.
available New Delhi Topsfield 2006a: 156,
fn. 46

Differently Sized Vaiṣṇava Charts

ID# Title Artist Date Place Size (W x H) Material & Color Current Location Defects Publication
Va99#1 gyān caupaṛ Handmade copy of Late 20th cent. Rajasthan (original 48 x 63.9 cm Paper; red, yellow, Sold at Christie's, Eaten or torn away Original chart
printed chart (original chart from chart from Mumbai) blue, orange, black New York, 13 Sep, around edges printed by Rām Vilās
VS 1955 (1898/99 CE)) 2011, lot 290 Bhaurī Lāl at the
Gyān Sāgar Press,
Mumbai
Va99#2 - - 19th cent. Mewar, Rajasthan 88 x 152 cm Cotton cloth; various Shree Sanjay Sharma - -
colors Museum & Research
Institute, Jaipur,
Rajasthan
Va100#1 jñān bājī - 20th cent. Gujarat - Embroidered cotton Private collection, Staining -
cloth; red, yellow, Hamburg, Germany
green, blue, orange,
pink, purple, brown,
gray, black, white
*Va121#1 gyāṁn kī copaṛ - 19th or 20th cent. (VS Bhāvāpurī (?), 67 x 87 cm Cotton cloth; red, Private collection, Staining and -
1851, 5th day of the Palitana, Gujarat blue, black Munich, Germany smearing
bright half of (acc. to seller)

296
ID# Title Artist Date Place Size (W x H) Material & Color Current Location Defects Publication
Baisākh, VS 1851 (4
May, 1794 CE) acc. to
colophon)
Va124#1 Shastree's Game of Trivingally Acharya Early 19th cent. Maharashtra (Pune?) 90 x 84 cm Paper mounted on Royal Asiatic Society, - Pargiter 1916:
Heaven and Hell Shastree (identified cloth; red, yellow, London, acc. no. foldout; Topsfield
(AJMR, vol. 5, New as Triveṅgaḍācārya green, blue, orange, 051.001 1985: 222 (no. 20, fig.
Series, May-Aug Śāstrī in Moskalev pink, purple, brown, 8); Head 1991: 142;
1831, p. 85) 2009) tan, gold, gray, black, Topsfield 2006c: 84
white (fig. 10)
Va163#1 - - VS 2008 (1951/52 CE) Rajasthan 77 x 93 cm Cotton cloth; only - - Neven 1976: 29 (no.
(probably older by black-and-white 62); cf. Topsfield
half a century; cf. image available 2006a: 155 (no. 19)
Topsfield 2006a: 155)
Va163#2 gyāṁn kī copaṛ (Nidhi Muni Grah?) 4th day of the bright Bhāvāpurī (?), 64 x 69.5 cm Cotton cloth; red, Private collection, Extensive staining -
half of Bhādvā Palitana, Gujarat yellow, green, blue, Munich, Germany and smearing
(Bhādoṁ), VS 1890 (acc. to seller) orange, purple, black
(19 Aug, 1833 CE)
Va167#1 - - Late 19th cent. Udaipur, Rajasthan - Cloth; red, yellow, Private collection, Staining Topsfield 2006a: 166
green, blue, orange, London (no. 20, fig. 10)
pink, purple, tan,
gold, gray, black,
white
Va285#1 mokṣpaṭ Redesigned by 1981 (original chart Amravati, 39.5 x 57.5 cm Color print on paper; - - Patil 1981
Maruti Patil from from early 20th Maharashtra multiple colors
original by Gulābrāv cent.)
Mahārāj (1881-1915)
Va309#1 mokṣpaṭ Attributed to 20th cent. Ahmadnagar, - Black-and-white Private collection, Tearing along central Printed by Śrī
Samarth Rāmdās Maharashtra print on paper Belgrade, Serbia folds in available Gajānan Printing
(1608-81) copy Agency,
Ahmadnagar,
Maharashtra
Va500#1 karmapaṭṭa Harikṛṣṇa Śarmā (fl. Prior to completion Aurangabad, - - - - -
19th cent.) of KK in 1871 Maharashtra

297
Jaina Charts
84-Square Jaina Charts

ID# Title Artist Date Place Size (W x H) Material & Color Current Location Defects Publication
Ja84#1 jñān bājī Paṇḍit Tej Vijay 13th day of the Gujarat 63 x 63 cm Cotton cloth; red, Calico Museum, - Talwar & Krishna
Gaṇin bright half of yellow, green, blue, Ahmedabad, Gujarat, 1979, (no. 116, pl.
Phāgun, VS 1890 (23 orange, pink, purple, acc. no. 984 101); Topsfield 1985:
Mar, 1834 CE) tan, black, white 218 (no. 10, fig. 4);
Topsfield 2006c: 78
(fig. 4)
Ja84#2 - - Early to mid-19th Gujarat (coastal 91 x 99 cm Cotton cloth; red, Calico Museum, Extensive abrading; Talwar & Krishna
cent. region?) yellow, green, blue, Ahmedabad, Gujarat, bottom of right side 1979 (no. 117, pl.
orange, pink, brown, acc. no. 962 panel missing 102); cf. Topsfield
tan, gray, black, 1985: 208 (no. 11)
white
*Ja84#3a - Vijay Krisān Bright(?) half of Asoj Rajasthan, possibly - Cloth; red, yellow, Previously at Extensive abrading Topsfield 2006a: 162
(Āśvin) VS 1792 (Sep- Mewar blue, black, white Museum of Indology, (no. 8, fig. 6);
Oct, 1735/36 CE) Jaipur, Rajasthan Topsfield 2006c: 76
(fig. 2); cf. Topsfield
1985: 203, fn. 3
*Ja84#3b - - 20th cent. (19th cent. Western India 43.8 x 56.2 cm Paper; red, yellow, Sold at Christie's, Abrading, especially -
acc. to Christie's lot green, blue, pink, New York, 21 Sep, along folds
description) brown, black, white 2007, lot 287
Ja84#4 gyān ki bājī Drawn by Gopulāl 14th day of the Jasutābād - Paper; red, black Museum of Indology, Tearing and creasing -
for Mahārāj Śrī bright(?) half of (Rajasthan?) Jaipur, Rajasthan along folds; staining
Indramal Kārttik, VS 1961 (22
Nov, 1904 CE)
Ja84#5 gyān kī vājī - 20th cent. Western India - Paper backed by Museum of Indology, Extensive tearing -
reused paper; red, Jaipur, Rajasthan and staining; flap
black extends from top
right corner
Ja84#6 jñān kī vājī, - 9th day of the bright Rajasthan - Paper; red, yellow, Museum of Indology, Tearing along folds; -
jñān copaṛ half of Śrāvaṇ, VS green, blue, orange, Jaipur, Rajasthan staining and
1912 (22 Aug, 1855 pink, gray, black, abrading
CE) white
Ja84#7 - - Late 19th or early Western India (rectangular Paper; red, black Museum of Indology, - -
20th cent. manuscript leaf) Jaipur, Rajasthan
Ja84#8 gyāṁn bājī - Late 18th or early Rajasthan - Cotton cloth; red, National Museum, Creasing along folds Pathak 2010-11
19th cent. yellow, green, blue, Delhi, acc. no. 85.315
black, white
Ja84#9 jñāṁn bājī Mathen Gambhīrmal 3rd day of the Nagaur, Rajasthan - Paper mounted on Shri Vishal Jain Kala - -
Posāl bright(?) half of cloth; red, yellow, Sansthan Museum,
Vaiśākha (Baisākh) black Palitana, Gujarat
in VS 1870 (3 May,

298
ID# Title Artist Date Place Size (W x H) Material & Color Current Location Defects Publication
1813 CE)
Ja84#10 jñān kī bājī Paṇḍit Bhāī Cand Late 18th or early Stambhatīrtha (i.e. - Cotton cloth; red, Shri Vishal Jain Kala Tearing and staining -
(museum plaque 19th cent.? (17th Khambhat), Gujarat yellow, green, blue, Sansthan Museum,
reads: jñān gammat cent. acc. to museum orange, pink, purple, Palitana, Gujarat
and sārp sīḍī) plaque) brown, tan, black,
white
Ja84#11 jñāṁn kī bājī Bhāi Śrī Khusāl Cand 19th cent. Western India - Cloth; red, yellow, Bagore-ki-Haveli Staining, smearing, -
and Bhāi (...) green, blue, black, Museum, Udaipur, and abrading
white Rajasthan
Ja84#12a jñāṁn copaṛ - Late 19th cent. Rajasthan (Bikaner?) 52.4 x 58.4 cm Cloth; red, yellow, Victoria & Albert Abrading along folds Cimino 1985: 79 (no.
green, blue, orange, Museum, London, 78); Topsfield 1985:
pink, tan, black, acc no. Circ. 324-1972 220 (no. 15, fig. 6);
white Pal 1994: 87 (no. 121,
fig. 53)
*Ja84#12b - - 20th cent. Western India - Cloth; red, yellow, - Staining Acc. 25 Jul, 2018:
green, blue, orange, http://jnanaleela.blog
pink, tan, black, spot.dk/2013_08_01_a
white rchive.html
Ja84#13 - - Late 18th cent. to Western India 38.5 x 43.5 cm Paper; red, black Art Gallery of South Tearing and creasing Bennett 2013 (pl. 29)
early 19th cent. Australia, Adelaide, along folds
Australia, acc. no.
20133D11
*Ja84#14 jñān kī bājī, - 20th cent. (late 19th Western India 95 x 130 cm Paper; red, yellow, National Gallery of Smearing -
gyān caupaṛ to early 20th cent. green, blue, orange, Victoria, Melbourne,
acc. to museum) tan, black Australia, acc. no.
2013.106
Ja84#15 jñān kī bājī - 19th cent. Western India - Cloth; red, yellow, L. D. Institute of Tearing and creasing Cf. Topsfield 2006a:
green, blue, tan, Indology, Ahmed- along folds 151, fn. 32
black abad, Gujarat, acc.
no. 45
Ja84#16 copaḍ Baksī Rām, disciple 10th day of the Vikrampur 52 x 61 cm Cloth; red, yellow, L. D. Institute of - Andhare & Bhojak
of Svāmī Netsī bright half of Cait, VS (Gujarat?) green, blue, pink, Indology, Ahmed- 2015: 157; cf.
1869 (21 Apr, 1812 purple, tan, black abad, Gujarat, acc. Topsfield 2006a: 151,
CE) no. 87(2) (Gol. 20 in fn. 32
Andhare & Bhojak
2015: 176)
Ja84#17 jñāṁnī sunyān kī Sītārām 19th cent. Western India - Paper; red, yellow, L. D. Institute of Tearing along central Andhare & Bhojak
vājī, jñān krīḍā, black Indology, Ahmed- fold; staining 2015: 156; cf.
copar abad, Gujarat, acc. Topsfield 2006a: 151,
no. Ga. 42 fn. 32
Ja84#18 gyāṁn kī bājī, Drawn by Kṛṣ Harṣ 13th day of the dark Mandsaur, Madhya 95.25 x 96.25 cm (acc. Paper; red, yellow, Rajasthan Oriental Staining and Ahuja 2014: 94, 107
gyāṁn copaḍ Cand for Śrāvak (lay half of Bhādra Pradesh to Ahuja 2014: 107; green, blue, orange, Research Institute, abrading; paper
disciple) Nihāl Cand [Bhādoṁ], VS 1912, does not agree with pink, tan, black, Jodhpur, Rajasthan, eaten through by
of Petlawad, Madhya Śaka 1777 (9 Oct, available image) white acc. no. 7176 green color in places
Pradesh 1855 CE)

299
ID# Title Artist Date Place Size (W x H) Material & Color Current Location Defects Publication
Ja84#19 sāṁp sīḍhī - 20th cent. (acc. to Western India - Paper; red, black Rajasthan Oriental Tearing and staining -
(museum plaque) museum plaque) Research Institute,
Jodhpur, Rajasthan,
acc. no. 18299
Ja84#20 - - 19th cent. (20th cent. Gujarat - Paper mounted on Samrat Samprati Tearing and creasing Kapadia 2011: 983
acc. to museum cloth; red, yellow, Sangrahalaya, Koba along folds (no. 389)
plaque) green, blue, orange, Tirth, Gandhinagar,
tan, gray, black, Gujarat, acc. no.
white SMJAK-KOBA gaḍī.
001
Ja84#21 - - 19th cent. Western India - Cloth; red, yellow, Private collection, Creasing along folds; Cf. Topsfield 2006a:
green, blue, orange, London abrading 151, fn. 32
gray, black
*Ja84#22 gyāṁn kī bājīḥ - 20th cent. Rajasthan - Cloth; red, yellow, Private collection, Creasing along folds Cf. Topsfield 2006a:
green, blue, orange, London 151, fn. 32
pink, brown, gray,
black, white
Ja84#23 jñān ki bājī, Drawn by Paṇḍit 19th cent. Gujarat - Cloth; red, yellow, Private collection, Creasing along folds; Cf. Topsfield 2006a:
jñāṁn copaṛ Lakṣminā black London staining 151, fn. 32
[Lakṣmanā?] Jeṭh for
Śrāvak (lay disciple)
Keso Rām
Ja84#24a jñān bājī, - VS 1950, 1894 CE Mumbai, 43 x 53.5 cm Black-and-white Private collection, - Printed by Śā. Khetsī
jñān kī bājī Maharashtra lithographic print Mysore, Karnataka Jīvrāj at Bombay City
Press, Mumbai
Ja84#24b jñān kī bājī - VS 1959 (1902/03 CE) Mumbai, 42.5 x 51.5 cm Hand-colored Private collection, Tearing along folds Printed by Śā. Bhīm
Maharashtra lithograph; red, London Siṃh Māṇak at
yellow, green, blue, Citrottejak Press,
brown Mumbai; Topsfield
2006a: 163 (no. 14,
fig. 7); Topsfield
2006c: 74 (fig. 1); cf.
Schuster & Carpenter
1996: 278 (fig. 665)
*Ja84#24c jñān kī bājī, Mahīdās Late 20th cent. (VS Jodhpur, Rajasthan - Cloth; red, yellow, Private collection, Extensive abrading -
jñān caupaṛ 1820 (1763/64 CE) green, blue, pink, India (specifics
acc. to colophon) black unknown)
Ja84#25 - - 19th cent. Rajasthan (rectangular Paper; yellow, black Private collection, Tearing around Cf. Topsfield 2006a:
manuscript leaf) London edges 151, fn. 32
Ja84#26 ganyāṃ paṁcīsī Bāṇāras Mīyā Cand 3rd day of the bright Rajasthan 50 x 58 cm Cloth; red, green, Private collection, Staining and -
half of Jeṭh, VS 1924 blue, orange, brown, Melbourne, Australia abrading; creasing
(4 Jun, 1867 CE) tan, black along folds
Ja84#27 gyāṁn copaḍī jantra, - 19th cent. Rajasthan 56 x 75 cm Cloth; red, yellow, Private collection, Smearing and -
gyāṁn bājī green, blue, orange, Melbourne, Australia staining
black

300
ID# Title Artist Date Place Size (W x H) Material & Color Current Location Defects Publication
Ja84#28 jñāṁn bājī, Māṇak Vijay 2nd day of the dark Western India - Paper; red, black Private collection, Creasing along folds; -
jñāṁn kī bājī half of Pūs, VS 1964 Melbourne, Australia staining
(20 Jan, 1908 CE)
Ja84#29 gyāṁn kī bājīḥ Possibly Mathen Early to mid-19th Rajasthan (possibly 71 x 71 cm Cotton cloth; red, Private collection of Abrading along folds Andhare et al 2000:
painters (Andhare et cent. Bikaner acc. to yellow, green, blue, Marcel Nies, 126 (no. 51); cf.
al 2000: 126) Andhare et al 2000: orange, pink, black, Antwerp, Belgium Topsfield 2006a: 151
126) white (no. 11)
*Ja84#30 jñāṁn bājī - 20th cent. (late 19th Western India - Cloth; red, yellow, Polumbaum Staining Cf. Topsfield 2006a:
cent. acc. to Topsfield green, black Collection, New York 151, fn. 32
2006a: 151, fn. 32)
Ja84#31a jñān caupaṛ, Nathmal Late 20th cent. Western India - Color print on paper; Private collection of Tearing and staining Published by
jñān bājī multiple colors Mahendra Bhana- Nathmal?
wat, Udaipur,
Rajasthan
Ja84#31b jñān caupaṛ, - Late 20th cent. Western India - Color print on paper; Parshvanathji - -
jñān bājī multiple colors Mandir, Jaipur,
Rajasthan
Ja84#31c jñān caupaṛ, Rameś Candra Jīvrāj Late 20th cent. Fatapura, Pali - Wall painting; red, Babu Derasar, Some inscriptions -
jñān bājī Multānmaljī as District, Rajasthan yellow, green, blue, Palitana, Gujarat faded
instructed by Muni orange, tan, gold,
Rāj Somcandra Vijay black, white
Ja84#32 - Śa. Mu[ni] Motī Cand 7th day of the bright Western India - Cloth; only black- Private collection of Creasing along folds; Jain & Fischer 1978,
half of Asoj (Āśvin), and-white image Achim Bedrich, staining pl. XLVIIb; cf.
VS 1937 (11 Oct, 1880 available Munich, Germany Topsfield 1985: 208
CE) (no. 14)
Ja84#33 - - 19th cent. Western India - Paper; red, yellow, Private collection, Staining and -
blue, black Kanpur, Uttar abrading; visible
Pradesh imprint from text on
back
Ja84#34 jñāṁn kī bājī Lallu Jeṭhābhāī VS 1934 (1877/78 CE) Gujarat 16 pages (20 x 28 cm) Paper manuscript; L. D. Institute of - -
in manuscript text only; black ink Indology, Ahmed-
with red highlight abad, Gujarat, sr. no.
2387, acc. no. 12380/1
Ja84#35 - - 19th or 20th cent. Western India - Cloth; red, yellow, - Creasing and Acc. 17 Dec, 2017:
(18th cent. acc. to green, blue, pink, abrading www.eclecticmuseu
www.eclecticmuseu brown, tan, black, m.com ("Random
m.com) white Objects")
Ja84#36 jñāṁn kī bājī, jñāṁn - 19th cent. Western India 32 x 42.4 cm Paper; red, yellow, Sold at Christie's, Tearing around -
pacīsī, jñāṁn cāpaṛ gray, black New York, 13 Sep, edges and along
2011, lot 290 folds; staining
Ja84#37 - - 19th cent. Rajasthan 52.4 x 71.8 cm Cotton cloth; red, Sold at Christie's, Staining -
yellow, purple New York, 21 Sep,
2007, lot 285
Ja84#38 - - 19th cent. Rajasthan 60.3 x 72.2 cm Cotton cloth; red, Sold at Christie's, Staining along folds Topsfield 2006c: 77

301
ID# Title Artist Date Place Size (W x H) Material & Color Current Location Defects Publication
yellow, green, blue, New York, 17 Oct, (fig. 3); Ueda Gallery
pink, black 2001, lot 205 1979 (no. 132); cf.
Topsfield 1985: 208-9
(no. 17); Topsfield
2006a: 150, fn. 27
*Ja84#39 - - 20th cent. (16th cent. Western India 71.8 x 94 cm Cloth; red, yellow, Sold at Christie's, Abrading Cf. Topsfield 2006a:
acc. to Christie's lot green, blue, orange, New York, 20 Sep, 150, fn. 28
description) pink, purple, brown, 2000, lot 245
tan, black, white
Ja84#40 gyāṁn kī bājī - 19th cent. Rajasthan 53.5 x 62.9 cm Paper; red, yellow, Sold at Christie's, Tearing, staining, -
green, blue, black New York, 21 Sep, and creasing along
2007, lot 286 folds
Ja84#41 gyāṁn kī bājī Sundarjī Vakhut 19th cent. Coastal Gujarat? 52 x 56 cm Paper; red, green, On sale at Piguet Tearing along folds; -
Cand (previous blue, orange, purple, Auction House, staining
owner?) brown, black Geneva, Switzerland,
lot 712, closed 14
Dec, 2016
Ja84#42 jñāṁn kī bājī - Mid-19th cent. Rajasthan 79.3 x 79.3 cm Cotton cloth; red, Sold at Christie's, Staining Sotheby's 1981: 60
yellow, green, New York, 22 Mar, (no. 436); Topsfield
orange, pink, black 2011, lot 279 1985: 219 (no. 12, fig.
5)
Ja84#43 - - 19th cent. Coastal Gujarat? - Paper mounted on On sale at 25 Blythe Tearing around -
cloth; red, yellow, Road, London, 6 Nov, edges and along
green, blue, black 2014, lot 242 folds; staining
Ja84#44 - - 19th cent. Rajasthan - Paper mounted on On sale at 25 Blythe Tearing around -
cloth; red, yellow, Road, London, 6 Nov, edges and along
green, orange, 2014, lot 242 folds; staining
purple, black
Ja84#45 - - 19th cent. Coastal Gujarat? - Paper; red, yellow, - Tearing along folds; Acc. 25 Jul, 2018:
green, blue, black, staining and http://media.dunyabi
white abrading zim.com/haber/2012/
04/23/satranc-i-urefa-
5.jp
*Ja84#46 - - 20th cent. Rajasthan - Cloth; red, yellow, Völkerkunde- Creasing along folds; -
green, blue, orange, museum, Heidelberg, staining
black Germany, acc. no.
38016
Ja84#47 gyanchopar - 20th-cent. print of Rajasthan (acc. to - Painted or printed - Staining, abrading, Villa 1981 (no. 6)
(printed or stamped 19th-cent. chart? print or stamp below on textile; true colors stretching
below chart) (18th acc. to print or chart) not identifiable in
stamp below chart) available image
*Ja84#48 gyān copaḍ Sarūp Vijay 8th day of the bright Rajasthan - Cloth; red, yellow, Private collection, Creasing and -
half of Bhādravā green, blue, orange, London abrading along folds
(Bhādoṁ), VS 1902 (9 pink, brown, gray,
Sep, 1845 CE) black, white

302
ID# Title Artist Date Place Size (W x H) Material & Color Current Location Defects Publication
*Ja84#49 jñān kī bājī Yati (mendicant) Jay 20th cent. Bhuj, Gujarat? - Cloth mounted on Private collection, Tearing and creasing Cf. Topsfield 2006a:
Kalyāṇ reused paper; London along folds; staining; 151 (no. 12)
orange, pink, black visible imprint from
text on back
Ja84#50 - Gyān Cand VS 1937 (1880/81 CE) Rajasthan 58 x 78 cm Mounted cloth; only On sale at Sotheby's, Staining Sotheby's 1981: 60
(Topsfield 1985: 208, (Topsfield 1985: 208, black-and-white London, lot 435, 16- (no. 435); cf.
no. 13) no. 13) image available 17 Feb, 1981 Topsfield 1985: 208
(no. 13)
Ja84#51 - - Late 19th cent. Rajasthan 67 x 92.5 cm Cloth; only black- - Abrading along folds Ueda Gallery 1979
and-white image (no. 133); cf.
available Topsfield 1985: 209
(no. 18)
Ja84#52 - - 19th cent. Rajasthan 43 x 82 cm Cloth; only black- - Fragment; staining Detail in Ueda
and-white image Gallery 1979 (no.
available 126); cf. Topsfield
1985: 208 (no. 16)
Ja84#53 gyān caupaḍ - 19th cent. Bought from dealer 50 x 59 cm Cloth; red, yellow, Private collection, Staining and -
in Bhuj, Gujarat (cf. green, blue, black Munich, Germany abrading; creasing
Va72#17,18; Ja84#49) along folds
Ja84#54 - - 19th cent. Gujarat 50 x 56 cm Cloth mounted on On sale at Mallams Staining -
canvas; red, green, Auctioneers, UK, lot
black 672, 27-28 Apr, 2016
Ja84#55 - - Early 19th cent. Western India 52.5 x 72 cm Cloth; red, yellow, Private collection, Staining and -
green, blue, black Munich, Germany abrading; cloth eaten
through by green
color in places
Ja84#56 jñāṁn caupaṭ, jñāṁn Original by Māṇakya Bright half of Kārttik, Pālanpur (possibly - Paper; red, green, Acharya Shri Kailas- Staining; paper eaten -
copaṭ, jñāṁn kī bāji Ratna and Bhātrī VS 1854, Śaka 1719 the village of Unjha), black sagarsuri Gyan- through by green
Hent Ratna copied by (Oct-Nov, 1797 CE) Gujarat mandir, Koba Tirth, color in places
Khem Ratna for Gandhinagar, Guja-
Khentā Cand rat, acc. no. 69130
Ja84#57 - Vijay Śaṅkar Vidyā 19th cent. (1750 CE Bikaner, Rajasthan 69 x 88 cm Cotton cloth; various Shri Sanjay Sharma - -
Rām for Ratan Cand acc. to museum colors Museum & Research
Mehar Dās plaque) Institute, Jaipur,
Rajasthan
Ja84#58 - Sketched by Paṇḍit c. 1850 Ajmer, Rajasthan Vertically oriented Paper; black Private collection, - -
Girdhārī Lāl from book page Germany
unknown original

Differently Sized Jaina Charts

ID# Title Artist Date Place Size (W x H) Material Current Location Defects Publication
Ja95#1 - - 19th cent. Rajasthan - Paper; red, black Museum of Indology, Staining Cf. Topsfield 2006a:

303
ID# Title Artist Date Place Size (W x H) Material Current Location Defects Publication
Jaipur, Rajasthan 152 (no. 15)
Ja156#1 - - 19th cent. Western India - Paper mounted on Museum of Indology, Tearing & creasing -
cloth; red, yellow, Jaipur, Rajasthan
blue, orange, brown

304
Advaita Vedānta Charts
108-Square Advaita Vedānta Charts

ID# Title Artist Date Place Size (W x H) Material & Color Current Location Defects Publication
Ad108#1a - - Late 19th or early Gujarat - Cloth; red, black Private collection, Tearing and staining; Cf. Topsfield 2006a:
20th cent. London extensive abrading 154-55 (no. 18)
Ad108#1b mokṣpaṭ Sketched by A. B. 1905 Maharashtra - Black-and-white - - Devdhar 1905: 206a;
Devdhar from print on paper cf. Topsfield 1985:
unknown original 212, fn. 35; cf.
attributed to Jñāndev Topsfield 2006a: 145,
(i.e. Jñāneśvar) (c. fn. 4
1275-96) (Devdhar
1905: 207)
Ad108#2 saṃsāracakram Redesigned by 2000 (original chart Original chart - Color print on paper; - - Zaraev 2000: foldout
Alexander V. Zaraev possibly Ad108#1b possibly Ad108#1b multiple colors
from unknown from 1905) from Maharashtra
original
Ad108#3 jñāna bāzī Sketched by M. N. 1893 Gujarat (Nadiad?) - Black-and-white - - Dvivedi 1893
(Dvivedi 1893) Dvivedi from print on paper
unknown original

305
Ṣūfī Charts
100-Square Ṣūfī Charts

ID# Title Artist Date Place Size (W x H) Material & Color Current Location Defects Publication
Ṣū100#1a gyan chapar - c. 1805-10 Delhi or Ajmer 45.4 x 54.5 cm Paper; red, black Royal Asiatic Society, - Topsfield 1985: 221
(later inscription) London, acc. no. (no. 19, fig. 7); Finkel
064.001 2004c: 60 (fig. 4:2);
Topsfield 2006c: 86
(no. 12); cf. Head
1991: 163
Ṣū100#1b gyān caupaṛ - c. 1810-15 Delhi or Ajmer - Paper; red, yellow, Ashmolean Museum, - Topsfield 2006a: 164
(translated as green, pink, black Oxford, acc. no. (no. 16, fig. 8)
"Hazard") EA2007.2
Ṣū100#2 - - c. 1825-50 Delhi-Agra region or 75 x 85 cm (depth: 10 Wood inlaid with Museum of Archaeo- - Topsfield 2006a: 165
Lahore cm) mother-of-pearl; logy and Anthropo- (no. 17, fig. 9)
green, white logy, Cambridge, acc.
no. 1951.995
Ṣū100#3 - - 19th cent. Persia 28.5 x 37.5 cm Paper; red, black Wellcome Library, Tearing around Serikov 2008 (fig. 2)
London, acc. no. Or edges; staining
Persian 800
Ṣū100#4a shaṭranj al-'ārifīn Sketched by Shaykh 1938 Damascus, Syria - Black-and-white - - al-Hāshimī 1938;
Muḥammad al- print on paper Michon 1998: 70; cf.
Hāshimī from Topsfield 2006a: 153,
unknown original fn. 38
attributed to Muḥyī
al-dīn Ibn al-'Arabī
(1165-1240)
Ṣū100#4b âriflerin satrancı - Late 20th cent. Bursa, Turkey - Black-and-white - - Published by Sır
print on paper Yayıncılık, Bursa;
acc. 20 Jan, 2019:
http://alihasar.blogsp
ot.dk/2015/01/arifleri
n-satranci-satranci-
urefa.html
Ṣū100#5 - - 19th cent. North India 36 x 45 cm Paper; black Joost van den Bergh, Tearing around -
Ltd., London edges; staining
Ṣū100#6a satranc-ı urefa - Early 20th cent. Beyazıt, Istanbul - Black-and-white - Staining Moskalev 2014: 18
lithographic print (fig. 1)
Ṣū100#6b Satranc-ı Urefa - Late 20th cent. Turkey - Painted on polished - Staining Acc. 20 Dec, 2018:
stone or ceramic tile; https://instagram.co
red, green, black, m/p/1myDwttxna/
white
Ṣū100#7 satranc-ı urefa - 1940s Istanbul - Paper; red, yellow, - Staining Moskalev 2014: 20
blue, black, white (fig. 3)

306
ID# Title Artist Date Place Size (W x H) Material & Color Current Location Defects Publication
Ṣū100#8 - - 1930s Turkey - Lithographic print; - - Moskalev 2014: 19
red, green, orange, (fig. 2)
purple, black
Ṣū100#9 satranc-ı urefa - Early 20th cent. Turkey - Paper; red, yellow, - - Moskalev 2014: 21
green, blue, pink, (fig. 4)
purple, gold, gray,
black, white
Ṣū100#10 gyān chausar - 1890 Lahore, Pakistan - Black-and-white British Library, Tearing around Printed by Ganesh
(SCHB, p. 94) lithographic print London, acc. no. OP edges Prakash Press,
218(10) Lahore; cf. SCHB, p.
94; cf. Beveridge
1915b

Differently Sized Ṣūfī Charts

ID# Title Artist Date Place Size (W x H) Material & Color Current Location Defects Publication
Ṣū362#1 - - 19th cent. Iran 72.5 x 78 cm Paper; true colors Ashmolean Museum, Abrading along folds; -
not identifiable in Oxford (acc. no.?) staining
available image

307
Unidentified Charts

ID# Title Artist Date Place Size (W x H) Material & Color Current Location Defects Publication
??256#1 - - 19th cent. Rajasthan 53 x 65 cm Paper; black On sale at 25 Blythe Tearing and creasing -
Road, London, UK, along folds; staining
lot 242, 6 Nov, 2014

308
Appendix A2: Description
The description table includes the following information about the charts:

ID#
Chart identified by: [religious affiliation] + [no. of squares] + # + [serial number] + [lower
case letter if chart exists in multiple variants]. An ID preceded by an asterisk (*) indicates a
possible forgery.

Affiliation
Overall religious affiliation.

Language
Languages employed in legends and additional text.

Grid (C x R)
Number of columns and rows in the main playing grid. Number of columns given before
number of rows.

Add. Squares
Number of squares outside the main playing grid, yet included in the game track. Number
of squares outside the game track not included.

Snakes
Number of snakes, including variant forms and colors other than black.

Ladders
Number of ladders, including variant forms and colors other than black.

Add. Illustrations
Description of illustrations other than snakes and ladders.

Add. Text
Location of text other than the legends in the squares of the game track.

Other
Additional remarks.

309
Vaiṣṇava Charts
72-Square Vaiṣṇava Charts

ID# Affiliation Language Grid (C x R) Add. Squares Snakes Ladders Add. Illustrations Add. Text Other
Va72#1 Vaiṣṇava, Vernacularized 9 x 8 - 9 9 Top panel divided into three frames with - Folkish style
bhakti Sanskrit Kṛṣṇa in the center, Brahmā on the left, and
Śiva with the river Gaṅgā flowing from his
hair on the right; all are accompanied by a
consort or female attendant
Va72#2 Vaiṣṇava, Vernacularized 9 x 8 1+ 1 above 9 11 (5 yellow, 3 Additional top squares embedded within - Sqs. 32 (mahālok) and 68 (śrī viṣṇulok)
bhakti Sanskrit red, 3 green) architectural structure with cusped arches colored green, and sq. 50 (taplok) colored
and domes against a background of trees pink (Topsfield 1985: 205); documentation
with parakeets and smaller birds; floral based on black-and-white image
border with rosettes
Va72#3 Vaiṣṇava, Vernacularized 9 x 8 - 9 4 red snakes - - Simple diagrammatic style; documentation
bhakti Sanskrit upside down based on black-and-white image
Va72#4a Vaiṣṇava, Vernacularized 9 x 7 - 10 9 Cusped arches in four top central squares; - Simple diagrammatic style; bottom row
bhakti Sanskrit (originally geometric design in sq. 35 (narak) missing (unclear whether from chart or only
9 x 8) from image); documentation based on low
quality black-and-white image
Va72#4b Vaiṣṇava, Vernacularized 9 x 7 - 10 10 - - Sketch of original chart (probably Va72#4a);
bhakti Sanskrit one ladder incompletely drawn (no rungs)
Va72#5 Vaiṣṇava, Vernacularized 9 x 8 - 10 10 (5 red, 3 Top panel shows Devī(?) standing in a Top left, Folkish style; Vaiṣṇava affiliation despite Śiva
bhakti Sanskrit, Braj black, 2 pavilion (chatrī) at the center; Śiva sits in bottom and Devī(?) as only deities in top panel
Bhāṣā purple) another pavilion on the left; a human-faced
moon (Candra) and sun (Sūrya) sits in two
smaller pavilions on the right
Va72#6 Vaiṣṇava, Vernacularized 9 x 8 1 above 9 8 Additional top square embedded within a Top -
Hindi Sanskrit, Braj single-domed pavilion (chatrī) with cusped
Bhāṣā arches and railings; two smaller pavilions on
the far left and right; all grid squares
decorated with cusped arches alternating
row by row between red, yellow, and green
Va72#7 Vaiṣṇava, Sanskrit 9x8 - 10 (incl. 2 10 Cusped arches in five top row squares; - Naturalistic snakes & scorpions of various
bhakti scorpions) flower in sq. 23 (svarg) types; legends written in both Devanāgarī
and Nastaʿlīq scripts in all squares
Va72#8 Vaiṣṇava, Sanskrit, 9x8 - 10 10 Gaṇeśa sits in a domed pavilion (chatrī) Museum Folkish style; Vaiṣṇava and Ṣūfī legends
bhakti Perso-Arabic above the main grid; floral border with red plaque written in Devanāgarī and Nastaʿlīq scripts in
rosettes all squares
Va72#9 Vaiṣṇava, Vernacularized 9 x 8 - 10 10 (5 red, 5 Cusped arch in top central sq. 68 (vaikuṇṭh - Ladders look like twisting strips of cloth with
bhakti Sanskrit yellow) dhām) with a faintly traced dome or closed pointed ends hung with small metal rungs;
flower above; patterned border modern redesign sold as Buddhiyoga at
www.buddhiyoga.in (acc. 20 Jan, 2019)

310
ID# Affiliation Language Grid (C x R) Add. Squares Snakes Ladders Add. Illustrations Add. Text Other
Va72#10 Vaiṣṇava, Vernacularized 9 x 8 1 above 10 11 rectangles Additional top square (vaikuṇṭh) embedded - Simple diagrammatic style; documentation
bhakti Sanskrit cross-cut by within a dome above the top central sq. 68 based on black-and-white image
slanted lines (śivlok); flanked by two other domes with
five-petaled rosettes; more domes visible in
the background; small mountain-like cones
above top row squares to the left and right
Va72#11 Vaiṣṇava, Vernacularized 9 x 8 - 11 9 Top panel divided into five frames with - Faintly drawn ladders; additional writing in
bhakti Sanskrit cusped arches; central frame shows Kṛṣṇa several squares
holding a lotus and leaning against a royal
cushion (gaddī); Śiva and Brahmā sits to the
left and right; Candra appears in the form of
the moon riding on an antelope on the far
left, while Sūrya appears in the form of the
sun sitting in a horse-drawn chariot on the
far right; floral border with red, blue, and
yellow rosettes
Va72#12a Vaiṣṇava, Vernacularized 9 x 8 4 above 11 14 Additional squares in top panel divided into - Folkish style; apparently copied from
bhakti Sanskrit seven frames with cusped arches; central Va72#12b, or vice versa
frame shows Viṣṇu sitting on a lotus throne;
Śiva sits on a tiger skin two frames to the left,
while Brahmā sits on a lotus throne two
frames to the right; all are shown together
with a consort or female attendant; frame
titled golok to the far left shows an
unidentified female deity sitting on a lotus
throne; frame to the far right is empty; four
top row squares shows a moon (Candra?),
Indra, a human-faced sun (Sūrya), and the
personified Dharma
Va72#12b Vaiṣṇava, Vernacularized 9 x 8 4 above 11 14 Same as Va72#12a, with additional red - Apparently copied from Va72#12a, or vice
bhakti Sanskrit border topped by a long row of small yellow versa
domes
Va72#13 Vaiṣṇava, Vernacularized 9 x 8 - 10 10 - - Simple diagrammatic style; sketched from
bhakti Sanskrit unknown original; legends only available in
Roman transliteration
Va72#14a Vaiṣṇava, Sanskrit 9x8 - 9 9 - - Simple diagrammatic style; sketched from
bhakti unknown original
Va72#14b Vaiṣṇava, Sanskrit 9x8 1 inside top 8 stylized 9 parallel lines Lime green border Title at top, Simple diagrammatic style; sketched from
bhakti central square snakes (red, designer at unknown original (possibly Va72#14a,16);
yellow, green, bottom squares numbered left to right in bottom
blue, orange, row, and right to left in remaining rows
purple, violet,
gray)
Va72#15 Vaiṣṇava, Sanskrit 9x8 - 11 (incl. two 9 - - Incomplete; possibly abandoned because of
bhakti with 2 heads in mistakenly placed snakes and ladders;
two different ladders traced but not fully drawn

311
ID# Affiliation Language Grid (C x R) Add. Squares Snakes Ladders Add. Illustrations Add. Text Other
squares)
Va72#16 Vaiṣṇava, Sanskrit 9x8 - 9 9 - Bottom right Simple diagrammatic style; sketched from
bhakti unknown original print; documentation
based on photocopy
Va72#17 Vaiṣṇava, Vernacularized 9 x 8 1 above 9 4 orange Stylized triple-domed pavilion (chatrī) above Back of chart Simple diagrammatic style
bhakti Sanskrit snakes top central sq. 68 (vaikuṇṭh lok)
Va72#18 Vaiṣṇava, Vernacularized 9 x 8 1 above 10 10 - Back of chart Simple diagrammatic style
bhakti Sanskrit
Va72#19 Vaiṣṇava, Vernacularized 9 x 8 - 9 6 snakes (5 red, Top panel shows Viṣṇu sitting on a lotus - -
bhakti Sanskrit 1 white) throne in a landscape scenery; Brahmā and
Śiva sit on lotus thrones to the left and right;
diagonal rows of squares painted in
alternating colors
Va72#20 Vaiṣṇava, Vernacularized 9 x 8 - 9 6 snakes (5 red, Partially missing top panel shows Viṣṇu - -
bhakti Sanskrit 1 white) sitting on a lotus throne in a landscape
scenery; Śiva sits on a lotus throne to the
right, and Brahmā presumably once sat on a
lotus throne to the left; a band of half-
squares with rosettes and other decorations
divide the main grid from the top panel;
squares painted in alternating colors
Va72#21 Vaiṣṇava, Sanskrit 9x8 - 9 6 snakes (5 red, Original top panel now missing; used to - Influence of Buddhist iconography indicative
bhakti 1 white) show Viṣṇu sitting on a lotus throne in a of Nepalese form of Hinduism; closely
landscape scenery, with Brahmā and Śiva related to Va72#22
sitting on lotus thrones to the left and right;
all grid squares illustrated with a mix of
Hindu and Buddhist imagery of gods, sages,
humans, and other figures; squares painted
in alternating colors
Va72#22 Vaiṣṇava, Vernacularized 9 x 8 - 9 6 red snakes Top panel shows Viṣṇu sitting on a serpent - Influence of Buddhist iconography indicative
bhakti Sanskrit throne flanked by his attendants Jaya and of Nepalese form of Hinduism; closely
Vijaya; Brahmā and Śiva sit on serpent related to Va72#21
thrones to the left and right; all grid squares
illustrated with a mix of Hindu and Buddhist
imagery of gods, sages, humans, and other
figures; squares painted in alternating colors
Va72#23 Vaiṣṇava, Vernacularized 9 x 8 - 9 6 red snakes Top panel shows Viṣṇu sitting on a lotus - Documentation based on black-and-white
bhakti Sanskrit throne in a landscape scenery; Brahmā and image
Śiva sit on lotus thrones to the left and right;
diagonal rows of squares painted in
alternating colors
Va72#24 Vaiṣṇava, Vernacularized 9 x 8 - 9 6 snakes (5 red, Top panel shows Viṣṇu mounted on Garuḍa - Influence of Buddhist iconography indicative
bhakti Sanskrit 1 white) sitting on a lotus throne in a landscape of Nepalese form of Hinduism
scenery; Brahmā and Śiva are mounted on
Haṃsa and Nandin sitting on lotus thrones

312
ID# Affiliation Language Grid (C x R) Add. Squares Snakes Ladders Add. Illustrations Add. Text Other
to the left and right; all grid squares
illustrated with heads of gods and sages;
diagonal rows of squares painted in
alternating colors
Va72#25 Vaiṣṇava, Vernacularized 9 x 8 - 8 6 snakes (5 red, Top panel shows Viṣṇu standing on a lotus - Registered together with cubic ivory die from
bhakti Sanskrit? 1 white) throne in a landscape scenery; Brahmā and Patan engraved with one through six small
Śiva stand on lotus thrones to the left and circles on its six faces (Lobsiger-Dellenbach
right; diagonal rows of squares painted in 1954: 36, no. 164); documentation based on
alternating colors low quality black-and-white image
Va72#26a Vaiṣṇava, Vernacularized 9 x 8 - 10 (red, yellow, 10 arrows (red, Grid drawn on background of yogi sitting in - Based on original chart in private collection
bhakti, New Sanskrit, green, blue, yellow, blue, lotus position with an effulgent circle of light (Johari 2007: 2); legends translated into
Age English purple) purple) above his head; illustrations of earth, water, English; original legends transliterated in
fire, and air in central column squares; accompanying booklet; used as basis for
border shows naked men and women numerous unofficial redesigns
climbing and falling through the four
elements; a winged couple holds the sun and
the moon at the top
Va72#26b Vaiṣṇava, Vernacularized 9 x 8 - 10 (red, yellow, 11 (10 arrows, Geometric shapes and lotuses related to the - Redesign of Va72#26a; legends written in
bhakti, Sanskrit green, blue, 1 pair of inter- system of seven cakras in central column transliteration without diacritics
Haṭhayoga purple) twined snakes; squares; a crown(?) separates the two
red, yellow, topmost wheels; two intertwined snakes (Iḍā
green, blue, and Piṅgalā, or the double-mouthed
black, white) Kuṇḍalinī) rise up from the first to the sixth
cakra; rows painted in alternating colors;
ornamental tesserae in corners
Va72#27 Vaiṣṇava, Vernacularized 9 x 8 - 10 10 Squares bordered by green bars with red - Sequentially numbered squares skip top
bhakti Sanskrit intersections; grid bordered first by blue, central square, and lead down two squares
then by orange, then by floral border with from top left before climbing back up via
red and blue rosettes ladder from sq. 71 (bhakti) to top central sq.
72 (vaikuṇṭh lok); cf. Va72#31,32
Va72#28 Vaiṣṇava, Vernacularized 9 x 8 1 above 10 11 (alternating Top panel shows five domed palace or Top left and -
bhakti Sanskrit, Braj red and green temple tops; additional row between top row right
Bhāṣā steps) and top panel shows an auspicious symbol in
each square; geometric design in sq. 34
(narak); intersections between squares
marked with red "x"s
Va72#29 Vaiṣṇava, Vernacularized 9 x 8 - 9 9 Central top row sq. 68 (śrī vaikuṇṭh) Top Simple diagrammatic style
bhakti Sanskrit embedded within pavilion (chatrī) with
railing
*Va72#30a Vaiṣṇava, Vernacularized 9 x 8 - 10 10 Top panel shows pavilion (chatrī) with Jaina Top left Apparent forgery; Vaiṣṇava chart with Jaina
bhakti Sanskrit, Hindi spiritual teacher (tīrthaṅkara) (Neminātha?) iconography; played by Jaina monks with
with u-shaped mark (ūrdhvatilaka) on his king of Palitana worshiping Neminātha
forehead leaning against a royal cushion according to seller; written in Devanāgarī
(gaddī); smaller pavilion on the left shows influenced by Gujarati script; sold together
divine king (indra) worshiping the teacher; with 4 x 4 dome-shaped playing pieces which
floral border with white and yellow rosettes rattle when shaken; made from bone &

313
ID# Affiliation Language Grid (C x R) Add. Squares Snakes Ladders Add. Illustrations Add. Text Other
painted with lacquer (red, green, black,
white); also sold together with two slightly
oblong dice made from bone and painted
with red lacquer; engraved with star-shaped
symbols on the four faces (1 opp. 5, 2 opp. 6)
and decorative rosettes at the ends
*Va72#30b Vaiṣṇava, Hindi 9x8 - 10 10 Top panel shows Jaina spiritual teacher Above chart Apparent forgery; Vaiṣṇava chart with Jaina
bhakti (tīrthaṅkara) (Neminātha?) leaning against a iconography; numbered squares without
royal cushion (gaddī) on a golden throne; legends; sold together with 4 x 4 aniconic
flanked by two attendants holding chowries playing pieces made from bone and painted
and two elephants holding lotus flowers; a with lacquer (red, green, black, white); all
parasol (chatra) extends from the throne pieces except white, which may have derived
under stylized clouds; floral border with blue from a different set originally, engraved with
and pink rosettes fish motifs; also sold together with two cubic
dice made from bone and painted with red
lacquer; engraved with wheel-shaped
symbols on four faces (1 opp. 5, 2 opp. 6) and
star-shaped symbols around centrally placed
green glass or stone on two faces
*Va72#30c Vaiṣṇava, Vernacularized 9 x 8 - 10 10 Top panel shows pavilion (chatrī) with Top left Apparent forgery; played by Brahmin priests
bhakti Sanskrit, Hindi Gaṇeśa sitting under a parasol (chatra); (pujārī) employed in Jaina temple according
female attendant on the left holds a chowrie, to seller; sold together with 4 x 4 aniconic
while another on the right holds a peacock- playing pieces made from bone and painted
feather broom (piccha); stylized clouds above with lacquer (red, yellow, dark green, light
pavilion; floral border with roses(?) green); also sold together with two cubic dice
made from bone and painted with light and
dark green lacquer; engraved with dots on
four faces (1 opp. 5, 2 opp. 6) and star-shaped
symbols on two faces
*Va72#30d Vaiṣṇava, Hindi 9x8 - 10 10 Top panel shows triple-domed pavilion Top left Apparent forgery; Vaiṣṇava chart with mixed
bhakti (chatrī) with the blue-skinned Jaina spiritual Jaina and Vaiṣṇava iconography; numbered
teacher (tīrthaṅkara) Neminātha sitting in squares without legends; additional text
the center with a u-shaped mark written in Devanāgarī influenced by Gujarati
(ūrdhvatilaka) on his forehead leaning script; sold together with 4 x 4 aniconic
against a royal cushion (gaddī); Viṣṇu and playing pieces made from camel bone and
Śiva lean against royal cushions to the left painted with lacquer (red, green, black,
and right; pavilion flanked by male blue); also sold together with two seven-
attendants holding chowries; a human-faced sided stick dice made from camel bone;
sun (Sūrya) hangs above the pavilion to the engraved with one through six red circles on
left, the moon to the right; grassy ground six faces; one die engraved with ṭhikāno
with stylized clouds above; scene of hellish rājgaḍh on one die and ṭhi. rāggaḍh on the
torture in sq. 35 (narak); floral border with other (Rajgarh, Churu district, Rajasthan?);
white and yellow rosettes ends of one die engraved with samat and
1800 (i.e. 1743/44 CE); provenance on chart
and dice not in accordance
*Va72#30e Vaiṣṇava, Vernacularized 9 x 8 - 10 10 Top panel shows domed pavilion (chatrī) Top left and Apparent forgery; sold together with 4 x 4
bhakti Sanskrit, Hindi with three arches; Viṣṇu sits under four right playing pieces made from bone and painted

314
ID# Affiliation Language Grid (C x R) Add. Squares Snakes Ladders Add. Illustrations Add. Text Other
parasols (chatra) in the center, with Brahmā with lacquer (red, green, orange, blue);
and Śiva on the left and right; only Viṣṇu and carved in the form of male figures wearing
Śiva lean against royal cushions (gaddī); turbans and long robes; two groups of
pavilion flanked by attendants and figures (red, orange) with mustaches, and
supplicants, some clothed, some naked (incl. two groups (green, blue) without; also sold
a woman), some with top-knots (śikhā), some together with four stick dice made from bone
with four arms, and some sitting on flying and coated with silver leaf at their pointed
carpets; palm trees shoot up from grassy ends; engraved with red circles on the four
ground toward stylized clouds above where faces (1 opp. 5, 2 opp. 6); one die engraved
female figures shower flower petals from with samat 1818 (i.e. 1761/62 CE); cf.
flying palaces (vimāna); a human-faced sun Va72#30fhk
(Sūrya) hangs between them; scene of hellish
torture in sq. 35 (narak); floral border with
red and blue rosettes
*Va72#30f Vaiṣṇava, Vernacularized 9 x 8 - 10 10 Same as Va72#30e, except that Viṣṇu is Top left and Apparent forgery; Vaiṣṇava chart with Jaina
bhakti Sanskrit, Hindi replaced with a Jaina spiritual teacher right iconography; written in Devanāgarī
(tīrthaṅkara) (Neminātha?) sitting on a influenced by Gujarati script; sold together
golden throne with a u-shaped mark with 4 x 4 playing pieces made from horn,
(ūrdhvatilaka) on his forehead; Brahmā and coated with silver leaf on the back, and
Śiva replaced with attendants holding painted with lacquer (red, green, purple,
chowries; pet tiger or similar lies at the foot white); carved in the form of female figures
of the throne sitting cross-legged with glass eyes, dark
skin, and saris; the green figures carry a
sacred pitcher (kalaśa) with a coconut; also
sold together with two stick dice made from
buffalo horn and decorated with silver leaf;
engraved with coiled serpents covered with
silver leaf on the four faces (1 opp. 5, 2 opp.
6); both dice engraved with samvat 1850 (i.e.
1793/94 CE) on silver leaf; dates on chart and
dice not in accordance; cf. Va72#30ehk
*Va72#30g Vaiṣṇava, Hindi 9x8 - 10 10 Top panel shows pavilion (chatrī) with the Below chart Apparent forgery; Vaiṣṇava chart with Jaina
bhakti blue-skinned Jaina spiritual teacher iconography; numbered squares without
(tīrthaṅkara) Neminātha with a u-shaped legends; additional text written in
mark (ūrdhvatilaka) on his forehead, leaning Devanāgarī influenced by Gujarati script;
against a royal cushion (gaddī) under two sold together with 4 x 4 aniconic playing
parasols (chatra); flanked by two supplicants pieces made from bone, decorated with
or divine kings (indra); grassy ground with silver bands, and painted with lacquer (red,
stylized clouds above where two winged and green, blue, brown); also sold together with
leaf-tailed female figures (vidyādharī?) hold two stick dice made from bone, and
lotus flowers; floral border with white and engraved with circles on the four faces (1
pink rosettes opp. 6, 3 opp. 4)
*Va72#30h Vaiṣṇava, Hindi 9x8 - 10 10 Same as Va72#30e Top left and Apparent forgery; numbered squares
bhakti right without legends; sold together with 4 x 4
playing pieces made from bone and painted
with lacquer (red, green, purple, black);
carved in the form of crowned male
musicians playing different folk instruments;

315
ID# Affiliation Language Grid (C x R) Add. Squares Snakes Ladders Add. Illustrations
*Va72#30i Vaiṣṇava, Vernacularized 9 x 8 - 10 10 Top panel shows triple-domed pavilion
bhakti Sanskrit, (chatrī) with Viṣṇu sitting in the center, and
Rajasthani Brahmā and Śiva on the left and right;
pavilion flanked by male attendants holding
chowries; palm trees shoot up from grassy
ground toward stylized clouds above
*Va72#30j Vaiṣṇava, Vernacularized 9 x 8 - 10 10 Top panel shows domed pavilion (chatrī)
bhakti Sanskrit, with three arches; the blue-skinned Jaina
Rajasthani spiritual teacher (tīrthaṅkara) Neminātha
leans against a royal cushion (gaddī) under
four parasols (chatra) in the center with a u-
shaped mark (ūrdhvatilaka) on his forehead;
two other teachers or divine kings (indra)
with u-shaped marks on their foreheads lean
against royal cushions on the left and right; a
sacred pitcher (kalaśa) stands in front of
Neminātha, while a swastika and a
miniature deer or antelope are placed before
the other teachers; pavilion flanked first by
two male attendants holding chowries, then
by two smaller pavilions, and finally by two
miniature supplicants; palm trees shoot up
from grassy ground toward stylized clouds
above where two female figures shower
Add. Text Other
also sold together with two cubic dice made
from buffalo horn and decorated with silver
leaf; engraved with crescent moons on four
sides (1 opp. 5, 2 opp. 6) and samvat and
1868 (i.e. 1811/12 CE) on two sides; cf.
Va72#30efk
Above chart Apparent forgery identified in colophon as
khail 1 (game no. 1); sold together with 4 x 4
aniconic playing pieces which rattle when
shaken; made from bone or ivory, decorated
with silver bands, and painted with lacquer
(red, green, blue, brown); green, blue, and
brown pieces beset with colored glass beads
on top; red pieces engraved with sāl samvat
1819 māghanu (the month of Māgh in the
year VS 1819, i.e. Jan-Feb 1762/63 CE), śrī
narotam dās (...) sīriyārī mārvār (Śrī Narotam
Dās, Siriyari, Marwar), sāp siḍī khail no॰ 1
(snakes and ladders, game no. 1), and pāśā 4
do perā sāp sīḍī (a pair of two four-sided stick
dice for snakes and ladders?) on top; also
sold together with two silver-coated stick
dice engraved with circles on the four faces
(2 opp. 5, 1 opp. 6, and 1 opp. 5, 2 opp. 6); one
die engraved with narotam dās siriyārī
mārvāṛ (Narotam Dās, Siriyari, Marwar) and
khail naṃ॰ 1 (game no. 1); the other die
engraved with sāp siḍī sāmvat 1819 (snakes
and ladders, 1762/63 CE), khail naṃ॰ 1 (game
no. 1), and sāp siḍī (snakes and ladders)
Top left and Apparent forgery identified in colophon as
right khail 2 (game no. 2); Vaiṣṇava chart with
Jaina iconography; sold together with 4 x 4
dome-shaped playing pieces which rattle
when shaken; made from bone or ivory,
decorated with silver bands, and painted
with lacquer (red, green, purple, brown);
inserts with tiny rings at the top now missing
in all but three cases; purple pieces engraved
with khail 2 pāsā 4 budhvāre tairas (game no.
2, four stick dice, Wednesday the 13th of the
lunar fortnight), kārīghar navratan dās
(artist Navratan Dās) sāl samvat 1818
maghsar (the month of Māgh in the year VS
1818, i.e. Jan-Feb 1762 CE), and gāv siriyārī
mārvāḍ (kāṭhā) (Siriyari village, Marwar
border region) on silver bands; also sold
together with four silver-coated stick dice

316
ID# Affiliation Language Grid (C x R) Add. Squares Snakes Ladders Add. Illustrations Add. Text Other
flowers; a human-faced sun (Sūrya) hangs which rattle when shaken; engraved with
between them; scene of hellish torture in sq. circles on the four faces (1 opp. 5, 2 opp. 6);
35 (narak) also engraved with sāp siḍī pāsā 4 (snakes
and ladders, four stick dice), narotam dās
siriyārī khail naṃ॰ 2 (Narotam Dās, Siriyari,
game no. 2), mārvāḍ (kāṭā) (Marwar border
region), and navratan dās siriyārī samvat
1818 (Navratan Dās, Siriyari, 1761/62 CE)
*Va72#30k Vaiṣṇava, Vernacularized 9 x 8 - 10 10 Similar to Va72#30e, except that the pavilion - Apparent forgery identified as khail 3 (game
bhakti Sanskrit has three domes, and the grassy ground, the no. 3) on accompanying die; sold together
palm trees, and the floral border are missing; with 4 x 4 playing pieces made from ivory
flying palaces replaced with winged females and painted with lacquer in pairs of red and
(vidyādharī?) holding lotus flowers green; carved in the form of female
musicians playing different folk instruments;
also sold together with 4 silver-coated stick
dice engraved with circles on the four faces
(1 opp. 5, 2 opp. 6) and two cross-marks at
the ends; also engraved with samat 1780 (i.e.
1723/24 CE), kārīghar jīvan rām (artist Jīvan
Rām), sāp sīḍī (snakes and ladders), and
khail na 3 (game no. 3); cf. Va72#30efh
*Va72#30l Vaiṣṇava, Vernacularized 9 x 8 - 10 10 Compressed version of top panel on Top center Apparent forgery identified in colophon as
bhakti Sanskrit, Va72#30j; the objects standing before the khail 4 (game no. 4); Vaiṣṇava chart with
Rajasthani teachers, the four parasols, and the u-shaped Jaina iconography; sold together with 4 x 4
mark on Neminātha's forehead are missing aniconic playing pieces made from bone or
ivory, and painted with lacquer (red, green,
brown, red-black); brown pieces engraved
with khail naṃ॰ 4 (game no. 4), pāsā 4 (four
stick dice), navratan dās (Navratan Dās), and
siriyārī (Siriyari) on top; also sold together
with four silver-coated stick dice engraved
with circles on the four faces (1 opp. 5, 2 opp.
6); three dice engraved with khail naṃ cār
(game no. 4), siriyārī samat 1818 (Siriyari,
1761/62 CE), and an illegible inscription
*Va72#30m Vaiṣṇava, Vernacularized 9 x 8 - 10 10 Same as Va72#30j, except that five parasols Above chart Apparent forgery identified in colophon as
bhakti Sanskrit, hang above the head of Neminātha, and no khail 5 (game no. 5); written in Devanāgarī
Rajasthani scene of hellish torture appears in sq. 35 influenced by Gujarati script; Vaiṣṇava chart
(narak) with Jaina iconography; sold together with 4
x 4 dome-shaped playing pieces made from
bone or ivory carved with elephants and
tigers around the sides and rosettes on the
top and bottom; painted with lacquer (red
tiger, green tiger, blue elephant, yellow
elephant); also sold together with four silver-
coated stick dice which rattle when shaken;
engraved with circles on the four faces (1
opp. 5, 2 opp. 6); also engraved with khail 5

317
ID# Affiliation Language Grid (C x R) Add. Squares Snakes Ladders Add. Illustrations Add. Text Other
sāp siḍī (game no. 5, snakes and ladders),
khail naṃ॰ 5 samvat 1819 (game no. 5,
1762/63 CE), pāsā 4 siriyārī (four stick dice,
Siriyari), and navratan dās mārvāḍ kāṭhā
(Navratan Dās, Marwar border region); dates
on chart and dice not in accordance
*Va72#30n Vaiṣṇava, Vernacularized 9 x 8 - 10 10 Same as Va72#30j Top Apparent forgery identified in colophon as
bhakti Sanskrit, khail 6 (game no. 6); Vaiṣṇava chart with
Rajasthani Jaina iconography; written in Devanāgarī
influenced by Gujarati script; sold together
with 4 x 4 aniconic playing pieces which
rattle when shaken; made from bone or
ivory, and painted with lacquer (red, green,
blue, brown); blue pieces engraved with sāp
siḍī (snakes and ladders), khail 6 6 (game no.
6, 6), kāroghar navratan dās (artist Navratan
Dās), and siriyārī mārvāḍ (Siriyari, Marwar)
on the top; also sold together with two silver-
coated stick dice engraved with circles on the
four faces (2 opp. 5, 1 opp. 6, and 1 opp. 5, 2
opp. 6); one die engraved with sāp siḍī khail
naṃ॰ 6 (snakes and ladders, game no. 6),
siriyārī mārvāḍ (Siriyari, Marwar), and
samvat 1818 (i.e. 1761/62 CE); the other die
engraved with narotam dās siriyārī (Narotam
Dās, Siriyari) and bhaume dīn (Tuesday?)
*Va72#30o Vaiṣṇava, Vernacularized 9 x 8 - 10 10 Top panel shows flat-roofed pavilion with Above chart Apparent forgery identified in colophon as
bhakti Sanskrit, parted curtains; Kṛṣṇa and Rādhā sit on a khail 7 (game no. 7); sold together with 4 x 4
Rajasthani dais (takht) under a parasol (chatra) with a playing pieces made from bone or ivory,
male supplicant and a male attendant coated with silver leaf on the back, and
holding a chowrie on the left and right; painted with lacquer (red, green, blue,
Brahmā sits on a lotus throne to the left of brown); carved in the form of standing male
the pavilion with a forest in the background, figures with caps and a snake at the front of
while Śiva stands on a rock to the right with their ankle-length waist-cloths; the red
mountains in the background; clouds hang figures cup their hands (añjali), the green
above hold an unidentified object (lemons and
chilis?), the blue play on a drum, and the
brown hold a sacred pitcher (kalaśa) with a
coconut; one red figure is engraved with
sāṁp siḍi khail 7 (snakes and ladders, game
no. 7) on the back; also sold together with
four silver-coated stick dice engraved with
circles on the four faces (1 opp. 5, 2 opp. 6);
also engraved with khail 7 (game no. 7), khail
7 siriyārī (game no. 7, Siriyari), mārvāḍ
(Marwar), and narotam dās samat 1818
(Narotam Dās, 1761/62 CE)
*Va72#30p Vaiṣṇava, Vernacularized 9 x 8 - 10 10 Top panel divided into three frames by two Top center Apparent forgery identified in colophon as

318
ID# Affiliation Language Grid (C x R) Add. Squares Snakes Ladders Add. Illustrations Add. Text Other
bhakti Sanskrit, cypress trees; the central frame shows Viṣṇu jñān caupaṛ 8 (gyān caupaṛ no. 8); sold
Rajasthani sitting on a seven-trunked elephant together with 4 x 4 playing pieces made from
(Airāvata?) flanked by two male attendants bone or ivory, coated with silver leaf on the
holding chowries; Brahmā and Śiva sit on back, and painted with lacquer (all of them
Haṃsa and Nandin on the left and right in red-black); carved as female counterparts
to the figures from Va72#30o holding the
same objects; one figure with cupped hands
engraved with sāp siḍi khail 8 (snakes and
ladders, game no. 8) on the back; also sold
together with four silver-coated stick dice
engraved with circles on the four faces (1
opp. 5, 2 opp. 6); also engraved with sāṁp
siḍī (snakes and ladders), khail 8 narotam
dās (game no. 8, Narotam Dās), khail 8
mārvāḍ kāṭhā (game no. 8, Marwar border
region), and samat 1818 (i.e. 1761/62 CE)
*Va72#30q Vaiṣṇava, Vernacularized 9 x 8 - 10 10 Top panel shows raised pavilion with Top left Apparent forgery identified in colophon as
bhakti Sanskrit, pointed roof on which two parakeets sit; a khail 9 (game no. 9); Vaiṣṇava chart with
Rajasthani miniature cypress tree and two miniature Jaina iconography; sold together with 4 x 4
cows stand below the pavilion; the Jaina playing pieces made from bone or ivory and
spiritual teacher (tīrthaṅkara) Neminātha painted with lacquer (red, green, blue,
sits in the pavilion with a u-shaped mark yellow); carved in the form of male
(ūrdhvatilaka) on his forehead; the pavilion musicians with silver-coated caps, belts, and
is flanked by two male attendants holding lapels, and a snake at the back of their robes;
chowries and two other Jaina spiritual each type plays a different silver-coated folk
teachers standing in the kāyotsarga pose of instrument; one red figure engraved with
meditation with u-shaped marks on their khail 9 (game no. 9) on the back; also sold
foreheads; an animal with a lion's body and together with four silver-coated stick dice
an elephant's head holds a chowrie on the engraved with circles on the four faces (1
far left, while a kneeling elephant holds a opp. 5, 2 opp. 6); also engraved with sāp siḍi
chowrie on the far right; a sacred pitcher khail 9 (snakes and ladders, game no. 9), sāp
(kalaśa) and a brazier stand in the siḍi narotam dās (snakes and ladders,
foreground, while winged female figures Narotam Dās), narotam dās samat 1818
(vidyādharī?) blow horns in the stylized (Narotam Dās, 1761/62 CE), and khail 9 samat
clouds above 1818 (game no. 9, 1761/62 CE)
Va72#31 Vaiṣṇava, Vernacularized 9 x 8 (inside 9 x 1 above 10 10 Central square above main grid embedded Row of squares Simple diagrammatic style; sequentially
bhakti Sanskrit 9 grid) within cusped arch with two flags; red-and- above main numbered squares skip top central square,
white checkered squares grid and lead down two squares from top left
before climbing back up via ladder from sq.
71 (bhakt) to top central sq. 72 (vaikuṇṭh); cf.
Va72#27,32
Va72#32 Vaiṣṇava, Vernacularized 9 x 8 - 10 10 Arches in top, bottom, and side squares; red - Sequentially numbered squares skip top
bhakti Sanskrit door in top central square (sq. 68, vaikuṇṭh); central square, and lead down two squares
border decorations switched around, with from top left before climbing back up via
upside-down domes below chart and ladder from sq. 71 (bhakt) to top central sq.
geometrical pattern above 72 (vaikuṇṭh); cf. Va72#27,31
Va72#33 Vaiṣṇava, Vernacularized 9 x 8 1 above 10 11 Viṣṇu sitting under archway with female - Simple diagrammatic style; ladders topped

319
ID# Affiliation Language Grid (C x R) Add. Squares Snakes Ladders Add. Illustrations Add. Text Other
bhakti Sanskrit attendant at his feet in sq. 68 (vaikuṇṭh); by crowns similar to the one worn by Viṣṇu
devotee sitting on his haunches under an in sq. 68 (vaikuṇṭh); documentation based on
archway with a prayer bead (mālā) in his transcription; photographic reproduction not
hand in sq. 54 (bhakti); red border at top and available
bottom (and perhaps also at the sides before
the chart was framed)
Va72#34 Vaiṣṇava, Vernacularized 9 x 8 4 below; 1 + 1 6 (5 red curved 6 curved lines Topmost additional square shaped like a Bottom Simple diagrammatic style; documentation
bhakti, Sanskrit, above lines, 1 black (4 red, 2 black) dome; a black snake (kuṇḍalinī) twists and based on transcription; photographic
Haṭhayoga Braj Bhāṣā snake) turns up through central column squares reproduction not available
inscribed with cakras
Va72#35 Vaiṣṇava, Vernacularized 9 x 8 - - - - - Documentation based on incomplete sketch
bhakti Sanskrit? provided by Manas Tiwari (pers. comm.)
Va72#36 Vaiṣṇava, Vernacularized 9 x 8 - 10 8 Top panel shows Viṣṇu flanked by Brahmā - Documentation based on a single viewing;
bhakti? Sanskrit? and Śiva on the left and right photographic reproduction not available

84-Square Vaiṣṇava Charts

ID# Affiliation Language Grid (C x R) Add. Squares Snakes Ladders Add. Illustrations Add. Text Other
Va84#1a Vaiṣṇava, Vernacularized 9 x 9 3 above 9 9 Top panel shows three triple-domed - Folkish style
Śaiva Sanskrit pavilions (chatrī); Śiva sits in the central
pavilion with Pārvatī on his lap; Brahmā sits
in the pavilion to the left, and Kṛṣṇa and
Rādhā sit in the pavilion to the right with a
supplicant standing before them; outside
their pavilion to the right, Hanumat stands
holding a chowrie; all grid squares
illustrated with figures, buildings,
landscapes, and other motifs; triple-headed
snake leads down from sq. 63 (pāp) to sq. 6
(mahāpātāl); upper half of a woman's body
protruding from mouths of remaining
snakes (nāginī?)
*Va84#1b Vaiṣṇava, Vernacularized 9 x 9 3 above 9 8 Similar to Va84#1a; supplicant missing from - Apparent forgery based on Va84#1; folkish
Śaiva Sanskrit Kṛṣṇa and Rādhā's pavilion; trees added left style
and right of pavilions; women only
protruding from mouths of six snakes; floral
border added on sides and bottom
Va84#2 Vaiṣṇava, Sanskrit 9 x 9 (inside12 3 + 3 above 12 7 - Back of chart Simple diagrammatic style; possibly sketched
bhakti x 9 grid) (inside add. from unknown original
8 x 3 grid)
Va84#3 Vaiṣṇava, Rajasthani 9x9 3 above (top 8 5 yellow bars Top panel shows a triple-domed pavilion Top, bottom Folkish style; possible influence from Jaina
Śaiva right) + (chatrī) with Śiva sitting on a tiger skin next charts (number of squares, ladders like
9 footprints to a miniature Nandin; Gaṅgā flows from his rungless bars, footprints in central column)
hair into the final sq. 84 (śiv pol); pavilion

320
ID# Affiliation Language Grid (C x R) Add. Squares Snakes Ladders Add. Illustrations Add. Text Other
flanked by cypress trees, peacocks, and
parakeets; a human-faced sun (Sūrya)
appears to the far left, and a crescent moon
to the far right; scenes of torture from
various hells in bottom panel
Va84#4 Vaiṣṇava, Sanskrit, 9x9 3 top left of 8 2 Additional square above main grid Top left and Folkish style; closely related to the chart
Śaiva, bhakti Marathi grid + 1 above embedded within pavilion (chatrī) with a right described in KK 241-45 (see Appendix F1); cf.
snake encircling a liṅga under a parasol Va84#5,8
(chatra); flanked by two miniature liṅgas on
each side; four-petaled flower in empty
square to the left of sq. 54 (jñān yog)
Va84#5 Vaiṣṇava, Sanskrit, 9 x 9 (inside 10 3 inside grid + 9 red lines 2 Cusped arch in central square of top row; Left of grid Simple diagrammatic style; possibly sketched
Śaiva, bhakti Marathi x 11 grid) 1 above "x"-like design in additional square above from unknown original; closely related to the
chart described in KK 241-45 (see Appendix
F1); cf. Va84#4,8
Va84#6 Vaiṣṇava Vernacularized 9 x 9 3 above 9 5 Top panel shows three pavilions (chatrī) with - -
Sanskrit flags; Viṣṇu sits in the central pavilion,
flanked by Brahmā and Śiva on the left and
right; all are accompanied by a consort or
female attendant; the familiars Garuḍa,
Haṃsa, and Nandin sit outside the respective
pavilions; a lion also sits outside Śiva's
pavilion; three squares are illustrated with
the sun, the moon, and a pair of footprints
(pādukā); triple-headed snake leads down
from sq. 63 (pāp) to sq. 6 (mahāpātāl); red
border
Va84#7 Vaiṣṇava, Sanskrit 9x9 3 above (top 15 9 Top panel divided into four frames; Śiva, - -
bhakti right) Pārvatī, and Gaṇeśa sit against a
mountainous backdrop in the leftmost
frame; then Viṣṇu and Lakṣmī under the
hoods of a five-headed Śeṣa; then Brahmā
and Sarasvatī on a floating lotus with Haṃsa
in the foreground; and finally, to the far
right, two men framed by parted curtains
holding a sign with the title of the game
(jñānpaṭ)
Va84#8 Vaiṣṇava, Sanskrit 9x9 3 inside grid + 8 1 Additional square with cusped arch above - Closely related to the chart described in KK
Śaiva, bhakti 1 above main grid; to the left, Kārttikeya sits on his 241-45 (see Appendix F1); cf. Va84#4,5
peacock which holds a necklace in its beak;
to the right, Gaṇeśa reclines on a mat
Va84#9a Vaiṣṇava, Sanskrit, 9x9 8 inside grid 9 (incl. 1 finny - Sq. 31 (śrīgurucaraṇāravindapadaprāpti) Separate text Simple diagrammatic style; apparently
Śaiva Marathi fish) shows a pair of footprints (pādukā) resting (back of copied from Va84#9b, or vice versa; based on
on a low seat with serpent heads drawn chart?) partial black-and-white image
inside them; two other squares include
abstract ornamentation

321
ID# Affiliation Language Grid (C x R) Add. Squares Snakes Ladders Add. Illustrations Add. Text Other
Va84#9b Vaiṣṇava, Sanskrit, 9x9 8 inside grid 9 - Same as Va84#9a Top Simple diagrammatic style; apparently
Śaiva Marathi? copied from Va84#9a, or vice versa;
documentation based on partial low-quality
image
Va84#10 Vaiṣṇava, Sanskrit, 9x9 8 inside grid + 9 - Additional square above main grid shows a Top Simple diagrammatic style; sketched from
Śaiva Marathi 1 above low seat under a cusped arch; a similar seat unknown original
under another cusped arch appears in sq. 31
(gurupadapṛthvī)
Va84#11 Vaiṣṇava Vernacularized 9 x 9 3 above 12 11 Top panel divided into seven arched frames - Variously colored squares reminiscent of
bhakti Sanskrit? with floral ornamentation; Viṣṇu and Lakṣmī Nepalese charts, especially Va72#20-22;
sit on a lotus in the center with Brahmā and documentation based on low quality black-
Śiva, also sitting on lotuses, to the left and and-white image
right; Devī and Gaṇeśa sit on lotuses to the
far left and right; the remaining two frames
are empty except for ornamentation; squares
painted in alternating colors; plain border of
unidentified color surrounds chart
Va84#12 Vaiṣṇava, Vernacularized 9 x 9 (drawn 3 above 11 16 (9 parallel Top panel shows three triple-domed Top left and Some snakes and ladders erased and
bhakti Sanskrit, inside 11 x 9 lines, 7 red pavilions (chatrī); Viṣṇu sits on a lotus in the right repositioned
Braj Bhāṣā grid) snakes) center with Brahmā and Śiva to the left and
right (all heavily abraded); Śiva is flanked by
Nandin and a devotee; all squares of the
main grid, including two empty columns to
the left and right, in the form of triple-domed
pavilions; floral border with red and blue
rosettes

342-Square Vaiṣṇava Charts

ID# Affiliation Language Grid (C x R) Add. Squares Snakes Ladders Add. Illustrations Add. Text Other
Va342#1 Vaiṣṇava, Sanskrit, Braj Two 9 x 20 3 above 30 (red, yellow, 21 Top panel divided into three arched frames; Top left and Top row squares numbered but uninscribed
bhakti Bhāṣā grids separated green, blue, Rāma and Sītā lean against a royal cushion right, central
by central black) (gaddī) under a parasol (chatra) in the column
column central arch while being attended by squares
Hanumat and Lakṣmaṇa; to the left, Brahmā
sits on a lotus; to the right, Śiva and Pārvatī
sit on a tiger skin with Nandin and Mount
Kailāsa in the background; every second
square in the central column painted yellow;
empty and uncolored border
Va342#2 Vaiṣṇava, Sanskrit - - ? (yellow and - - Central column Snakes painted in yellow & blue;
bhakti blue) squares documentation based on partial image
Va342#3 Vaiṣṇava, Sanskrit, Braj Two 9 x 19 3 above 27 19 Top panel shows a flat-roofed pavilion with Top left and Documentation based on low quality black-
bhakti Bhāṣā grids separated three arches; Viṣṇu and Lakṣmī sit on a lotus right, central and-white image
by central under a parasol (chatra) in the center; to the column

322
ID# Affiliation Language Grid (C x R) Add. Squares Snakes Ladders Add. Illustrations Add. Text Other
column left and right, Brahmā and Śiva sit on lotuses squares
with Sarasvatī and Pārvatī; Haṃsa, Garuḍa,
and Nandin sit at the bases of the three
arches; the bases form part of a geometric
pattern separating the top panel from the
grid; a devotee stands to the right of the
pavilion; floral border with rosettes
Va342#4 Vaiṣṇava, Sanskrit, Braj Two 9 x 19 3 above 30 21 Top panel divided into three frames; Viṣṇu Top left and Śiva and Brahmā mistakenly switched
bhakti Bhāṣā grids separated and Lakṣmī sit on a lotus in the center; Śiva right, central around in top panel as evidenced by the
by central and Pārvatī sit on tiger skins to the left, with column legends in the squares connected to them
column Nandin in the background; Brahmā and squares, back with ladders; modern inscription on back of
Sarasvatī sit on a lotus to the right of chart chart reads: "Karan Singh I. Chamba State"
(Topsfield 2006a: 173, fn. 50)
Va342#5 Vaiṣṇava, Sanskrit, Braj - - - - Top panel shows Viṣṇu sitting on a lotus in Top right, Simple diagrammatic style
bhakti Bhāṣā the center, with Śiva on the right; left side of central column
panel missing squares
Va342#6 Vaiṣṇava, Sanskrit, Braj Two 9 x 19 3 above 30 21 Top panel divided into three double-frames Top left and Additional text written in Devanāgarī and
bhakti Bhāṣā grids separated with an upper and a lower part; Viṣṇu sits on right, central Ṭāṅkrī scripts (the latter awaits
by central a lotus in the lower central frame with a column transcription); snakes and ladders very
column bowl of fruit and flowers above; Brahmā sits squares, faintly drawn; documentation based on
on a mat to the left with a flower pot surrounding black-and-white image
(kalaśa?) above; Śiva sits on a tiger skin to panels
the right with a similar pot above; scenes of
hellish torture surround the lower parts of
the main grid; two celestial beings stand on
each side of the grid above the hell scenes
Va342#7 Vaiṣṇava, Sanskrit, Braj Two 9 x 20 3 above 30 21 Top panel divided into three main frames Top left and Top row squares numbered but uninscribed;
bhakti Bhāṣā grids separated with mirror-like ovals in between and on the right, central documentation based on black-and-white
by central far sides; central frame shows Viṣṇu leaning column image
column against a royal cushion (gaddī) on a lotus in a squares
hilly landscape under a cusped arch; the
same is true of Brahmā on the left; Śiva sits
on a tiger in front of Mount Kailāsa on the
right; a 3 x 3 magic square is drawn under
Viṣṇu at the top of the central column

Differently Sized Vaiṣṇava Charts

ID# Affiliation Language Grid (C x R) Add. Squares Snakes Ladders Add. Illustrations Add. Text Other
Va99#1 Vaiṣṇava, Vernacularized 9 x 11 1 above 15 (multi- 13 Additional square above main grid shows a Top left and Destinations of ladders written at the foot
bhakti Sanskrit, Hindi colored in red, pyramidal shape consisting of variously right
yellow, blue, colored lines possibly resembling a parasol
and black) (chatra) or the roof of a pavilion (chatrī)
Va99#2 Vaiṣṇava, Vernacularized 9 x 11 Add. 6 x 5 grid 17 13 Top panel divided into five rows topped by - Beautifully executed chart possibly designed
bhakti? Sanskrit? above five domes; first row shows Brahmā, Viṣṇu, as a wall hanging; documentation based on a

323
ID# Affiliation Language Grid (C x R) Add. Squares Snakes Ladders Add. Illustrations Add. Text Other
Lakṣmī, Śiva, and Pārvatī with their single viewing; photographic reproduction
familiars; second row shows Kṛṣṇa, not available
Dvārakādhīśa, Mathureṣa, and Kailā Maiyā
with five attendants; third row shows
Śukadeva, Parīkṣit, and Nārada along with
six unidentified sages; fourth row shows
Rāma, Sītā, Lakṣmaṇa, Bhārata, Śatrughna,
Nāla, Nīla, Hanumat, Sugrīva, and Jāmbavat;
fifth row shows Nṛsiṃha, Prahlāda, Sumati,
three ascetics, two kings, and a queen; floral
border
Va100#1 Vaiṣṇava Vernacularized 12 x 12 (minus - 13 (red, green, 9 All uninscribed corner squares embroidered Invocation at Inscribed in Gujarati script
Sanskrit 11 uninscribed blue, pink, with the same pattern of differently colored top, title at
sqs. in each purple) flowers and rosettes; two swastikas below bottom
corner) main grid on either side of the game's title
(jñān bājī)
*Va121#1 Vaiṣṇava, Vernacularized 11 x 11 (inside 3 + 3 + 1 above 26 29 A large dome covers the additional squares; Top left Colophon written in different hand indicates
bhakti Sanskrit, Braj 11 x 12 grid) smaller domes are found inside the top- and possible forgery; simple diagrammatic style;
Bhāṣā bottommost additional square; faintly traced top row squares numbered but uninscribed
supplicants stand on either side of the (except leftmost square inscribed in a
topmost square; additional text in the top left different hand)
boxed in by an incomplete floral and
patterned border
Va124#1 Vaiṣṇava, Sanskrit 10 x 14 (minus 4 top left in 25 9 Viṣṇu sits on a lotus in the winning sq. 124 - Separately numbered side grid apparently
bhakti 16 sqs. in side main grid; (śrīparabrahmamokṣa); he also appears in represents a dead end which can be entered
grid) right-hand side various scenes in three of the four additional but not left; originally accompanied by a
grid w/ 16 sqs. squares; deities, celestial beings, men, "translation of the inventor's account of the
+ 1 above animals, trees, and other motifs in several game", five playing pieces, and two ivory
squares of the main and side grids; stick dice (AJMR, vol. 5, New Series, May-
diagrammatic representation of the twenty- August 1831, p. 85)
one common hells in sq. 1
(ekaviṃśatisāmānyanaraka); floral border
with red, blue, and pink rosettes both frames
the chart and runs through it, dividing it into
five sections (three in the main grid, two in
the side grid)
Va163#1 Vaiṣṇava; Vernacularized 13 x 13 (minus 1 + 1 + 1 above 31 c. 50 Domes above top row and additional Top, Documentation based on low quality black-
bhakti? Sanskrit? 6 top row sqs.) squares; floral ornamentation in six commentary and-white image
uninscribed top row squares, and to the left inside squares
and right of additional squares
Va163#2 Vaiṣṇava, Vernacularized 13 x 13 (minus 1 above; 1 left; 32 42 Additional square above main grid Top left, lower Superstructure reminiscent of Jaina charts;
bhakti Sanskrit, Braj 6 top row sqs.) 1 right; 1 embedded within multi-domed pavilion half of border, sold together with 4 x 4 playing pieces made
Bhāṣā below (chatrī); top left and right additional squares commentary from horn of deer, and painted with lacquer
embedded within cusped arches with single- inside squares (red, green, black, white); carved in the form
domed pavilions above; small additional of turbaned men with hands held forth in
squares with cusped arches at bottom and reverence (añjali); also sold together with
sides of main grid inscribed with the four copper-coated stick dice which rattle

324
ID# Affiliation Language Grid (C x R) Add. Squares Snakes Ladders Add. Illustrations Add. Text Other
respective directions (pūrva, dakṣiṇa, when shaken; pips indicated with inset
paścima) stones of various colors (1 opp. 6, 2 opp. 5);
one die inscribed with samvat 1891 (i.e.
1834/45 CE); provenance on chart and dice
not in accordance
Va167#1 Vaiṣṇava, Vernacularized 14 x 12 (inside 3 above 14 (red, yellow, 18 Top central square shows two devotees Two rows of Several ladders twist, turn, and combine;
bhakti Sanskrit 14 x 14 grid); 2 green, blue, standing before a low seat or table; a ladder squares below bottommost row partly obscured by blue
top central sqs. black) leads up to a triple-domed pavilion (chatrī) main grid, border
combined into where Kṛṣṇa and Rādhā sit on a golden dome of top
one throne under a parasol (chatra), flanked by central
Garuḍa and four female supplicants (gopīs?); pavilion, back
the pavilion is flanked by two single-domed of chart
pavilions with Brahmā and two miniature
female supplicants on the left, and Śiva and a
female supplicant on the right; each of the
two pavilions is further flanked by three
smaller pavilions with kings, sages,
mendicants, and other figures; plain blue
border followed by floral border with red
and blue rosettes
Va285#1 Madhurā- Sanskrit, 12 x 19 (inside 14 (oval circle) 65 (green, blue, 73 (green, blue, Orange-tinted photo of Gulābrāv Mahārāj's Top, bottom, Reflects the ideas of Gulābrāv Mahārāj (1881-
dvaita (i.e. Hindi 12 x 21 grid) + 12 + 6 + 5 + orange) orange, pink) face in a pink-bordered circle above the sides, one-and- 1915) who considered himself to be the
philosophy of 10 + 1 + 3 topmost additional squares; keyhole-shaped a-half rows of daughter of Jñāneśvar and the wife of Kṛṣṇa
Gulābrāv above; 2 left; 1 green border with rose flowers top left and squares below (Kopardekar 1985: 42); published together
Mahārāj) right; 5 below right; additional side squares in the form of main grid, with an extensive commentary (Gulābrāv
orange circles back of chart 1981, 2007); sequential numbering of squares
begins in the middle of the second row from
the bottom; several uninscribed squares in
the bottom two rows
Va309#1 Vaiṣṇava, Sanskrit, 19 x 12 17 + 15 + 13 + 45 (incl. two 24 Additional squares above main grid Top, bottom Reflects the ideas of Samarth Rāmdās (1608-
bhakti, Advaita Marathi 11 + 9 + 7 + 5 + fish) arranged in a pyramidal structure covered 81) who was a devotee of Rāma and
Vedānta 3 + 1 above; 2 with domes and arches; a lion stands under a Hanumat and a spiritual advisor to the
below parasol (chatra) at each side of the structure, Maharashtrian warrior king Śivajī (1630-80
followed by a peacock, a monkey, and CE)
another peacock further up; a circle above
the top shows the poet-saint Rāmdās
standing in a lush landscape with a devotee
and a lamb(?); five male devotees sit above
the circle to the left, and five female devotees
sit above the circle to the right; flower
decorations to the left and right of the
pyramidal structure; floral border
Va500#1 Vaiṣṇava, Sanskrit - - - - - - Described in KK 246-55 (see Appendix F1)
bhakti

325
Jaina Charts
84-Square Jaina Charts

ID# Affiliation Language Grid (C x R) Add. Squares Snakes Ladders Add. Illustrations Add. Text Other
Ja84#1 Jaina Vernacularized 9 x 9 1+2+1+1 9 6 straight Main grid represents body of cosmic man Top left and Two reproductions in Shri Vishal Jain Kala
Sanskrit, Braj above; 2 left & parallel lines (lokapuruṣa), with additional squares right Sansthan Museum, Palitana, Gujarat
Bhāṣā, Gujarati right; 1 below + embedded within his head, arms, and feet;
4 footprints he stands in the kāyotsarga pose of
meditation wearing a crown, earrings, and
bracelets, and holding prayer beads (mālā) in
his hands; the crescent-shaped place of
liberated souls (īṣatprāgbhāra) sits at the top
of his forehead; two peacocks sit at his
shoulders, and one at his feet, against a
landscape scenery with grass, flowers, and
trees; floral border with white and pink
rosettes
Ja84#2 Jaina Vernacularized 9 x 9 1+3+1+1 9 finny fish 5 curved and Grid surrounded by rich illustrations of the Bottom panel Finny fish replacing snakes have dog-like
Sanskrit above; 2 left & rope-like lower world (adholoka) at the bottom, the heads, possibly indicating sea-monsters
right; 1 + 2 ladders (2 middle world (madhyaloka) at the sides, and (makara); finny fish replacing snakes also
below connected) the upper world (ūrdhvaloka) at the top; found on Ja84#41,43,45; human bodies
crescent occupied by liberated souls protruding from mouths of snakes also found
(īṣatprāgbhāra) in top central position; on Va84#1ab; sailing ship in bottom panel
additional side and top squares embedded may indicate an origin in the coastal region
within multi-domed temples occupied by of Gujarat
divine kings (indra), sometimes alone, and
sometimes accompanied by a queen (indrāṇī)
or a supplicant; story of Madhubindu
blinded by desire for a drop of honey
illustrated in top left; divine assembly hall
(samavasaraṇa) surrounded by attendants
and wild animals in top right; sailing ship in
bottom panel; Jaina monks and nuns sit at
the feet of ladders inside the grid, while
others protrude from mouths of snakes in
the form of finny fish (makara?); floral
border with red rosettes
*Ja84#3a Jaina Vernacularized 9 x 9 1+3+1+1 9 5 straight Additional top squares embedded within Side panels, Possible forgery (see chapter three); row
Sanskrit above; 2 left & parallel lines something like the capital of a pillar with bottom titles in right side panel; cf. Ja84#33,35
right; 1 + 8 (2 connected) open-mouthed fish heads at the sides, and
below the crescent-shaped place of liberated souls
(īṣatprāgbhāra) above; superstructure
framed by pillars decorated with vertical
lines (rungs?) and red and blue squares
(footprints?); two peacocks sit on branches
leaning against the pillars; side squares
embedded within single-domed temples;

326
ID# Affiliation Language Grid (C x R) Add. Squares Snakes Ladders Add. Illustrations Add. Text Other
small circles (nigoda) in bottom row square
*Ja84#3b Jaina Vernacularized 9 x 9 1+3+1+1 9 5 straight Similar to Ja84#3a, except that the pillars Side panels Apparent forgery based on Ja84#3a; top
Sanskrit above; 2 left & parallel lines framing the superstructure are missing, the panel and border decorations look distinctly
right; 1 + 8 (2 connected) peacocks have been replaced with parakeets, modern; row titles in right side panel
below three pavilions (chatrī) have been added
above the place of liberated souls, and the
whole superstructure have been embedded
within a cusped arch
Ja84#4 Jaina Vernacularized 9 x 9 1+3+1+1 9 6 straight Additional top squares embedded within Bottom panel Simple diagrammatic style; possibly sketched
Sanskrit, Braj above; 2 left & parallel lines abstracted architectural structure with from unknown original; some influence from
Bhāṣā right; 1 + 8 + crescent-shaped place of liberated souls Gujarati script on Devanāgarī
below 9 footprints (īṣatprāgbhāra) above; side squares
embedded within crudely drawn temples
with banner-like protrusions; small circles
(nigoda) in bottom row square
Ja84#5 Jaina Vernacularized 9 x 9 1+3+1+1+3 9 6 straight Top row squares and additional side and top Top left and Simple diagrammatic style; possibly sketched
Sanskrit, Braj above; 2 left & parallel lines squares embedded within pavilions (chatrī) right, side from unknown original; row titles in right
Bhāṣā right; 7 in right (3 connected) with flags; small circles (nigoda) in bottom panels side panel; some snakes erased and
side panel; 1 + row square repositioned; some legends painted over
1 below with white and rewritten
Ja84#6 Jaina Vernacularized 9 x 9 1+3+1+1 9 9 straight Top row squares and additional side and top Top, bottom -
Sanskrit, above; 2 left & single lines squares embedded within pavilions (chatrī) panel, bottom
Rajasthani, right; 1 + 8 + with flags; superstructure flanked by flying
Braj Bhāṣā below 9 footprints male figures (vidyādhara?) and mahouts on
triple-trunked elephants; arches in all
squares; floral ornamentation with red and
yellow rosettes in side panels and border
Ja84#7 Jaina Vernacularized 9 x 9 1 + 3 + 1 above; 9 10 straight - - Unfinished sketch; possibly from a Jaina
Sanskrit 2 right & left; 1 parallel lines notebook or an artist's sketchbook; snakes
below (3 + 3 and ladders drawn before inscriptions;
connected) inscriptions begun from top
Ja84#8 Jaina Vernacularized 9 x 9 1+3+1+1 9 6 straight Top row squares and additional side and top Right side and Row titles in right side panel; one ladder
Sanskrit, Braj above; 2 left & parallel lines squares embedded within pavilions (chatrī) bottom panels accidentally drawn with snake's head;
Bhāṣā right; 1 + 1 (2 connected) with flags; crescent-shaped place of liberated exhibited together with three red and three
below + souls (īṣatprāgbhāra) located above; yellow bell-shaped playing pieces (likely
9 footprints superstructure flanked by two divine kings taken from a set of caupaṛ pieces)
(indra) in grassy landscape, the left one clad
in red, the right one in black and holding a
chowrie; small circles (nigoda) in bottom row
square; floral border with red rosettes
Ja84#9 Jaina Vernacularized 9 x 9 1+3+1+1 10 6 straight Additional top squares embedded within Top right, right Row titles in right side panel; crescent-
Sanskrit, Braj above; 2 left & parallel lines geometric structure with crescent-shaped side and shaped place of liberated souls erased and
Bhāṣā right; 1 + 1 (2 connected) place of liberated souls (īṣatprāgbhāra) bottom panels repositioned further to the right; structural
below + above; additional side squares in the form of similarities with Ja84#58
26 footprints triangles; small circles (nigoda) in bottom
row square

327
ID# Affiliation Language Grid (C x R) Add. Squares Snakes Ladders Add. Illustrations Add. Text Other
Ja84#10 Jaina Vernacularized 9 x 9 1+3+1+1 9 5 curved single Top row squares and additional side and top Bottom panel Illustrations similar in style to the forged
Sanskrit, Braj above; 2 left & lines (3 con- squares embedded within architectural Va72#30a-q, but obviously older
Bhāṣā right; 1 + 1 nected) structures with pavilions (chatrī), arches,
below + and flags; crescent-shaped place of liberated
8 footprints souls (īṣatprāgbhāra) located above;
superstructure flanked by two long-haired
mendicants standing under trees with dogs
at their feet; Candra in the form of an
antelope sitting on a crescent moon in the
top left, and Sūrya in the form of a human-
faced sun in the top right; a divine king
(indra) to the left of the main grid holds a
teapot or a hookah, while a divine king to the
right holds a pouch or a conch; floral border
with red rosettes
Ja84#11 Jaina Vernacularized 9 x 9 1+3+1+1 9 5 straight Top row squares and additional side and top Bottom panel Several snakes and ladders erased and
Sanskrit, Braj above; 2 left & parallel lines squares embedded within architectural repositioned
Bhāṣā right; 1 + 2 (3 connected) structures with pavilions (chatrī) and flags;
below + crescent-shaped place of liberated souls
10 footprints (īṣatprāgbhāra) located above;
superstructure flanked by two elephants
holding chowries; floral ornamentation with
red rosettes in side panels
Ja84#12a Jaina Vernacularized 9 x 9 1+3+1+1 9 6 curved Top row squares and additional side and top Bottom left The most widely reproduced and reprinted
Sanskrit, above; 2 left & ladders (3 con- squares embedded within architectural chart; paper reprint with additional borders
Gujarati right; 1 + 8 nected) structures with pavilions (chatrī) with divine above and below at Sanskar Kendra City
below + kings (indra); crescent seated with liberated Museum, Ahmedabad; multiple other copies
10 footprints souls (īṣatprāgbhāra) located above, and on cloth and paper with minor stylistic
flanked by two peacocks; superstructure variations in museums and private
flanked by Candra in the form of a moon- collections (one version published by Ratna
haloed man riding on an antelope to the left, Nidhi Charitable Trust, Mumbai); cf.
and Sūrya in the form of a sun-haloed man Ja84#39,46
riding on a seven-headed horse to the right;
small circles (nigoda), divine kings, and
sketched scenes of hellish torture in bottom
panel squares; floral border with red rosettes
*Ja84#12b Jaina Vernacularized 9 x 9 1+3+1+1 10 10 curved Same as Ja84#12a Bottom left Unfinished forgery based on Ja84#12a;
Sanskrit above; 2 left & ladders missing top row and distribution of snakes
right; 1 below + and ladders indicate confusion between 84-
10 footprints square Jaina and 72-square Vaiṣṇava chart;
only inscribed in top squares and at bottom
left; documentation based on low quality
image
Ja84#13 Jaina Vernacularized 9 x 9 1+3+1+1+1 9 6 straight Main grid represents body of cosmic man - Simple diagrammatic style
Sanskrit above; 2 left & parallel lines (lokapuruṣa), with additional squares
right; 1 below embedded within his head, arms, and feet;
he stands in the kāyotsarga pose of

328
ID# Affiliation Language Grid (C x R) Add. Squares Snakes Ladders Add. Illustrations Add. Text Other
meditation wearing bracelets and anklets;
additional head outlined in top sq. 1 above
main grid; small circles (nigoda) in bottom
row square
*Ja84#14 Jaina Vernacularized 9 x 9 1 above; 2 left 9 6 Main grid represents body of cosmic man Above chart Colophon copied from Ja84#31a and
Sanskrit, Hindi & right; 1 (lokapuruṣa), with additional top squares additional text copied from Vaiṣṇava chart
below embedded within his head (arms and feet (possibly Va72#6) clearly indicates forgery;
not represented); crescent-shaped place of also possible visual influences from
liberated souls (īṣatprāgbhāra) located Ja84#24ab
above; flat roof above top row with domes
and temple tops right and left; additional
side squares embedded within pavilions
(chatrī) with temple tops in background;
Candra in the form of an antelope sitting on
a crescent moon in the top left, and Sūrya in
the form of a human-faced sun in the top
right; story of the six men, the rose-apple
tree, and the theory of karmic stains (leśyā)
illustrated in left side panel; story of
Madhubindu blinded by desire for a drop of
honey illustrated in right side panel; floral
border with red and yellow rosettes
Ja84#15 Jaina Vernacularized 9 x 9 3 + 3 above; 2 9 4 straight Topmost central square shows a four-armed Bottom panel -
Sanskrit, Braj left & right; 1 + parallel lines deity and an attendant holding a chowrie;
Bhāṣā 4 below (2 connected) additional top squares flanked by divine
+ kings (indra) in flying palaces (vimāna) and a
11 footprints single winged figure (vidyādhara?); each side
panel divided into three arched frames with
divine kings; floral border with red rosettes
Ja84#16 Jaina Vernacularized 9 x 9 1+3+1+1+1 9 7 straight Top row squares and additional side and top Right side Row titles in right side panel
Sanskrit above; 2 left & single lines squares embedded within pavilions (chatrī) panel, bottom
right; 1 + 1 (2 connected) with flags; crescent-shaped place of liberated
below + souls (īṣatprāgbhāra) supports topmost
12 footprints square; superstructure flanked by two divine
kings (indra) mounted on peacocks and
showering flower petals under stylized
clouds; small circles (nigoda) in bottom row
square; floral border with red, yellow, and
pink rosettes
Ja84#17 Jaina Vernacularized 9 x 9 3 + 1 above; 2 9 6 straight Main grid represents body of cosmic man Top -
Sanskrit, Braj left & right; 1 + parallel lines (lokapuruṣa), with additional squares
Bhāṣā 2 below (2 connected) embedded within his head, arms, and feet;
he stands in the kāyotsarga pose of
meditation wearing a crown, earrings,
bracelets, and finger rings; small circles
(nigoda) in bottom row square
Ja84#18 Jaina Vernacularized 9 x 9 1+3+1+1 9 6 straight Main grid represents body of cosmic man Bottom panel, Similarities in visual design and legends

329
ID# Affiliation Language Grid (C x R) Add. Squares Snakes Ladders Add. Illustrations Add. Text Other
Sanskrit, Braj above; 2 left & parallel lines (lokapuruṣa), with additional top squares below chart indicate a close relationship with Ja84#52;
Bhāṣā right; 1 + 2 (3 connected) embedded within his head (represented by a several snakes and ladders erased and
below + pair of eyes only); side squares embedded repositioned; some legends painted over
9 footprints within temples above the cosmic man's arms with white and rewritten; tearing reveals
which hang down, ornamented with writing from reused paper backing chart
bracelets, in the kāyotsarga pose of
meditation; his feet, ornamented with
anklets, protrude below the main grid;
crescent-shaped place of liberated souls
(īṣatprāgbhāra) located above his head, and
flanked by divine kings (indra) in bird-
shaped flying palaces (vimāna) showering
flower petals under stylized clouds; main
grid topped by domes and two temple tops at
the far ends; each side panel divided into
four frames with a parakeet at the top,
followed by a winged figure (vidyādhara?), a
tree with flowers, and a cypress tree; arches
in all squares; small circles (nigoda) in two
bottom row squares; floral border with red
and green rosettes
Ja84#19 Jaina Vernacularized 9 x 9 1+3+1+1 9 6 curved single Topmost square embedded within crescent- - Simple diagrammatic style; possibly sketched
Sanskrit above; 2 left & lines (2 con- shaped place of liberated souls from unknown original; documentation
right; 1 + 8 nected) (īṣatprāgbhāra) based on low quality black-and-white image
below +
5 footprints
Ja84#20 Jaina Vernacularized 9 x 9 1+3+1+1 9 8 (2 connected) Top row squares and additional side and top Bottom panel -
Sanskrit, above; 2 left & + squares embedded within pavilions (chatrī)
Gujarati right; 1 + 2 11 footprints with flags; crescent-shaped place of liberated
below souls (īṣatprāgbhāra) located above, and
flanked by stylized clouds; divine queen
(indrāṇī) holding a jar in left side panel;
divine king (indra) holding a chowrie in right
side panel; each side panel also shows three
trees with flowers; colored dots (nigoda?)
and grassy ground in bottom squares and
panels; floral border with red and blue
rosettes
Ja84#21 Jaina Vernacularized 9 x 9 9+3+1+1 9 6 straight Additional top and side squares embedded Bottom panel Some ladders erased and repositioned
Sanskrit above; 2 left & parallel lines within architectural structure with pavilions
right; 1 + 8 (2 connected) (chatrī) and flags extending across top row;
below + crescent-shaped place of liberated souls
9 footprints (īṣatprāgbhāra) located above, and flanked
by stylized clouds; floral border with red and
black rosettes
*Ja84#22 Jaina Vernacularized 9 x 9 1+3+1+1 9 6 (2 connected) Top row squares and additional side and top Bottom panel, Possible forgery with top panel illustrations
Sanskrit, Braj above; 2 left & + squares embedded within architectural bottom adapted from Ja84#24ab; several other

330
ID# Affiliation Language Grid (C x R) Add. Squares Snakes Ladders Add. Illustrations Add. Text Other
Bhāṣā right; 1 + 8 + 1 14 footprints structure with pavilions (chatrī), domes, and illustrations and features reminiscent of
below temples; a peacock sits on a pillar at each Ja84#46 (another possible forgery); row titles
end of the top row; trees with flowers and in bottom panel squares
palm-like leaves stand in background;
spiritual teacher (tīrthaṅkara) seated in
crescent-shaped place of liberated souls
(īṣatprāgbhāra) among clouds above; flanked
by Sūrya in the form of a human-faced sun at
the left, and Candra in the form of an
antelope sitting on a crescent moon at the
right; divine king (indra) holding a chowrie
in left side panel, and divine queen (indrāṇī)
holding the same in right side panel; small
circles (nigoda) in two bottom row squares;
floral border with red, blue, and pink
rosettes
Ja84#23 Jaina Vernacularized 9 x 9 3 x 3 + 1 above; 9 7 (2 + 2 con- Additional top and side squares embedded Top left and -
Sanskrit, Braj 2 left & right; 1 nected) within architectural structure with pavilions right, bottom
Bhāṣā, Gujarati + 8 below + (chatrī) and flags extending across top row; panel
6 footprints crescent-shaped place of liberated souls
(īṣatprāgbhāra) located above
Ja84#24a Jaina Vernacularized 9 x 9 1+1+2+1+1 9 6 Main grid represents body of cosmic man Title at top, Black-and-white print awaiting coloring; cf.
Sanskrit, Braj above; 2 left & + (lokapuruṣa), with additional top squares side and Ja84#14,22,30,31ab
Bhāṣā, Gujarati right; 1 + 1 9 footprints embedded within his heavily ornamented bottom panels,
below shoulders, neck, and head; crescent-shaped bottom
place of liberated souls (īṣatprāgbhāra)
located above; four flying palaces (vimāna)
superimposed on his face; flat roof above top
row with domes and temple tops right and
left; additional side squares embedded
within pavilions (chatrī) with temple tops in
background; a peacock sits on a pillar at each
end of the top row, while two parakeets sit
on the crown of the cosmic man, all of them
with dense foliage in background; Sūrya in
the form of a human-faced sun in the top left,
and Candra in the form of an antelope sitting
on a crescent moon in the top right; story of
the six men, the rose-apple tree, and the
theory of karmic stains (leśyā) illustrated in
left side panel; story of Madhubindu blinded
by desire for a drop of honey illustrated in
right side panel; all intersections between
squares decorated with rosettes; arches in
central column squares; floral border
Ja84#24b Jaina Vernacularized 9 x 9 1+2+1+1 9 6 Same as Ja84#24a with some variations Side and Based on Ja84#24a; exact copy in Maharao
Sanskrit, Braj above; 2 left & + bottom panels, Madho Singh Museum, Kota; copy with
Bhāṣā, Gujarati right; 1 + 1 9 footprints below chart minor variations in private collection in

331
ID# Affiliation Language Grid (C x R) Add. Squares Snakes Ladders Add. Illustrations Add. Text Other
below Germany
*Ja84#24c Jaina Vernacularized 9 x 9 1+2+1+1 9 6 Same as Ja84#24b with minor variations Side and Colophon dating chart to before Ja84#24b on
Sanskrit, Braj above; 2 left & + bottom panels which it is based clearly indicates forgery;
Bhāṣā right; 1 + 1 9 footprints offered for sale together with two stick dice,
below 4 x 4 playing pieces in the form of spiritual
teachers (tīrthaṅkara) sitting in pavilions
(chatrī) with metal rings above, and a stick to
insert through the rings and lift the pieces;
offered for sale by the same middleman who
arranged the sales of the apparently forged
Va72#30a-q charts; a second copy with
brighter colors and modern-looking imagery
also offered for sale; documentation based
on partial images
Ja84#25 Jaina - 9x9 1+3+1+1 9 7 (2 connected) Additional top and side squares embedded - Faintly traced sketch with only the ladders
above; 2 left & within architectural structure with pavilions and a single snake filled in with color; some
right; 1 + 2 (chatrī) and flags extending across top row; ladders erased and repositioned; horizontal
below crescent-shaped place of liberated souls lines for writing clearly visible in bottom
(īṣatprāgbhāra) located above panel; uninscribed; possibly from an artist's
sketchbook
Ja84#26 Jaina Vernacularized 9 x 9 1+3+1+1 9 7 (2 + 2 + 2 Crescent-shaped place of liberated souls Right side and Folkish style
Sanskrit, Braj above; 2 left & connected) (īṣatprāgbhāra) above additional top squares bottom panels
Bhāṣā right; 1 below + flanked by two divine kings (indra) or
10 footprints spiritual teachers (tīrthaṅkara) sitting in
grassy landscape; Gaṇeśa leans against a
royal cushion (gaddī) on the far right; side
panels decorated with simple geometric
designs; patterned border surrounds chart
and extends across top of main grid
Ja84#27 Jaina Vernacularized 9 x 9 1+3+1+1 9 6 (3 connected) Additional top and side squares embedded Top left, -
Sanskrit, Braj above; 2 left & + within pavilions (chatrī) with flags; rainbow- bottom panel
Bhāṣā, Raja- right; 1 below 23 footprints like crescent-shaped place of liberated souls
sthani (īṣatprāgbhāra) located above; roof terrace
with railings extend across top row;
foundational structure visible below main
grid; small circles (nigoda) in bottom row
square; border with red rosettes
Ja84#28 Jaina Vernacularized 9 x 9 (inside 9 x 1 + 3 + 1 + 1 9 5 (3 connected) Additional top squares embedded within Bottom panel Simple diagrammatic style; possibly sketched
Sanskrit, Braj 10 grid) above; 2 left & + circle; crescent (īṣatprāgbhāra) occupied by from unknown original
Bhāṣā, Gujarati right; 1 below 9 footprints small circles representing liberated souls
above; side squares and additional row of
empty squares above main grid embedded
within pavilions (chatrī) and flags;
unidentified ornamental figures in bottom
left and right
Ja84#29 Jaina Vernacularized 9 x 9 1+2+2+1 9 5 curved Additional top and side squares embedded Bottom panel Some snakes and ladders erased and

332
ID# Affiliation Language Grid (C x R) Add. Squares Snakes Ladders Add. Illustrations Add. Text Other
Sanskrit, Braj above; 2 left & ladders within architectural structure with pavilions repositioned
Bhāṣā, right; 1 below + (chatrī) and flags extending across top row;
Rajasthani 9 footprints crescent-shaped place of liberated souls
(īṣatprāgbhāra) located above;
superstructure flanked by two large
pavilions set against night sky with flocks of
long-legged and long-necked flying birds;
legend in right side square obscured by
rosette; side panels decorated with potted
cypress trees above a king leaning against a
royal cushion (gaddī) on the left, and a queen
on the right; trees and flowers in bottom
panel; floral border with pink rosettes
*Ja84#30 Jaina Vernacularized 9 x 9 (10 sqs. in 1 + 3 + 1 + 1 9 6 curved Main grid represents body of cosmic man Title at top, top Folkish style; possible forgery based on
Sanskrit two bottom above; 1 below single lines (lokapuruṣa), with additional squares right, bottom Ja84#24ab and/or Ja84#31ab
rows) + embedded within his head; crescent-shaped panel
10 footprints place of liberated souls (īṣatprāgbhāra)
located above; no arms visible at sides;
narrow column of unnumbered squares
extending from head down to feet
protruding below main grid; "c"-shaped line
with dot in center in top left, and moon in
top right; grid and chart bordered by three
lines in green, yellow, and red
Ja84#31a Jaina Vernacularized 9 x 9 2+2+1+1 9 6 Main grid represents body of cosmic man Title at top, top Additional text below chart repeats all
Sanskrit, Hindi above; 2 left & + (lokapuruṣa), with additional top squares left and right, square inscriptions without the
right; 1 below 9 footprints embedded within his heavily ornamented side panels, abbreviations employed in the squares
shoulders, neck, and head; crescent-shaped bottom themselves; additional verse with colophon
place of liberated souls (īṣatprāgbhāra) identical with same on Ja84#14; possibly a
located above; five flying palaces (vimāna), later adaptation of Ja84#24ab
two domes, a human-faced sun, and the
moon surround the cosmic man's head
within an arched frame; another arched
frame to the left shows full-bodied version of
the cosmic man standing with arms akimbo
under a parasol (chatra); another arched
frame to the right shows the wheel of time
(kālacakra) divided into twelve sections and
situated under a parasol; side squares
embedded within pavilions (chatrī) with
temple tops in background; story of the six
men, the rose-apple tree, and the theory of
karmic stains (leśyā) illustrated in left side
panel; story of Madhubindu blinded by
desire for a drop of honey illustrated in right
side panel; bottom right square shows a stick
die and four dome-shaped pawns; arches in
all central column squares; floral border

333
ID# Affiliation Language Grid (C x R) Add. Squares Snakes Ladders Add. Illustrations Add. Text Other
surrounds chart and individual squares
Ja84#31b Jaina Vernacularized 9 x 9 2+2+1+1 9 6 Similar to Ja84#31a, with four "flying" Title at top, Based on Ja84#31a
Sanskrit, Hindi above; 2 left & + squares replacing the five flying palaces, and side panels
right; 1 below 9 footprints a more diagrammatic representation of the
full-bodied cosmic man and the wheel of
time in the top left and right frames; die and
pawns in bottom right square missing
Ja84#31c Jaina Vernacularized 9 x 9 2 + 2 + 1 above; 9 6 Simplified version of Ja84#31a without the Title at top, Based on Ja84#31ab; written in Gujarati
Sanskrit, 2 left & right; 1 full-bodied cosmic man, the wheel of time, bottom panel script; documentation based on low quality
Gujarati below and the arches in the central column; the image
narrative paintings in the side panels
replaced with trees; a floral arch added
above the main grid, and two pairs of toes
below
Ja84#32 Jaina Vernacularized 9 x 9 1+1+2+1+1 9 6 straight Main grid represents body of cosmic man Top left and Documentation based on low quality black-
Sanskrit? above; 2 left & parallel lines (lokapuruṣa), with additional squares right, side and-white image
right; 1 below + embedded within his head, arms, and feet; panels
8 footprints he stands in the kāyotsarga pose of
meditation with bald head, big mustache,
bracelets, and anklets; crescent-shaped place
of liberated souls (īṣatprāgbhāra) located at
top of his forehead; side squares further
embedded within pavilions (chatrī); domes
and flags above top row; black ravens,
snakes, and scorpions in bottom panel
square
Ja84#33 Jaina Vernacularized 9 x 9 (inside 11 1 + 3 + 1 above; 9 6 Additional top squares embedded within Side panels Superstructure reminiscent of Ja84#3ab; one
Sanskrit, x 10 grid) 2 left & right; 1 pillar-like structure topped by parasol ladder erased and repositioned
Gujarati below (chatra) and dome with crescent-shaped
place of liberated souls (īṣatprāgbhāra)
inside; flanked by two unidentified spiritual
teachers (tīrthaṅkara) sitting on low seats
with snakes underneath
Ja84#34 Jaina Vernacularized - - - - - Rules and Described in unpublished manuscript (JBRR,
Sanskrit, Braj commentary Jeṭhābhāī 1977/78); only includes legends for
Bhāṣā, Gujarati 82 squares (apparently omitting sqs. 44,45);
chart not illustrated in manuscript
Ja84#35 Jaina Vernacularized 9 x 9 1+3+1+1 9 6 straight Additional top squares embedded within Top left and Row titles in right side panel; snakes and
Sanskrit, Braj above; 2 left & parallel lines architectural structure with topmost square right, right side ladders reminiscent of Ja84#3ab;
Bhāṣā? right; 1 below (2 connected) divided into five frames with a differently panel, bottom architectural superstructure reminiscent of
colored spiritual teacher (tīrthaṅkara) in left Ja84#53,54; documentation based on low
each; flanked by stylized clouds with winged quality image
female figures (vidyādharī?); domes above
top row squares; small circles (nigoda) in two
bottom row squares; two concentric floral
borders with red and green rosettes

334
ID# Affiliation Language Grid (C x R) Add. Squares Snakes Ladders Add. Illustrations Add. Text Other
surround main grid and whole chart
Ja84#36 Jaina Vernacularized 9 x 9 1+3+1+1 9 6 straight Topmost additional square embedded within Bottom panel -
Sanskrit, Braj above; 2 left & parallel lines crescent-shaped place of liberated souls
Bhāṣā, Gujarati right; 1 below (īṣatprāgbhāra); pattern of small circles
(nigoda) in bottom right square
Ja84#37 Jaina - 9x9 1 + 3 + 1 above; - 6 straight Domes above top row squares and additional - Unfinished chart without snakes and legends
2 left & right; 1 single lines top and side squares
below (3 connected)
+
10 footprints
Ja84#38 Jaina Vernacularized 9 x 9 2 + 3 + 1 above; 9 5 Main grid represents body of cosmic man Top left and -
Sanskrit, Braj 2 left & right; 1 + (lokapuruṣa) with his ornamented arms right, bottom
Bhāṣā below 9 footprints hanging down from additional side squares left
in the kāyotsarga pose of meditation, and
feet protruding below; additional top and
side squares embedded within architectural
structure with pavilions (chatrī) and flags
extending across top row; crescent-shaped
place of liberated souls (īṣatprāgbhāra)
located above; scenes of hellish torture in
bottom panel squares; floral border with red
and blue rosettes
*Ja84#39 Jaina Vernacularized 9 x 9 1+3+1+1 9 6 curved Additional top squares embedded within Top left and Apparent forgery painted in late 15th-
Sanskrit; other above; 1 ladders (3 con- architectural structure with temple tops and right, side century western Indian style (Topsfield
languages? bottom left nected) flags, rooms with divine kings (indra) and panels, 2006a: 150, fn. 28); probably based on
+ attendants, and a crescent seated with commentary Ja84#12a with which it shares several
10 footprints liberated souls (īṣatprāgbhāra) above; a inside squares stylistic and linguistic features; the artist
peacock stands on each side of the crescent, apparently forgot to add the side squares as
with the moon above the left one, and the revealed by the fact that the sequential
sun above the right one; a parasol (chatra) numbering skips over nos. 56 (left side
hangs between them under stylized clouds; square) and 66 (right side square)
superstructure flanked by two figures
blowing conches above, and two figures
cupping their hands below; two four-armed
figures sit on low thrones under parasols at
the far left and right, haloed by moon and
sun, respectively; background filled with
symbols and objects, including two mystical
diagrams (yantra); each side panel divided
into five frames with a text passage at the
top, then a divine king, then another text
passage, then a dancing woman, and finally
an elephant; small pavilion (chatrī) in sq. 2
(cār lākh nārkī); various objects, symbols,
divine kings, and scenes of torture in bottom
panel squares; floral border with yellow or
golden flowers

335
ID# Affiliation Language Grid (C x R) Add. Squares Snakes Ladders Add. Illustrations Add. Text Other
Ja84#40 Jaina Vernacularized 9 x 9 1+3+1+1 9 6 straight Topmost additional square embedded within Right side The six final squares in the top row (sqs. 79-
Sanskrit, Braj above; 2 left & single lines crescent-shaped place of liberated souls panel, bottom 84) left uninscribed
Bhāṣā right; 1 bottom + (īṣatprāgbhāra); superstructure flanked by
left 18 footprints flags and faintly traced temple tops; two top
row squares decorated with white center
surrounded by blue border
Ja84#41 Jaina Vernacularized 9 x 9 3 + 3(?) + 1(?) 9 finny fish 6 curved single Additional top and side squares embedded Right side and Top of chart, possibly including crescent-
Sanskrit, Braj above; 2 left & lines (3 con- within architectural structure with pavilions bottom panels shaped place of liberated souls
Bhāṣā right; 1 bottom nected) (chatrī) and flags; short flights of stairs (īṣatprāgbhāra), obscured by frame; seven
left + connect main grid to superstructure; flanked finny fish replacing snakes have dog-like
24 footprints by two big flowers with a bird (goose?) heads, possibly indicating sea-monsters
sitting on each (makara); possibly a variant of Ja84#43,45 (cf.
Ja84#2); documentation based on low quality
image
Ja84#42 Jaina Vernacularized 9 x 9 (inside 11 1 + 3 + 1 + 1 9 7 straight Additional top and side squares embedded Top right, Some snakes erased and repositioned
Sanskrit, Braj x 10 grid) above; 2 left & parallel lines within architectural structure with pavilions bottom panel
Bhāṣā, Gujarati right; 1 bottom (2 connected) (chatrī) and sketched flags; crescent-shaped
left + place of liberated souls (īṣatprāgbhāra)
9 footprints located above; superstructure flanked by two
tall trees with flowers, two winged women
(vidyādharī?) blowing horns, and two four-
armed divine kings (indra) in aerial cars; car
on the left shaped like a horse, and car on
the right like a lion; king in car on the right
blowing horn; small circles (nigoda) in
bottom row square
Ja84#43 Jaina Vernacularized 9 x 9 1(?) + 3 + 1 (+ 9 finny fish 6 curved single Additional top and side squares embedded Bottom panel Finny fish replacing snakes have dog-like
Sanskrit, Braj 1?) above; 2 lines (3 con- within architectural structure with pavilions heads, possibly indicating sea-monsters
Bhāṣā left & right; 1 nected) (chatrī) and flags under stylized clouds; (makara); possibly a variation of Ja84#41,45
bottom left + superstructure flanked by two elephants (cf. Ja84#2); documentation based on low
9 footprints with mahouts equipped with guns or quality image
telescopes; two peacocks perched on top of
flagpoles extending from side squares; torn
flap in top center likely obscures crescent-
shaped place of liberated souls
(īṣatprāgbhāra)
Ja84#44 Jaina - 9x9 2+2+1+1 8 2 Topmost additional square embedded within - Numbered squares without legends;
above; 2 left & + crescent-shaped place of liberated souls probably unfinished as indicated by lack of
right; 1 bottom 8 footprints (īṣatprāgbhāra) flanked by two large intersectional rosettes above third row;
left flagpoles with banners; mahout sits on documentation based on low quality image
seven-trunked elephant (Airāvata?) on the
far right; side squares embedded within
pavilions (chatrī); rosettes around
intersections between squares in bottom
three rows
Ja84#45 Jaina Vernacularized 9 x 9 1 + 3 + 1 above; 9 finny fish 6 curved single Additional top and side squares embedded Bottom panel Finny fish replacing the snakes have dog-like
Sanskrit, Braj 2 left & right; 1 lines within architectural structure with pavilions heads, possibly indicating sea-monsters

336
ID# Affiliation Language Grid (C x R) Add. Squares Snakes Ladders Add. Illustrations Add. Text Other
Bhāṣā? bottom left + (chatrī) and flags; background filled in with (makara); possibly a variation of Ja84#41,43
8 footprints blue (cf. Ja84#2); documentation based on low
quality image
*Ja84#46 Jaina Vernacularized 9 x 9 1+3+1+1 9 6 (2 connected) Additional top and side squares embedded Bottom panel, Possible forgery with top panel illustrations
Sanskrit, Braj above; 2 left & + within architectural structure with pavilions bottom of Candra and Sūrya adapted from Ja84#12a;
Bhāṣā? right; 1 bottom 26 footprints (chatrī) and flags; superstructure flanked on several other illustrations and features
left the left by Candra in the form of a man reminiscent of Ja84#22 (another possible
riding an antelope, and on the right by Sūrya forgery); documentation based on low
in the form of a man riding a seven-headed quality image
horse; crescent-shaped place of liberated
souls (īṣatprāgbhāra) like an inverted
rainbow above; side panels decorated with
flowers, a divine queen (indrāṇī) on the left,
and a divine king (indra) on the right; arches
in central column and additional top
squares; floral border with red and yellow
rosettes
Ja84#47 Jaina Vernacularized 9 x 9 1+3+1+1 9 6 Additional top and side squares embedded Below chart Documentation based on low quality image
Sanskrit? above; 2 left & + within architectural structure with pavilions with distorted colors
right; 1 bottom 26 footprints (chatrī) and flags; crescent-shaped place of
left liberated souls (īṣatprāgbhāra) located
above; crescent flanked by two divine kings
(indra) holding chowries; superstructure
flanked by two two-storied palatial
structures with pavilions at sides and on top,
further flanked by two divine kings (indra);
two kings (rāja) standing on grassy ground in
side panels; floral ornamentation in bottom
left and right corners; floral border with red
and green rosettes
*Ja84#48 Jaina Rajasthani 9x9 1+3+1+1 9 7 straight Additional top and side squares embedded Bottom right Numbered squares without legends; lack of
above; 2 left & parallel lines within architectural structure with pavilions legends and addition of colophon to an
right; 1 left of (4 connected) (chatrī) and flags extending across top row; apparently unfinished chart may indicate
bottom row + line extends left and right from roof of forgery
24 footprints superstructure, creating an extra panel
above with grassy ground under stylized
clouds with crescent-shaped place of
liberated souls (īṣatprāgbhāra) in center;
superstructure flanked by male figures
blowing horns; a tree in each side panel;
small circles (nigoda) in bottom left sq. 1;
plain yellow border surrounded by floral
border with red and blue rosettes
*Ja84#49 Jaina Vernacularized 9 x 9 1 + 3 + 1 + 1; 2 13 7 orange Additional top and side squares embedded Top left, Simple diagrammatic style; only known Jaina
Sanskrit, Braj left & right; 1 snakes within pavilions (chatrī) bottom chart replacing ladders with snakes (cf.
Bhāṣā bottom left + Va72#3,17,19-25); confused organization of
9 footprints legends, borrowings from Vaiṣṇava charts,

337
ID# Affiliation Language Grid (C x R) Add. Squares Snakes Ladders Add. Illustrations Add. Text Other
and substitution of positive snakes for
ladders may indicate forgery
Ja84#50 Jaina Vernacularized 9 x 9 1+3+1+1 9 6 or 7 straight Two lines of leafy scrolls form crescent- Right side and Simple diagrammatic style; row titles in right
Sanskrit? above; 2 left & single lines shaped place of liberated souls bottom panels side panel; structural similarities with
right; 1 bottom (īṣatprāgbhāra) above additional top Ja84#58; documentation based on low
left squares; additional side squares in the form quality black-and-white image
of right-angled triangles; small circles
(nigoda) in bottom panel
Ja84#51 Jaina Vernacularized 9 x 9 1+3+1+1 9 6 Additional top and side squares embedded - Documentation based on low quality black-
Sanskrit? above; 2 left & within architectural structure with temple and-white image
right; 1 bottom tops and flags extending across top row;
left superstructure flanked by Sūrya in the form
of a human-faced sun on the left, and Candra
in the form of a human-faced moon on the
right; clouds in background; floral
ornamentation in side panels; layered soil in
bottom panel with plants growing on the far
left and right; floral border
Ja84#52 Jaina Vernacularized - - - - Arches in all visible squares; small circles - Similarities in visual design and legends
Sanskrit (nigoda) in bottom panel indicate a close relationship with Ja84#18;
documentation based on black-and-white
image of bottom left corner
Ja84#53 Jaina Vernacularized 9 x 9 1+3+1+1+5 9 6 (3 connected) Additional top and side squares embedded Top, bottom Row titles in left side panel; possibly a
Sanskrit, above; 2 left & + within architectural structure with pavilions variation of Ja84#54, or vice versa; cf. Ja84#35
Rajasthani right; 1 bottom 14 footprints (chatrī) and flags extending across top row;
left seven sets of three yellow dots, possibly
representing the threefold path to liberation,
located above; geometric pattern with
triangles and dots in side and bottom panels;
small circles (nigoda) in bottom panel
Ja84#54 Jaina Vernacularized 9 x 9 1+3+1+1 9 6 parallel lines Additional top and side squares embedded Left side panel, Row titles in left side panel; possibly a
Sanskrit above; 2 left & (3 connected) within architectural structure with pavilions bottom variation of Ja84#53, or vice versa;
right; 1 bottom + (chatrī) and flags extending across top row; documentation based on low quality image;
left 15 footprints small circles (nigoda) in bottom panel cf. Ja84#35
Ja84#55 Jaina Vernacularized 9 x 9 1+3+1+1 9 6 (2 connected) Additional top and side squares embedded Top Possibly unfinished as indicated by sketched
Sanskrit above; 2 left & + within pavilions (chatrī); crescent-shaped figures in bottom panel squares
right; 1 bottom 8 footprints place of liberated souls (īṣatprāgbhāra)
left located above; faintly traced scenes of hellish
torture in bottom panel; floral border with
red and blue rosettes
Ja84#56 Jaina Vernacularized 9 x 9 1 + 3 + 1 + 1 + 1 9 snakes with 7 (2 connected) Additional top and side squares embedded Top left and Folkish style
Sanskrit, Braj above; 2 left & split tails + within pavilions (chatrī) with flags; crescent- right, side and
Bhāṣā, Gujarati right; 1 bottom 13 footprints shaped place of liberated souls bottom panels,
left (īṣatprāgbhāra) located above; crescent back of chart
supports circle with further crescent inside;
superstructure bordered by geometric

338
ID# Affiliation Language Grid (C x R) Add. Squares Snakes Ladders Add. Illustrations Add. Text Other
pattern on the left, and floral pattern on the
right; divine queen (indrāṇī) in left side
panel, and divine king (indra) in right side
panel; triangles and dots in top and right
borders, wavy lines in bottom border, and
floral ornamentation in left border
Ja84#57 Jaina Vernacularized 9 x 9 1 + 3 + 1 above; 9 6 Additional top squares embedded within Bottom panel Documentation based on a single viewing;
Sanskrit, Braj 2 left & right; 1 architectural structure; four-armed divine photographic reproduction not available
Bhāṣā? bottom left kings (indra) in top and side squares; two
four-armed divine kings above each side
square
Ja84#58 Jaina Vernacularized 9 x 9 1+3+1+1 9 6 (3 connected) Additional top squares embedded within Right side Sketched in Girdhārī Lāl (n.d.), possibly as
Sanskrit above; 2 left & geometric structure; crescent-shaped place panel seen during a visit to a religious institution in
right; 1 bottom of liberated souls (īṣatprāgbhāra) supporting Ajmer whose floor-plan is sketched on the
panel topmost square embedded within pavilion previous page of the notebook; structural
(chatrī); additional side squares in the form similarities with Ja84#50
of right-angled triangles; small circles
(nigoda) in bottom panel

Differently Sized Jaina Charts

ID# Affiliation Language Grid (C x R) Add. Squares Snakes Ladders Add. Illustrations Add. Text Other
Ja95#1 Jaina Vernacularized 9 x 10 (inside 5 + 1 above; 10 21 24 twisting Additional top squares form step-like - Simple diagrammatic style; possibly sketched
Sanskrit 10 x 12) in extra right- ladders and structure with mixture of traced and fully from unknown original; unnumbered 10th
side column curved single drawn flags; crescent-shaped place of column with snakes, ladders, and legends on
lines liberated souls (īṣatprāgbhāra) located the right (possibly a mistake from before the
above; arches in central column and most grid was numbered)
squares in the top half of the chart
Ja156#1 Jaina Vernacularized 13 x 12 (inside 1+3+1+1 13 4 twisting Additional top squares embedded within Back of chart -
Sanskrit 13 x 13) above; 1 parallel lines triple-domed pavilion (chatrī) with flags;
bottom left single line traces large dome in background;
left side panel painted yellow, and right side
panel painted blue; row of empty squares in
bottom panel painted in alternating colors

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Advaita Vedānta Charts
108-Square Advaita Vedānta Charts

ID# Affiliation Language Grid (C x R) Add. Squares Snakes Ladders Add. Illustrations Add. Text Other
Ad108#1a Advaita Sanskrit 9 x 11 5 + 3 + 1 above; 42 20 Additional top squares form pyramidal Back of chart Several misplaced top squares crossed out;
Vedānta 4 below structure with carefully traced dome above (English) written in Gujarati script; snakes and ladders
each step arranged symmetrically
Ad108#1b Advaita Sanskrit 9 x 11 5 + 3 + 1 above; 42 22 Additional top squares form pyramidal - Simple diagrammatic style; sketched from
Vedānta 4 below structure with dome above each of the three unknown original similar to Ad108#1a;
topmost steps snakes and ladders arranged symmetrically
except for the two topmost ladders
Ad108#2 Advaita Sanskrit, 9 x 11 5 + 3 + 1 above; 42 (green) 23 (red) Additional top squares form pyramidal Bottom panel Snakes and ladders arranged symmetrically;
Vedānta, pan- Russian 3 below structure encapsulated by floral-bordered based on chart published in book (possibly
Hinduism dome set against starry night sky with divine Hi108#1b in Devdhar 1905) according to
light spilling down from above; flanked by Sergey Moskalev (pers. comm.)
two domed structures with floral patterns on
pillars and roofs; detailed floral patterns in
side panels; top of a Buddhist wheel of life
(saṃsāracakra), indicating the first square of
the chart (sq. 0), visible below the main grid,
and surrounded by a golden pattern on a
blue background; squares colored yellow,
brown, and gray in symmetric design
Ad108#3 Advaita Sanskrit, 9 x 11 5 + 3 + 1 above 12 12 Additional top squares form pyramidal - Sketched from unknown original; some
Vedānta English structure legends transliterated in Roman script,
others translated into English

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Ṣūfī Charts
100-Square Ṣūfī Charts

ID# Affiliation Language Grid (C x R) Add. Squares Snakes Ladders Add. Illustrations Add. Text Other
Ṣū100#1a Ṣūfī Perso-Arabic, 10 x 10 1 above 13 17 Additional top square embedded within Top right, back Legends written in Persian and English;
English central archway of five-arched late Mughal of chart unnumbered squares; rules description on
mosque with multiple domes, pavilions back of chart
(chatrī), and pinnacles (guldasta)
Ṣū100#1b Ṣūfī Perso-Arabic, 10 x 10 1 above 13 17 Same as Ṣū100#1a, though more attractively Top, bottom Based on Ṣū100#1a; probably later version
English painted from same workshop (Topsfield 2006a: 153);
legends and rules written in Persian and
English; unnumbered squares
Ṣū100#2 Ṣūfī Perso-Arabic 10 x 10 1 above 11 (white) 16 Additional top square embedded within - Unnumbered squares
single archway of late Mughal mosque with
domes and pinnacles (guldasta); floral
border
Ṣū100#3 Ṣūfī Perso-Arabic 10 x 10 1 above 10 13 red worms Additional top square in the form of seven Museum Unnumbered squares
or snakes concentric half-circles alternating between plaque
black and red, possibly representing the
seven heavens; legends written in white
circles inside red squares
Ṣū100#4a Ṣūfī Arabic 10 x 10 - 9 chains w/ 8 arrows - - Simple diagrammatic style; sketched from
grappling unknown original; published together with
hooks an extensive commentary
Ṣū100#4b Ṣūfī Ottoman 10 x 10 1 above 9 chains w/ 8 arrows Main grid and additional top square Title at top Based on Ṣū100#4a; documentation based on
Turkish grappling bordered by unbroken chain; entire chart low quality image with cut-offs at top and
hooks embedded within archway bottom
Ṣū100#5 Ṣūfī Perso-Arabic 10 x 10 1 above 10 15 Additional top square embedded within - Unnumbered squares; one snake outlined
single archway of late Mughal mosque with but not colored
one dome and two pinnacles (guldasta)
Ṣū100#6a Ṣūfī Ottoman 10 x 10 1 above 13 13 arrows Wreath of flowers arching above main grid Title at bottom, Unnumbered squares; reproduced with
Turkish and additional top square, culminating in bottom left commentary in Moskalev 2014; republished
three-quarter circle with early 20th-century in Arabic and Turkish as Osmanlı Satrancı
Ottoman emblem in center; border with (chess of the Ottomans) by Köprü Dağitim
geometric pattern surrounds main grid; (Istanbul, undated) with legends switched
additional top square and central inscription across central vertical axis in accordance
below main grid flanked by floral with boustrophedon numbering beginning at
decorations bottom right instead of bottom left; all rows
numbered from right to left in further
reproduction of unknown origin inscribed in
Arabic and second unidentified language
Ṣū100#6b Ṣūfī Ottoman 10 x 10 1 above 11 13 arrows Additional top square forms basis of what Title at bottom Based on Ṣū100#6a; legends transliterated in
Turkish appears to be a game board with organically Roman script; unnumbered squares
shaped pawns like the bottom half of chilis

341
ID# Affiliation Language Grid (C x R) Add. Squares Snakes Ladders Add. Illustrations Add. Text Other
standing upright (possible reference to scene
from Satyajit Ray's 1977 film adaptation of
Munshi Premchand's short story Śatrañj ke
khilāḍī from 1924); faces of two bearded men
look at each other across the apparent game
board; big flowers and leaves surround sides
and bottom of grid
Ṣū100#7 Ṣūfī Ottoman 10 x 10 1 above 13 13 arrows Additional top square flanked by two Title at top Unnumbered squares
Turkish triangles of floral(?) ornamentation; main
grid flanked by empty border separating it
from additional top square
Ṣū100#8 Ṣūfī Ottoman 10 x 10 1 above 12 12 arrows Additional top square in the form of radiant - Unnumbered squares
Turkish sun flanked by two triangular decorations;
border with wavy pattern and decorative
squares in corners and mid-sections
Ṣū100#9 Ṣūfī Ottoman 10 x 10 1 above 13 (two 13 arrows Additional top square in the form of dome Title below Small arrows at far end of each row indicate
Turkish consisting of flanked by two ornamented rectangles, each direction of play beginning at bottom left;
three inter- with smaller plain rectangle above; banner unnumbered squares
twined snakes) hangs down from top with early 20th-
century Ottoman emblem; flanked by two
large squares with floral decorations;
squares containing heads and tails of the two
longest snakes, as well as squares containing
tips and tails of arrows, painted in different
colors; intersections between squares
decorated with blue circles outlined by
golden crescent moons below; floral border
with rosettes in corners
Ṣū100#10 Ṣūfī Perso-Arabic 10 x 10 1 above 14 15 Additional top square embedded within Top, bottom Unnumbered squares; now stamped with
central archway of seven-arched late Mughal British Museum seal at top
mosque with multiple domes and pavilions
(chatrī); flanked by two tall minarets; floral
border with rosettes along sides and bottom

Differently Sized Ṣūfī Charts

ID# Affiliation Language Grid (C x R) Add. Squares Snakes Ladders Add. Illustrations Add. Text Other
Ṣū362#1 Ṣūfī Perso-Arabic Two 19 x 9 2 x 10 (central 2 x 13 2 x 19 Main grid consists of upper and lower part Top, sides, Each part of the two-part grid also includes
grids separated square shared mirroring each other in reverse; parts bottom 19 butterflies, 14 circles, and two birds
by row of by both grids) separated by floral border, and joined in whose game mechanical function, if any, is
additional central square with glowing sun; elaborate unknown
squares floral border broken up by centrally located
inscription on each side

342
Unidentified Charts

ID# Affiliation Language Grid (C x R) Add. Squares Snakes Ladders Add. Illustrations Add. Text Other
??256#1 - - 16 x 16 4 above 26 9 Additional top squares embedded within - Simple diagrammatic style; possibly sketched
pavilions (chatrī) indicated by a slanted roof from unknown original; only legends in a
above two concentric squares and flags at few squares; documentation based on low
the sides; wavy lines across top row may quality image
indicate stylized roofs of domes or pavilions
(chatrī)

343
 Appendix B
Typology

The typology presented below organizes the charts documented in Appendix A into
main groups based on religious affiliation and number of squares, and further
subdivides the main groups into types based on critical readings and available
provenance information. The criteria of religious affiliation should be understood in a
general sense, as it does not attempt to identify specific sects within the overall
religious groups. Likewise, the number of squares only includes the sequentially
numbered squares within the main playing grid without reference to the number and
position of additional top squares which may vary between charts within the same
group. The subdivision into types is largely heuristic, as the dividing lines between
them can rarely be determined unambiguously.

The appendix first presents a tabular overview of the typology, and then goes on to
provide a brief description of each chart type. The descriptions are general in nature,
and variations may occur on individual charts within the different groups and types.

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Religion Squares Type Area No. of Charts
Vaiṣṇava 72 a Western and north 22 + 1 variant
India
b Maharashtra 2 + 1 variant
c Nepal 7
Miscellaneous - 5 + 18 variants
84 a Rajasthan, Punjab 3
Hills
b Rajasthan 2 + 1 variant
c Maharashtra 3
d Maharashtra 2 + 1 variant
Miscellaneous - 2
342 a Punjab Hills 7
Other sizes Miscellaneous - 11
Jaina 84 a1 Rajasthan, Gujarat 29 + 1 variant
a2 Rajasthan, Gujarat, 4 + 4 variants
Maharashtra
a3 Gujarat 2
b Rajasthan, Gujarat 11 + 1 variant
Miscellaneous - 12
Other sizes Miscellaneous - 2
Ṣūfī 100 a North India 5 + 1 variant
b Turkey 4 + 1 variant
c Syria, Turkey 1 + 1 variant
Other sizes Miscellaneous - 1
Advaita Vedānta 108 a Gujarat, 2 + 1 variant
Maharashtra
b Gujarat 1
Unidentified 256 - - 1

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Appendix B1: Vaiṣṇava Charts
72 Squares
72-square Vaiṣṇava charts constitute the second-most numerous group of charts, and
the most geographically widespread. They consist of a grid with 8 rows and 9 columns.
The sequential numbering begins in the bottom left corner (janma, birth, sq. 1), and
ends in the top left corner (tamoguṇ, quality of inertia, sq. 72), with the winning square
located in the central square of the top row (vaikuṇṭh, Viṣṇu's heaven Vaikuṇṭha, sq.
68). The winning square can be reached directly from the highest positioned ladder in
the leftmost column in the third row from the top (bhakti, devotion, sq. 54). The charts
have an average of 10 snakes and 10 ladders, with a few notable exceptions mentioned
below (types b and d). In some cases, one or more squares have been added above the
grid, relocating the winning square to a higher position.

Type a (Western and North India)

Charts: Va72#1,2,3,4ab,5,6,7,8,9,10,11,13,15,17,18,26a,27,28,29,31,32,33

The type a charts are discussed in detail in chapter four. It should, however, be noted
that Va72#3,17 show several affiliations with the type c charts, indicating influence
from Nepalese charts. The influences include a lower number of ladders, the
replacement of ladders with benign red and orange snakes, and a few shared variant
readings (sqs. 12,35,42,65). It should also be noted that Va72#31,32 share some variant
readings (sqs. 1,6,17,20; cf. sqs. 36,37) with the presumably later and more folkish
Va72#12ab (see Miscellaneous below). Va72#31,32, together with Va72#27, also change
the sequential numbering in the top left corner of the charts, causing bhakti (devotion,
sq. 54) and vaikuṇṭh (Vaikuṇṭha, sq. 68) to become the final two squares of the track
(see the full transcriptions in Appendix C1).

Type b (Maharashtra)
Charts: Va72#14ab,16

The type b charts are the only 72-square Vaiṣṇava charts to originate in Maharashtra,
and appear to represent a minor local variant. They mostly follow the type a charts,
but also include a few unique features, such as an alternative placement of snakes and

346
ladders, and a few variant readings (sqs. 30,45,50). A Maharashtrian tradition
attributes the invention of 72-square Vaiṣṇava charts to the 13th-century poet-saint
Jñāneśvar's younger brother Sopāndev (Pārakh 1886: 199), but this merely seems to be
an extension of an earlier tradition attributing the invention of 84-square Vaiṣṇava
charts to Jñāneśvar himself (e.g. KK 241).

Type c (Nepal)
Charts: Va72#19,20,21,22,23,24,25

The type c charts are the only type of gyān caupaṛ charts found in Nepal. They are
attractively painted with colored squares, top panels showing Viṣṇu flanked by
Brahmā and Śiva, and in some cases include illustrations of deities in individual
squares. The iconography is mainly Hinduistic, but an undercurrent of Buddhist
influence is clearly visible, reflecting the diverse religious landscape of the Kathmandu
Valley. The most significant deviation from other 72-square Vaiṣṇava charts is the
substitution of red, orange, and white snakes for ladders, a feature otherwise only
found on a few other charts (Va72#3,17, Va84#12, Ja84#49; cf. Ṣū100#3). The charts also
include several variant readings, some of which appear to be the result of regional
influence (e.g. the sacred Nepalese mountain Annapurna and the corresponding deity
Annapūrṇā in sq. 42 on Va72#20,22, respectively; cf. Va72#23). Local names for the
charts include nāgpāś (snake-trap, snake-dice) and vaikuṇṭh khel (game of Vaikuṇṭha)
(Shimkhada 1983: 317; cf. Lobsiger-Dellenbach 1954: 36, no. 163).

Miscellaneous
Charts: Va72#12ab,26b,30abcdefghijklmnopq,34,(35),(36)

Va72#12ab appear to represent a later and more folkish version of the type a charts,
combining religious terminology with worldly matters, such as the gifting of cows
(gaūdān, sq. 46) and sexual intercourse with the wives of others (parnārī maithun, sq.
55). They add Kṛṣṇa's heaven Goloka (world of cows) to the top squares alongside the
usual realms of Brahmā, Viṣṇu, and Śiva, and may have been further influenced by
Va72#31,32 with which they share some variant readings (sqs. 1,6,17,20; cf. sqs. 36,37).

Va72#26b,34 are the only charts that refer explicitly to the cakra system of the subtle
body in the central column of squares, revealing a tantric and yogic influence that is

347
only implied on other 72-square Vaiṣṇava charts. Va72#26b is an otherwise faithful
adaptation of Va72#26a, which is itself a redesign by Harish Johari of an allegedly mid-
19th-century chart (2007: 2), while Va72#34 adds several unique features and legends.
It draws the snakes and ladders like lines described as the energy channels (nāḍī) of
the subtle body, and refers to the squares as the cavities or compartments (koṣṭha) of
the same. It also includes four hell squares below the main grid, and prescribes the use
of a stick die inscribed with the four goals of human existence (puruṣārtha): dharma
(righteousness), artha (wealth), kāma (pleasure), and mokṣa (liberation). Finally, it
invokes the concept of the sadguru, or true guru, often associated with bhakti poet-
saints.

Va72#30a-q appear to be a series of forgeries based on the 72-square Vaiṣṇava type a

charts. Several of the charts carry colophons identifying the place of production as
Siriyari in the Marwar region of Rajasthan, close to the town of Deoghar which has a
thriving antiques market especially aimed at foreign tourists. Siriyari is also the place
where the founder of the Śvetāmbara Terāpantha sect Ācārya Bhikṣu (1726-1803) is
said to have attained samādhi, or final liberation from the body, which may account for
the influence of Jaina iconography on several of the charts.

The charts listed in parentheses have only been made available in incomplete
transcriptions (Va72#35) or single viewings (Va72#36) that did not allow for close
readings or identification by type.

84 Squares
84-square Vaiṣṇava charts constitute the least homogeneous group of charts, and never
seem to have developed a single dominant visual design or set of legends. About half of
the charts originated in Maharashtra which is known to have spawned several other
idiosyncratic designs (cf. Va108#1ab, Va124#1, Va285#1, Va309#1, Va500#1), indicating a
region of experimentation and innovation which, however, failed to stabilize and
establish a lasting tradition. The charts consist of a grid with 9 rows and 9 columns,
with the remaining three squares added above the grid, or squeezed into it by
subdividing other squares. While the number of squares indicate influence from 84-
square Jaina charts, the legends often indicate influence from 72-square Vaiṣṇava
charts. Several charts appear to have been further influenced by Śaivism, as evidenced

348
by iconography and legends alike. This is likely due to the complex interactions
between Vaiṣṇava and Śaiva groups in especially Maharashtra (Vaudeville 1987b).

Type a (Rajasthan, Punjab Hills)

Charts: Va84#2,11,12

The 84-square Vaiṣṇava type a charts read like a slightly expanded version of the 72-
square Vaiṣṇava type a charts, and may have emerged as a response to the 84-square
Jaina charts in western India, as further suggested by the additional top squares on
Va84#2. The illustrated top panels on Va84#11,12, on the other hand, indicate influence
from the 342-square Vaiṣṇava charts from the Punjab Hills which, in turn, appear to
have been influenced by the top panels of the 72-square Vaiṣṇava type c charts from
Nepal. Whether the 84-square Vaiṣṇava type a charts from Rajasthan and the Punjab
Hills gave rise to the 84-square Vaiṣṇava types c and d charts in Maharashtra, or
whether it was the other way around, is impossible to determine at present. The only
thing we can say for certain is that they represent a hybrid design influenced by
several different kinds of charts in western India and the Punjab Hills.

Type b (Rajasthan)
Charts: Va84#1ab,6

The 84-square Vaiṣṇava type b charts depart from the usual organization of Vaiṣṇava
and Jaina charts around the central column of squares. Apart from the reading utpatti
(birth) in sq. 1, and the identification of the three additional top squares as the realms
of Brahmā, Viṣṇu, and Śiva, the legends do not appear to follow any clear
organizational scheme other than a predominance of negative legends in the lower
rows and a corresponding predominance of positive legends in the higher rows. Still,
the presence of the three inherent qualities (guṇa) of primordial matter (prakṛti) in the
leftmost squares of the second row from the top (sqs. 70-72), and the further presence
of egoity (ahaṃkār, sq. 55) directly below sq. 72, mirror the exact positions of the same
legends on 72-square Vaiṣṇava charts. It would therefore seem that the charts were
adapted from 72-square Vaiṣṇava charts by adding an extra row and three additional
squares at the top, and replacing the majority of the legends. Va84#1ab switch around
the positions of Viṣṇu and Śiva in the top squares, leaving Śiva in the central position
identified as the sacred mountain Kailāsa on which he resides. However, in order to

349
reach Kailāsa players still need to move through the central square in the top row
identified as the feet of lord Kṛṣṇa (śrī kṛṣṇa caraṇ, sq. 77). The square is illustrated
with a footprint (pādukā) on all three type b charts, hinting at a further influence from
84-square Jaina charts which employ a similar iconography in all squares of the central
column.

Type c (Maharashtra)
Charts: Va84#4,5,8

The 84-square Vaiṣṇava type c charts are exclusively found in Maharashtra, but appear
to be yet another variation over the 72-square Vaiṣṇava charts. They relocate the
cosmographical realms from the central to the rightmost column, but reverse the order
of realms from the earth (bhūlok, sq. 64) to the realm of majesty (maharlok, sq. 28),
while at the same time locating the netherworlds (pātāla) below the realm of majesty,
and retaining the realm of austerity (tapolok, sq. 84) above the earth. The main focus of
the charts is the enumeration of the five gross (mahābhūta) and subtle (tanmātra)
elements, together with the corresponding sense- and action capacities (buddhīndriya,
karmendriya), as well as several other terms relating to the Sāṃkhya system of
philosophy. The winning square above the main grid - which consists of 84 squares
squeezed into a 9 x 9 format - is either identified as liberation (mokṣ, Va84#5,8) or as
liberation in the form of the play (both ludic and erotic) of Śiva and Pārvatī on the
sacred mountain Kailāsa (mokṣ kailās mahādev pārvatī ramaṇ, Va84#4). However,
similar to the type b charts, players have to move through the central square in the top
row identified as Vaikuṇtha (sq. 80) in order to get there. The 84-square Vaiṣṇava type
b and c charts might therefore be seen as attempts at adding elements of Śaivism to the
predominantly Vaiṣṇava 72-square charts. This may - at least in the case of the type c
charts - have been occasioned by their attribution to the 13th-century poet-saint
Jñāneśvar who combined elements of Śaivism and Vaiṣṇavism (Pārakh 1886: 199). It
should also be noted that the description of a similarly attributed 84-square Vaiṣṇava
chart in the Krīḍākauśalya corresponds closely to the type c charts (KK 241-45).

350
Type d (Maharashtra)
Charts: Va84#9ab,10

The 84-square Vaiṣṇava type d charts offer a radically different play experience than
any other charts documented in Appendix A. As described in the rules written in
Marathi on the charts themselves, players begin in the bottom left corner (janma, birth,
sq. 1), and move along the track until they arrive at the ground beneath the feet of the
guru (gurupadapṛthvī, sq. 31). There they roll a die which determines which of five
different paths they are to follow: the path of yoga, action (karman), devotion (bhakti),
or knowledge (jñāna), or the path leading directly to union with the supreme deity
(soham, lit. "I am that") above sq. 31. The remaining squares of the charts detail the
stages of the paths of yoga and action which lead to heaven (devlok, sq. 74), the path of
devotion which leads to the fourth stage of liberation known as unity (sāyujya, sq. 81),
and the path of knowledge which leads to liberation on the sacred mountain Kailāsa
(mokṣ kailās, top sq. 1). The branching paths apparently substitute for ladders, leaving
only snakes to pull down the players from the paths they are currently traveling. The
type d charts are the most explicitly Śaiva in orientation, yet I have chosen to group
them together with the other Vaiṣṇava charts since they obviously derive from them
and share several readings with them. This is also borne out by their attribution to
Jñāneśvar in the colophons, similar to the 84-square Vaiṣṇava type c charts. The
identification of the central square in the top row as Vaikuṇṭha (sq. 79) further
indicates the complex relationship between Śaivism and Vaiṣṇavism in Maharashtra,
as pointed out in the introduction to the 84-square Vaiṣṇava charts above.

Miscellaneous
Charts: Va84#3, Va84#7

Va84#3 is an early example of a folkish chart written wholly in Rajasthani. Only about
a fourth of the squares carry legends, indicating that the focus was more on the game
and less on the meaning it conveyed. The legends focus on mundane actions, such as
servitude to one's mother, father, and teacher (mātāpitāguru rī sevā karai, sq. 11), and
human emotions, such as anger (krodh ro ghar, sq. 74), avoiding complex religious and
cosmological terminology. Play begins in an uninscribed square, and ends in the city of
Śiva and the Vaikuṇṭha of liberation (śivpurī chai mugt ro vaikuṇṭh chai, top sq. 1). The

351
top and bottom panels are filled with colorful illustrations, and the three additional
squares completing the 84-square track have been added in the top right above the 9 x
9 main grid. In addition to the number of squares, the rungless ladders and the
inclusion of footprints in the central column squares indicate influence from Jaina
charts. Perhaps the closest equivalent in tone, though far more traditional in design, is
the folkish Va72#12ab, also from Rajasthan.

Va84#7 is a modern-looking printed chart from Maharashtra which follows Va84#3 in

locating the three additional squares in the top right above the 9 x 9 main grid. The
chart, however, is fully inscribed, and appears to be based on a combination of 72-
square and 84-square Vaiṣṇava charts. It shares the organization of the
cosmographical realms in the central column and several key readings with the 72-
square charts, while at the same time including the four stages of liberation (mukti) in
the top right corner similar to the 84-square Vaiṣṇava type d charts.

342 Squares
The 342-square Vaiṣṇava charts are exclusively found in the Punjab Hills, from where
the only other known chart is an 84-square Vaiṣṇava type a chart (Va84#11). They
consist of two grids with 19 rows and 9 columns each, separated by a single column of
inscribed but unnumbered squares which do not seem to have been part of the playing
grid. Three squares illustrated with Brahmā, Viṣṇu, and Śiva are located above. Each
grid is numbered separately, beginning at the bottom left corner in the leftmost grid
and the bottom right corner in the rightmost grid, both labeled prārabdh, or begun,
with the additional meaning of a situation resulting from the deeds of a past life (cf.
OHED). The sequential numbering continues to the top right corner in the leftmost grid
(devlok, realm of gods, sq. 171) and the top left corner in the rightmost grid
(premlakṣaṇ, devotion characterized by affection,397 sq. 171). Snakes and ladders can
send players across the central divide between the grids, allowing them to change sides
regardless of whether they began in one or the other. The highest positioned ladders
lead from śivbhakti (devotion to Śiva, sq. 169) in the leftmost grid and from viṣṇubhakti
(devotion to Viṣṇu, sq. 169) in the rightmost grid to the shared top central winning
square indicating Vaikuṇṭha, or the heaven of Viṣṇu. The majority of legends vary

397 Cf. chapter two, verse 4, in the Jñānasamudra written by the poet-saint Sundardās (Thiel-Horstmann
1983: 123, 129).

352
between the two grids, though some are identical, such as prārabdh in sq. 1. The same
is true of the positions of the altogether 30 snakes and 21 ladders which are unevenly
distributed between the two grids.

Type a (Punjab Hills)

Charts: Va342#1,2,3,4,5,6,7

So far only a single type of 342-square charts has come forth, corresponding to the
description given above. This would seem to indicate that the charts never spread
beyond the Rajput courts of the Punjab Hills where they appear to have been invented.

Other Sizes
Charts: Va99#1,(2), Va100#1, Va121#1, Va124#1, Va163#1,2, Va167#1, Va285#1, Va309#1,
Va500#1

Contrary to the 342-square Vaiṣṇava charts which successfully established a minor

sub-tradition in the Punjab Hills, the majority of odd-sized Vaiṣṇava charts are only
known from a single copy or two. They were probably made as elaborations of existing
charts designed for a particular audience at royal courts or in sectarian religious
communities. The only known exception is Va99#1 which is a handmade copy of a
printed chart from Mumbai which might have reached a wider audience around the
turn of the 20th century.

Va99#2 listed in parentheses has only been made available in a single viewing that did
not allow for close reading or identification by type.

353
Appendix B2: Jaina Charts
84 Squares
84-square Jaina charts constitute the most numerous group of charts, though they
appear to have been almost exclusively confined to western India. They consist of a
grid with nine rows and nine columns, with the remaining three squares added at
either end of the seventh row and below the leftmost square of the first row. The
sequential numbering begins in the latter square (sāt lākh yoni nitya nigod, 700.000
birth-situations as permanent basic lifeforms, sq. 1), and ends in the top right square
(yaśodhar graiveyak, Yaśodhara neck heaven, sq. 84). Six additional squares are located
centrally above the grid, culminating in the winning square muktikṣetra (plane of
liberation). The winning square can either be reached by climbing through the top
squares one by one, or by the ladder leading from pāñc mahāvrat śubh kriyā kevaljñān
śuklaleśyā (five great vows, auspicious action, omniscience, white karmic stain) in sq.
50. The charts have 9 snakes and 5 or 6 ladders, though some charts combine three of
the ladders into a single ladder extending from sq. 7 (jñān miśra śubh pariṇām,
knowledge, mixed stage of purification, auspicious transformation) via sq. 44 (dharm
dhyān, virtuous meditation) and sq. 50 to the winning square. Each square in the
central column also includes a pair of footprints, often abstracted as tiny squares,
which allows players to move one square directly upward if they roll a "1" when
beginning their turn on them. A similar roll is required in order to ascend the ladders
(see Rules of Play in chapter five).

Type a1 (Rajasthan, Gujarat)

Charts: Ja84#3ab,4,5,7,8,9,13,16,17,18,(19),20,22,23,26,27,29,(32),33,34,36,38,40,
(50),52,53,(54),55,58

The type a1 charts are discussed in detail in chapter four. It should, however, be noted
that Ja84#20,23,29,33 adopt a few readings from the type b charts.

The charts listed in parentheses have only been made available in low-resolution
images that do not allow for close readings. Their identification as type a1 charts is
based on the few readings that I have been able to decipher.

354
Type a2 (Rajasthan, Gujarat, Maharashtra)
Charts: Ja84#14,24abc,30,31abc

The type a2 charts belong to a tradition of printed charts beginning with Ja84#24a in
the late 19th century, and including the handmade Ja84#14,24c,30,31c, all of which are
based on the printed charts. The charts are embedded within the form of the cosmic
man (lokapuruṣa), and are richly illustrated with temples, gods, narrative scenes, and
other elements of Jaina tradition. The only exception is the folkish Ja84#30 which
shares in the primitive, almost child-like, style often associated with tantric painting.
The charts are obviously based on the type a1 charts, but depart from them in several
particulars, including the enumeration of the graiveyaka heavens in the top row which
follow the list of Śvetāmbara graiveyaka heavens given by Kirfel (1920: 294).

Type a3 (Gujarat)
Charts: Ja84#1,42

The type a3 charts read like elaborated versions of the type a1 charts with more
detailed legends and a stronger influence of Gujarati language. Neither the visual
design nor the placement of snakes and ladders distinguishes them from the type a1
charts.

Type b (Rajasthan, Gujarat)

Charts: Ja84#2,6,10,11,12ab,15,21,28,39,41,56

The type b charts and their relationship to the type a1 charts are discussed in detail in
the Comparative Analysis in chapter four. A diagrammatic representation of majority
readings can be seen in fig. 71.

Miscellaneous
Charts: Ja84#25,(35),37,(43),44,(45),(46),(47),48,49,(51),(57)

Ja84#25,37,44,48 do not carry any legends, and appear to have been abandoned before
they were finished (Ja84#37,44), used as models for other charts (Ja84#25), or simply
intended as game charts without legends (Ja84#48).

Ja84#49 deviates from all other known Jaina charts, and shows distinct signs of
influence from 72-square Vaiṣṇava charts, including the cosmographical realms in the

355
central column. It is also the only known Jaina chart to substitute benign snakes for
ladders in the tradition of the 72-square Vaiṣṇava type c charts from Nepal. The
idiosyncratic and inconsistent nature of the chart indicates it as a likely forgery.

The charts listed in parentheses have only been made available in low-resolution
images or single viewings that did not allow for close readings or identification by
type.

Other Sizes
Charts: Ja95#1, Ja156#1

Contrary to the Vaiṣṇava charts, which include numerous departures from the
traditional 72-square format, only two Jaina charts are known to have experimented
with formats other than the traditional 84 squares. Both appear primitive in execution
compared to most other Jaina charts, and do not appear to have enjoyed much success.
Despite a near doubling of squares on Ja84#156, the chart manages to simplify rather
than complicate the content by reducing each legend to a single word, splitting up
multi-layered legends between two or more squares, and specifying individual items
instead of only referring to them collectively.

356
Appendix B3: Ṣūfī Charts
100 Squares
The 100-square Ṣūfī charts constitute the only group of gyān caupaṛ charts to have
spread outside South Asia. The earliest known examples originated in Delhi or Agra in
the early 19th century, from where they traveled westward into the Persian and
Ottoman empires. They consist of a grid with 10 rows and 10 columns, with a single
centrally located square added above. The squares are unnumbered, but it seems
obvious from the legends on the north Indian charts that play begins in the bottom left
corner ('adam, non-existence; walādat, birth) and continues boustrophedon to the
throne of Allah at the very top. While most charts agree on including 13 snakes, the
number of ladders vary between 8 and 17. Tradition attributes the invention of the
charts to Muḥyī al-dīn Ibn al-'Arabī (1165-1240), but this is no more convincing than
the attribution of the the Vaiṣṇava charts to the 13th-century poet-saint Jñāneśvar. The
charts are only briefly discussed in the present thesis, and await the attention of
scholars with a deeper knowledge of Ṣūfīsm and the Arabic, Persian, and Turkish
languages. Consequently, the typology set forth here should only be considered
preliminary.

Type a (North India and Persia)

Charts: Ṣū100#1ab,2,3,5,10

The type a charts are the earliest known Ṣūfī charts, ranging from the handmade
charts from early 19th-century Delhi or Ajmer (Ṣū100#1ab) to a printed chart from late
19th-century Lahore (Ṣū100#10). Discussions of Ṣū100#1ab,2 can be found in Topsfield
1985 (pp. 209-10) and 2006a (pp. 152-54), while a discussion of Ṣū100#3 can be found in
Serikov 2008.

Type b (Turkey)
Charts: Ṣū100#6ab,7,8,9

The type b charts consist of printed charts and a single chart engraved on polished
stone or ceramic tile (Ṣū100#6b). The earliest charts (Ṣū100#6a,9) date from the early
20th century, while the remaining charts date from the mid- or late 20th century. They

357
are written in Ottoman Turkish heavily influenced by Perso-Arabic Ṣūfī terminology.
Discussions of the charts can be found in Schick 2010 and Moskalev 2014.

Type c (Syria, Turkey)

Charts: Ṣū100#4ab

The type c charts probably date back to the early 20th century, and reach as far as
Damascus in Syria. A thorough theological exposition of Ṣū100#4a was published by
Shaykh Muḥammad al-Hāshimī in 1938 (Michon 1998).

Other Sizes
Charts: Ṣū362#1

Ṣū362#1 derives from 19th-century Iran, and distinguishes itself by mirroring the top
and bottom halves in reverse across the central horizontal line which divides them.
The design is reminiscent of the 342-square Vaiṣṇava charts which also mirror the two
halves of the charts, albeit vertically and with much less attention to symmetry.
Inspiration for the design may have been found in an Islamic type of talisman, known
as the mirror of the soul, which consists of a grid of inscribed squares with one half
mirroring the other half.398 In addition to the spectacular visual effect, further
embellished by the rich decoration of the chart, the design would have allowed two
players to compete from either end of the chart in an attempt to be the first to reach
the shared winning square in the center.

Miscellaneous
Charts: Va72#8

Va72#8 formally belongs to the 72-square Vaiṣṇava type a charts, but adds to the
Vaiṣṇava legends by translating them into their more or less closely corresponding Ṣūfī
counterparts, sometimes drawing on the legends from the 100-square Ṣūfī type a
charts (Topsfield 2006a: 147-48).

398 An example from 12-13th century Iran was published in Atil 1985 (no. 83) and Khemir 2012 (pp. 86-
88, 210, 249).

358
Appendix B4: Advaita Vedānta Charts
108 Squares
The 108-square Advaita Vedānta charts are only known from a few examples in
Gujarat and Maharashtra around the turn of the 20th century, and it is unlikely that
they enjoyed any widespread popularity. They consist of a grid with 11 rows and 9
columns, with the remaining 9 squares added above in three pyramidal rows of 5, 3,
and 1 square, respectively. Legends, snakes, and ladders vary between the two types,
but both include the special feature that some snakes and ladders terminate in squares
where other snakes and ladders originate. Dvivedi suggests that players should
continue falling down successive snakes or climbing up successive ladders (1893: 8),
whereas Devdhar suggests that players should only fall down one snake or climb up
one ladder at a time (1905: 207). Play begins in the bottom left corner (sq. 1), and
continues up to the winning square at the very top (sq. 108). It is possible that the
upper section of the charts (sqs. 100-108) could only be entered by a ladder from the
main grid below.

Type a (Gujarat, Maharashtra)

Chart: Ad108#1ab,2

The type a charts begin in origin or evolution (pravṛtti, sq. 1), and continue past the
realms of Brahmā (brahmlok, sq. 105), Viṣṇu (vaikuṇth, sq. 106), and Śiva (kailās, sq
108) to truth-consciousness-bliss (saccidānand, sq. 108) above. It is also possible to fall
down into one of three death or hell squares below the main grid. The numerous
snakes and ladders are arranged symmetrically across the central axis of the charts, as
are the positive and negative legends with only a few exceptions. This is reminiscent of
the organization of the squares on the earliest known Tibetan Buddhist sa lam rnam
bzhag chart discussed under East Asian Influences in chapter two, but nothing more
should probably be read into this connection. The central column of the main grid is
mainly concerned with life stages, beginning with rites of consecration (saṃskārya, sq.
5), and continuing through the householder stage (gṛhastha, sq. 32) to intense
meditation (samādhi, sq. 86) and liberation while alive (jīvanmukti, sq. 102). Devdhar
attributes the invention of the charts to the 13th-century poet-saint Jñāneśvar (1905:

359
207), but this is merely on analogy with the identical attribution of the 84-square
Vaiṣṇava type c and d charts.

Type b (Gujarat)
Chart: Ad108#3

The type b charts are only known from a single example published in partial
translation by Dvivedi in 1893. It begins with "Illusion" (sq. 1) and "Birth" (sq. 2),
switching around the legends janma and māyā as known from the 72-square Vaiṣṇava
charts, and continues to the pyramid of squares at the top by means of a ladder from
"Rāja Yoga" (royal yoga, sq. 60) to "Jñāna" (knowledge, sq. 100). The final destination
beyond "Ishwara" (god, sq. 105), "Chit" (consciousness, sq. 106), and "Nirvāna"
(extinction, sq. 107) is "The Ineffable (Brahman)" (sq. 108) at the very top. The chart
neither shares the symmetry of the 108-square Advaita Vedānta type a charts, nor the
focus on life stages in the central column squares. Dvivedi suggests that the squares
should be understood sequentially without regard to their spatial organization within
the grid, but, as he himself points out, this approach does not hold up to scrutiny (1893:
7). A more satisfying, but by no means unproblematic, way of looking at the chart
would be to consider it as consisting of a lower half mostly concerned with positive
and negative actions, and an upper half mostly concerned with cosmographical
realms.

360
Appendix B5: Unidentified Charts
256 Squares
Chart: (??256#1)

??256#1 listed in parentheses has only been made available in a low-resolution image
that does not allow for close reading or identification by group or type. The chart
consists of a 16 x 16 grid with four additional squares at the top. The squares are
numbered, but only a few carry legends. Nothing more can be said about the chart at
present.

361
 Appendix C
Transcriptions

Appendix C provides transcriptions of legends and additional text passages on all 72-square Vaiṣṇava and 84-square Jaina
charts documented in Appendix A. Legends and additional text passages directly related to the legends have been transcribed
in the diagrammatic representations of the charts, while other additional text passages, such as chart descriptions, verses, and
colophons, have been transcribed below the diagrammatic representations. In recognition of the ultimately vernacular context
of the charts, and for the sake of clarity and readability, spaces have generally been added to separate individual words from
each other, even where they are seen to constitute parts of the same compound (e.g. तपललो
क). Exceptions include proper nouns
(e.g. सरमा
रस
र्वा
र्वा
सस द्धि व
रममा
न), certain technical terms (e.g. गगु
णसमा
न), and cases where separating words would go against the rules of
euphonic combination (e.g. व
नतमा
व
नत), as well as Va72#7 which deliberately Sanskritizes its readings. Further exceptions are
found on especially Jaina charts whenever a strict enforcement of word separation would have muddled rather than clarified a
given reading (e.g. पमा
चधमा
ह नतह
नगगु
णव्रत).

Legend
▲ = ladder leading up to a numbered square (e.g. ▲68)

(▲) = ladder making a turn toward a new numbered square (e.g. (▲50))

▼ = snake leading down to a numbered square (e.g. ▼35)

अ = text added in a different hand (e.g. सगु

बगु
धसब)

अ = crossed out character (e.g. जगु

मनमा
ह
)

× = illegible or missing character (e.g. मत××)

× = illegible and crossed out character (e.g. नमा

×)

(...) = one or more missing characters (e.g. (...)क)

(...) = one or more illegible and crossed out characters (e.g. (...) अशगु
र)

(अ) = uncertain reading (e.g. (सगु

)सहग)

[अ] = ]नककीसर
inferred reading in case of missing or obscured part of chart only (e.g. [गमा णह)

§O = auspicious bhale sign (cf. Bhattacharya 1995: 202, fn. 5)

: = visarga used as separator (e.g. ममा

यमा: र
मा
षखे
)

362
Appendix C1: 72-Square Vaiṣṇava Charts

Va72#1 (Calico Museum, Ahmedabad, Gujarat)

72 71 70 69 68 67 66 65 64
तमलोगगु
ण▼51 रजलोगगु
ण सतलोगगु
ण ररमललो
क मगु
गतममा
र
ग सहरममा
र
ग आनदघर दगु
रमा
ह
तघर प्रगतघर▼9
55 56 57 58 59 60 61 62 63
अरममा
ग▼2 आकमा
रललो
क दह
रमा
ननमा
र तखे
जघर सगु
नललो
क सगु
भघर गुधघर▼8
दभ सगु
भललो
क तलो
मबसघर
54 53 52 51 50 49 48 47 46
भगतममा
र
ग▲68 जनललो
क हसमा▼35 हह
समा तपललो
क जगजतह
रर जमनघर सरसचह
त रह
मक▲62
37 38 39 30 [40] 41 42 43 44 45
गमानघर▲69 प्रनरमा
स अपमा
नरमा
स वमा
जहक जनललो
क अग्रललो
क ममा
नमाललो
क अबदघर सगु
बधघर▲67
36 35 34 33 32 31 30 29 28
सगु
षघर नमा
गललो
क रसललो
क गधर(दखे
) सगु
रललो
क ममा
हमाललो
क सपरसबमा
य आतमगमा
न अधम▼3 परममा
र
तसगु
ध्रम▲50
19 20 21 22 23 24 25 26 27
कर मजलो
ग दह
नघर▲40 समतमाभमा
यह धरमकलो
ठह र
रषललो
क कगु
सहगत▼6 सलो
ग सतहपगु
रलो परममा
र
त▲33
18 17 16 15 14 13 12 11 10
हह
रषघर दयमाललो
क▲66 दखे
ष▼4 नमा
गललो
क भगु
रलर्लो
क सतरष इह
रषमा▼7 गह
धरपललो
क तपसमा▲23
1 2 3 4 5 6 7 8 9
जनमघर भमा
म ककी
र
मा
(ध) ललौ
भ भलो
रललो
क मलो
हलो महद मकर कमा
ह
म

Va72#2 (Maharaja Sawai Man Singh II Museum, Jaipur, Rajasthan)

top sq. 2
शहरमा
ह
मजह
top sq. 1
शहप्रमधमा
म
72 71 70 69 68 67 66 65 64
तमलोगगु
ण▼51 रजलोगगु
ण सतलोगगु
ण शहब्रमललो
क शहवरषगु
ललो
क शहससरव़
ललो
क आन ह
द दगु
वतयमा प्रक्रव
त
55 56 57 58 59 60 61 62 63
अहहकमा
र▼1/2 आकमा
स रमा
य तखे
ज सत ललो
क बबू
सद्धि कगु
बगु
सद्धि▼13 सगु
ष तमा
मस▼3
54 53 52 51 50 49 48 47 46
भवक्ति शहप्रभबू
जहककी जल हतमा▼35 प्र(रह
) तपललो
क गह
गमा
जह जमनमा
ह
जह सरस्वतह ररखे
क▲62
▲top#1
37 38 39 40 41 42 43 44 45
गमाह
न▲66 प्रमा
ह
ण अपमा
न बहन जनललो
क अगवन व
रस धललो
क अवरदमा▼9 सखे
रव़
माभगव
त▲67
36 35 34 33 32 31 30 29 28
सरव़
मा
द जमललो
क रस सगु
ग ह
ध महमाललो
क - - अधरम▼7 सगु
धर म▲50
19 20 21 22 23 24 25 26 27
ब्रमकरर्वा
▲59 दमा
ह
न▲32 सनममा
न धरम▲60 स्वगर्वा
ललो क कगु
सहग सगु
सहग सलो
क प्रममा
र
र▲41
18 17 16 15 14 13 12 11 10
हरष दयमा▲69 दलो
ष▼4 नमा
गगु
रुललो
क भरललो
क अह
तरह
क ईरषमा▼8 गह
दररललो
क तपसमा▲23
[1] [2] 3 4 5 6 7 8 9
[missing] [missing] ×ध ललो
भ भबू
ललो
क मलो
ह मद महछर कमा
ह
म

363
Va72#3 (Museum of Indology, Jaipur, Rajasthan)

72 71 70 69 68 67 66 65 64
तमलोगगु
ण: ▼51 रजलोगगु
ण सत्व गगु
ण ब्रह्म×क रह
कगु
ह
ठ रुद्रललो
क आहनह
द: रह
रस्वत: प्रककृ
वत:
55 56 57 58 59 60 61 62 63
अहहकमा
र▼2 आकमा
श रमा
यगु तखे
ज सत ललो
क सगु
रगु
स
ध गुर्वा
दर गु
धह सगु
ख: तमा
मस: ▼9
54 53 52 51 50 49 48 47 46
भवक्ति ▲681) भय: अजमा
न▼34 प्रथ
थ तपललो
क गह
गमा जमगु
नमा सरस्वतह व
रर×
37 38 39 40 41 42 43 44 45
जमा
न प्रमा
ण आ अपमा
न (वमा
)न जत्रललो
क अन सकृ
वष अवरदमा▼9 सगु
××▲671)

36 35 34 33 32 31 30 29 28
शब सबू
प र(स) गह
(ध) महललो
क स्पशर्वा उत्तमललो अध×▼6 सगु
ध×
19 20 21 22 23 24 25 26 27
कमर्वा
यलो ग उदमा
न सममा
न धमर्वा
▲601) स्वललो
(कर
) कगु
शहग▼7 सगु
सहग समा
क: प्रममा
×▲301)
18 17 16 15 14 13 12 11 10
हषर्वा दयमा दखे
ष▼4 नमा
(...) भबू
ललो
क अह
तरर
॰ (स्प)धमा
र्वा
▼9 गह
धरर्वा तप
1 2 3 4 5 6 7 8 [9]
उत्पव
त ममा
यमा क्रलो
ध ललो
× भबू
रललो
क मलो
ह मद मत्सर [missing]

1) Red snake upside down

Va72#4a (Art & Antiques Weekly 1971 & 1972)

72 71 70 69 68 67 66 65 64
तमलोगगु
ण▼51 रजलोगगु
ण सतलोगगु
ण ब्रह्मललो
क रह
कगु
ह
× रुद्रललो
क आन ह
द दगु
रवत प्रककृ
वत
55 56 57 58 59 60 61 62 63
अहहकमा
र▼row#1 आकमा
स रमा
यगु तखे
ज सत ललो
क सगु
रगु
स
द्धि गुर्वा
दर गु
सद्धि▼13 सह
तलो
ष तमा
मस▼row#1
54 53 52 51 50 49 48 47 46
भमा
वक्ति ▲68 जल वहमा▼35
हस पकृ
थह तपललो
क गह
गमा
जह जमगु
नमा
जह सरस्वतह व
ररखे
क ▲62
37 38 39 40 41 42 43 44 45
जमा
न▲66
ह प्रमा
ह
न अपमा
ह
न वमाह
न जनललो
क अवग मनगु
ष्य जनम अवरदमा▼row#1 सगु
सससद्धि▲67
36 35 34 33 32 31 30 29 28
स
सस द्धि नकर्वा
1)
रस गह
ध महललो
क सपसर्वा उत्तमगव
त अधमर्वा
▼row#1 सगु
धमर्वा
▲50
19 20 21 22 23 24 25 26 27
कमर्वा
जलो ग दमा
ह
न▲32 (अ)सममा
न धमर्वा स्वगर्वा
ललो क कगु
सहग▼row#1 सगु
सहग सलो
क परममा
रर्वा
▲41
18 17 16 15 14 13 12 11 10
हषर्वा दयमा▲69 ललो
भ▼row#1 नमा
गललो
क (भगु
रव़
लर्लो
क) अह
तरर
क ईषमा
र्वा
▼row#1 गह
धरर्वा
ललो क तप▲23
[1] [2] [3] [4] [5] [6] [7] [8] [9]
[missing] [missing] [missing] [missing] [missing] [missing] [missing] [missing] [missing]

1) Geometric design

364
Va72#4b (Museum of Indology, Jaipur, Rajasthan)

72 71 70 69 68 67 66 65 64
तमलोगगु
ण▼51 रजलोगगु
ण सतलोगगु
ण ब्रह्मललो
क रह
कगु
ह
ठललो
ग स
शरललो
क आनन पगु
ररत प्रककृ
वत
55 56 57 58 59 60 61 62 63
- ▼row#1 आकमा
श: रमा
यगु
: तखे
ज: सतललो
क सगु
रगु
स
द्धि गुर्वा
दब स
गु
द्धि▼13 सगु
ख तमा
मस▼row#1
54 53 52 51 50 49 48 47 46
- ▲69 जल - ▼35 पकृ
थह▲66 तपललो
क गह
गमा जमनमा सरस्वतह व
ररखे
क ▲62
37 38 39 40 41 42 43 44 45
- ▲60 उदमा
न अपमा
न वमानरमा
यगु जनललो
क अवग मनगु
ष्य जन अवरदमा▼10 सगु
वरदमा▲67
36 35 34 33 32 31 30 29 28
- - हषर्वा उदमा
न स्वगर्वा
ललो क कगु
सहगव
त सगु
सहगव
त शलो
क▼row#1 परममा
रर्वा
19 20 21 22 23 24 25 26 27
- - ▲60 रस गह
ध▲60 ललो
क स्पशर्वा
▼row#1 आत्म गव
त प्ररम: सगु
धमर्वा
▲50
18 17 16 15 14 13 12 11 10
हषर्वा दयमा▲691) दखे
ष्य ▼row#1 नमा
गललो
क ललो
क अह
वतर
क ईषमा
र्वा
▼row#1 गह
धरर्वा तप▲23
[1] [2] [3] [4] [5] [6] [7] [8] [9]
[missing] [missing] [missing] [missing] [missing] [missing] [missing] [missing] [missing]

1) Rungless ladder

Va72#5 (Museum of Indology, Jaipur, Rajasthan)

72 71 70 69 68 67 66 65 64
तमलोगगु
ण: ▼51 समा
ह
तलोगगु
ण रजलोगगु
ण: ब्र(हह
म) ×कक: शहबखे
यर्वा
कगुट सहरल
व़लो
क आनमा
ह
द(लखे
)क सगु
रजलखे
कक पह
त्रललो
क
(रखे
कगु
)ठ1
55 56 57 58 59 60 61 62 63
आहहमा
ह
कमा
र▼2 आकमा
स बमा
बव तलो
जतलो
ज सतललो
क: सगु
बगु
धह गुगु
दब धमा▼3 सगु
ष तह
मस▼13
54 53 52 51 50 49 48 47 46
भ्रग्
तमा▲68 जल हह
सलो▼35 प्ररह सगु
रजलखे
क सगु
रजललो
क1) ग
हगमा जगु
मन ह
1)
गमा
ह
गमा सगु
रस्वतह
1)
जगु
मनमा
ह स्वर
स्व(तह)1)
बहरमा
षमा बखे
1)
बखे
षमा▲62
37 38 39 40 41 42 43 44 45
(गमा
ह
)न(गमा
)न▲66 पह
कृ
न (अह)प्रन बहन लखे
कज(ऩ) लखे
कक आहनह
द: (शखे
)×ट अबहदमा▼9 सगु
धर मसगु
धर म▲67
36 35 34 33 32 31 30 29 28
सगु
बगु
धसब नरगकृ रस गह
दृपलखे
क ममा
हलखे
फ सगु
रव़
स रगु
त
व़मगमा
ह
न अधरम▼6 सबगु
ध: ▲59
19 20 21 22 23 24 25 26 27
कर कक
मलखे दमा
ह
नदमा
×▲32 सगु
नममा
ह
न धरम▲60 सगु
रगललो
× कगु
समाह
ग▼7 सगु
सहग: सलो
ग: परधर
म: ▲41
18 17 16 15 14 13 12 11 10
हरष गमा
ह
नहदयमा▲69 दलो
षलो▼4 नमा
गलखे
क भगु
लखे
क अह
तर(क) अहरषलो▼9 गदरपललो
क: तपसमा▲23
1 2 3 4 5 6 7 8 9
उतपतह ममा
यमा क्रलो
ध ललो
भ म
(भ)र मलो
ह महद मतसरतमसर म कहम
(ग)दर
प(लखे
)क

1) Encircled word

Additional Text
Above grid (left) Below grid (right)
॥(
शह)र
मा
मजह:गणखे
ह श( प्र)
नम: ॥(
शह)र
मा
रमजहज(
ग)म×(
णमा
)

Salutation to Śrī Rāmajī and Gaṇeśa! Śrī Rāmajī (...).

नलोन(
ङव़
ङ
)बहत्तकलो
(
ठमा
)
नगणपटप्रम
हन
(
चलो
)
पड़ह(
यमा
)गह
(न)ककीषखे
लसहतसगु
जमाण:
ह :

[see Appendix E1, verse #2b]

लषतगु
गगु
(रु)(
भ्रह्म)हुर
ड़हमघर्वा
बमा चजह
ह नरमा
मर
ह मा
मक(
ह सह)
॥

(...)

365
Va72#6 (Museum of Indology, Jaipur, Rajasthan)

top sq. 1
शहरहकगु
हठ
72 71 70 69 68 67 66 65 64
तमलोगगु
ण▼51 रजलोगगु
ण सतलोगगु
ण व्रह्मललो
क - स
सरललो
क आन ह
दललो
क दगु
रवत प्रककृ
वत
55 56 57 58 59 60 61 62 63
अहहकमा
र▼2 आकमा
स रमा
यगु तखे
ज सतललो
क सगु
रगु
स
ध कगु
रगु
सध▼24 सगु
ष तमा
मस▼3
54 53 52 51 50 49 48 47 46
(शह) भव
क्ति जल हह
समा▼34 प्रथह त(प) ललो
क गह
गमा
जह जमगु
नमा
जह सगु
रसतह व
ररखे
क ▲62
▲top#1
37 38 39 40 41 42 43 44 45
गमान▲66 प्रमा
ण अपमा
न वमान जन(ललो
)क अ(गन) ललो
क मनस ललो
क कगु
रगु
सध▼9 सगु
रगु
स
ध▲59
36 35 34 33 32 31 30 29 28
रमा
ग रस नरक गह
ध म(ह)र
खे
ललो
क सपरस उत्तमगव
त अधरम▼7 सगु
धर म▲67
19 20 21 22 23 24 25 26 27
कर मजग दमा
न सनममा
न धरम सबू
(रमा
) ललो
क कगु
सहग सतसह
ग सलो
क परममा
र
र▲42
18 17 16 15 14 13 12 11 10
हरस दयमा▲69 दलो
स▼4 नमा
गललो
क भगु
×ललो
क अह
तरषह इरसमा▼8 गह
धरक तपसमा▲23
1 2 3 4 5 6 7 8 9
उतपव
त ममा
यमा क्रलो
ध ललो
भ पमा
(तमा
)लललो
क मलो
ह मद मछर
तमा कमा
म

Additional Text
Above grid sq. 54) one goes to vaikuṇṭh (i.e. sq. 68). (By the path of the

NB! Readings in square brackets inferred from a copy of the same passage knowledge of Śivanātha?) one always attains the meaning
on Ja84#14. of bhakti. If the tongue continuously repeats "Rāma," one
will be absorbed in Vaikuṇṭha.
॥(
मबू
ल)णमा
॥गमा
नचलौ
पड़कमाभखे
दयमा
(
र लो
)(गगु
)रसतव
बनमा
ह ह
नहहपमा
ईयखे
गमा गु
॥दरमवततत
ललो
भ मत
जमा
इड़मा
र
ह दयमा
सह
बू
ब्रह्मललो
कससधमा
(
ईएगमा
)
॥ हह
[समानर
]क कहरह
सच(
ड़मा
)
र ह NB! The text lists 9 snakes and 9 ladders against 9 snakes
and 8 ladders depicted on the chart. Several inscriptions
गमा
नपमा
यकहआह
न
हदमत
जमा
ईयखे
गमा
॥अ(
हह
)कमा
रममा
यमामहहड़मा
र
रदह
यमादखे
रहधर ह
मसलौ
सगु
ब
vary between text and chart, further indicating that the two
स
स×(
ममा
)
ईयखे
गमा
॥ तमग
हगु
ण प्रथव़
हमहहपमा
व
ड़ दखे
रह
व़(
सगु
रगु
)स
धसह
बू
स
सरव़
ललो
कससधमा
ईयखे
गमा
ultimately derive from different sources. The text may have
तमा
मस क्रलो
ध मतनमा
व
ह
ष दखे
रह
व़बबखे
क सगु
ष भगु
(गमा
)
ईयखे
गमा गुर्वा
॥ दब गु
सध भय गलव़
तलो
न गखे
रह
been adapted from a similar text on Va72#28 which lists 10
पर
ममा
र
( र)
(सबू
)जनललो
क पठमा
ईयखे
गमा
॥ अव
बदमाकमा
म(
ह अह
तकह
)ड़मा
र
ह तपसह
बू
सगु
र
गललो
क
snakes and 11 ladders with only minor discrepancies
स
सधमा
ईयखे
गमाअ(
धबू
)
ममलो
हककीपमा
स
सगखे
रह
सगु
ध्रमत(
प)ललो
करहमा
ईयखे॥कगु
गमा सहगकहसह
ग
between text and chart. The suggestion is strengthened by
बहलौम[
तहरूपह
](भ)
वक्ति पमा
इरह
कगु
ह
ठस सधमा
ईयखे
गमा
॥ससरव़
नमा
(र)[
गमा
]
नककीसर
णह the fact that both texts accidentally leave out the snake from
सदमाइनसह
बू
भवक्ति पदमा
र
र(पमा
)
ईयखे
गमा
॥रसनमा
ह
अ(य
ह)
ड़त र
मा
मर
ह टलौबह
कगु
ह
ठ मत
जमा
इ īrṣyā (sq. 12) to matsar (sq. 8), and state that the ladder
सममा
ईयखे
गमा
॥१॥ from paramārth (sq. 27) should terminate in janlok (sq. 41)
(Original text?): The secret of gyān caupaṛ will not be even though it terminates in agnilok (sq. 42) on the charts.
obtained without the beloved satguru. From durmati (i.e. Both texts also state that the snake from durbuddhi (sq. 61)
dos, sq. 16) one is thrown down to lobh (i.e. sq. 4), but from should terminate in bhay (sq. 5) even though the latter
dayā (i.e. sq. 17) one goes to brahmlok (i.e. sq. 69). Hiṃsā square only appears on Va72#28. The text on Va72#6 is
(i.e. sq. 52) throws one down into narak (i.e. sq. 34), but repeated with minor variations on the otherwise unrelated
having attained jñān (i.e. sq. 37) one goes to ānand (i.e. sq. Ja84#14. It therefore appears that the text from Va72#28 (or
66). Ahaṃkār (i.e. sq. 55) throws one down into māyā (i.e. a copy thereof) was imperfectly adapted by Va72#6, and
sq. 2), but from dharm (i.e. sq. 22, no ladder) one goes to then blindly copied by Ja84#14.
śubh (i.e. sq. ?). Tamoguṇ (i.e. sq. 72) falls into pṛthvī (i.e. sq.
51), but from subuddhi (i.e. sq. 45) one goes to śivlok (i.e.
satlok, sq. 59). Tāmas (i.e. sq. 63) throws one down to krodh
(i.e. sq. 3), but vivek (i.e. sq. 46) gives enjoyment in sukh (i.e.
sq. 62). Durbuddhi (i.e. kubuddhi, sq. 61) causes one to sink
into bhay (i.e. kusaṅg, sq. 24), but from paramārth (i.e. sq.
27) one is sent to janlok (i.e. agnilok, sq. 42). Avidyā (i.e.
kubuddhi, sq. 44) (ends?) in kām (i.e. sq. 9), but from tap
(i.e. tapasyā, sq. 10) one goes to svarglok (i.e. sq. 23).
Adharm (i.e. sq. 29) causes one to fall to moh (i.e. mad, sq.
7), but sudharm (i.e. sq. 28) places one in taplok (i.e. śivlok,
sq. 67). Kusaṅg (i.e. sq. 24) (...), but if one reaches bhakti (i.e.

366
Va72#7 (India Office Library, London)
NB! Legends also transliterated into Nastaʿlīq script on original chart.

72 71 70 69 68 67 66 65 64
तमलो
गगु
णणः▼51 रजलो
गगु
णणः सत्वगगु
णणः व्रह्मललो
कणः रह
कगु
ह
ठणः स
शरललो
कणः आन ह
दललो
कणः रह
रस्वतणः प्रककृ
वतणः
55 56 57 58 59 60 61 62 63
अहहकमा
र
णः▼2 आकमा
शणः रमा
यगु
णः तखे
जणः सतललो
कणः सगु
रगु
स
द्धिणः गुर्वा
दर गु
सद्धिणः▼6 सगु
खमह तमा
मसणः▼3
54 53 52 51 50 49 48 47 46
भवक्तिणः▲68 आपणः हतमा▼35 पकृ
थह तपलो
ललो
कणः गह
गमा यमगु
नमा सरस्वतह व
ररखे
कणः▲62
37 38 39 40 41 42 43 44 45
अन्नमह
▲66 प्रमा
णणः अपमा
नणः वमानणः जनललो
कणः अवगणः मनहव
षतमा अवरदमा▼9 सगु
वरदमा▲67
36 35 34 33 32 31 30 29 28
स्वमा
दणः नरकणः रसणः सगु
ग ह
धणः महलर्लो
कणः स्पशर्वा
णः उत्तमणः अधमर्वा
णः▼7 सगु
धमर्वा
णः▲50
19 20 21 22 23 24 25 26 27
कमर्वा
भलोगणः दमा
नह▲32 सह
तलो
षणः धमर्वा
णः▲60 स्वगर्वा
णः
1)
कगु
सहगणः▼6 सगु
सहगणः शलो
कणः परममा
रणः
र्वा▲41
18 17 16 15 14 13 12 11 10
हषर्वा
णः दयमा▲69 दगु
णः
ख ▼32) नमा
गललो
कणः भगु
रलो
ललो
कणः अह
तरर
कह ईषमा
र्वा
▼82) गह
धरर्वा
ललो कणः तपसमा▲23
1 2 3 4 5 6 7 8 9
उत्पस
त्तणः ममा
यमा क्रलो
धणः ललो
भणः भबू
ललो
कणः मलो
हणः मदणः मत्सर
णः कमा
मणः

1) Flower; 2) Scorpion substituted for snake

Va72#8 (Pitt Rivers Museum, Oxford)

NB! Legends also translated into Ṣūfī terminology written in Nastaʿlīq script on original chart.

72 71 70 69 68 67 66 65 64
तमलोगगु
ण▼51 रजलोगगु
ण सत्त्व गगु
ण ब्रह्मललो
क रह
कगु
ह
ठललो
क स
शरललो
क आनन ललो
क दगु
षकृत प्रककृ
वत
55 56 57 58 59 60 61 62 63
अहह(कमा
)र▼2 आकमा
श रमा
यगु तखे
ज सत ललो
क सगु
रगु
स
द्धि गुर्वा
दर गु
सद्धि▼6 सगु
ख तमा
मस▼3
54 53 52 51 50 49 48 47 46
भवक्ति ▲68 जल वहमा▼35
हस पकृ
थह तपलोललो
क गह
गमा यमगु
नमा सरस्वतह व
ररखे
क ▲62
37 38 39 40 41 42 43 44 45
जमा
न▲66 प्रमा
ण अपमा
न वमान जनललो
क अन्न सकृ
वष अवरदमा▼9 सगु
वरदमा▲67
36 35 34 33 32 31 30 29 28
शब नरक रस गन महललो
क स्पशर्वा उत्तमगव
त अधमर्वा
▼6 सगु
धमर्वा
▲59
19 20 21 22 23 24 25 26 27
कमर्वा दमा
न▲32 सममा
न धमर्वा
▲60 स्वगर्वा कगु
सहग▼7 सगु
सहग शलो
क परमधमर्वा
▲41
18 17 16 15 14 13 12 11 10
हषर्वा दयमा▲69 दखे
ष▼4 नमा
गललो
क भगु
रललो
क अन्तर
रक ईष्यमा
र्वा
▼8 गह
धरर्वा
ललो क तपसमा▲23
1 2 3 4 5 6 7 8 9
उत्पस
त्त ममा
यमा क्रलो
ध ललो
भ भबू
ललो
क मलो
ह मद मत्सर कमा
म

Additional Text
Attached plaque (top left corner)
Philosophical game board used in India. The players
advance from one numbered square to another. By means
of ladders from virtues to their rewards. And by means of
snakes from vices to their punishments.

Pres° by Prof. Max Müller 1895

Old label (back of frame)

Mr Gandhi, a Jaina, showed me399 a similar board used by
the Jainas to the present day.400

399 Presumably referring to Max Müller who donated the chart to Pitt
Rivers Museum in Oxford.
400 Quoted in Topsfield 2006a (p. 147, fn. 14).

367
Va72#9 (Wellcome Library, London)
NB! Some legends glossed with vernacular terms, indicating influence of Perso-Arabic vocabulary (cf. sqs. 12,17,18,21).

72 71 70 69 68 67 66 65 64
तमलोगगु
ण▼51 रजलोगगु
ण सतलोगगु
ण व्रह्मललो
क रह
कगु
ह
ठधमा
म रुद्रललो
क आन ह
दललो
क दगु
ररतललो
क प्रकतललो
क
55 56 57 58 59 60 61 62 63
अहहकमा
र▼2 आकमा
श रमा
यगु
ललो
क तखे
जललो
क सत ललो
क सगु
रगु
ध गुर्वा
दर गु
द्धि▼3 सगु
ख ललो
क तमा
मसललो
क▼13
54 53 52 51 50 49 48 47 46
भवक्ति ▲68 जलसमगु
द्र हतमारगु
रह▼35 पकृ
थह तपललो
क गह
गमा
जह यमगु
नमा
जह सरस्वतह व
ररखे
ककनमा
र्वा
▲62
37 38 39 40 41 42 43 44 45
गमान▲66 प्रमा
णयमा
न अपमा
न वमानकर
णमा जनललो
क अवगकगु
ह
ड मनगु
ष्य जन अवरदमा▼9 सगु
वरदमा▲67
36 35 34 33 32 31 30 29 28
शब ध्वव
न नरक रससह
समा
र
ह गह
धसगु
गह
धतमा मवहललो
क स्पशर्वा
समलमा
प उत्तमगव
तभलङ अधमर्वा
रगु
र र
यमा
यह▼6 सगु
धमर्वा
भलयमा
यह
▲50
19 20 21 22 23 24 25 26 27
कमर्वा
यलो ग दमा
नगु
दखे
णमा▲32 सममा
नरर
मा
रर धमर्वा
ककीसहकर स्वगर्वा
ललो क कगु
सहगत▼7 सगु
सहगत सलो
गसचह
तमा परममा
रर्वा
▲41
ऽऽसन▲60
18 17 16 15 14 13 12 11 10
हरषषसमा
गु लङ दयमास
महर▲69 दखे
षरगु
र
यह▼4 नमा
गललो
क भबू
रललो
क अह
तरर
छ ईरषमाव
हरस▼8 गह
धरललो
क तपणः▲23
1 2 3 4 5 6 7 8 9
जनतर(लह
)द मद क्रलो
ध ललो
भ भबू
रललो
क मलो
ह असभममा
न स
मथमा कमा
म

Va72#10 (Arthur M. Sackler Museum, Boston)

top sq. 1
रह
कगु
ठणः
72 71 70 69 68 67 66 65 64
तमलोगगु
ण▼51 रजलोगगु
ण सतलोगगु
ण व्रह्ममाललो
क स
शरललो
क इद्रललो
क आन ह
दललो
क सगु
षललो
क सगु
क्रव
तललो
क
55 56 57 58 59 60 61 62 63
अहहकमा
र▼2 आकमा
स रमा
यललो
क तखे
जललो
क सत ललो
क सगु
रगु
स
ध (दगु
रर्वा
गु
)स ध▼13 सषललो
क तमा
ह
मस▼3
54 53 52 51 50 49 48 47 46
भगवत▲top#1 जलललो
क व
हसमा▼35 पकृ
रह तपललो
क गह
गमा जमगु
नमा सगु
रसतह व
ररखे
क ▲66
37 38 39 40 41 42 43 44 45
जमा
न▲68 अपमा
न (वमा
)न जनललो
क अगललो
क मनगु
षललो
क सगु
धललो
क अवरदमाललो
क▼9 सगु
थत्वधमा▲67
36 35 34 33 32 31 30 29 28
सगु
धललो
क नरकललो
क रस गह
धललो
क (म)हरललो
क (सप)र
(स) ललो
क उतमगव
तललो
क अधमर्वा
▼6 सगु
धमर्वा
▲59
19 20 21 22 23 24 25 26 27
क्रमयलो
ग▲41 दमा
ह
न▲32 धन धमर्वा
▲60 स्वगर्वा
ललो क कगु
(सह)ग▼7 (सगु
)सहग सलो
ग प्रममा
र
(ध) ▲40
18 17 16 15 14 13 12 11 10
हषर्वा दयमा▲69 दखे
ष▼4 नमा
गमाललो
क भगु
ललो
क अह
तरह
षललो
क ईरषमा▼8 गह
रललो
क तपललो
क▲23
1 2 3 4 5 6 7 8 9
शहर
मा
मजहजमा
नचलो
पड़ ममा
यमा क्रलो
ध ललो
भ भगु
रललो
क मलो
ह मद मतसर कमा
ह
म
जनम॥

368
Va72#11 (private collection of Kumar Sangram Singh of Nawalgarh, Jaipur, Rajasthan)

72 71 70 69 68 67 66 65 64
तमलौगगु
णलक▼51 चह
द्रललो
क ॐ शहस
शरललो
क सत ललो
क शहरह
कगु
ह
ठललो
क मगु
वक्ति ललो
क व्रह्मललो
क आननद ललक ससरर ललक
55 56 57 58 59 60 61 62 63
अहहकमा
र▼1 आकमा
स रमा
यगु तखे
ज सत ललो
× सगु
बगु
स
ध हर
रभजन ससष ततमस ▼3
54 53 52 51 50 49 48 47 46
भवक्ति1) ▲68 तपसमा अकमर्वा
2)
▼34 हह
समा तपलौललो
क गह
गमा
जह जगु
मनमा
जह सरधत ववववक ▲62
37 38 39 40 41 42 43 44 45
गमाह
नललो
क▲66 ब)णपतलक
(व रूपललो
क हर
रगगु
नललो
क आसमाव
रशमा
मललो
क अवगललो
क जमपगु
रह▼8 अधरम ▼43 (सगु
रदमा▲47
)व
36 35 34 33 32 31 30 29 28
स्वमा
दप्रर हरषलक नकर्वा
3)
र
रषललो
क महहरललो
क सरर्वा
रसलक अधरम▼7 उवतम गत सगु
धर म▲59
19 20 21 22 23 24 25 26 27
कर म दमा
ह
न▲32 सनममा
ह
न कगु
सहगत▼6 सगु
रललो
क धरम व
रस्वमा
सगमा
त▼9 लौ
(सगु)च परममा
र
र▲41
18 17 16 15 14 13 12 11 10
हरष दयमा▲69 दखे
ष▼4 नमा
गललो
क भगु
रनललो
क इरषमा▼8 अह
तरखे
षह गह
धरर्वा
ललो क तपलोललो
क▲24
1 2 3 4 5 6 7 8 9
जनम ममा
यमा क्रलो
ध ललो
भ भगु
ललो
क मलो
ह मद कमा
म अहह
कमा
र

1) भव
क्ति गतहकर
खे
(सह
रखे
)कहट(पमा
यखे
); 2) कर
खे
(सलो
) नर
कपड़खे
; 3) नर
ककह
ममखे
पमा
पहपड़खे
ममा
हमा
कगु
हभनर
कछखे
कगु
म(उ)पपमा
पहप

Va72#12a (private collection of Kuṁvar Kesrī Siṃh, Rajasthan)

top sq. 1 top sq. 2 top sq. 3 top sq. 4

गउललोक1) शहसह रललो क2) शहबखे
कबू
हठ3) भरमललोक4)
72 71 70 69 68 67 66 65 64
भरमकमा
दमा
भहर
मा
ज रूदरगण धरमलमा
क चद्रललो
क5) इह
द्रललो
क6) सगु
रजललो
क7) धरमललो
क6) सह
न्नय ऐकमा
दतहधर
म
▲top#1
55 56 57 58 59 60 61 62 63
परनमा
र
हमह
रबू
न▼2 रजलोगगु
ण सतलोगण हरहभगतह तमा
रमामङल दह
र र्वा
गपमा लह
ललो
क रहसरमा
समागमा
त▼6 तपललो
क जबू
ठहदहबमा
णहतमा
▲top#3 ▼38)
54 53 52 51 50 49 48 47 46
दखे
रपबू
जमारमाबर
तधमा
र
हसह रभगतहममा
तमा पसगु
हतमा▼35 कमा
गनर
क (ज)पललो
क सररसतह धमानसममा
धह दगु
रबधह गऊदमा
न▲62
▲68 पह
तमाभगतह ▲top#4
▲top#2
37 38 39 40 41 42 43 44 45
सह
दमाक्रर
ह
म▲66 प्रकर
तह अपममा
न महथमाबचन▼15 अमरमा
पबू
र तमलोगगु
ण मनगु
षजनम गऊहतमा▼9 गयमासर
मा
द▲67
36 35 34 33 32 31 30 29 28
रहरखे
कतमा पलङतजलो
नह समा
ममा
नदबू
सटह जहदललौ
क सरगललो
क भरह
मह
हतमा▼79) अपर्वा
णकर मक अधरमह▼13 गगमासगु
सनमा
न▲50
19 20 21 22 23 24 25 26 27
कमा
मजलो
ग उदमा
र
तमाजलो
ग▲32 भखेललो
क धरम▲60 नखे
तरणह कबू
स(गह
तह) ▼79) सह
तसह
गतह समा
नतह परमर
(स) ▲41
18 17 16 15 14 13 12 11 10
नमा
गललो
क दयमाभमा
र▲69 अस(त्रर्वा
) हतमा▼4 बमा
लहतह
यमा गलो
त्रहतमा▼7 अतरह
पमा
कनर
क इह
र षत▼9 गह
धरललो
क तपसमा▲24
1 2 3 4 5 6 7 8 9
जनमभबू
ममा
कमा मलो
यजमा
लकबू
बह पमा
क क्रलो
धरलो
ररनर
क ललो
भ भयललो
क मलो
हजमा
ल रसमा
तल तलमा
तल रलो
ररनर
क
नरक

1) Female deity; 2) Śiva with attendant; 3) Viṣṇu with attendant; 4) Brahmā with attendant; 5) Candra; 6) Male deity; 7) Sūrya; 8) 5-headed snake; 9) 2-
headed snake with one head in sq. 31 and the other in sq. 24

Additional Text
Image caption from article
समा
पसह
ह ढहकमाखखे
लममा
त्रखखे ह
लहहनहहहह
,पमा
पऔरपगु
न कमाव
ररखे
चनभहकर
तमाहह
चत्रकगु
(स ह
ररकखे
सर सहकखे
हस व
नजहसह
ग्रहकखे
सलौ
जन सखे
)401

The game of sāṁp sīṛhī (i.e. snakes and ladders) is not just
a game, it also investigates vice and virtue (image provided
by the kindness of the private collection of Kuṁvar Kesrī
Siṃh).

401 The parenthesis appears as such in the article.

369
Va72#12b (private collection, Udaipur, Rajasthan)

top sq. 1 top sq. 2 top sq. 3 top sq. 4

गउललोक1) शहसह रललो क2) बखे
कबू
हट3) भरमललोक4)
72 71 70 69 68 67 66 65 64
जसललो
क▲top#1 रूदरगण तहररधमा
म चन्द्र ललो
क5) इन्द्र ललो
क6) सगु
रजललो
क7) धरमललो
क6) सह
चय एकमा
दसहधर
म
55 56 57 58 59 60 61 62 63
परनमा
र
हमह
रगु
न▼2 रजलोगगु
ण सतगगु
ण हरहभगतह▲68 तमा
रमाम
हडल व
दगपमा
ल रहसरमा
रगमा
तह▼6 तपललो
क बमा
पहतमा▼38)
54 53 52 51 50 49 48 47 46
दखे
रपगु
जमा▲68 ममा
तमापह
तमाभगतह पसगु
हतमा▼35 कमा
गनर
क जपललो
क सरसतह धयमा
नसममा
धह दगु
रबगु
धह गऊदमा
न▲62
▲top#2 ▲top#4
37 38 39 40 41 42 43 44 45
सतकर
म▲66 परकर
तह अपममा
न महथमारचन▼15 अमरमापगु
र तमलोगगु
णतमलोगगु
ण जगु
ठहगरमा
इ गऊहतमा▼9 गयमासर
मा
ध▲67
36 35 34 33 32 31 30 29 28
रहरखे
क पलङतयलो
नह सह
मदर
सटह जह
दललो
क सरगललो
क - ▼79) अर पण अधरमह▼12 गह
गमासनमा
न▲50
19 20 21 22 23 24 25 26 27
कमा
मजलो
ग उदमा
र
तमा▲32 भयललो
क धरम▲60 रखे
तरणह सगु
गत सह
तसह
गतह समा
नतह परममा
र
र▲41
18 17 16 15 14 13 12 11 10
नमा
गललो
क दयमाभमा
रदयमाभमा
र सदमा
चमा
र
हहतयमा▼4 बमा
लहतमा गलो
(त्र) हतमा▼7 अतरह
पमा
कनर
क अपहर
ण▼9 गह
धररललो
क तपसयमा▲24
▲69
1 2 3 4 5 6 7 8 9
जनमभलो
मकमा कगु
हभहपमा
कनर
क करलो
ध ललो
भ छलकपट मलो
हजमा
ल रसमा
तल तलमा
तल रलो
र
रनर
क

1) Female deity; 2) Śiva with attendant; 3) Viṣṇu with attendant; 4) Brahmā with attendant; 5) Candra; 6) Male deity; 7) Sūrya; 8) 5-headed snake; 9) 2-
headed snake

Va72#13 (Dampier 1895)

NB! Legends transcribed as they appear in Dampier 1895 (pp. 25-26).

72 71 70 69 68 67 66 65 64
tamogun ▼51 rajogun satogun brahmlok vaikunth sirlok / kailása ánand durat prakrit
55 56 57 58 59 60 61 62 63
ahankár ▼2 akash bábu tej sat lok subad(h)i durbadhi ▼6 sukh támas ▼3
54 53 52 51 50 49 48 47 46
satya ▲68 jap hinsá ▼35 andhkár tap lok kailásh nárad lok kuber lok vivek ▲62
37 38 39 40 41 42 43 44 45
gyán ▲66 dhyán prán apattí yan lok surya lok agní lok avidya ▼6 suvidya ▲67
36 35 34 33 32 31 30 29 28
shabd narak sur lok gan lok mahátap lok sparsh uttamgun adharm ▼9 sudharm ▲59
19 20 21 22 23 24 25 26 27
agyan dán ▲32 samán dharm ▲60 swarg lok kasang ▼7 satsang shok parmárth ▲50
18 17 16 15 14 13 12 11 10
harsh daya ▲69 dukh ▼4 nág lok - antriksh trasha ▼8 gandharb lok tap ▲23
1 2 3 4 5 6 7 8 9
janam maya krodh lobh bhai lok moh [illegible] matsar kám

370
Va72#14a (Pārakh 1886)

72 71 70 69 68 67 66 65 64
तमलोगगु
ण▼6 रजलोगगु
ण सददण ब्रह्मललो
क रह
कगु
ह
ठ स
शरललो
क आन ह
दललो
क दगु
गर्वा
तह प्रककृ
वत
55 56 57 58 59 60 61 62 63
अहहकमा
र▼2 आकमा
श रमा
यगु तखे
ज सत सगु
बगु
स
द्धिललो
क गुर्वा
दब स
गु
द्धि▼2 सगु
ख तमा
मस▼44
54 53 52 51 50 49 48 47 46
भवक्ति ▲68 जल वहमा▼35
हस पकृ
थह जप गह
गमाललो
क यमगु
नमाललो
क सरस्वतह व
ररखे
क
37 38 39 40 41 42 43 44 45
जमा
न▲67 प्रमा
णरमा
यगु अपमा
नरमा
यगु वमानरमा
यगु जनललो
क अवगललो
क मनगु
ष्य अवरदमा सरर्वा
र कमा▲50
36 35 34 33 32 31 30 29 28
शब नरक रस गह
ध महलर्लो
क अस्पशर्वा
ललो क आत्म गव
त अधमर्वा
▼9 सगु
धमर्वा
▲60
19 20 21 22 23 24 25 26 27
कमर्वा
यलो ग दमा
न▲69 सममा
नरमा
यगु धमर्वा
▲66 स्वगर्वा
ललो क कगु
सहगललो
क▼7 सगु
सहग शलो
क परममा
रर्वा
▲41
18 17 16 15 14 13 12 11 10
हषर्वा दयमा▲59 दखे
ष▼4 नमा
ग भगु
रलर्लो
क अह
तरर
कललो
क ईष्यमा
र्वा
▼8 गह
धरर्वा तप▲23
1 2 3 4 5 6 7 8 9
जन ममा
यमा क्रलो
ध ललो
भ भबू
लर्लो
क मलो
ह मद मत्सर कमा
म

Va72#14b (Akshay Bhosle 2013)

72 71 70 69 73 [top sq. 1] 67 66 65 64
तमलोगगु
ण▼6 रजलोगगु
ण सत्व गगु
ण ब्रहमललो
क मलो
क स
शरललो
क आन ह
दलक दगु
गर्गी
त प्रककृ
तह
68
रह
कगु
ह
ठ
63 [55] 62 [56] 61 [57] 60 [58] 59 58 [60] 57 [61] 56 [62] 55 [63]
अहहकमा
र▼2 आकमा श रमा
यबू तखे
ज सत ललो
क सगु
बगु
द्धिहललो
क गुर्वा
दब द्धि
गुह▼3 सगु
ख तमा
मस▼44
54 53 52 51 50 49 48 47 46
भक्तिकी▲68 जल वहमा▼35
हस पकृ
थह तपलोललो
क गह
गमाललो
क यमगु
नमाललो
क सरस्वतह व
ररखे
क
45 [37] 44 [38] 43 [39] 42 [40] 41 40 [42] 39 [43] 38 [44] 37 [45]
जमा
न▲68 प्रमा
णरमा
यबू आपमानरमायबू वमा
नरमायबू जनललो
क अगह मनगु
ष्य अवबदमा सव्रर्वा
क▲50
36 35 34 33 32 31 30 29 28
शब रूप रस गह
ध महलर्लो
क अस्पशर्वा
ललो क आत्म गतह अधमर्वा
▼9 सगु
धमर्वा
▲60
27 [19] 26 [20] 25 [21] 24 [22] 23 22 [24] 21 [25] 20 [26] 19 [27]
कमर्वा
यलोग दमा
न▲69 सममानरमायगु धमर्वा
▲66 सरर्वा
ललो क कगु
सहगललो क▼7 सगु
सहग शलो
क परममा
रर्वा
▲41
18 17 16 15 14 13 12 11 10
हषर्वा दयमा▲59 दखे
ष▼4 नमा
ग भबू
रर्वा
ललो क अह
तरह
कललो
क ईष्यमा
र्वा
▼8 गह
धरर्वा तप▲23
1 2 3 4 5 6 7 8 9
जन ममा
यमा क्रलो
ध ललो
भ भबू
लर्लो
क मलो
ह मद मत्सर कमा
म

Additional Text
Above grid
जमा
नपट

Board of knowledge.

Below grid
design by अकयभलो
सलखे

Design by Akshay Bhosle.

371
Va72#15 (Joost van den Bergh, Ltd., London)
NB! Ladders very faintly drawn, making their exact positions difficult to determine.

72 71 70 69 68 67 66 65 64
तमलोगगु
ण▼51 रजलोगगु
ण सत्व गगु
ण ब्रह्मललो
क रह
कगु
ह
ठ स
शरललो
क आन ह
द▼131) दगु
रतय प्रककृ
(वत) ▼32)
55 56 57 58 59 60 61 62 63
अहहकमा
र▼2 आकमा
श रमा
यगु तखे
ज सत सगु
रगु
स
द्धि गुर्वा
दब स
गु
द्धि▼131) सगु
ष तमा
मस▲65 ▼32)
54 53 52 51 50 49 48 47 46
हरभव
क्ति ▲68 जल वहमा▼35
हस पकृ
थह तप शहगह
गमा शहजमगु
नमा - ▼10 - ▲62?
37 38 39 40 41 42 43 44 45
- ▲66? - - - - - - - ▼6 -
36 35 34 33 32 31 30 29 28
- - - - - - ▼7 - - - ▲59
19 20 21 22 23 24 25 26 27
- - ▲32 - - - - - ▼8 - - ▲41
18 17 16 15 14 13 12 11 10
- - ▲52? - - - - - - - ▲24?
1 2 3 4 5 6 7 8 9
- - - - - - - - -

1) 2-headed snake with one head in sq. 66 and the other in sq. 61; 2) 2-headed snake with one head in sq. 64 and the other in sq. 63

Va72#16 (papers of Bernhard Kölver, Leipzig, Germany)

NB! Transcribed from low quality photocopy with partly obscured snakes and ladders; faint traces of additional writing in several places.

72 71 70 69 68 67 66 65 64
तमलोगगु
ण▼6 रजलोगगु
ण सत्व गगु
ण ब्रह्मललो
क रह
कगु
ह
ठ स
शरललो
क आन ह
दललो
क दगु
रवत प्ररकृ
सत्त
55 56 57 58 59 60 61 62 63
अहहकमा
र▼2 आकमा
श रमा
यगु तखे
ज सत सगु
बगु
स
द्धिललो
क गुर्वा
दब स
गु
द्धि▼3 सगु
ख तमा
मस▼44
54 53 52 51 50 49 48 47 46
भवक्ति ▲68? जल वहमा▼35
हस पकृ
थह जप गह
गमाललो
क यमगु
नमाललो
क सरस्वतह व
ररखे
क
37 38 39 40 41 42 43 44 45
जमा
न▲67? प्रमा
ह
णरमा
यगु अपमा
ह
नरमा
यगु वमानरमा
यगु जन अवगललो
क मनगु
ष्य अवरदमा सरर्वा
र कमा▲50?
36 35 34 33 32 31 30 29 28
शब नकर्वा रस गह
ध महलर्लो
क अस्पशर्वा
ललो क आत्म ग(व
त) अधमर्वा
▼9 सगु
धमर्वा
▲60
19 20 21 22 23 24 25 26 27
कमर्वा
यलो ग दमा
न▲69 सममा
नरमा
यगु धमर्वा
▲66 स्वगर्वा
ललो क कगु
सहगललो
क▼7 सगु
सहग शलो
क परममा
रर्वा
▲41?
18 17 16 15 14 13 12 11 10
हषर्वा दयमा▲59? दखे
ष▼4 नमा
ग भबू
रलर्लो
क अह
तरर
कललो
क ईषमा
र्वा
▼8 गह
धरर्वा तप▲?
1 2 3 4 5 6 7 8 9
जन ममा
यमा क्रलो
ध ललो
भ भबू ह
ललो
क मलो
ह मद मत्सर कमा
म

Additional Text
Below grid (right)
प्रकमा
शक- (...)कश(
त) ममा
(...)र (
रर)(
आह)
गमह
र
गुईन
ह꠶४

Publisher (...) Mumbai, no. 4.

372
Va72#17 (private collection, London)

top sq. 1
-
72 71 70 69 68 67 66 65 64
तमा
मसललो
क▼51 रमा
जस अह
तललो
क रह
मललो
क रह
कगु
ठललो
क रूद्रललो
क आन ह
द ध्ररत प्रमा
ककृ
त
55 56 57 58 59 60 61 62 63
अहहें
कमार▼2 अक(र
) रमा
उ तखे
ज सह
तलो
क सगु
बगु
ध दबू
रबगु
ध सगु
ष तमा
मस▼4
54 53 52 51 50 49 48 47 46
भगत▲681) आप अगन▼34 प्रररह रपललो
क गह
गमा जमनमा
ह सरस्वतह रखे
रखे
क
37 38 39 40 41 42 43 44 45
गह
नमा
न (प्र)ण पबू
न रमा
न
ह जनललो
क अन सरटमा
णः अबगु
ध▼9 सगु
रध▲671)
36 35 34 33 32 31 30 29 28
सबद रूप रस गह
ध महरललो
क स(पर
)स उतम अध्रम▼6 ध्रम
19 20 21 22 23 24 25 26 27
कर मजलो
ग उदन समा
ममा
न धगु
म▲601) सगु
व्रललौ
क कगु
सहगु
ग▼7 सगु
सहग सलो
क परममा
र
र▲301)
18 17 16 15 14 13 12 11 10
हरष दयमादखे
रत दरखे
ष▼3 नमा
गललो
क पबू
ररललो
क अह
तर असध▼8 गह
(धर
)र तमा
पललो
क
1 2 3 4 5 6 7 8 9
उतलो
पमा
त ममा
यमा क्रलौ
ध ललौ
भ भमा
रललो
क मलो
ह मद मछर कमा
ह
म

1) Orange snake

Additional Text
Back of chart
Bhuj 3402

धमा
व
मर्वा
कसपसह
डह.403

Religious sāṁp sīṛhī (i.e. snakes and ladders).

[six lines of undeciphered writing indicating reuse of paper]

ककृ
षहशह७दखे
रजह404

Kṛṣī Śrī 7 Devjī.

[sixteen more lines of the same undeciphered writing as

above]

402 Added in soft pencil in a different hand (cf. Va72#18, Ja84#49).

403 Added in orange Gujarati script in a different hand.
404 Apparently added in the same hand as the undeciphered
handwriting above below.

373
Va72#18 (private collection, London)

top sq. 1
अमरपदसर ग
(ललो
क) सगु
धमा
म(ध)
72 71 70 69 68 67 66 65 64
तमलोगगु
ण▼33 रजलोगगु
ण सतगगु
ण ब्रमललो
क रह
कगु
ठ स
सरललो
क आन ह
दललो
क पगु
रषललो
क प्रक्रव
तममा
यमा
55 56 57 58 59 60 61 62 63
अहहकमा
र▼2 आकमा
स रमा
यगु तखे
ज सतललो
क सगु
बगु
ध कगु
बगु
ध▼13 सगु
ष तमा
मसअहह
कमा
र▼3
54 53 52 51 50 49 48 47 46
भगवत▲top#1 दयमा वहमा▼35
हस जल तपललो
क गह
गमा
जह जगु
मनमा
× सरस्वव
त व
ररखे
क ▲62
37 38 39 40 41 42 43 44 45
अन(दमा
)न▲66 प्रमा
ण पगु
न रखे
यमा
न जनललो
क अगवन ममा
नषलो अवर×▼9 अ(षमा
)गजलो
ग▲67
36 35 34 33 32 31 30 29 28
सगु
षगु
ध नरक सह
तरस अपरममा
र
र मलो
हललो
क स्पसर्वा सगु
ग ह
ध अध(मर्वा
) (ललो
क) ▼6 सगु
ध(मर्वा
) ▲50
19 20 21 22 23 24 25 26 27
कमर्वा
जलो ग▲32 दमा
न सनममा
न धरम▲59 स्वगर्वा
ललो क कगु
सहगत▼7 सगु
सहगत सलो
क परममा
रर्वा
▲41
18 17 16 15 14 13 12 11 10
हषर्वा व
रदमा▲69 दलो
ष▼4 तमा
मललो
क भगु
रलर्लो
क अह
तरम(ष) इरषमा▼8 गह
धरर्वा
ललो क तप▲23
1 2 3 4 5 6 7 8 9
- ममा
यमा क्रलो
ध ललो
भ भगु
लर्लो
कर्वा मलो
ह मद मछर कमा
म

Additional Text
Back of chart
Bhuj 2405

धमा
व
मर्वा
क. सपसह
डह406

Religious sāṁp sīṛhī (i.e. snakes and ladders).

Va72#19 (British Museum, London)

72 71 70 69 68 67 66 65 64
नदह(
प)ललो
क▼51 रजलोगगु
न सतलोगगु
न ब्रह्ममाललो
क (रखे
कगु
ह)×ललो
क सगु
भललो
क भगु
(द)रललो
क ×द्रललो
क कक्रीप्तता ललोक

55 56 57 58 59 60 61 62 63
अहह××▼2 अक(स) बमा
यर
गुखे तखे
ज सगु
ललो
क सगु
(रगु
)घह (डगु
पगु
)र धह▼30 सगु
(प्रह
)त तमा
म(स) ▼4
54 53 52 51 50 49 48 47 46
य
(ध)र पमा
प▲681) अगनह तपललो
क जप(ललो
)क गह
गमा जमगु
नमा समा
नगतह बहबक
37 38 39 40 41 42 43 44 45
××(ललो
)क▲692) नगु
प परम गह
गमाललो
क मलो
हललो
क ममा
यमालमा
क उतमललो
क अधमललो
क▼9 सगु
(रह)×ललो
क
▲672)
36 35 34 33 32 31 30 29 28
×रननलो
भ आन ह
दललो
क समा
ममा
न बमाधमा समा
(नखे
) लमा
क इदपललो
क▲622) (तमा
)बमा
न रमा
बहधखे
▼5 सगु
चहगह
ध
19 20 21 22 23 24 25 26 27
कमा
मजगु
ग दमा
नचमगु
▲602) सम(त) ललो
क पदममाललो
क गह
धरर्वा
ललो क सगु
पहत कगु
सहग▼6 (सलो
)क बदखे
चल▲302)
18 17 16 15 14 13 12 11 10
हरषललो
क द×(ललो
)क गु▼4
दष नमा
गललो
क सगु
(तखे
) ललो
क अन ह
तर(कह) स×तह▼8 सगु
फ(ल) भ×××
1 2 3 4 5 6 7 8 9
(म)त्तह
(उ)र ममा
यमा कमा
(धह
) ललो
भ (समा
भ) मलो
ह स×× (सत) (कमा
)म

1) White snake; 2) Red snake

405 Added in soft pencil in a different hand (cf. Va72#17, Ja84#49).

406 Added in orange Gujarati script in a different hand.

374
Va72#20 (Museum aan de Stroom, Antwerp, Belgium)

शहव्रह्ममा शहव
रस(नगु
) शहह्म(यस्वर
)
72 71 70 69 68 67 66 65 64
तमलोगगु
न▼51 [illegible] सतलोगगु
न [illegible] रयकगु
र [illegible] ×(ललो
क) [illegible] ×(न)(
ललो
क)
55 56 57 58 59 60 61 62 63
अहहकमा
र▼2 आकमा
स रमा
ईरखे टखे
ज सतललो
क सगु
।रगु
स
ध गु
दर(व्र)×▼26 (पगु
स
)रचत [illegible] ▼3
54 53 52 51 50 49 48 47 46
भगवट▲681) [illegible] व
परर [illegible] तपललो
क गह
गमा जमनमा सरस्वव
त व
रर व
रत
37 38 39 40 41 42 43 44 45
सरखे
न▲692) आनह सममा
न वमाधमा (सर)नललो
क अनर्वा
(पगु
)नर्वा [illegible] अवरदमा▼9 (सगु
वर)×▲672)
36 35 34 33 32 31 30 29 28
सह
दखे [illegible] रस गह
(ध्र)र ममा
हमा
हलो
त ममा
हमा(सलो
)क उतमललो
क अच्रम▼5 सगु
चर म
19 20 21 22 23 24 25 26 27
सह
गउ दमा
नचर
म वमान▲602) सरतग [illegible] कगु
सहग▲622) (सगु
)सहग▼7 स्वक मरन▲302)
18 17 16 15 14 13 12 11 10
हरष मह
द्रत दलो
ष▼4 नमा
ग च(न्द्र) (सगु
)रर अह
(त्त)(
कमा
लगु
) असस(ध) ▼8 [illegible] भगत
1 2 3 4 5 6 7 8 9
[illegible] ममा
यमा [illegible] ललो
भ समा
ग मलो
हलो स(द्र) सत कमा
म

1) Three-headed white snake with three heads; 2) Red snake upside down

Va72#21 (sold at Christie's, New York, 13 Sep, 2011)

NB! Illustrated with gods, sages, humans, and other motifs in all squares; original tracing of legends visible in several squares.

72 71 70 69 68 67 66 65 64
तमलोगगु
ण▼51 रजलोगगु
ण सत्व गगु
ण (ब्रह्म) ललो
क व
रषगु
ललो
क स
शरललो
क आनन ललो
क रह
रस्पक1) प्रककृ
वत
55 56 57 58 59 60 61 62 63
अहहकमा
र▼2 आकमा
श रमा
यगु अवग सत ललो
क1) सगु
रगु
स
द्धि गुर्वा
दर गु
सद्धि▼26 सगु
रुस
च तमा
मस▼3
54 53 52 51 50 49 48 47 46
भवक्ति ▲682) अपमा
न तखे
ज पकृ
थह तपललो
क गह
गमा यमगु
नमा सरस्वव
त व
ररखे
क ▲673)
37 38 39 40 41 42 43 44 45
जमा
(न)
×▲693) प्रमा
ण सममा
न व्
यमा
न1) जनललो
क अन्तर स
सस द्धि कगु
वरदमा▼28 सगु
वरदमा
36 35 34 33 32 31 30 29 28
सव्
द रूप1) रस गन महललो
क श्
पशर्वा उत्तम अधमर्वा
▼6 सगु
धमर्वा
19 20 21 22 23 24 25 26 27
कमर्वा दमा
न धमर्वा
▲603) (स)मतमा
1)
(ई)न्द्र (ललो
)क सगु
सङ्ग▲623) कगु
सङ्ग▼7 शलो
क प्ररम▲303)
18 17 16 15 14 13 12 11 10
हषर्वा दयमा दलो
ष▼4 नमा
ग चन्द्र सगु
यर्वा अह
त(र
रक)1) असधमा
र्वा
▼8 गनरर्वा तप
1 2 3 4 5 6 7 8 9
उत्पस
त्त ममा
यमा क्रलो
ध ललो
भ भरललो
क मलो
ह मद आश्चयर्वा कमा
म

1) Mahesh Raj Pant wrongly gives a different reading in Slusser 1982 (p. 221, fn. 18); 2) Three-headed white snake; 3) Red snake

375
Va72#22 (Nepal National Museum, Kathmandu)
NB! Illustrated with gods, sages, humans, and other motifs in all squares.

शहव्र
हह्ममा
जह· जयखे
· शहरह
कगु
ण्ठ नमा
र· रह
जय· शहममा
हमा
दखे
रजह·
72 71 70 69 68 67 66 65 64
तमलोगगु
न▼51 रजलोगगु
न सतलोगगु
न व्र
हह्मललो
क रह
कगु
न्
ठ स
सरललो
क आनन ललो
क रखे
तश्वयत परककृ
वत
55 56 57 58 59 60 61 62 63
अहहकमा
र▼2 आकतास· रमा
यगु तखे
ज· सतखे
ललो
क सगु
रगु
स
द्धि कगु
रगु
सद्धि▼26 सगु
रवष सनह(जमा
) ▼3

54 53 52 51 50 49 48 47 46
भवक्ति·▲top#31) आप· भगहनह
· (पकृ
)थह· तपललो
क गह
गमा जमगु
नमा
· शहसर
स्वव
त· व
ररखे
क·
37 38 39 40 41 42 43 44 45
प्रमा
ण·▲692) (आ)सन· सममा
स· ज)न·
(स ज×(ललो
)कह
· शहअन्नपगु
णमा
र्वा
· सगु
(सद्धि)· कगु
वरदमा
·▼9 सगु
वरदमा
·▲672)
36 35 34 33 32 31 30 29 28
सतखे रुप रस गह
ध सहललो
क सरय उभम अह
धर▼6 सगु
रयमा
19 20 21 22 23 24 25 26 27
कह
(प)म दमा
नधमर्वा
· षगु
स▲602) समतमा सगु
रललो
क ×सङ्ग·▼7 सबू
(सहग) ▲622) जलो
(गह
) परममा
रर्वा
▲302)
18 17 16 15 14 13 12 11 10
हषर्वा
· दयमा षतदलो
ष▼4 अनन्त नमा
ग [illegible] व
न(द्रमा
) अश(द्धिमा
) ▼8 गह
धरत (दमा
न)×××
1 2 3 4 5 6 7 8 9
उतपस
त्त ममा
यमा क्रलो
ध ललो
भ· पगु
रललो
क मलो
व
हनह
· भमा
य आगलो
स· कगु
ममा

1) Three-headed red snake; 2) Red snake

Va72#23 (Nepal National Museum, Kathmandu)

72 71 70 69 68 67 66 65 63 [64]
(त)×××▼51 रजलोगगु
न सतलोगगु
न (र)ह्ममा रहसगु
नगु महखे
स्वर आन ह
(द) रलौ
रसत [illegible]
54 [55] 55 [56] 56 [57] 57 [58] 58 [59] 59 [60] 60 [61] 61 [62] 62 [63]
अहहकमा
र▼2 आकमा स रमा
यगु तखे
ज ×तखे सगु
रगु
स
ध गु
दररगु
धह▼26 सगु
खमा (तमा
)मस▼3
53 [54] 52 [53] 51 [52] 50 [51] 49 [50] 48 [49] 47 [48] 46 [47] 45 [46]
(भ)गवत▲681) पमा
प (भ)वगव
न प्रह
रहव
रर्वा ×प गह
गमा जमगु
न सर त)
(स्वव व
ररखे
क
36 [37] 37 [38] 38 [39] 39 [40] 40 [41] 41 [42] 42 [43] 43 [44] 44 [45]
स
सतह▲692) आन हत सममान )धमा
(वमा सघर्वा
मर्वा दखे
रस अतपगु
रन अससक▼9 अ(वक)×▲672)
35 [36] 34 [35] 33 [34] 32 [33] 31 [32] 30 [31] 29 [30] 28 [29] 27 [28]
सगु
वर(धह) सह
दखे रुप ×रस ममा
हमा×क मलो
ह मह उतम▼6 ×(धमर्वा)
19 20 21 22 23 24 24 [25] 25 [26] 26 [27]
कमा
मजलो
ग दमा
नधम
र्वा स्तमतमा▲602) (व्र)ह्म गधमा कगु
सहग▲622) सगु
सहग▼7 सलो
क [illegible] ▲302)
18 17 16 15 14 13 12 11 10
हरष दयमा दलो
षह▼5 नगर्वा भर अह
त अवहध▼8 गधर (त)×××
1 2 3 4 5 6 7 8 9
उतपव
त (ममा
यमा
) कलो
ध ललो
भ सलो
भ मलो
(ह) सद सत [illegible]

1) Three-headed white-backed snake; 2) Red snake

376
Va72#24 (Field Museum of Natural History, Chicago)
NB! Illustrated with gods, sages, humans, and other motifs in all squares.

72 71 70 69 68 67 66 65 64
तमलोगगु
न▼51 र(जमा
) गगु
न ××गगु
× (रह्म)(
ललो
)× [illegible] सहरललो
क ×××क रह
रस्वत प×तह
55 56 57 58 59 60 61 62 63
[illegible] ▼2 आ(कमा
स) [illegible] तखे
ज ×(त)(
ललो
)क [illegible] गुर्वा
दर गु
धह▼26 [illegible] अरह▼3
54 53 52 51 50 49 48 47 46
(अ)×××▲681) [illegible] प्रह
रहममा
तमा [illegible] ×गमा (ज)मतनत ×रसगु
तह रहरखे
क [illegible]
37 38 39 40 41 42 43 44 45
[illegible] ▲69 ××न
2)
××न जमलो
ललो
क [illegible] कमा
(द्र)मगु
वन )रह
(खगु (दमा
) (अरह
)×▼9 मद▲672)
36 35 34 33 32 31 30 29 28
(सगु
)× [illegible] गह
धरर्वा [illegible] ×(त) [illegible] ××(म) सगु
(धमर्वार्वा
) ▼6 कमा
मज
19 20 21 22 23 24 25 26 27
(ज)न [illegible] [illegible] [illegible] ▲602) [illegible] कगु
(सहग) ▲622) [illegible] ▼7 (प्र)ममा
रर्वा हषर्वा
▲302)
18 17 16 15 14 13 12 11 10
[illegible] (दलो
)ष (न)×××▼4 [illegible] [illegible] [illegible] गह
धरर्वा
▼8 - उतहम
1 2 3 4 5 6 7 8 9
[illegible] [illegible] लमा
बगु - - - - - -

1) Three-headed white-backed snake; 2) Orange snake

Va72#25 (Musée d'Ethnographie de la Ville de Genève, Geneva, Switzerland)

72 71 70 69 68 67 66 65 64
[illegible] ▼51 [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
55 56 57 58 59 60 61 62 63
[illegible] ▼2 [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] ▼15 [illegible] [illegible] ▼42
54 53 52 51 50 49 48 47 46
[illegible] ▲681) [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
37 38 39 40 41 42 43 44 45
2)
[illegible] ▲69 [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] ▼9 [illegible] ▲672)
36 35 34 33 32 31 30 29 28
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] ▼13 [illegible]
19 20 21 22 23 24 25 26 27
[illegible] [illegible] [illegible] ▲592) [illegible] [illegible] [illegible] ▲622) [illegible] ▼7 [illegible] [illegible] ▲302)
18 17 16 15 14 13 12 11 10
[illegible] [illegible] [illegible] ▼4 [illegible] [illegible] [illegible] [illegible] ▼8 [illegible] [illegible]
1 2 3 4 5 6 7 8 9
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]

1) Three-headed white-backed snake; 2) Orange snake

377
Va72#26a (Johari 2007)
NB! Legends transcribed with translations as they appear in Johari 2007 (pp. 28-132).

72 71 70 69 68 67 66 65 64
tamoguna rajoguna satoguna (true Brahma-loka Vaikuntha-loka Rudra-loka ananda-loka uranta-loka prakriti-loka
(inertia) ▼51 (activity) nature) (absolute (cosmic con- (plane of (plane of bliss) (plane of inner (phenomenal
plane) sciouness)1) cosmic good) space) plane)
55 56 57 58 59 60 61 62 63
ahamkara Omkar (plane vayu-loka teja-loka (plane satya-loka subuddhi durbuddhi sukh tamas
(egotism) ▼3 of primal (gaseous plane) of radiation) (plane of (positive (negative (happiness) (darkness) ▼2
vibrations) reality) intellect) intellect) ▼13
54 53 52 51 50 49 48 47 46
bhakti-loka jala-loka (liquid himsa-loka prithvi (earth) tapa-/tapar- Ganges / Ganga Yamuna (solar Saraswati vivek
(spiritual plane) (plane of loka (plane of (lunar plane) plane) (plane of (conscience)
2)
devotion) ▲68 violence) ▼35 austerity) neutrality) ▲622)
37 38 39 40 41 42 43 44 45
gyana / jnana prana-loka apana-loka vyana-loka jana-loka Agni-loka manushya- avidya suvidya (right
(true aware- (plane of life (plane of (plane of (human plane) (plane of fire) janma (birth of (ignorance) ▼9 knowledge)
ness) ▲662) energy) elimination) circulation) man) ▲672)
36 35 34 33 32 31 30 29 28
swatch (clarity narka-loka rasa-loka gandha-loka maha-/mahar- yaksha-loka uttam gati adharma sudharma (apt
of conscious- (purgatory) (plane of taste) (plane of loka (plane of (plane of (good tenden- (irreligiosity) religion) ▲502)
ness) fragrance) balance)3) sanctity) cies) ▼6
19 20 21 22 23 24 25 26 27
karma-loka daan (charity) saman paap dharma-loka swarga-loka ku-sang-loka su-sang-loka dukh (sorrow) parmarth
(plane of ▲322) (atonement) (plane of (celestial (bad company) (bad company) (selfless
karma) dharma) ▲602) plane)4) ▼7 service) ▲412)
18 17 16 15 14 13 12 11 10
harsha-loka daya (mercy) dwesh naga-loka bhuvar-loka antariksha eirsha (envy) gandharvas shuddhi
(plane of joy) ▲692) (jealousy) ▼4 (plane of (astral plane)5) (nullity) ▼8 (entertain- (purification)
fantasy) ment) ▲232)
1 2 3 4 5 6 7 8 9
janma (genesis) maya (illusion) krodh (anger) lobh (greed) bhu-loka moha mada (conceit) matsar / kama-loka
(physical (delusion) matsarya (sensual plane)
plane) (avarice)

1) Radiant circles of light; 2) Arrow; 3) Sun-tipped clouds; 4) Flames; 5) Fountain of smoke or water

378
Va72#26b (unknown location)
NB! Legends written on a tessellated coffee table in transliteration without diacritics.

72 71 70 69 68 67 66 65 64
Tamo Guna Rajo Guna Sato Guna (...) Loka [lotus] Rudra Loka Ananda Loka U(ran)ta Loka (...)
▼51
55 56 57 58 59 60 61 62 63
(Ahamkara) ▼3 Omkar (Vayu) Loka Teja Loka [crown] Su(buddhi) (Dur)(...) ▼13 Sukh T(...) ▼2
54 53 52 51 50 49 48 47 46
Bhakti Loka Jala Loka (Himsa) Loka Prithvi उह
2)
Ganga Yamuna Saras(vati) Vivek ▲621)
▲681) ▼35
37 38 39 40 41 42 43 44 45
Gy(ana) ▲661) (Prana) Loka (Apana) Loka (Vyana) Loka ऊ3) (Agnih) Loka (Manushya Avidya ▼9 (Vidya) ▲671)
Janma)
36 35 34 33 32 31 30 29 28
Swatch (Narka Loka) Rasa Loka Gandha Loka यह
4)
Yaksha Loka Uttam(gati) A(dharm) ▼6 (Sudharm)
▲501)
19 20 21 22 23 24 25 26 27
Karma Loka Daan ▲321) Sam(an) Paap Dharma Loka रह
5)
Kusang Loka Susang Loka Dukh Par(mar)th
▲601) ▼7 ▲411)
18 17 16 15 14 13 12 11 10
(Harsha) Loka Daya ▲691) Dwesh ▼4 Naga Loka रह
6)
Antariksha Eirsha ▼8 Gandh(arva) T(apas) ▲231)
1 2 3 4 5 6 7 8 9
Janma Maya Krodh Lobh लह7)
▲508) Moha Mada Matsar Kama Loka

1) Arrow; 2) Circle inside two-petaled lotus (ājñācakra); 3) Triangle inside 16-petaled lotus (viśuddhacakra); 4) Hexagram inside 12-petaled lotus
(anāhatacakra); 5) Triangle inside 10-petaled lotus (maṇipūracakra); 6) Eye-shaped outline inside six-petaled lotus (svādhiṣṭhānacakra); 7) Square inside
four-petaled lotus (mūlādhāracakra); 8) Two intertwined snakes (kuṇḍalinī)

Va72#27 (private collection, Jaipur, Rajasthan)

69 [72] 68 [71] 67 [70] 66 [69] 72 [68] 65 [67] 64 [66] 63 [65] 62 [64]

तमलौ(गगु
)ण▼51 रजलोगण सतलोगण ब्रमललो
क बखे
कहठललोक रुद्रललो
क आन हद दगु
रगवत परककी
रवत
70 [55] 504 [56} 55 [57] 56 [58] 57 [59] 58 [60] 59 [61] 60 [62] 61 [63]
अहहकमा
र▼2 आहकमा
ह
स ब)×(ई)
(व तखे
ज सतललोक सगु
बगु
धह× गु
दरबगु
सध▼13 सगु
ष तमा
मस▼3
71 [54] 533 52 51 50 49 48 47 46
×वक्ति ▲68 जल हह
(समा
) ▼35 प्रथह तपललो
क तपललो
कगह
गमा जमगु
नमा सगु
रस्वव
त व
बबखे
क ▲62
37 38 39 40 41 42 43 35 [44] 45
(गमा
)न▲66 व
प्रतह अवप्रव
त धन जनललो
क अह
गमा
न मनगु
षललो
क अवबधमा▼9 सगु
बगु
धह▲67
36 35 34 33 32 31 30 29 28
(बगु
ध
)स नरक रस गह
ध मखे
हरललो
क स्पर
स उतमगव
त अकरम▼6 सगु
भकरम▲49
19 20 21 22 23 24 25 26 27
कर म दमा
न▲32 (सममा
ह
)व
त धरम▲60 सगु
रगललो
क कगु
सहगव
त▼7 सगु
सगवत सलो
क परममा
र
र▲41
18 17 16 15 164 [14] 13 12 11 10
हरष दयमा▲69 दह
(त) मगु
ष▼4 नमा
गललो
क अमरललोक अह
तरर
छङ षमा▼8
(ई)र कदर(यर्वा
) तप▲23
1 2 3 4 65 [5] 6 7 8 9
जनम ममा
यमा क्रलो
ध ललो
भ भगु
ललो
क मलो
ह महद महछर
तमा कमा
म

379
Va72#28 (private collection, Munich, Germany)

top sq. 11)

बह
कगु
ठ
72 71 70 69 68 67 66 65 64
तमलोगगु
ण▼51 रजलोगगु
ण सतलोगगु
ण व्रह्मललो
क व
र(षगु
) ललो
क स
शरललो
क आन ह
दललो
क ईंद्रललो
क प्रककी
स
त्तर्वा
ललो क
55 56 57 58 59 60 61 62 63
अहहकमा
र▼2 आकमा
स तखे
ज आप सत ललो
क सगु
रगु
स
द्धि गु
दररगु
सद्धि▼5 सगु
ख तमा
मस
▼3
54 53 52 51 50 49 48 47 46
भवक्ति ▲top#1 जल वहमा▼35
हस प्रथह तपललो
क शह(यमगु
)नमा
जह शहसर
स्वतह
जह शहगह
गमा
जह व
ररखे
क ▲62
37 38 39 40 41 42 43 44 45
जमा
न▲66 प्रमा
ण अपमा
न वमान जनललो
क अवगललो
क मनगु
स जन. अवरदमा सगु
वरदमा▲67
▼9
36 352) 34 33 32 31 30 29 28
स
सद्धिरन नरक रसमह गह
धरर्वा
ललो क महलर्लो
क अर सपर
सणः उमा
त्तम अधमर्वा
णः सगु
धमर्वा
णः▲50
▼6
19 20 21 22 23 24 25 26 27
कमर्वा
यलो ग दमा
न▲32 सममा
न धमर्वा
▲68 स्वगर्वा
ललो क कगु
शहगणः▼7 सगु
शहगणः▲60 शलो
कणः परममा
रणः
र्वा▲42
18 17 16 15 14 13 12 11 10
हरष दयमा▲69 गु
दरमवत▼4 नमा
गललो
क भगु
र(लर्लो
)क अह
तरह
क इरषमा▼8 गह
ध तप॰▲23
1 2 3 4 5 6 7 8 9
उत्पस
त्त ममा
यमा क्रलो
(ध) ललो
भ भय मलो
ह मद मत्सर
तमा कमा
म

1) Crown or cluster of snakes; 2) Geometric design

Additional Text
Above grid (left) company of a guru.407 (From jñān (i.e. sq. 37)?) one will go
to ānand (i.e. sq. 66); ahaṃkār throws one down into māyā;
शहर
मा
धमा
ककृ
षमा
भमा
ह
नमणःतमलो
गगु
ण नमा
डहतपककीनसखे
नहपर
ममा
रर्वा
ककीनसखे
नहसगु
धमर्वा
ककी
dharm enters one into devlok (i.e. viṣṇulok, sq. 68); avidyā
नसह
नहअहह
कमा
रनमा
×अव
रदमानमा
डहतमा
मसनमा
डहअधमर्वा
नमा डहइर
षमानमा
डहकगु
सहगनमा
डह
throws one down into kām (i.e. sq. 9); suvidyā will enter
गु
दरमवतनमा गु
डहदररगु
सद्धिनमा हह
डहवसमानमा
डहसगु
वरदमाककीनसन
खे
सेँहव
ररखे
क ककीनसखे
नहसगु
सह
ग
one into śivlok (i.e. sq. 67). Om!
ककीनसखे
नहदमा
नककीनसखे
नहधमर्वा
ककीनसखे
नहदयमाककीनसह
नहगमा
नककीनसखे
नहभव
क्ति ककी
नसखे
नहभव
क्ति व
कयखे
ततगमा
नचलो
परकमाभखे
दपमा
रहगगु
रुसह
गवरनहहपमा
यगमा:आन
हदमत Above grid (right)
जमा
यगमाअहह
कमा
रममा
यमामह
डमा
रदखे
:धमर्वा
दखे
रललो
कसममा
यअव
रदमाकमा
ममखे
डमा
र
हदखे
सगु
वरदमा गु
दररगु
सद्धिभयमत
डमा
रदखे
व
ररखे
क सगु
ष(म)गमा
रहतमा
मसकर
हक्रलो
धमह
सेँ
पर ह
तमलो
गगु
णप्रथहमह
सेँ
स
शरललो
कसममा
यगमा:ॐ पर
हकगु
शहगकर
हमदमह
सेँ
पर ह
अधमर्वा
कर ह
मलो
हमह
सेँ
पर हगु
दरगवतकर
हललो
भ मह
सेँ
पर ह
वहह
समाकर
ह
Salutation to Śrī Rādhā and Kṛṣṇa! (There is) an energy नर
क मह
सेँ
पर ह
तपकर
हस्वगर्वा
मह जमा
यपर
ममा
रर्वा
कर ह
जनललो
क मह
सेँ
जमायसगु
धमर्वा
कर ह
तपललो
क
channel (leading down from) tamoguṇ (i.e. sq. 72), a ladder जमा
यसगु
सह
गकर
हसगु
रगु
सद्धिमह
सेँ
जमायदमा
नकर
हमहलर्लो
क मतजमा
यदयमाकर
हव्र
हह्मललो
क जमा
य
(leading up from) tap (i.e. sq. 10), a ladder (leading up जमा
नकर
हआन
हदललो
क जमा
यभव
क्ति कर
हरह
कगु
ह
ठप्रमा
व
प्तिहलो
य९नमा
डह७२कलो
ठमा१
१नसतह
नह
from) paramārth (i.e. sq. 27), a ladder leading up from ॐ नमणःॐ
sudharm (i.e. sq. 28), an energy channel (leading down
Durbuddhi throws one into bhay (i.e sq. 5); vivek leads to
from) ahaṃkār (i.e. sq. 55), an energy channel (leading
sukh (i.e. sq. 62); if one engages in tāmas, one falls into
down from) avidyā (i.e. sq. 44), an energy channel (leading
krodh (i.e. sq. 3); tamoguṇ falls into pṛthvī (i.e. sq. 51); if
down from) tāmas (i.e. sq. 63), an energy channel (leading
one engages in kusaṅg, one falls into mad (i.e. sq. 7); if one
down from) adharm (i.e. sq. 29), an energy channel
engages in adharm, one falls into moh (i.e. sq. 6); if one
(leading down from) īrṣā (i.e. sq. 12), an energy channel
engages in durgati, one falls into lobh (i.e. sq. 4); if one
(leading down from) kusaṅg (i.e. sq. 24), an energy channel
engages in hiṃsā, one falls into narak (i.e. sq. 35); if one
(leading down from) durmati (i.e. sq. 16), an energy
engages in tap, one goes to svarg (i.e. svarglok, sq. 23); if
channel (leading down from) durbuddhi (i.e. sq. 61), an
one engages in paramārth, one goes to janlok (i.e. sq. 41];408
energy channel (leading down from) hiṃsā (i.e. sq. 52), a
if one engages in sudharm, one goes to taplok (i.e. sq. 50); if
ladder (leading up from) suvidyā (i.e. sq. 45), a ladder
one engages in susaṅg, one goes to subuddhi (i.e. sq. 60); if
(leading up from) vivek (i.e. sq. 46), a ladder (leading up
one engages in dān, one goes to maharlok (i.e. sq. 32); if one
from) susaṅg (i.e. sq. 25), a ladder (leading up from) dān
engages in dayā, one goes to brahmlok (i.e. sq. 69); if one
(i.e. sq. 20), a ladder (leading up from) dharm (i.e. sq. 22), a
engages in jñān, one goes to ānand lok (i.e. sq. 66); if one
ladder (leading up from) dayā (i.e. sq. 17), a ladder (leading
engages in bhakti, one attains vaikuṇṭh (i.e. top sq. 1).
up from) jñān (i.e. sq. 37), and a ladder (leading up from)
(There are) 9 channels, 72 squares, and 11 ladders. Om!
bhakti (i.e. sq. 54). By performing bhakti, one attains the
Salutation! Om!
secret of gyān caupaṛ. It will not be attained (without?) the
407 Cf. the variant readings of the same line on Va72#6 and Ja84#14.
408 The ladder stops one square short in agnilok (sq. 42).

380
 NB! The text lists 10 (not 9!) energy channels and 11 ladders
in accordance with the 10 snakes and 11 ladders depicted on
the chart. The legends mentioned in the text match those on
the chart with only a few minor variations, indicating that
the two were written by the same person. See Va72#6 for a
possible attempt at an adaptation of the text which was
later copied with minor variations by the wholly unrelated
Ja84#14.

Va72#29 (private collection, Munich, Germany)

72 71 70 69 681) 67 66 65 64
॥तमलोगगु
ण▼51 रजलोगगु
ण: सतलोगगु
ण व्रह्मललो
क: शहरह कगु
ह
ठ स
शरललो
क: आन ह
दललो
क: दगु
रतयललो
क: प्रक्रव
तर्वा
ललो क
55 56 57 58 59 60 61 62 63
अहहकमा
रललो▼2 आकमा
सललो रमा
यगु
ललो
क: तखे
जललो
क सत ललो
क: सगु
बगु
धकलो
क गु
दरबगु
ध▼13 सगु
षललो
क: तमा
मसललो
क: ▼3
54 53 52 51 50 49 48 47 46
हर
रभक्ति : ▲68 जल: वहमा: ▼35
हस व
प्ररह: तपललो
क: शहगह
गमा
जह: शहजमगु
नमा
जह: शहसर
स्वतह व
ररखे
क : ▲62
37 38 39 40 41 42 43 44 45
जमा
न: ▲66 प्रमा
ण: परन अपमा
न वमानपरन: जनललो
क: अवगललो
क मनगु
ष्य ललो
क अवरदमा: ▼9 सगु
वरदमा: ▲67
36 35 34 33 32 31 30 29 28
सब ललो
क: नरककगु
ड़: रस: सगु
ग ह
ध: मवहलर्लो
क: सगु
शर्वा आतमजमा
न: अधरम: ▼6 सरबधर
म▲50
19 20 21 22 23 24 25 26 27
कर मजलो
ग: दमा
नपगु
न: ▲32 समरकृ
त: उदमा
न: रन: स्वर
गललो
क: कगु
सहगत: ▼7 सगु
सहगत: सलो
क परममा
र
र▲41
18 17 16 15 14 13 12 11 10
हरष: दयमार
मा
षखे
: ▲69 दखे
षर मा
षखे
: नमा
गललो
क भगु
रर: ललो
क अह
तरह
क: ईरषमार
मा
षखे
▼8 गह
धररललो तपसमाकर
ह▲23
1 2 3 4 5 6 7 8 9
जनमललो
क ममा
यमा: र
मा
षखे क्रलो
धरमा
षह: ललो
भरमा
षह: भगु
रललो
क मलो
हरमा
षखे मदर
मा
षखे
: मछर
तमा: कमा
ह
म:

1) Pavilion (chatrī)

Additional Text
Above grid
॥अजमा
नअर:जमा
न:चलो
पडलङ
ष्यतखे
(
सह)
रत१
८७२र
मा:जखे
षसगु
द६व
लषतगु
वमा
स
रूपर
मा
म:गमा
ह र:रमा
ह धमा
रमा
समधखे
:

Thus gyān caupaṛ is drawn by Vyās Rūp Rām in the village

of Vādhāvās (i.e. Vadhava, near Surat, Gujarat?) on the 6th
day of the bright half of Jyeṣṭha (i.e. Jeṭh) in saṃvat 1872
(i.e. 13 Jun, 1815 CE).

381
Va72#30a-q (private collection, Munich, Germany)
NB! The charts were bought through the same dealer and are closely related. Consequently, only chart Va72#30a is transcribed here. The additional text for
all 17 charts is transcribed below.

72 71 70 69 68 67 66 65 64
तमलोगगु
नललो
क▼51 रजलोगगु
णललो
क सतलोगगु
(न) ललो
क रमललो
क बसहगललो
क रुद्रललो
क आनदललो
क दगु
रगललो
क प्रकर
तहललो
क
55 56 57 58 59 60 61 62 63
अकमा
रललो
क▼2 आकमा
सललो
क रमा
सगु
ललो
क तखे
जललो
क सतललो
क सगु
(बधह
) ललो
क गु
दर(बगु
धह) ललो
क▼13 सगु
कललो
क तमा
मजललो
क▼3
54 53 52 51 50 49 48 47 46
शहबगततललो
क जलललो
क हह
समाललो
क▼35 परतहललो
क तपललो
क गह
गमाललो
क जमनमाललो
क सगु
रस्वतललो
क रहरकललो
क▲62
▲68
37 38 39 40 41 42 43 44 45
(गरमा
)नललो
क▲66 (प्रमा
नह) ललो
क (आपमा
य)नमाललो
क बह(गनमा
न) ललो
क (जगन) ललो
क अन(न) ललो
क मसर(तह
) ललो
क कगु
बगु
(धह
) ललो
क▼9 सगु
बगु
(धह
) ललो
क▲67
36 35 34 33 32 21 [31] 30 19 [29] 28
सगु
बगु
धहललो
क नरकललो
क रसललो
क गधरपललो
क महललो
क अमरललोक ऊतपतललो
क उअदर मललो
क▼6 सगु
दृमललो
क▲50
19 20 21 22 23 24 25 26 27
(कम) ललो
क दमा
नललो
क▲31 सममा
नललो
क दममललो
क▲60 सगु
रगललो
क कगु
सगललो
क▼7 सगु
सगललो
क सलो
कललो
क परममा
तललो
क▲51
18 17 16 15 14 13 12 11 10
हरसललो
क दयमाललो
क▲69 दलो
हललो
क▼4 नरकललो
क भरतललो
क अतरह
सललो
क सहरसमाललो
क▼8 गधललो
क तपललो
क▲32
1 2 3 4 5 6 7 8 9
उतपतहललो
क ममा
लङललो
क क्रलो
धललो
क ललो
भललो
क भगु
ललो
क मलो
हललो
क म(धह
) ललो
क ममा
तसरललो
क कमा
मललो
क

Additional Text
#30a #30d
NB! Legends written in mixed Devanāgarī and Gujarati scripts. NB! No legends. Additional text written in mixed Devanāgarī and
Gujarati scripts.
[top left:] शहशह१
००८शहआचमा
र
यशहचह
दप्रभगु
जहभमा
रमा
पगु
रहपमा
लङरमा
नमागगु
जर मा
त
समा
लसमरत१७७५409 [top left:] आचमा
यर्वा
शह१ ००८(शह
) (रूप) मगु
नहम।सह
रह
यमा
र
हसमा
लसमरत१
८१२
(...) ममा
र
रमा
र
414
Śrī Śrī 1008 Śrī Ācārya Śrī Cand Prabhujī, Bhāvāpurī(?),
Palitana, Gujarat, saṃvat year 1775 (i.e. 1718/19 CE). Ācārya Śrī 1008 Śrī Rūp Muni Ma[hārāj], Siriyari, saṃvat
year 1812 (i.e. 1755/56 CE) (...) Marwar.
#30b
NB! No legends. #30e
[top left and right:] शहमठमा
धहस आसजह(
नमा
)
तजहशहघलो
कगु
लनमा
तजहमठ
[above chart:] शहशहशहआचमा
यर्वा
शह१ ००८शहशहआचमा
यर्वा
तगुलसह
जहमहमा
र
मा
ज
41
0 हमा
र
णमगु
लक ममा
र
रमा
डकमा
ठमाचतमा
र
लो
(ध)
रगगु
रुनर
लो
तमदमा
सससर
यमा
र
हसमरत१
८१८
ललो
कपर
ललो
क सरगर्वा
तर फ(
क)र
मधर
मकमाखखे
लसहयमा (
सस)
यगु
यमा
××चह
(तमा
र
ह)ककी
भमा
रमा
पगु
रहपमा
लङरमा
नमागगु
जर मा
तसमह
(रमा
)१७१
२411 Śrī Maṭhādhīś (i.e. head of a Maṭh) Āsjī Nāthjī Gokulnāthjī,
Saraṇ Maṭh, Marwar border region, painter Guru Narotam
Śrī Śrī Śrī Ācārya Śrī 1008 Śrī Śrī Ācārya Tulsījī Mahārāj 412
Dās, Siriyari, saṃvat 1818 (i.e. 1761/62 CE).
(played?) the game of karma and dharma (showing the
direction from this world to the next in heaven?). (...) #30f
Bhāvāpurī(?), Palitana, Gujarat, saṃvat 1712 (i.e. 1655/56 NB! Legends written in mixed Devanāgarī and Gujarati scripts.
CE).
[top left and right:] "
शहशहशह१
००८शह
,"आचमा
यशहभह
कसगु
सहर
हयमा
र
ह
#30c कमा
ठमामगु
लकममा
र
रमा
डसमा
लसमरतह
१८१
८चतगु
ममा
स415
[top left:] शहधर
म गगु
रुजहशह१
००८ शहपर
ममा
न
हदजहमहमा
र
मा
ज भमा
रमा
पगु
रह
"Śrī Śrī Śrī 1008 Śrī," Ācārya Śrī Bhikṣu, 416 Siriyari, Marwar
पमा
लङरमा
नमागगु
जर मा
तसमा
लसमरत१७८
२पलौ
सरन८ 413
border region, caturmāsa,417 saṃvat year 1818 (i.e. Jun-
Śrī Dharm Gurujī Śrī 1008 Śrī Paramānandjī Mahārāj, Nov, 1761 CE).
Bhāvāpurī(?), Palitana, Gujarat, saṃvat year 1782, 8th day
of Pūs (i.e. 11 Jan, 1726 CE).

409 Written in a different hand. 414 Written in a different hand.

410 Read: kīyā?
411 Written in a different hand.
412 Possibly a reference to the 8th Ācārya of the Śvetāmbara
Terāpantha sect who lived from 1914 to 1997. If so, this would
clearly indicate that the early date assigned to the chart was forged.
413 Written with a different pen, possibly in a different hand.
415 Written in a different hand.
416 Founder of the Śvetāmbara Terāpantha sect. Lived from 1726 to
1803. Died in Siriyari, Rajasthan, where a monument marks the
place of his samādhi, or bodily transcendence.
417 The four months of the rainy season during which Jaina mendicants
must stay in a single place.

382
#30g #30m
NB! No legends. Additional text written in mixed Devanāgarī and NB! Legends written in mixed Devanāgarī and Gujarati scripts.
Gujarati scripts.
[above chart:] शहभगरमा
नमहमा
रहर
जहजमा
नचलौ
पड़स
सरर
यमा
र
हखह
लपह
चमह
५समा
प
ह
[below chart:] शहशहशह१
००८शहशहप्रखे
( म)मगु
(णह)
जहआचमा
(
यमा
)(कमा
लमा
)
पगु
र स
सडहकमा
र
हघरनर
लो
तमदमा
ससमरत१
८१८मघसर३425
गगु
(य)र
मा
तसमा
रत१
८२५418
The jñān caupaṛ of Śrī Bhagvān Mahāvīrajī. Siriyari. The
Śrī Śrī Śrī 1008 Śrī Śrī Prem Munijī Ācārya, Kālāpur (i.e. 5th game of sāṁp sīṛhī (i.e. snakes and ladders). Artist
Kālupur area in Ahmedabad?), Gujarat, saṃvat 1825 (i.e. Narotam Dās, 3rd day of Māgh, saṃvat 1818 (i.e. 28 Jan,
1768/69 CE). 1762 CE).

#30h #30n
NB! No legends. NB! Legends written in mixed Devanāgarī and Gujarati scripts.

[top left and right:] शहभर

ममा
जहशहव
रसनगु
जहशहमहह
सजहसमा
पवनसडहकमा [top central:] शहसरत१
८१८शहभगरमा
नमहमा
रहर
जहजमा
नचलौ
पडखह
लषकृ
षहमह
६
खह
ल(खह
)लङ
तमा
लयमासमा
लसमत१
८६८ नर
लो
तमदमा
सससर
रयमा
र
ह426

Śrī Brahmājī, Śrī Viṣṇujī, and Śrī Maheśajī (play?) the game Śrī saṃvat 1818 (i.e. 1761/62 CE). the jñān caupaṛ of Śrī
of sāṁp nisenī (i.e. snakes and ladders) (...), saṃvat year Bhagavān Mahāvīrajī. The 6th game. Narotam Dās,
1868 (i.e. 1811/12 CE). Siriyari.

#30i #30o
[above chart:] शहब्रममा
जहव
रसनगु
जहभलो
लखे
जहजमा ह
न चलो
पड खह
लरलोपहलमा१ [above chart:] शहरर
ममा
जहशहव
रसनगु
जहशहमहमा
दखे
रजहजमा
नचलौ
पडखह
ल७
नगह
नमार
हगलो
टहयमा१
६पमा
समा४कमा
र
हघरनररतम419दमा
लो ससमरत१
८१९स
सरर
यमा
र
ह420
समा
पस
सेँ सव
डसचत्रकमा
रनर
लो
तम दमा
सससर
रयमा
र
हममा
र
रमा
ड़ (कमा
ठमा
)
427
समा
ल समरत

The gyān caupaṛ of Śrī Brahmājī, Viṣṇujī, and Bholejī (i.e. १

८१८428
Bholānātha, Śiva). The 1st game. 16 playing pieces (with The jñān caupaṛ of Śrī Brahmājī, Śrī Viṣṇujī, and Śrī
precious stones?),421 4 stick dice. Artist Narotam Dās, Mahādevajī. The 7th game of sāṁp sīṛhī (i.e. snakes and
saṃvat 1819 (i.e. 1762/63 CE), Siriyari. ladders). Artist Narotam Dās, Siriyari, Marwar (border
region), saṃvat year 1818 (i.e. 1761/62 CE).
#30j
[top left:] कमा
र
हघरनर
लो
तमदमा
सससर
रयमा
र
हममा
र
रमा
ड(कमा
ठमा
)422 समरत१
८१८ #30p

Artist Narotam Dās, Siriyari, Marwar (border region) [top left:] ८

saṃvat 1818 (i.e. 1761/62 CE). 8.

[top right:] खह
लवदव
तयमा२423 [top central:] जमा
नचलौ
पड़८स
चत्रकमा
रनर
लो
तमदमा
सससर
यमा
र
हसमा
लसमत१
८१८429
The 2nd game. Jñān caupaṛ (no.) 8. Artist Narotam Dās, Siriyari, saṃvat
year 1818 (i.e. 1761/62 CE).
#30k
[no additional text] #30q
[top left #1:] ९
#30l
[top left:] ४ 9.

4. [top left #2:] शहभगरमा

न महमा
रहर
जहजमा
न चलौ
पड़ खह
ल नरमह
९समा
पस
सेँ सव
ड
स
चत्रकमा
रनर
लो
तमदमा
सससर
रयमा
र
हममा
र
रमा
डसमत१
८१८430
[top central:] कमा
र
हघरनर
लो
तमदमा
सससर
रयमा
र
हमबू
लक ममा
र
रमा
डसमरतह
१८१
८खह
ल
समा
पससडहर
लोचतर्वा
गु
र४424 The jñān caupaṛ of Śrī Bhagavān Mahāvīrajī. The 9th game
of sāṁp sīṛhī (i.e. snakes and ladders). Artist Narotam Dās,
Artist Narotam Dās, Siriyari, Marwar region, saṃvat 1818
Siriyari, Marwar, saṃvat 1818 (i.e. 1761/62 CE).
(i.e. 1761/62 CE). The 4th game of sāṁp sīṛhī (i.e. snakes
and ladders).

418 Written in a different hand than the numbering on the chart.

419 Read: narotam.
420 Written in a different hand. 425 Written in a different hand.
421 The chart was sold together with playing pieces beset with colored 426 Written in a different hand.
glass beads (see Appendix A2). We might also read nagīnārī (nāgī + 427 The parenthesis appears as such on the chart.
nārī) in the sense of female nāgas, or snake-people. 428 Written in a different hand.
422 The parenthesis appears as such on the chart. 429 All additional text written in a different hand.
423 All additional text written in a different hand. 430 All additional text written with a different pen, possibly in a
424 All additional text written in a different hand. different hand.

383
Va72#31 (Government Museum, Kota, Rajasthan)

शहसगु
रसतहममा
तमा
जह शहग
हणखे
सजह शह××(ग)·नमा
रजह शह(स)र
(धमा
)रह
जह top sq. 1 शहगलो
पमा
लजह शहसगु
नमा
रजह गुमा
शह(दप ·
)र×नमा
रजह शहमदनमलो
हनजह
शह(रमा
मजह ) शह(शह
) ××(जह)1)
69 [72] 68 [71] 67 [70] 66 [69] 72 [68] 65 [67] 64 [66] 63 [65] 62 [64]
तमलोगगु
न▼51 रजलोगगु
न सतलोगगु
न बह्मललो
क बखे
×ठ रलो
दरललो
गु क आन हदललोक दगु
रत प्रर
करत
70 [55] 54 [56] 55 [57] 56 [58] 57 [59] 58 [60] 59 [61] 60 [62] 61 [63]
अहहकमा
र▼2 तखे
ज बमा
य आकमा स सत(ललो)क सगु
बगु
ध गु
दरबगु
ध▼13 सगु
ष तमा
मस▼3
71 [54] 53 52 51 51 [50] 49 48 47 46
भगत▲68 जल हह
समा▼35 प्ररह तप(ललो)क गह
गमा जमनमा सरसगु
तह व
बबखे
क ▲62
37 38 39 40 41 42 43 44 45
गयमा
न▲66 ममा
न अपममा
न धयमा
न जनलमा
कअग(न
ह)तत सगु
बमा
स मनषजनम अधमर्वा
▼9 सगु
धर म▲67
36 35 34 33 32 31 30 29 28
सह
धयमाकर
म नरक रसललो
क गह
धरपलमा
क महमालमा
क अगनतत उतम(लमा
)क अबदयमा▼6 सगु
बदयमा▲50
19 20 21 22 23 24 25 26 27
कर मजलो
ग उदमा
र
तमा▲32 समा
ममा
न धरम▲60 सगु
रगलमा
क कगु
सहग▼7 स(त)सह
ग सखे
रव़
मा प्रममा
र
र▲41
18 17 16 15 14 13 12 11 10
रसलमा
क दयमाभमा
रव़
▲69 गु▼4
दष नमाललो
क भगु
ललो
क अह
तरह
च इरयमा▼8 गह
ध तपलमा
क▲23
1 2 3 4 5 6 7 8 9
जनमभगु
म ममा
यमा करलो
ध ललो
भ (भगु
) ललो
क महजमा
ल मध मतसर कमा
म

1) Last word written at a 90 degree angle along the left side of the square

Va72#32 (Government Museum, Kota, Rajasthan)

69 [72] 68 [71] 67 [70] 66 [69] 72 [68] 65 [67] 64 [66] 63 [65] 62 [64]

तमलोगण▼51 र(जलो
) गण सतलोगण ब्रह्म(ललो
क) रह
कगु
हठ उदर(ललो
क) आन हदललोक दगु
र× प्रर
करत
7(0) [55] 5(4) [56] 55 [57] 56 [58] ×7 [59] (...) [60] (...) [61] (60) [62] (...) [63]
अहहकमार▼2 आकमा स रमा
य (तखे
ज) [illegible] सगु
रगुध (दगु
)र (रगु
)ध▼13 (सगु
ष) तमामस▼3
71 [54] 53 52 51 50 49 48 47 46
भगत५४▲68 जल हह
समा▼35 प्रथह त(...)क गह
गमा जमनमा सरस्वतह ररखे
क▲62
37 38 39 40 41 42 43 44 45
गयमा
न▲66 ममा
न अपममा
न धयमा
न ×क
जनलो सगु
रमा
स (रर)धषमामनष (सगु
)रधयमातरयमा सगु
रगु
धयमा▲67
जनम ▼9

36 35 34 33 32 31 30 29 28
सह
धयमाकर
म नरक रस गह
धरप(क)ललो
क ×हमा(ललो
)क अगनतत (...)क अधमर्वा
▼6 सगु
धमर्वा
▲50

19 20 21 22 23 24 25 26 27
कर मजलो
ग उदमा
(र) ▲32 समा
ममा
न धमर्वा
▲60 सगु
रग(ललो
)क कगु
सहग▼7 सतसह
(ग) सगु
ष प्रममा
(र)र्वा▲41?
18 17 16 15 14 13 12 11 10
रसललो
क (द)×भरन▲69 दलो
ष नमा
गललो
क (भगु
)( ललो
)क अह
तरह
च इरषमा▼8 (...)ललो
क तप(ललो
)×▲23
▼4
1 2 3 4 5 6 7 8 9
जन ममा
यमा क्रलो
ध ललो
भ (भगु
)( ललो
)क मलो
हजमा
ल मध मत×× कमा
म

384
Va72#33 (Maharaja Sawai Man Singh II Museum, Jaipur, Rajasthan)

top sq. 1
शह
72 71 70 69 68 67 66 65 64
तमलोगगु
ण▼51 रजलोगगु
ण व्रह
मललो
क सतलोगगु
ण बरमललो
क बखे
कगु
ठ1) शरललो
क ईद्रललो
क दगु
रवतललो
क प्रककी
र
तह
55 56 57 58 59 60 61 62 63
अहहकमा
र▼2 आकमा
स बमा
य तखे
ज सतललो
क सगु
रगु
ध गु
दरबगु
ध▼13 सगु
ष तमा
मस▼3
54 53 52 51 50 49 48 47 46
भगत2) ▲68 जल हह
सहमा▼35 प्रथ तपललो
क गह
गमा
जह जमनमा स्वर
स(तह
) बबखे
क ▲62
37 38 39 40 41 42 43 44 45
गयमा
न▲66 प्रमा
ण आपमा
न बमान जनललो
क अगन सरसटहमनष अवरदमा▼9 सगु
बहदमा▲67
36 35 34 33 32 31 30 29 28
सबद नरक रस गह
ध महरललो
क सपरस उतमगतह अधरम▼6 सगु
धर म▲59
19 20 21 22 23 24 25 26 27
कर मजलो
ग▲50 दमा
न▲69 सनममा
न धरम▲60 सगु
रललो
क सगु
सहगतह कगु
सहगतह▼7 सलो
क परमधर
म▲41
18 17 16 15 14 13 12 11 10
हरष दयमा▲32 दलो
ष▼4 नमा
गललो
क भरव़
ललो
क अह
तरह
ष ईरषमा▼8 गह
द्रपललो
क तप▲23
1 2 3 4 5 6 7 8 9
जनम ममा
यमा क्रलो
ध भलो
रललो
कभ भलो
रललो
क मलो
ह मद मतसर
तमा कमा
म

1) Viṣṇu with female attendant; 2) Devotee

385
Va72#34 (Maharaja Sawai Man Singh II Museum, Jaipur, Rajasthan)
NB! Anusvāra written with two dots instead of one.

top sq. 2
ॐ व्रह्मसव
तचदमा
न
हद
सहस्रदलकमलशह
गगु
रुदखे
रतमाजमा
नशव
ह क्ति
:॥
top sq. 1
ईश्वरपरह
ममात्ममादखे
रतमा
ममा
यमाशवक्ति आजखे चक्र
वददलकमल
ममा
सणश्य रणर्वा
॥
72 71 70 69 68 67 66 65 64
तम▼bottom#2 रज▼1 सत्व ▲68 अहहकमा
र महत्तत्व व्र
हह्मललो
क तपललो
क जनललो
क महलर्लो
क
55 56 57 58 59 60 61 62 63
प्रमा
नमा
यमा
म प्रतमा
हमा
र धमाह
न धमा
रणमा जहरमा
त्ममादखे
रतमा सममा
स
ध▲67 व्र
हह्मगमा
न▲top#1 भगु
रलर्लो
क स्वलर्लो
क
अवरदमाशव क्ति व
रशगु
ध
चक्रशलोडशदल
कमलसबू वट: रणर्वा
54 53 52 51 50 49 48 47 46
आसन ×यम यम यलो
ग सदमासशरदखेरतमाउममा दम शम रह
रमा
ग ईश्वर
स अन भव
क्ति
शवक्ति अनमा
हतचक्र ▲top#2
दमा
दशदलकमलश्वखे त
रणर्वा
॥
37 38 39 40 41 42 43 44 45
अहहकमा
र स
चत रगु
सध मन वरषगु दखे धमर्वा अव
रतमासह रदमा ×(न/म) ▼8 तप जग ▲63
▼bottom#1 शवक्ति मसणपबू
रचक्र ▼bottom#3
दशदलकमलनह (ल)
रणर्वा
॥
36 35 34 33 32 31 30 29 28
प्रमा
न
ह अ(पमा
)न वमाह
न सममा
ह
न ब्र
हह्ममादखे
रतमासमा
व
रत्रह उदमा
न नमा
ग कबू
मर्वा क्रकल
शव क्ति स्वमा
स
धषमा
ह
नचक्र
षटदलकमलपह त
रणर्वा
॥
19 20 21 22 23 24 25 26 27
शव्
द ध्रमा
ह
न स
जवमा चकद कगु
ह
डव लनहशव
क्ति॥ त्वक सलो
त्र धनजय दखे
रदत्त
18 17 16 15 14 13 12 11 10
स्पशर्वा रू(पमा
) रस गह
ध गणखे
शद खे
रतमाबगु
सध आकमा
स रमा
यगु तखे
ज▼bottom#4 अप
शवक्ति मलबूमा
धमा
रचक्र
चतदगुल
र्वाकमलर क्ति
रणर्वा
॥▲top#2
1 2 3 4 5 6 7 8 9
रसमा
तल महमा
तल तलमा
तल व
नतल सगु
तल व
रतल अतल स
ममा
तर्वा
ललो क प्रस
ररह
bottom sq. 1 bottom sq. 2 bottom sq. 3 bottom sq. 4
अह
धतमामस कबू
ह
भह पमा
क व
रकटमाणर्वा
र सबू
चहमगु
ष

Additional Text
Below grid स
मतगु
र्वा
ललो कजरसमा
र
हआरह
परह
(कमा
म)अरुअयर
॥

व
रघनव
रनमा ह
सनकलौ
प्रनमा
मकर
रशहगगु
रदखे
रजगु
हमा
रत
॥ तररव़
हसबू
चह
मगु
षमतपर
ईपचहगुमत
दष वरर
॥७॥

र
ससकर
मा
इयहर
चहसगु
क्रकी
डमामनमत
जगु
(
वग्
त)व
रचमा
र
त
॥१॥ र गऐह
जमत रह
समा
तलआरह
फहर
रषखे
वलयह
तलौ
हह॥

पगु
रर
षअकमा
रवपह
डमह
सेँ
दहसत
सचतगु
दहनह
कवनहमा
र
लौ
॥ भकृ
समयह
धरधरप
हरजगतकखे ह
जनमजनमललौ
यलौ
हह॥८॥

पह
वडव्रह्ममा
डएकगु
ह कहदखे
षहसलोहह
गगु
रूहममा
र
लौ
॥२॥ धमगु
र्वा
सगु मलो
छपर
खे
तहव
नकसह
प्रस
ररहऊपरआरह
॥

गमा
नव
ह रलमा
सनमा
मगु
हहयमाकलौमनसत
षखे
लगु
वरचमा
र
लौ
। मबू
लमा
धमा
रसगु
चक्रगऐतत
गवतऊर
धककीपमा
रह
॥९॥

नरनमा
डहसत्तर
रदह
कलो
ठमातमामत
सकलपसमा
र
लौ
॥३॥ धमर्वा
मलो छइकगु
इकगु
घरुऊर
धचढह
जलो
गमगगु
लङनत
॥

र
समा
तमा
लतत
व्र
हह्मललो ह
कललौ
जहनमजनमपचहहमा
र
लौ
॥ अरर्वा
कमा मतत
रमा
व
हरभकृ
समयह
औरप
हरजखे
ककी
नह
॥१०॥

दखे
रक्रपमाअ(
रु)व्र
हह्मगमा
नवरनगु
सबू
झतगु
नमा
व
हनह
दमा
र
लौ
॥४॥ अह
धकमा
रतमा
मसमत
तमगु
लहअर
हकगु
ह
भह पमा
कह॥

धमगु
र्वा
सगुरखे
कगुअरर्वा
दह कव
हयह
कमा
ह
तहव
न(ठ)
हरमा
ऐ॥ व
रकटमा
णर्वा
रह अव
रदमाअर
हजव
गवदषमा
रहनमा
कह
ह ॥१
१॥

मलो
(
व्छ)चमा
र
रऐकपमा
समह
(चमा
)
चलौओररनमा
ऐ॥५॥ करर
समतगु
र्वा
ललो कमत
लमा
रहधमर्वा
मलो छमगगु
लवहयह
॥

र
समा
तमा
लमत
समाचह
र
मा
षहजखे
जनषखे
लनरमा
र
खे
॥ यमाप्रकमा
रतत ह
जनमजनमललौ
नमा
नमाव
रसधव
फरररव
हयह
॥१२॥

अपनत ह
क्रमसलौ
पमा
सहडमा
र
तपर
हभमा
गअनगु
समा
रखे
॥६॥

386
सतह
ललो
क सममा
स
धवदषमा
रहईसललो
क ललो ह
कललौ
भ(तह
)
॥
महत्तत्वगु
लहसतगु
व
दषमा
रहजमा
ललौजमा
ककीसतह
॥१३॥

महत्तत्व मत
आरपर
ह ह
सलौ
अरर्वा
कमा मनव
हछव
लयह
॥
धमगु
र्वा
सगु मलो
(
व्छ)पर
खे
तहसमा
र
हधरधरऊर
धचव
लयखे
॥१ ४॥

सतगगु
रुक्रपमागमा
नपमा
ह ऐतत
सचदमा
न
हदमत
समव
लयह
॥
फखे
ररसगु
पमा
इआपगु
आपगु
नगु
मतममा
यमादखे
वषनछव
लयह
॥१५॥

(
सलो
)हमा
र
तजलोजलो
इअधलो
गवतपर
तअपनह
पमा
सत
॥
सलो
ईजह
तहदमा
इसरह
जलोपर
व्र
हह्मस
मवलभमा
सह
॥१६॥

र
ससकर
मा
ययहषखे
लगु
रनमा
यलौजमामत
तत्तगु
व
रचमा
र
त
॥
गगु
रूक्रपमातह
षखे
ललौजह
तलौपमा
रलौजगतअधमा
र
ह
॥१७॥

[see Appendix E1, verse #3]

शहर
मा
मरमा
मरमा
मरमा
मरमा
मरमा
मरमा
मरमा
मरमार
मा
मरमा
मरमा
मरमा
मरमा
मरमा
मरमा
मरमार
मा
मरमा
म
र
मा
मरमा
मरमा
म

Śrī Rāma Rāma Rāma Rāma Rāma Rāma Rāma Rāma Rā Rāma
Rāma Rāma Rāma Rāma Rāma Rāma Rā Rāma Rāma Rāma
Rāma Rāma

Va72#35 (Ganganath Jha Research Institute, Allahabad, Uttar Pradesh)

[neither image nor transcription available]

Va72#36 (Shree Sanjay Sharma Museum & Research Institute, Jaipur, Rajasthan)
[neither image nor transcription available]

387
Appendix C2: 84-Square Jaina Charts
Ja84#1 (Calico Museum, Ahmedabad, Gujarat)
NB! No clear distinction between avagraha (ऽ
) and daṇḍa (।); avagraha transcribed as daṇḍa wherever used as such.

top sq. 5
-
top sq. 4
अ×र मा
जह
Add. text #1 Add. text #1 (cont.)
top sq. 2 top sq. 3
रह
जय ह
त२ जयहत३
top sq. 1
रज)य(...)
(व
76 77 78 79 80 81 82 83 84
मलो
हनहकमर्लो
दय नरग्रह रखे
यक सबू
प्रतह
ष२×घन मनलो
र
मग्रह
रखे
यक३ - सलो
मनस५ज२७ सबू
ममा
नस७ज२८ पह
य ह
कर८ग्रह
रखे
क न ह
दहकर९ग्रह
रखे
क
७(०) कलो
ड़मा
कलो
ड़ह(सगु
)दशर्वा
न१ २३उतकृ ष२४ ज।२४उ।२५। उ।२८समा
गर उ।२९समागर ज।२९उ३० ज३०उ३१
▼59 समा
गर२३आयगु आयगु
75 74 73 72 71 70 69 68 67
रमा
जसअहहकमा ह
(र) अचबूतदखे
रललो
क आर णदखे
रललो
क आनतप्रमा
नत९
। दखे
रललो
ककखे
त्र सहशमा
रदखे
र। शगु
क्रदखे
रललो
क७ असभषमन ह
रह
स
छत अनगु तमा
नब ह
धह
हक १
(अ)षमदग्रमा २समागर ११समा
गर२१ १०समा
गर२।२० भव अभव। ललो
क८समागर१ ७ जघन उ।१७ दखे
रमा
नगु
भवरसबू
ख क्रलो
धहें
नसहतमा
१०▼2 (१)२।। आयबू आयबू दकणउतरमा
(द्धिर्वा
) जघन उ।१ ८ समा
गरयबू तमामस
समा
गर॥ अहह कमार लो
त(द)तखे
▼23
56 57 58 59 60 61footprint 62 63 64 65 66
व
त्रगव
तपररणमा
महें
न सलो धरर्वा
दखे
रललोक अव्रतह इसमा
नदखे
रललो
क अहसहजमह दखे
रललो कदखे
रमा
नगु सह
न ह
तकबू
ममार ममा हखे
द्रदखे
रललो
क४ १ १।१२ व
ररखे
कदशव रध समा
ममा
व
नकदखे
रतमा
वह तर
वनकमा समागमा
र२समागर प्रतमाष्यमा
नमा
दह ६।७।सह यमह व
रर मा
धह तसहजमह पबू (द्धिह
) भवरजभ दखे
रललो
क३समा गर व्रह्मदखे
रललो
क५ गगु णमा
समा
नकधणहव
रनयक(त्र)र
र
आयबू रव हतमादलोष गगु
णसमान ब(द्धि) भरग्रमा
हहत कखे
त्र▲top#1 २जघन उ।७ (चह घखे
) ७पमा
चमहें
ह ▲68
यबू
(क्तिमा
) ▼21 ▼41 समा
गर। १०समा गर
55footprint 54 53 52 51 50 49 48 47
दखे
रतमाव
दर व
हतमा भमा रनमा१ २नलो नरव रध परद्रलो
हस चहतक मनबू
ष्य कखे
त्रतखे पह
चव्रतनमापलक मलो
हमा
दहगगु
णहें सप्तिवसनसखे
रक बमा
रहें
भखे
दखे
सजनभव क्ति पदरह रमा
हकव रनय (ब्र)ह्मचयर्वा
नमा २५(क्रकी )यमा मधहेंगगु
णठमाह
णमा महमा
व्रतहशगु
क्र अरकृ
तऽ सगु
भ आचमा ररष तपसमा नलोधणह
प्रमा
प गगु
ण(व्रत) दमा
नमा
व
द पमा
लक४ एकमा ग्रतमा १४ लखे
समाकखे रलजमान धमाह
नधमायक कबू
लन हदक। व
नजर्वा
रतलोकरर्वा
४धमार
क सह ष्यमाव्रत३ उपमा
यर्वा
क ▼11 सबू
द्धिसहयमह
गगु
णव्रत५ ▲top#1
अणगु व्रत
38 39 40 41 42footprint 43 44 45 46
जहनममा रग नहललखेसमार
हत कमा
पलो
तलखे
श्यमा१। तखे
जलोलखे
।श्यमा व तयर्यं
चषखे(त्र) सबूभतकृ
जह
चभव करर्वा
धमाह
नह७। ककृष लखेश्यमासप्ति धरर्वा
आर मा
धन
धरर्वा
नलोधणह कठलो(र)क(मह) २।३नलोमल
खेण भरनपतहदखे रमा
दह प्ररम प्रमा
ह
णहकमा
ल ८॥९।१ ० ममा
ह
नरलो
कगमाह
मह इछमाभवतव
र
(इ)गमा खे
पवड़ ४।५नलोमखेलण हमा
रलो गतहदमा
यक गगु
णसमा ह
नमा
तह (व र)रत(१) गगु
णठमा
ह
णमानलोधणह ऽसबू
भपर णमाह
मह पद्मलखे
श्यमा
ममा
नलो
रहणहमा र हमा
रलो पहचमगगु णसरमा नमा ग्रमा
हक सह
यमह▲61 अधर मह▼9
▲80 ग्रमा
हकदखेरललो क
गव त
37footprint 36 35 34 33 32 31 30 29
आशरनलोमखे लण बहें
लमाषजलो नह बहें
लमाषजलो नह बहेंलमा षजलो नह व
रकलखे
द्रहषखे
त्र१। सबू भअसबू
भकरर्वासबू
भअसगु भ करर्वा
प्रककृ
तहसबू
भ सह
ररममागर्वा
हमा
र
लोअर तहचमा र (चलो
)रह
द्रहसह
जह सह गनहतखे रह
द्रह रहें
र ह
द्रहसह जह २।३गगु
णठमा णमानलोप्रककृ
तहसतमाभखे
द कहरर्वा
नमाअ(न)नहेंअसबू
भमादखे
इ। नमा
षलो
जहआप×ण
गगु
णठमाह
णमा ९००००० प्रजमा
प्ति। प्रयमा
प्ति।
र्वा धणह गमा यक उदहरक पमा
लनलो
कबू
लकलोड़ह ८००००० ७०००००
कबूलकलो वड़ कबूलकलो ड़ह
।
20 21 22 23 24 25 26 27 28
उपसमयलो गह समा
तलमा षनह गलो
द समा तलमाषप्रररह समा तलमाषअप रमा
ररनलोषखे
त्रभव समा तलमा
षतउ खे समा
तलमा षरमाउ दशलमा षप्रतखे
क १४लमाषसमा
धमा
र
ण
असलहगहें
भ्रष गलो
लमा
नमाजह र कमा यजह रनह द्रमा कमा
यमनबू
ष्य अभव लमा भहें कमा यवतयर्यं
चगव त कमा
यमनबू (क) रस्पव तकमायर्वा रनस्पव
तकमा
य
रमा
ररमहें
पड़हत कदखे
(क्र) कमा
लहें पर ममामनबू
ष्य गतह प्रमा
पहककी
। गगु
णठमाह
णमा(३) प्रमा
पहकमनबू
ष्य गवतखे
प्रमा
पहक मनबू ष्य गव
त
भव प्रमा
पहक नमा
(र) गतहअप्रमा
पह क प्रमा
पहक
19 18 17 16 [15] 14 13 12 11
नमा
गकबूममा
र दहपकबूममा
र समथमात्व ५नलो परनकबूममा
र९ अगनहकगु ममा
र५ अगनहकबू
ममा
र५ जहरस्पधमा
र
र्वा
ह
त भबू
रनपतयअसबूर वरहमा रर
मा
सह
व
रदबू
तकबू ममा
र वददमा
सहकबू
ममा
र८ धणहपमा च
ह स्तनहतकबू
ममार१ ० उधदहकगु
ह
ममा
र६ उधदहकबू
ह
ममार६ सबू
मवहममा
कधक कबू
ममार१सबू
रणर्वा जहर(तजखे
)भरह
क
गह
धरर्वा
८र हतर वकपबू
रषदमलोह आशरनलोधणह र मा
क(स) ४वकहन्नर भबू
त२यकर ह
तर भबू
त२यकर ह
तर ▼7 कगु
ममार३पह
समाच हह (इह
)
रग७र हतर (ममा
)हमाकरर्वा
रह
दह५र हतर रह
तर
▼1
2 3 4 5 6 7 8 9 10
कमा
ह
ममलो हमछर अनबू तमा
नबू
बह
धह अजमा
नदशमा
ह कगु
गगु
रुकगु
दखे
र भबू
लर्लो
कखे १५ समा
नखे
कर हप्रखे
(म) रमा
गदखे
षकरह अप्रतमा
ष्यनह
उ अदयमा रहत
चमारलमा षनमा
रककीक्रलो
धममा
ह
नममा
यमा महमा
मदअह
ध पबू
जककबू सहगवत (प)रममा धमा
ह
महक उपजखे
भक्तिकी
रमाह
न सहह तमा६कमा
यनमा आदखे दइ४व तयर्यं
च ममा यमा
रहकपटह
सप्ति(पह
)समलतमा ललोभनर कधमा
ह
मह अवरहमाररमा
सह अव रदमा
नलोधणह आदखे ४लखेश्यमा
र
हत जमा
ह
नगगु
णधमा रह७ पहड़क गवतग्रमा
हक (समा
)हमा(धबू
)तर्वा
पबू
षर्वा
यलो
नह (आ)दगगुण तखे
ह(मलो)
▲44 स(धमाह
)नक
1
समा
तलमाषवनत
नहगलो
दनह
तकमा
ल
थ
सतह

388
Additional Text
Add. text #1
॥§O॥ललो
कमा
कमा
रसगु
कखे
त्रव
तहमा
ह
चलो
र
मा
सहलषजलो
नह
सबू
कर बू
मदकरमभखे
दजहर।व
तहमा
ह
वफर
तअपगु
वन्न
सदगगु
रुकखे
सहयलो
गभयलोवरहमा
रचलो
र
मा
सह
महमा
व्रतहमबू
वनरमा
जकखे
इक भयखे
अवरनमा
सह
सगु
गइकखे
त्रव
तहमा
ह
आत्म नयआगमममा
र हह
गममा
व
ह
भलपमा
समाव
नकखे
पभरमा
तर
ह खे
व
रनयरहजमा
उमबू
गवतचव
ल१

[see Appendix E2, verse #3]

इव
तशहजमा
नबमा
जहक्रकी
ड़मा
॥

Thus the illustrious game of jñān bājī.

सह
रत१
८९०नमारषर
फमा
गगु
णहसगु
वद१३व
दनखे
।ल।प
ह।तखे
जव रजखे
यगणह
महदह

Drawn by Paṇḍit Tej Vijay Gaṇin on the 13th day of the bright
half of the moon in the month of Phāgun in the year VS 1890
(i.e. Mar, 1834 CE).

389
Ja84#2 (Calico Museum, Ahmedabad, Gujarat)

top sq. 6
-
top sq. 5
५
top sq. 2 top sq. 3 top sq. 4
२ ४ ३
top sq. 1
१
76 77 78 79 80 81 82 83 84
ममा
(हमा
)मलोहनह भ(द्र) ग्रह
रखे
क (सगु
)भ(द्र) ग्रह
रखे
क सगु
जमातग्रह
रखे
क कमा
×क मनसग्रह
रखे
क॥ प्रह
यमा
दसन अमखे
ग्रह
रखे
×क॥ यशलोग्रह
रखे
क
(क)मर्वा
▼52 (स)मककी
(त।) ग्रह
रखे
क।
75 74 73 72 71 70 69 68 67
ककृ
(ष) लखे ) व
(समा नललखे
समा (प ह
)चरह
खय ४ललो
कपमा
ल रहषयशखे
णह ममा
हमा
ह
म(हलो
)दय यशग्रहह सगु
प्रतह
बद्धि (...) (तप)स्वह
▼2 (...) उपसमशखेणह भवमाभव जह क कमा
र (क) ▼16
नह
व्रतह
(कर)ण
56 57 58 59 60 61 62 63 64 65 66
सगु
धमर्वा इशमा
नदखे
रललो
क (...) ▼36 (म)हह(द्र) अ(सह
जमह
) ब्रह्मदखे
र(ललो
)क (लमा
ह
)तक सगु
क्रदखे
रललो
क सहसमा
रदखे
रललो
क आ(...)(ललो
क) आ(रण) दखे
रललो
क
दखे
र(ललो
)क॥ (दखे
)रललोक ▼34 दखे
रललोक॥ ▲68
55 54 53 52 51 50 49 48 47
(...) ▲80 (...) (...) पर(द्रलो
हह) अपगु
रर्वा
· कर ण· सगु
कललखे
समा मध पर
हणमा
मह समा
तरह
(स)नह (...) ▲top#1
(▲top#5) ▼10
38 39 40 41 42 43 44 45 46
रह(द)ममा(ल) अहर्वासह
जमाप ह
चह
(द्रह
) रगु
लव्रतमा
र
मा
धक॥ पद्मलसमा अ(प्र)×त (अ)ण(गगु
ण)व्रत उप(स)तमलो
(ह) जहरहह
(सक) अनहव्रतकर
ण
भक्तिकी मन ह
गु
ष्य गगु
ण(ठमा )णगु गगु
णठमा
णगु
▲50 ▼9
37 36 35 34 33 32 31 30 29
(...) ×(ज) लखे
स ७लमा
षप्रतखे
क ७लमा
षरमा
उकमा
य (प्र)×(त) समा
धगु
शखे
रमा सह
गु
भमा
सगु
भ(स)त्व धमर्वा
आर मा
द्धिरमा पबू
रर्वा
कर ण
×नसपतह गगु
णठमा णगु (इ)छमा
20 21 22 23 24 25 26 27 28
×रमा(सध)क (७) ×(ष) ७लमा
षअपकमा
य ७लमाष(तखे
)उ (द)सरह(र )तह दस(र)ककी सदमासह
भ
गु पगु
न प्रककृ
तह यरमा
प्रव्रतह
करण
(ध)व ×प्रह
ग्रहह (बमा
)×र कमा
य गगु
ण(ठमा
णगु
) क×तमा
म× परहणमा
मह
रनसप(तह )
19 18 17 16 15 14 13 12 11
अ(सगु
)रकगु
ह
(ममा
)र नमा
गकगु
ह
ममार महथमात मह श×णठमा
णगु अ(...) (अग)नहकगु
ह
ममार महरगु
×(सखे
)रमा अ(प्र)तमा
ख मा
नह अप्रतमा
ख मा
नहउ
(गगु
)णठमा
णह
गु
▼1 (...) ▼8 ममा
यमा ममा
न
2 3 4 5 6 7 8 9 10
४लमाषयलो
नह सहनहप हच(व
द्र) परसमा
धमा
मह बमा
दररनस्पतह दह सकगु
हममा
रसगु(र) (...) ▲44 महरगु
नसखे
रमा अ×तमा (नगु
)बह
धहयलो अप्र( तह)
नमा
र
ककी तहयर्यं
च कमा
य (...)ममा
रस्त(नहत) क्रलो
ध (...)नहयलो(
क्रलो
)
ध
कगु
हममा
र
1 (बमा
)दरव नगलो
द सहगु
क्ष्म नह
गलो
द
(...)जहतहयर्वा
× वरहमार मा
श अवरहमा र×सह
(प ह
चद्रह
) (यगु
)क्ति अनह
त अन ह
तकमा लकमा
य
कमा
लस्तह तह स्तह तह

390
Ja84#3a (previously at Museum of Indology, Jaipur, Rajasthan)

top sq. 6
(मगु
क्ति (कखे
)व )त्रस मा
व
टकतय(४५) (लमा
)षयलो
जन(प्रममा
ह
)×
top sq. 5
वरज(य) १
top sq. 2 top sq. 3 top sq. 4
रह
जय ह
त२ सरमा
र(स
र्वा
र्वासद्धि) ५ जयहत३
top sq. 1
अपर माजत) ४
(स
वरममाह
नक१य ह
तर 76 77 78 79 80 81 82 83 84 row title #9
××(जमा )वत मलो
हनहकमर्वा
७ (सगु
)भदखे
२ भद खे
१ग्रह
रहक सगु
जमात७ सगुजह(द) (प्र) (सगु
)मनसव
प्रयक सगु
दशर्वा
न६ अमलो
ह७ यशलो
(ध)र९ नरग्रह
रहक:
रलो वतषह५ ग्रह
(रह
)क ▼52 (ग्रह
)रह
क ग्रह
रहक दखे
रललो
क
प्रकमा
रदखे
रललो
क:
75 74 73 72 71 70 69 68 67 row title #8
रमा
जसमा
हह
(कमा
)र अचगुत (आर) (दखे
) आन हतप्रमा
णत कखे
त्रभय(रन) सहस्रमादखे
रललो
क: शगु
क्रदखे
रललो
क: ७ (अ)भहषसस(स
द्धि) (तमा
मसमा
)(हह
कमा
र
) समा
ममा
नद खे
रललोक
▼2 दखे
(र)ललो
क१२ दखे
रललो१(१ ) जहर(दखे
)रललो
क: ८ समा
ग: ६ ▼16
57 58 59 60 61 62 63 64 65 row title #7
अ(रकृत) दलो
(ष) सलौ
ध(मर्वा
) (१) (ईशमा
ह
न)दखे
रललो
क असहयमहदलो
ष दखे
रललो
कभव सन(तगु
)ममा
र: ३ ममा
हद्र
हें४ (व्र)ह्म५ललो
(ष) व
ररखे
कदखे
र▲68 भरनपव त॥
कखे
त्र: ▼21 जह(र) ▼42
56 55 54 53 52 51 50 49 48 47 66
दखे
(र)ललो
क दश(व
र)ध(व
र) पह
चप्रकमा
र (चमा
)र परद्रलो
ह मनगु
×कखे
(त्र) (...) ×(म)हमा(व्र)त ५धमा
ह
न(...) (...) ▼10 (बमा
)रमाभखे
(...) (...)(ललो
क) ५
▲79 सशख मा
व्रत: शगु
(...) शगु
भ(सम) अह (तरह)कम(ष
खेह
)
(▲top#5) ▲top#3
38 39 40 41 42 43 44 45 46 row title #5
सजनधमाह
नप्रकमार नह
ललखे
श्यमा कमा
पलो
तलखे
श्यमा: तखे
जगु
लखे
श्यमा: वतयर्यं
चकखेत्र४ शगु
भव तयर्यं
च (ध)रर्वा
(धमा)नह ककृ
ष लखे
(श्यमा
): पह
सलखे
श्यमा: मनगु
ष्य कखे
त्रदमा
र:
जन) (भ)व
(स क्ति (लमा ष) (यलो
वन) (भव) पर (...) ▲50 ▼9
(...)
37 36 35 34 33 32 31 30 29 row title #4
अस्रर(धमा
न) सह(जह) (रहें
द्रह
) तखे
(रह
)द्रह: चउरह
द्रह वदगलहें
×कखे त्रण शगु
भमा
शगु
भ शगु
भमा
भउदह अशगु
भशगु
भउद· धमर्वा
(धमा)न वरगलहें
वद्रय
(सह
)र×× (२) (लमा)षजलो न (गगु
ण) (१ ) स(भमा
): इ(छमा) दमा
(र):
20 21 22 23 24 25 26 27 28 row title #3
(उप)सह
(यलो
ग) लकप्रत(ड) पकृ
थहकमा
य७ अपकमाय७लमा
ष सव र(कखे
त्र) गगु
ण तखे
उकमा य७ ×(उ) कमा(७) प्र(तखे
क) र(ण) शगु
(भ) कमर्वा समा
ररकखेत्रदमा
र:
व
न(गलो
द) : लमा
षजलो
न: जलो
न: लमा
(ष) ×न लमा
(ष) : (क)(...) ▼13 (...)
यलो
(जलो
)न:
19 18 17 16 15 14 13 12 11 row title #2
(ममा
ग) कगु
ममार सव रतकगुममा
र ×(थमा
)त×▼1 उदसधकगु
ममार: ७ दशव नकमाय अव गकगु
ममा
र५ परजह
रदमा
र: (सर)×कगु
ममार: वरहमा(र ) दशवनकमा यदमा
र:
(रमा
)उकगु
(ममा
)र व
दस कगु
म मा
र दह
पकगु
ममा
र६। (कखे
त्र
) (गगु
) ६।४ व
र (दगु गु
)त क(...) रमाश) :
(स
2 3 4 5 6 7 8 9 10 row title #1
कमा
म४लमा
षजलो
न क्रलो
ध अजमा
न
ह अजमा
नमलो
हनह १५प(ममा
धम)
र्वा गमा
ह
नस म(सश) मच्चर अनह
तमा
नगु
बह
धह अजमा
नममा
यमा नमा
र
ककीदमा
र:
नमा
र
ककी अ(न
हक)नगु
- ××३।१ । भ) पर
(शगु (णमा)मह ममा
ह
ण
बधह
(यलो
) लमा
भ: ▲44
Add. text #1
1
७लमा षव नत
वन(गलो)द(अ)नह
त
(...)(त) :

Additional Text
Add. text #1
घट
खे
नरमा
स
शवनगलो
दककीरधखे
त(सस)नअनत

[see Appendix E2, verse #12]

इव
ततत्व :॥

Thus the truth.

Below grid
ल)खह
(व तहव
रजयव
क्रसमा र)र
(न) (व सचत
हसह
रत१७९
२सर
खे
× असलो
जबढह(...)

Drawn by Vijay Krisān in the (bright half?) of Asoj (i.e. Āśvin)

in saṃvat 1792 (i.e. Sep-Oct, 1735/36 CE).

391
Ja84#3b (sold at Christie's, New York, 21 Sep, 2007)

top sq. 6
मगु
वक्ति कखे
त्रस मा
व
टक(म)य४५लमा
षयलो
जनप्रममा
ह
ण
top sq. 5
वरजय॥१
top sq. 2 top sq. 3 top sq. 4
रह
जय ह
त२ सरमा
रस
र्वा
र्वा
सद्धि५ जयहत३
top sq. 1
अपर मा
स
जत४
वरममाह
नक१य ह
तर 76 77 78 79 80 81 82 83 84 row title #9
२९जमा वत मलो
हनहकमर्वा
७ भद खे
१ग्रह
रहक : सगु
भद खे
२ग्रह
रहक सगु
जमात७ग्रह
रहक सगु
मनसव
प्रयदक सगु
दशर्वा
न६ अमलो
ह७ सगु
प्रव
तबद्धि८ यशलो
धर९ नरग्रह
रहक:
रलो वतषह५ ▼52 दखे
रललो
क
प्रकमा
र
75 74 73 72 71 70 69 68 67 row title #8
दखे
रललोक :॥
रमा
जसमा
हह
कमा
र अचगुत आर ण आर ण कखे
त्रभरयजह
र सहस्रमा
र शगु
क्रदखे
रललो
कणः अभह षससद्धिह तमा
मसमा
हह
कमा
र समा
ममा
नद खे
रललोक
▼1 दखे
रललो
क१२ दखे
रललो
क११ दखे
रललो
क११ दखे
रललोक: दखे
रललोक८ समा
गर: ६ ▼15
57 58 59 60 61 62 63 64 65 row title #7
सलौ
धमर्वा
१ अव्रतदलो
षकखे
त्र ईशमा
ह(दखे
) दखे असहयमहदलो
ष दखे
रललो
ककखे
त्र सनतगु
ममार: ३
र्वा ममा
हहें
द्र४ व्रह्म (५) लमा
ष व
ररखे
क ▲68 भरनपव त॥
▼21 दखे
रललोक ▼41 भव जह त४लमाष ▲top#3
यलो
जन
56 55 54 53 52 51 50 49 48 47 66
दखे
रललो
क दशवरधव
र पह
चप्रकमा
र चमारस
शख मा
व्रत: परद्रलो
(ह) मनगु
ष्य कखे
त्रसमा
धगु ५महमा रकृ
तशगु भ ५धमा ह
न३ सप्तिकगु
वरसध: रमा
रमाभखे
दतपशगु
द्धि दखे
रललो
क५
▲80 भव जह त वक्रयमाकखे
(...)क्ल (गगु
ण)×त: ▼bottom शगु
भसमक्ति अहतरह
कमखे
षह
जलो
(...) ३४लमा ष धमा ह
न
यलो
(जन) : (▲top#5)
38 39 40 41 42 43 44 45 46 row title
स
जनधमाह
नप्रकमा
र नह
ललखे
श्यमा कलो
पलो
तलखे
श्यमा तखे
जगु
लखे
श्यमा: वतयर्यं
चकखे त्र४ शगु
भव तयर्यं
चभव धरर्वा
धमानह ककृ
ष लखे
श्यमा: पह
सलखे
श्यमा: #5,6
स
जनरव
क्ति लमा
षयलो नस×गह पर णमा
ह
मह: ▲50 ▼bottom मनगु
ष्य कखे
त्रदमा
र:
कखे
रलगगु णतमा ण: वतयर्यं
चकखेत्रदमा
र:
37 36 35 34 33 32 31 30 29 row title #4
आस्ररधमा
ह
न सह
जहरहें
द्रह२लमा
ष तखे
रह
द्रह: चउरह
व
द्र वरगलहें
द्रहकखे
त्रण शगु
भमा
शगु
भसभमा: शगु
भमा
शगु
भउदह ६७अशगु
भशगु
भ धमर्वा
धमा ह
न वर(ग)लहें
वद्रय
सह
ररलो
ध: जलो
न (गगु
)ण५ उय (इचमा ) दमा
र:
20 21 22 23 24 25 26 27 28 row title #3
उपसह
यलो
ग: लकप्रत पकृ
थहकमा
य७ अपकमाय७लमा
ष सव रकखे
त्रगगु
:(ण) तखे
उकमाय७लमा
ष रमा
उकमा
य७लमा
ष प्रतखे
करनस्पत७ शगु
भकम समा
ररकखेत्रदमा
र:
व
न(गलो
)द: लमा
षजलो
न: जलो
न: लमा
षजलो
न जलो
न: जलो
न:
19 18 17 16 15 14 13 12 11 row title #2
ममा
गकगु
ममा
ररमा
उ सव रतकगु
ममा
र ×समथमा
तद: उदसधकगु
ममार: ७ दशव न(कमा )य अवगकगु
ममा
र५ पर ह
जहरदमा
र: णर(ण) कगु
ममार: अपषमा
ररमा
स
श: दशवनकमा यदमा
र
कगु
ममार व
दसकगुममा
र: ▼1 दह
पकगु
ममा
र६। (कखे : ६।× व
)त्रगगु रदगु
तकगु
ममा
र: ४
2 3 4 5 6 7 8 9 10 row title #1
कमा
म४लमा
षजलो
न क्रलो
ध अहजमा
न अजमा
नमलो
ह हनह १५प(समा
)धगगु गमा
ह
नस मस
शशगु
भ मछर अनह
(तमा
)नगु
बह
धह अजमा
नममा
ह यमा नमा
र
ककीदमा
र:
नमा
र
ककी अन ह
तमा
नगु
बह
धहयलो ३।२।१। परणमा
मह ▼bottom ममा
ह
न
ललो
भ:
Add. text #1
1 ▲44
७लमाषव
नत
व
नगलो
दअन ह
त
कमा
लसरत:

Additional Text
Add. text #1
घट
हनर
मा
स
शवनगलो
दककीरधखे
नस सनअन
हत

[see Appendix E2, verse #12]

इव
ततत्वह

Thus the truth.

392
Ja84#4 (Museum of Indology, Jaipur, Rajasthan)

top sq. 6
४५०००००यलोजनतपस
सलमा
top sq. 5
५सरमारस
र्वा
व़ र्वा
सधह
३३
top sq. 2 top sq. 3 top sq. 4
२रखे
जय ह
त३२ ४अपर मा
स
जत३२ ३जय हत३२
top sq. 1
१वरजय३२
76 77 78 79 80footprint 81 82 83 84
मलो
हनहकरम७० भदखे
ग्रखे
रखे
क
व़१ सगु
भदखे
र सगु
जमाण३ सगु
गमानस व
पयदसण६ सगु
दरसण७ अमलो
घ८ जसलो धर९
कलोसमा
गर▼52 सगु
प(प्रह
)बगु
ध ग्रखे
रखे
य
व़ककखे
त्र
75 74 73 72 71footprint 70 69 68 67
रमा
जसअहह
कमा
र आणत१ १ आनत९ आममा
न९▼41 दखे
रव़
ललोककखे त्र सहशमा
र८ सगु
ष७ अभहषसगु
ष तमा
मसअहह
कमा
र
१०▼2 अचगु
त१२ प्रमा
णत१
० भव जह रव़१ ▼16
56 57 58 59 60 61footprint 62 63 64 65 66
भरव़प(तह)१ सलो
धरमदखे
रव़
ललो
क अचतकखे
त्र▼21 इसमा
नदखे
रव़
ललो
क२ असदलो
सजमह दखे
रव़
ललोककखे त्र सनतकगु
ममार३ ममा
हखे
द्रदखे
रव़
ललो
क४ लमा
तक६व्रह्म
ह व
ररखे
क
व़गगु
ण समा
ममा
व
नक
वतर२जमा वतषह भव भव स जरव़ ▲68 दखे
रव़
ललो
ककखे
त्र
३रह ममा
व़नक(५) ४लमाष
प्रकमा
र ▲top#6
55 54 53 52 51footprint 50 49 48 47
१२भमा
रन
व़मा: ५प्रकमा
रदमा
न व्रह्मचर
यभखे
द द्रलो
ह मनगु
ककखे त्रसमा
धगु महमा
व्रव
तकखेरल
व़ङ सगु
भ सत्रगु
▼10 १२भखे
दखे
तपसगु
भ
▲80 भव यलो गह गमानहसगु
क्ल सयमह
कखे
रवव़
लगगु ॰१ ४ लखे
समा: ▲top#1
१४महर नह
38 39 40 41 42footprint 43 44 45 46
स
जनपगु
जमाप्रकमा
रवनललखे
समा कमा
पलो
तलखे
समा तखे
जलोलखे
समा वतरच
र्यंकखे
त्र४ सगु
भव तरचर्यंभव धमर्वा
धमा न▲61 क्रष लखे
समा▼9 पदमलखे त्र(यमा
)५
जहनभवक्ति लकसह यलोगह परहणमा
मह व
तयर्यं
चदमा र
कखे
रल
व़ङ१ ३गगु॰७
37 36 35 34 33footprint 32 31 30 29
आशरव़लो
(रध)न २लमा
षचलो
र
हद्रह: २लमा
षसह
गहव
तद्रह२लमा
ष(बद्र
खेह
) व
बकलखे (यह ) कखे
त्र सगु
भमा
सगु
भसतमा सगु
भमा
सगु
भव दर
णमा सगु
भमा
सगु
भउदय धरममा
र
मा
धनइछमा
सह
बर सह
हह गह
॰
गु१०-१ २ वरकलद्रहकखे
त्र
गह
॰
गु११ दव़
मा
र२
20 21 22 23 24footprint 25 26 27 28
उपसमयलो
ग ७लकतरनह
गलो
द ७लकप्ररहकमा
य ७लकअपकमा
य रमा
रर
व़कखेत्रगगु
ण९ ७लकतखे
उकमा
य ७लकरमा
यगु
कमा
य१ ०लकप्रतक सगु
भकर म५
रनसपतहकमा
य रमा
रव़
रदव़
मा
र
19 18 17 16 15footprint 14 13 12 11
नमा
गकगु
ममा
ररमा
यगु रणहतकगु
ममार पह
चस मथमा
त्वव़
५८ उधदहकगु
ममा
र दखे
रव़
वतकमा यगगु
॰५ अगहकगुममा
रवरदगुपरजह
रव़
स (दव़
मा
) सगु
भणर्वा
कगु ममा
र१२ व
रहमाररमा
स
कगु
ममार व
दसकगु
ममा
र भखे
द दह
(प) ××कगु
ममा
र (गगु
॰४) कगु
ममार ▼8 असगु
रकगु
ममार भगु
दखे
रव़
पतहदव़
मा
र
▼bottom
2 3 4 5 6footprint 7 8 9 10
कमा
ह
म४लकयलो
नहक्रलो
ध अगमान अगमा
नमलो
ह १५पर ममा धर
मह अगमानसमशसभ
गु मचर अममा
र
तनबह
धहयलो अगमानममा
यमा
अनह
तमा
नबह
धह गगु
॰३गगु ॰२ परर
णमा
ह
म अहह
कमा
र नमा
रव
कदमा
व़
र३
ललो
भ ▲44
1 सगु
क्ष्म व
नगलो
द Add. text #1 Add. text #1 Add. text #1 Add. text #1 Add. text #1 Add. text #1
Add. text #1
बमा
दरव
नगलो
द (cont.) (cont.) (cont.) (cont.) (cont.) (cont.)

393
Additional Text
Add. text #1
NB! One stanza per square from right to left. ॰
समम१
९१९
६१कमा
तहक (स) १(४) रमा
र(४) (स
जण)433

दलो
ह: 14th day of the (bright half?) of Kārttik, VS 1961 (i.e. 22 Nov,

Dohā (verse): 1904 CE) (...).

अव
ररहमा
रवकर
मा
समखे
व
नहचखे
स
जरव़
अनह
त: Back of chart
कर
मयलो
गवतहमासखे
व
नकसव
ररव़
हमा
रउपजह
त॥१
॥ ॥शहजह
नरमा
य॥॥ॐ॥नमलो
434

व
तरसगु
र(अर
)×नमा
र
वककहहचमा
रगतऐह: Illustrious Jin Rāy! Om! Salutation!
क्रलो
धमा
दहक(य)सअखे
हमखे
भ्रमतजह
रव़
(इ)षगखे
ह॥२
हलो
तउदखे
सगु
भकरमजबउचखे
पद(जखे
) (जह
)×
असगु
भजगखे
फकी
रकखे
सहहव
नचहगतलखे
आय॥३॥
छरव़
व
नसर
णहछङ
नकमह
ठ(यखे
) उर
दगतठमा
य:
पगु
न उदखे
पमा
महभरहकलहहऐकछडहजमा
य॥४॥
नरकलो
ठखे
कखे
व
बचमहें
नरव़
पखे
ड़हसगु
भजमा
ण
इकगगु
णठमा
णखे
छडतमाअनगु
क्रमस
सधव
पछमा
ण॥५॥
कर
वरकर
णसबजह
रव़
सखे
महत्रभमा
रव़
सव़
मभमा
रव़
इहउपमा
यतगु
मपमा
यहलोनह
सरणहसगु
कदमा
य॥६॥
वमा
लकमा
लमगु
षआयकखे
वनश्चखे
व
नश्वलो
रमा
य
रचखे
जगु
कलो
इअखे
हरहपगु
न बलङकहह(रमा
)य॥७॥

[see Appendix E2, verse #9]

Below grid
NB! Verse continues from add. text #1.

॥दलो
हमा
॥

Dohā (verse):

लषचलो
र
मा
सहयलो
नमखे
भ्रमतजह
रव़
इहर
रत:
भव स
जरव़
कखे
समजकखे
चलो
र
सगमा
नवकव
कत॥८॥
चलो
पड़सखे
तगु
जषखे
लतखे
प्रमा
णहउगव
तलहह
त:
भव समजतअखे
रव़ 431
षखे
लङयखे
:तमा
तखे
स
सरव़
पलो
हलो
चह
त॥९
॥

[see Appendix E2, verse #9]

॥सखे
रह
य
व़लो
इगव
तसलो
॥

Savaiyā verse (going thus?):432

लषचलो
र
मा
सहभ्रमणमहमानरव़
नमा
ड़हजतनपतहखे
तमा
जह:
चलो
पड़सखे
तगु
जव ककहमार
मा
मतऐहअनमा
मतभ्रमव
कबमा
जह॥
बमा
जहर
मखे
तसगु
क्रलो
धसमखे
भ्
भरव़
ममाहहर
मखे
दहलहलो
तहखे
र
मा
जह॥
पमा
पतखे
टमा
रणमलो
हवरडमा
र
णगमा
नरधमा
र
णगमा
नवकबमा
जह॥१
०॥

[see Appendix E2, verse #1a]

ममा
हमा
र
मा
ज शह१
००८शहईद्रमलजहर
खे
पठणमा
र
रलङ
।तह
।(प्रह
।) गलो
पगु
लमा
लजसगु
तमा
बमा
द
मधखे
रमा
चखे
व
रचमा
र
खेजह
णमा
नखे
धरम (छ)।भषमतषमा
मणमा
ममा
नजलो
॥ भगु
लचगु
क उतमपगु
र
सगु
धमा
रलखे
सह ॥

(Drawn by) Lī. Tī. Prī.(?) Gopulāl in Jasutābād(?) for Mahārāj

Śrī 1008 Śrī Indramaljī for the purpose of study. (One should
read and reflect on the religion of the spiritual teachers?) (...)

431 अखेis probably a Devanāgarī rendering of Gujarati એ which

transliterates as "e."
432 A more plausible reading inferred from other charts (e.g. Ja84#24ab)
might be trevīs which is Gujarati for "twenty-three," i.e. the number 433 Written in soft pencil in a different hand.
of syllables per line in the verse. 434 Written in soft pencil in a different hand.

394
Ja84#5 (Museum of Indology, Jaipur, Rajasthan)

ॐ नमणःस
सद्धिखे
भलो ॐ नमणःस
सद्धिखे
भलो ॐ न(...)
नमणः नमणः स
सद्धिखे
(...) न(मणः
)
top sq. 6
मगु
वक्ति कखे
त्रस्पमा
व
टकम(...) लमा
षजलो
(...)
top sq. 5
Add. text #1 Add. text #2
वरजय१
top sq. 2 top sq. 3 top sq. 4
रह
जय ह
त२ सरमा
रस
र्वा
र्वा
सस द्धि५ जय
1)
हत३
top sq. 1
अपर मा
स
जत४
वरममा
नह
क१वह तर 76 77 78 79 80 81 82 83 84 row title #9
२९जमावतजलो
तषह ममा
हनहकमर्वा भद खे
ग्रह
रमा
ह
क: १ सगु
भद खे
ग्रह
रमा
ह
क : २ सगु
जमातग्रह
रमा
ह
क३ सगु
मनसग्रहरमा
ह
क सगु दरसन अमलो
हग्रह
रमा
ह
क७ सगुप्रव
तरद्धि यसलोधर नर(ग्रह
)रक
५प्रकमा
र: ▼52 ५वप्रयदर
सन५ ग्रह
1)
रमा
ह
क६ ग्रहरमा
ह
क८ ग्रह
रमा
ह
क९
row title #8 75 74 73 72 71 70 69 68 67 (...)ललो
क
दखे
रललो
क रमा
जसअहह
कमा
र अचगुत अर णदखे
रललो
क आनत९प्रमा
णत कखे
त्रभवमा
भव सहशमा
र८ शगु
क्रदखे
रललो
क असभषससस द्धि तमामसमा(...)कमा समाममान( ४)
▼2 दखे
रललो
क१२ ११ १०दखे
रललो
क जहरदखे
रललो
क दखे
रललो
क (...)क1) समा
गरदखे
र1) (...) ▼16 (...)ललो
क
भरनपव त
56 57 58 59 60 61 62 63 64 65 66
(...)ललो
(...) स)धमर्वा
(स १ अव्र(...)(त्रमा
न) (...)न(...) असजममा
व
ददलो
ष कखे
त्रभवमा
भव सनतकगुममा
र ममा
वहह
द्र४ व्र(ह्म) ५लमा
ह
तर व
र(रखे
)×▲68 (...)क(...)क(...)
(...) ▼21? ललो(...) ▼41 जहरदखे
रललो
क४ दखे
रललो
क1) दखे
रललोक1)
लमा
55 54 53 52 51 50 49 48 47 row title #6
(दश) व
रसद्धि पह
चप्र(...) (...)समा (परद्रलो
)ह मनगु
कषखे
त्रसमा
ध महमा व्रत(शगु
)भ ३गण गुव्रत सप्ति(
वर)
सन शगु
द्धिसह
(...) (...)
वरनय▲80 भव जह र वक्रयमाकखे
रलजमा ▼10 शगु
(...)मक्ति
अजलोगहगगु
णठमाण शगु
कलधमा ह
न ▲top#3
१४लमाषजलो स
जन (▲top#6)
38 39 40 41 42 43 44 45 46 row title #5
स
जनधमा
नप्रकमा
र नह
ललखे
समार्वा (...)तलखे
समा तखे
जगु
लखे
समा व
तयर्यं
चकखेत्र४ शगु
भव तयर्यं
चभव धमर्वा
धमाह
नह समा▼9 प(द्म) (...)
क्रष लखे त)यर्यं
(व चकखे ×दमार
स
जनभव
क्ति लमा
षजलो जन परणमा
म (▲50)
सजलोगकखेरलङ
गगु
णठमाण
37 36 35 34 33 32 31 30 29 row title #4
आशरधमाह
न सह
गहरहें
द्रह
रलमा
ष (...)द्रह चलो
रहें
द्रह व
रकलखे
द्रहषखे
त्र शगु
भमा
शगु
भसत्त शगु
भमा
शगु
भउदह
णमा
र्वाशगु
भमा
शगु
भउदय धमर्वा
(...) इछमा र)कलहें
(व द्रहदमा
र
सह
ररनह
रलो
ध जलो
सजन गगु
णटमा
ण
20 21 22 23 24 25 26 27 28 row title #3
उपसह
जलो
ग लकप्रव
तर प्रथहकमा
य७ अपकमाय७लमा
ष ७लमाषजलो स
जन तखे
उकमा
य७लमा
ष रमा
उकमा
य७लमा
ष प्रतखे
करनस्पव
त शगु
भकमर्वा सवररषत्र
खे
व
नगलो
द६ लमाषजलो
जन जलो
सजन सरखे
रकत्र
खे जलो
सजन जलो
सजन ६०लमा षजलो
स
ज
गगु
णटमा
ण
19 18 17 16 15 14 13 12 11 row title #2
नमा
गकगु
ममा
ररमा
उ सव नतकगु
ममा
र१०स
मथमा
त्व भखे
द उधदहकगु
ममा
रदह
प दशव नकमा
यकखे
त्र अवगकगु
ममा
र परजह
रदमा
र▼8 सगु
रणर्वा
कगु ममा
र वरहमा
रसशर
रमा दशवनकमा यदमा
र
कगु
ममार व
दशकगुममा
र८ ▼1 कगु
ममार गगु
णटमाण व
रदगु
तकगु
ममा
र
2 3 4 5 6 7 8 9 10
४लमाषजलो
स
जन क्रलो
ध अजमा
न अजमा
नमलो
हनह कम(र
र्वा)घमा
मह अजमा
नसमश मदर
मा अनगु
तमा
नरह
धह अजमा
न
नमा
र
ककी अनगु
तमा
नगु
रह
धहललो ▲44
Add text #3 1
७लमाषव
नत
व
नगलो
दअन ह
त
कमा
लथसत

1) Earlier legend painted over with white in background

395
Additional Text
Add. text #1
लषह
चलो
र
मा
सहभ्रमनमहमानररमा
डहजतनसगु
तमा
जह
चलो
पडहस
सत्रगु
जककीकहमार
मा
मतएहअनमा
मतकमर्वा
ककीरमा
जह
चलो
पडहर
महमसक्रलो
धसमह
भरमलो
न(र
ह)दह
(इ)हमह
हलो
तजगु
रमा
जह
पमा
पघटमा
र
णमलो
हवरडमा
र
णगमा
नरधमा
ह र
णगमा
नककीरमा
जह॥

[see Appendix E2, verse #1a]

Add. text #2
चलो
र
मा
ससघट
हसजरडगु
षस मट
ह××रमा
ससमट
हसचत(समा
)ह
वतव
कयमा
ह
सज
सरक्रलो
धहर
लौर(हु) दलो
××ट
हर
हअषमदहरगगु
णगमा
नलङ
यमाजह
सगु
रललो
करमह
र(हु) दह
रनमह
सरषखे
(त्र) ×मह
जहरहलो
तजण
गुजह
ममा
नवरडमा
र
णपमा
पवनरमा
र
णगमा
(न) रधमा
र
णषखे
लतरमा
जह१

[see Appendix E2, verse #1b]

Add. text #3
(र
)टह
नरमा
सहव
नगलो
(द) ककीरधह
नसस×अन
हत
एजखे
तमा
(कमा
)तखे
(जमा
)रहह
शह(स
ज)नररनकहह
×॥

[see Appendix E2, verse #12]

Back of chart
पमा
समाककीव
बसधपमा
सलौ१ऐक
एकबगलतलौ१टपककी
एकबगलदलो
ई२टपककी
एकबगलछ६टपककी
एकबगलप
हच५टप(ककी
)435

Rules concerning dice. There should be 1 die.

The top of one side should be "1."
The top of one side should be "2."
The top of one side should be "6."
The top of one side should be "5."

[two short lines of faint writing]436

५437

5.

33 [illegible character] ⅓438

435 Written in a different hand.

436 Written with a blue pen in a different hand.
437 Written with a black pen in a different hand
438 Written in pencil in a different hand.

396
Ja84#6 (Museum of Indology, Jaipur, Rajasthan)

top sq. 6
-
top sq. 5
॥अपर मा
ज(...)-
ममान३२(समा )-
(...)तछह×
top sq. 2 top sq. 3 top sq. 4
Add. text #1 ॥रह जहरह
त ॥स(...)न३३ ॥(ज)यर ह
त Add. text #2
रहममा
न३२समागर स(...) चलौ
स(ठ) नमा
ममारह
ममान३२
(नह)रह
तहछह २ (...)तह१(५) समा
गरनह रह तह
छह३
top sq. 1
॥रह जखे
(...)
(रह)ममा
न३२
(समा
ग)×नह रह
-
(त) छह(४)
76 77 78 79 80footprint 81 82 83 84
मलो
हनहकमर्वा
: भद्रग्रखे
रखे
यक : शगु
भद्रग्रखे
रखे
यक : ॥सगु जमा
त कयक(...)क्ति : सगु
मग्रखे
रखे
यक : सगुदशर्वा
न अमलो
ह(...)क : (ज) सलो
ध
▼60 ग्रखे
(रखे
य)क: प्रयदशर्वा
न: ग्रखे
रखे
यक :
75 74 73 72 71footprint 70 69 68 67
ककृ
ष लखे
समा▼2 नह
ललखे
समा▼18 पह
चवरषय: ललो
कपमा
ल: कखे
त्रदखे
रललो× महमा
महलो
षधभव जसग्रहमा सबू
प्रव
तरहद्धि तमा
मसअहह
कमा
र
(भ)व जह षमा
(नह
) जहर कमा
(रह)क ▼16
लक्ष्य यलो
नह
56 57 58 59 60 61footprint 62 63 64 65 66
वरममानहकर ह इसमा
नदखे
रललो
क सनतकगु
ममा
र मवहह
द्रदखे
रललो
क: असहजमह▼41 (बकृ
)ह्मदखे
(रललो
)× लमा
व
हत(...)(ललो
क) ×(क्र) (दखे
रललो
क) सहशहर आस णतप्रमा
णत समा
ममा
ह
नहक
जमा तपमाच दखे
रललो
क ▲top#6 दखे
र(ललो
)क ▲68 दखे
रललो
क (...)
प्रकमार्वा
(र)र हछह
द
55 54 53 52 51footprint 50 49 48 47
पबू
रर्वा
धमा क▲80 (बखे
र ) लमा
षरहें
ररद्रह बखे
लमा
षतखे
रर ह पर
द्रह द्रलो
हणः अपबू
रबक× (...) ▲61 स
मथमा(त्व) स(प्ति) व
रस× सम(व
क)त:
प(रर
)णमा
सम ▼10 ▲top#1
38 39 40 41 42footprint 43 44 45 46
व
रदमा ममा
ह
नअर
रत यग(नह) सबू
लभद्र पदमलखे
समा अप्रम(त) गगु
णरकृ
स
त्त: (उप)समा
ह
व
त(मलो
) जह र(...) ▼9 अनरकृ
×(क)र
ण
भक्ति : पह
(चहें
)द्रह
यम(...) आर मा
स
धक (...)ठमा
णलौ गगु
णठमा
णलौ: ▲50
37 36 35 34 33footprint 32 31 30 29
अ(स्र)व
रधय
ह(त्र) ×जलोलखे
समा समा
तलमाषप्रतखे
क समातलमा
षरमा
उ प्रत(...) (समा
धगु
) (सखे
)(...) (...)॥ धमर्वा
( धस)
(...) अपबू
र
रकह
णर्वा
रमा
मक :॥ रनस्पव
त कमा
य आ(र मा
व
त)क: शगु
भमाशगु
(भ)
(त्व)॥
20 21 22 23 24footprint 25 26 27 28
भमा
रसमाधगु
द्रव (समा
)तलमापकृ
ररह समा
तलमा
षअप समा
तलमा
षतज
खे दखे
(स) व्र(तह ) दखे
सर(ककीषह
) सदमाशगु
भ पगु
न प्रकमा
(स) यरप्र×स
त्तकमा
र
ण
पर
र गकृ
वह कय: कमा
य: कमा
य: वरक(नलो ) तमाग: ▲26 पर
र णमा
म: ▲44
गगु हलौ
×ठलो
ण
19 18 17 16 15footprint 14 13 12 11
(...) अशगु
र नमा
गकगु
ममार: मधत्व गगु
णठमा
णलौव
रदगु
तह
कगु
ममा
र अ(...) (अग) कगु
ममार: मह
रगु
नसखे
रन▼8 अप्रकमा
मह प्रतमा
कनहममा
य
कगुममार: ▼1
2 3 4 5 6footprint 7 8 9 10
चमा
र(लमा )ष स×प
हचहें
द्रहतह
यर्यं
च पर समा
धमा
मह रमा
दररनस्पतह वदशकगु (म) (...) ▲25 (...) ममा
यमा (अनह
)(...)नह (अ)प्र(तमा
)-
नमा
र
कर्वा
नह×(व न) कमा
य (...)ममारय(दन) क(ष)(...) ×कमा
नहममा यमा
(कगु)(...) कगु
मर:
1 बमादरव नगलो
द सगु
ष्म व
नर ×गलो
द
असमतह रच
र्यं वररहमा र(ण) व
ररहमा रसह यगु
क्ति
पह
चह
द्रहवमा
व
दक सहयक्ति
गुह अन ह
त अन ह
तकमा लकमा यमा
कमा(ल) कमा य स
रतअवरहमा र
थस्ततह रमा
सशअन ह
तकमा ल
कमायथ स्तस:॥

397
Additional Text
Add. text #1
॥ मलो
क कखे
त्रपखे
तमा
लङस लमा
षज×जनप्रममा
णखे
जमा
णरलौ:॥ ॐ अहत
ह र्यंपदभलोनमणः
॥
स
सद्धिस
सलमार
लोभखे
दछह:॥

The field of liberation measures forty-five yojanas. Om!

Salutation to the feet of the arhats! This is the secret of the
siddhaśilā (i.e. the abode of perfected one).

Add. text #2
॥कव
रतषड़पदह
॥

Kavitt ṣaṭpadī (verse):

(ललो
)कमा
कमा
सगु
सगु
कखे
त्रव
तहमा
ह
लमा
षचलो
र
मा
सहयलो
व
न
सगु गु
कमर्वा
दणः कमर्वा
कखे भखे
दजहरव
त(हमा
ह
)वफरअ(न) (असगु
त
)व
सदगगु
रुकखे
सहजलो
गभयलोव
ररहर
मा
स
स
महमा
व्रतअनगु
व्रतजह
रकखे
इभएअव
रनमा
समा
चलो
ग(ई) (कखे
त्र) व
तहमा
ह
आतमभएआगममहें
भलहें
पमा×समाव
नकखे
पभरमा
तर
ह हें
वरनयकहहें
जह रमगु
वक्ति (च)लहें
१

[see Appendix E2, verse #3]

(न)ररव़
मा
ड़हचलो
र
मा
सहकलो
ठमासखे
ढलोचमा
रप्रममा
ण
ह
कमर्वा
पमा सलोलखे
ईनहें
कखे
ललोचउरसगु
जमाण: २
ह

[see Appendix E2, verse #8]

एजमा
नचलो
प××(
चलो
)सह
व्वतह
१९(१
२) (व
ततलौ
) शमा
रणशगु
वद९र
वररमा
र
खे
वलख त
ह॥

This jñān caupaṛ was written on Sunday, the 9th day in the
bright half of the month of Śrāvaṇ in saṃvat 1912 (i.e. 22 Aug,
1855 CE).

Below grid
ह
॥ॐ हहनमणःसरईयमा२३स॥

Om! Hrīṁ! Salutation! Savaiyā verse (with) 23 (syllables per

line). Thus:

लषचलो
र
मा
सहयमहमा
(त) नर
पवतजनतसहें
हह इहलमा
जह
चलो
पडह
सहें
त्र
हगु
जककीकहमार
मा
मतएहअनमा
म×(ब्रम) ककीबमा
जह
बह
जहर
महतसक्रलो
धसमह
भरमह
नभमह
वदलहलो
तहह
रमा
जह
क्रलो
धघटमा
र
ण×(ह) व
रड़मा
र
णजमा
नरधमा
रणजमा
नककीरमा
जह

[see Appendix E2, verse #1a]

इव
तशह(जमा
न) चलो
ह पड़सह
पबू
णर्यं
॥

Thus the illustrious jñān caupaṛ is completed.

398
Ja84#7 (Museum of Indology, Jaipur, Rajasthan)

top sq. 5
सरमा
रर्वा
र्वा:ससद्धि:
वरममा
न५
top sq. 2 top sq. 3 top sq. 4
रखे
जय ह
तव रममा
न२ अपर मा
स
जत -
वरममा
न४
top sq. 1
वरजयव रममान१
[76] [77] [78] [79] [80] [81] [82] [83] [84]
- ▼2 - - - सगु
मनमा
मगह
रखे
क४ - - - -
[75] [74] [73] [72] [71] [70] [69] [68] [67]
रमा
जअहह
कमा
र अचगुत आर ण आनसद खे
रललो
क दखे
रललोक सहस्रमा
र शगु
क्रदखे
रललो
क७ अभह षसगु
षसमा
र तमा
मसअहह
कमा
र
।
▼52 दखे
रललोक१
२ दखे
रललोक१
१ १०९प्रणत (▲top#5) दखे
रललोक८ ▼16
[56] [57] [58] [59] [60] [61] [62] [63] [64] [65] [66]
- - - ▼21 - - ▼41 - - (▲71) - - - ▲68 -
[55] [54] [53] [52] [51] [50] [49] [48] [47]
- ▲80 - - - - - (▲62) - - ▼10 - ▲top#1
[38] [39] [40] [41] [42] [43] [44] [45] [46]
- - - - - - - ▲50 - ▼9 -
[37] [36] [35] [34] [33] [32] [31] [30] [29]
- - - - - - - - -
[20] [21] [22] [23] [24] [25] [26] [27] [28]
- - - - - - - (▲44) - -
[19] [18] [17] [16] [15] [14] [13] [12] [11]
- - - ▼1 - - - (▲26) - ▼8 - -
[2] [3] [4] [5] [6] [7] [8] [9] [10]
- - - - - - ▲14 - - -
[1]
-

399
Ja84#8 (National Museum, Delhi)

top sq. 6
॥शह२४॥(नमणः ) (ससध) स
सलमामबू
गत ह
(छह
) मव
गु
क्ति कखे
त्र
४५०००००व फटकस सलमा
top sq. 5
स(त्वमा
)रस
र्वा
स(ध)
वरममा
ह
न५
top sq. 2 top sq. 3 top sq. 4
वरजय ह
तअनगुतर अ(प)रमा
सजत जय ह
तअनगुतर
वरममा
ह
न२ अनगु
(त)र वरममा
ह
न३
वरममा
ह
न४
top sq. 1
वरजयअनगु त×
वरममा
ह
न(१)
76 77 78 79 80footprint 81 82 83 84 row title #9
मलो
हनहकमर्वा ॥रखे
दग्रखे
रखे
यक१ सगु
भदखेग्रखे
रखे
क२ सगु
जमायग्रखे
रक सगु
(मन)स४ सगु
दरसनग्रखे
रखे
क६ आमलो ह सप्रब ह
ध यसलो धर ग्रखे
रखे
ककखे
त्रदमा
र
▼52 (प्रह
य)दशर्वा
न(५) ग्रखे
रखे
क॥७॥ ग्रखे
रखे
क॥८॥ ग्रखे
रखे
क॥९ ॥
75 74 73 72 71footprint 70 69 68 67
रमा
जअहह
कमा
र अचगु
दखे
रललो
क१२ आर ण अन ह
तदखे
रललो
क दखे
रललोककखे त्र सहश शगु
क्र असभषसगु
षसमा
र तमा
मसअहह
कमा
र
▼2 दखे
रललो
क११ १०पमा
ह
णत भवमा ×वह जह र दखे
रललो
क॥८॥ दखे
रललोक॥७॥ ▼23
दखे
रललो
क९
56 57 58 59 60 61footprint 62 63 64 65 66
रहममाव
नक१ सलो
धमर्वा अव्रतदलो
षषखे
त्र इसमा
नदखे
रललो
क२ असहजमहदलो
ष दखे
रललोककखे त्र सनतकगु
ममा
र ममा
हखे
द्र (व्र)मदखे
रललो
क५ व
ररखे
क ▲68 समा
ममा
वनकदखे
रतमा
वह (त)र९जमा
व
त दखे
रललो
क॥१ ॥ ▼21 ▼41 भवमाभ(व) दखे
रललो
क॥३॥ दखे
रललोक॥४॥ (लह )तक ५भरनपव त५
जलो ×षहप
हच जहर४लक दखे
रललोक६ अह
तर मा
यकखे
त्र
प्रकमा
र५ (यलो
व
न) कपमा
ट
जलो
तषह ।१
।
55 54 53 52 51footprint 50 49 48 47 row title #6
भमा २दस दमा
रनमा१ न५प्रकमा
ह र ९व्रह्मचयर्वा
४ परद्रलो
ह मनगु
(क) कखेत्रसमा
धगुमहमाव्रतहशगु
भ महमा णव्रत सप्तिव
व्रतहगगु रसन▼10 १२भखे
दतपसगु द्धि मनगु
ष्य कखे
त्रदमा
र
व
रनय१ ०▲80 दह
कव्रत भ×(अ)जलो गह व क्रयमाकखेरलगमा ह
न (▲top#1) सह
जमहसगु द्धि (१)
५
कखे
रलङ शगु
कललखे श्यमा समक्ति ▲81
(गगु
)णटमाह
णखे १०
38 39 40 41 42footprint 43 44 45 46 row title #5
सजनपबू जमा८ नह
ललखे
समा कमा
पलो
तलखे
समा तखे
जगु
लखे
समा वत(यर्यं
)चकखे त्र४ सगु
भव तर
जहचभय धरमधमा
ह
न ककृ
ष लखेसमा पदमलखे
समा वतयर्यं
चकखे त्रदमा
र५
प्रकमा
रजहर लक(यलो )वन एभयपर रणमा
म ▲49 अधमर्वा
असगु
भ
सहयलो
गकखे रल पररणमा
म▼9
(गगु
ण)समा ह
न१ ३
37 36 35 34 33footprint 32 31 30 29 row title #4
आशर५र
लो
धन बखे
लमा
षजलोवन तखे
ररह
द्रहलक२ बखे
लमा षजलो व न वरगलहें
द्रहषखे
त्रगगु
॰ शगु
भमा
शगु
भउदह
रणमाशगु
भमा
शगु
भउदह
रणमाशगु
भमा
अशगु
भह धममा
र
र्वा
मा
धन वरगलहें
द्रहकखे
त्र
सह
बर शह
नहबखे
रह
र
द्रह दलो
य×जलो वन स(द्धि) बखे
रह
द्रह (...) १
२गगु ११ उदखे
शमा
ह इचमा॥ दमा
र२२
20 21 22 23 24footprint 25 26 27 28 row title #3
उपसमयलो
ग समा
तलकइतर ७प्रररहकमा
य ७अपकमा
य रमा
रर५षखे त्र ७तऊखेकमा
य ७रमा
ऊकमा
य दसलकयलो व
न सगु
भकर
म ५रमा
ररदमा र२
व
नगलो
द७ गगु
णसमा ह
न६गगु ५ प्रतखे
करनसपव
त
गगु
७
19 18 17 16 15footprint 14 13 12 11 row title #2
नमा
गकगु
ममार१
० स्तव
नतकगु
ममा
र८ पमा
चस
ह मथमा
त्व ८ उदसधकगु
ममार५६ दसमावनकमा यषखे
त्र अवगकगु
ममा
र४ पर जह
रस दमा
र सगु
रणर्वा
कगु ममा
र२ व
ररहमा
ररस भगु
रनपव तदमार३
रमा
उकगु
ममार९ वदससकगु
ममार भखे
द▼1 दह
पकगु
ममा
र गगु
णसमा ह
न६गगु५ व रदगु
तकगु
ममा
र२ ▼8 असगु
रकगुममा
र
गगु
८
2 3 4 5 6footprint 7 8 9 10 row title #1
४लषयलोवन क्रलो
ध अगमान अगमा
नमलो
ह परममाधमामह स
मशगमा ह
नशगु
भ मतसर अनतमा
नबह
धह अगमा
नममा
यमा नमा
र
ककीदमा
र३
नरककीकमा
म अनह
तमा
नबह
धह गगु
णसमा ह
न३गगु
॰३ परणमा
मह▲44 अहह
कमा
र
ललो
भ गगु
५
1
Add. text #1
बमा
दरव
नगलो
द

400
Additional Text
Add. text #1
ललो
कमा
कमा
रसबू
षखे
त्र॥व
तहमा
ह
चलो
र
सहलषजलोन)
(व
(सगु
)कमर्वा
कखे जह
रवतहमा
ह
अपगु
नह
सदगगु
रुकखे
सहजलो
गभयलोव
ररहमा
रसबू
रमा
सह
म(हमा
)व्रतह(मगु
वनस्व)रजह
र(कखे
)इकभयलोअव
रनमा
सह
(डह
)इषखे
त्रव
त×हमा
ह
आतमभयआगमममा
र
गममा
व
ह
ह
भलङ: पमा
समातमा
इयह
परभरमा
तर
ह खे
व
रनयकहहें
जह र(कगु
)गतचल॥१
॥

[see Appendix E2, verse #3]

इव
तगमा
नबमा
ह जहनमा
ममाय
हत्र:

Thus the diagram called gyān bājī.

हदचलह
सलोआदमह: व
रहदचलह
सलोसमा
ध:
हदव
रहददलो
नगु
चचलह
: तमा
कमामतमाअगमा
(ध)॥१
॥

[see Appendix E2, verse #5]

सरइयलो२३॥

Savaiyā verse (with) 23 (syllables per line):

लषचलो
र
सहयभ्रमणमहमानरनमा
डहय:तनपतन
हतह
जह
चलो
पडसखे
(त्रगु
)जककी: कहमार
मतएहअनमा
मतभ्रमककीबमा
जह:
बमा
जहर
महतसक्रलो
धसमह
भरममा
ह
नभमह
वदलहलो
तहह
रमा
जह
पमा
प(घ)टमा
र
णमलो
हवरड़मा
र
णगमा
न(रधमा
ह )रणगमा
नककीबमा
ह जह॥१
॥

[see Appendix E2, verse #1a]

401
Ja84#9 (Shree Vishal Jain Kala Sansthan Museum, Palitana, Gujarat)

top sq. 6
॥शहॐ नमास सद्धिह
:॥१
॥मगु
वक्ति×(त्र) ॐ ४५०००००
वफटक(भ)यमास
शलमा
top sq. 5
footprint

॥अपर मा
स
जत
अनगु
त्तरव रममा
न:
५॥सर बर र(र)-
स
ससधव रममान: ४
Add. text #1
top sq. 2 top sq. 3 top sq. 4
footprint footprint footprint

॥रहजय ह
त अपरमा
सजत जगु
यह
तव रममा
न
अनगु
त्तरव
रमह
न॥ अनगु
त्तरव
रममा
न॥ अनगु
त्तर:॥३॥
२॥ ४॥
top sq. 1
footprint

॥वरजयअनगु
त्तर
व
रममा
ह
न॥१
॥
76 77 78 79 80footprint 81 82 83 84 row title #9
मलो
हनहकमर्वा
:॥ भह
दग्रह
रखे
क:॥१ ॥शभगुखे
दग्रह
रखे
क२ सगुजमा
त सगुमनस४ सगु
दशर्वा
नग्रह
रक६ ॥आमलो ह सप्रबधग्रह
रखे
क८ यशलोधर ग्रखे
रखे
ककह
त्र
▼52 ग्रह
रक३:॥ प्रयदशर्वा
न५ ग्रह
रखे
क७ ग्रह
रखे
क९॥ दमार२॥
75 74 73 72 71footprint 70 69 68footprint 67
रमा
जऽहह र:॥ अचगु
कमा त असण अन ह
(त) दखे
रललोक दखे
रललोककखे त्र सहस्रदखे
रललो
क८ शगु
क्रदखे
रललो
क७ असभषसगु षसमा
र: तमतमा
मसह
▼2 दखे
रललो
क१२ दखे
रललो
क११ १०प्रमा
(कमा
)त भवमाभव अहकमा
र▼16
दखे
रललोक९ जहर:॥
66 [56] 65 [57] 64 [58] 63 [59] 62 [60] 61footprint 60 [62] 59 [63] 58 [64] 57 [65] 56 [66]
रहममावनक१वह तर सलो
धमर्वा
दखे
रललो
क१ अव्रदलो
ककखे
त्र इसमा
न४दखेरललो
क असहयमहदलो
ष दरललोककखे त्र शनपगु
अरदरललो
क ममा
हमा
(द्र) दरलमा
क व्रह्ममाद×णमा
क व
ररखे
क ▲68 समा
ममा
वनकदखेरतमा
९जलो तषह(पच)च ▼21 ▼41 भरनभव जह र लमा तकदर(व्र) ५तयव ल५
(प्र)कमा
र ४चमा रलषयलो व
न अतहरमा
यकखे
त्र
कपमाटजमाव
तषह१
55footprint 54 53 52 51footprint 50 49 48 47footprint row title #6
भरमानमा१ २दस प्रमा
कमा
रदमा
न
ह ९व्रह्मरयर्वा
४ परद्रलो
ह मनगु
षकखे त्रखे
समा
धगु महमा
व्रतशगु
भ ममा
हव्रतहगणव्रत सप्तिव
रसम▼10 भ्
दखे
त्प १ २शगु द्धि मनगु
ष्य कखे
त्र
भखे
दव रनमा य दकमाव्रत: भरमाअजलो गह क्रकीधमाकखे
रलगमा
ह
न: सह
जस मशगु द्धि (दमा
)र५
▲80 कखे
रलङगगु णठमाणखे शगु
क्ललखे
समा सममाक्ति
(▲top#6) ▲top#1
46 [38]footprint 45 [39] 44 [40] 43 [41] 42footprint 41 [43] 40 [44]footprint 39 [45] 38 [46] row title #5
जह नपबू
जमाअठमा नह ललखेसमा: कमा
पलो
तलखेसमा तखे
जलोलखे
समा तहर
य ह
चकखे त्र४ शगु
भव तयहचभय धरम(धमा )न ककृ
ष लखेस्
यमाअ पदमलखेसमा वतयर्यं
चकखे त्रदमा
र५
प्रकमा
रजहर लकयलो व
नएकखे र ४३भयर ममा
ह ▲50 अ(ध)मर्वा
म▼9
गगु
णठमाणलो:
37footprint 36 35 34 33footprint 32 31 30 29footprint row title #4
५॥आशरर लो
धन बखे
लमाषजव
नशव
न तरह
द्रहलक३(२) बखे
लमाषसरह समा नव रगलखे(द्रह
) शगु
भमा
सगु
भउदह
रणमासगु
भमा
शगु
भउदह
रणमाशगु
भशगु
भउदश धमर्वा
र लो
धनइछमा वरगलहें
द्रहकखे
त्रदमा
र
सरर बखे
रद्रह बरह
द्रह कखे
त्र(गगु
)१ २गगु २×
(१)१ ००
20 21 22 23 24footprint 25 26 27 28footprint row title #3
उपशमयलो
ग ७लमा
कइतर
ह ७पकृ
थहकमा
य ७अपकमा
य रमा
रर५कखे त्र ७तउखेकमा
य ७रमा
उकमा
य १०लमा षयलोव
न शगु
भकममा र्वा ५रमा
ररदमा रमा
र२
व
नगलो
द गगु
णसमा न७ प्रतखे
क
रनस्प(वत)
19 18 17 16 15footprint 14footprint 13 12 11footprint row title #2
नमा
गकगुममा
र१ ० सव नतकगु
ममा
र७ पमा
चमास
मथमा
त्व ८ उदधहकगुममार६ १०व नकमा यकखे
त्र अवगकगु ममार४ पर जह
बखे
स्पद्धिर्वा सगु
रणर्वा
कगु ममा
र२ व
ररमाहमारर स भगु
रनषमावतदमार३
रमा
(उ) कगु
ममार९ व
दसकगुममा
र७ भद▼1 (दहप) कगु
ममार५ गगु
णसमा नक (३) व रदगु
तह कगुममार२ ▼8 असगु
रकगुममा
र
▼1 गगु
॰५गगु ×
2footprint 3 4 5 6footprint 7 8 9 10 row title #1
लकयखे :वननमा
र
ककीक्रलो
ध अजमा
न अजमा
नमलो
ह ह५ परममाधमामह महशजमा
नशगु
ह भ मत्सर आनतमा
ह
नबह
स
ध अजमा
नममा
यमा ॥नमा
रककीदमार३
कमाम: अनतमा
हनबधह
यलो गगु
णसमा नक३ पतमा
मह अहह
कमा
र
ललो
भ: गगु
३गगु ५ ▲44
1footprint सबू
क्ष्म नह
गलो
द
Add. text #2
बमा
दरव नगलोद

402
Additional Text
Add. text #1
॥सरयलो२३॥

Savaiyā verse (with) 23 (syllables per line):

लकचलो
र
मा
सहयत्रमणममा
हमानरनमा
ड़हयतनपतनतमा
जह
चलो
पट्टशत्र
हगु
जककीकहहर
मा
मतएहअ×मतभ्रमककीबमा
ह जहणः
बमा
जहर
मखे
तशक्रलो
धसमखे
भममा
ह
नभ(
मह)दह
:लहलो
तहह
रमा
जह
पमा
पघटमा
र
णमलो
हवरड़मा
र
णगमा
नरधमा
र
णगमा
नककीबमा
ह जह:॥

[see Appendix E2, verse #1a]

सरत१
८७०र
मास
मतहबखे
शमा
ष(व्
द) ३॥व
लषह
तह
मरखे
नगसभर
मलपलो
समा
लनमा
गलौ
रछह
॥६२

The 3rd (day) of the (bright half?) of the month of Baisākh in

VS 1870 (i.e. 3 May, 1813 CE). Drawn by Mathen Gambhīrmal
Posāl, Nagaur.439

Add. text #2
॥ललो
कमा
कमा
रसबू
कखे
त्रव
तहमा
ह
चलो
र
मा
ससलकयलो
व
न:
सगु गुमर्वा
कमर्वा
दक कखे जह
रवतहमा
ह
अपगु
नह
सदगगु
रुकखे
सहयलो
गभयमाव
ररमा
हमा
रसबू
रमा
सह
महमा
व्रतमगु
ह नहश्वरजह
रकखे
इहकभयखे
अवरनमा
सह
ह
(मगु
)द्रषखे
त्रव
तहमा
ह
आतममानयआगमममा
र
गम(व
ह)
भमा
लङ: पमा
सतमा
इयखे
परभयमा
तर
ह खे
व
रनयकहखे
जहरकगु
ह
गत(चमा
)१

[see Appendix E2, verse #3]

इव
तजमा
नबमा
ह जहनमा
मयह
त्र॥(२)

Thus the diagram called jñān bājī.

हद(च)लह
सलो(आद)मह: व
रहदचललोसलोसमा
ध:
हदव
रहददलो
न
हगु
चलखे
: तमा
कमा
यअगमा
धर

[see Appendix E2, verse #5]

439 Alternative translations include "Mathen Gambhīrmal School (of

painting) in Nagaur" (deriving posāḷ from pāṭhśālā, see RSK, p. 3447)
and "Mathen Gambhīrmāl in the pośāḷ in Nagaur" (understanding
pośāḷ in the sense of a Jaina place of worship). The Mathen
community of painters favored by wealthy Jainas migrated from
Bikaner to other parts of Rajasthan, including Nagaur (cf. Aitken
2017: 32; Pal 1994: 24, 78, 86).

403
Ja84#10 (Shree Vishal Jain Kala Sansthan Museum, Palitana, Gujarat)

top sq. 6
ससद्धिस
सलमास
सद्धि(स्
छमा
ह
)नक
top sq. 5
जयहतरह ममान३
top sq. 2 top sq. 3 top sq. 4
(रखे
)जयहतरह ममा
न सरमा
र्वा
×(स सद्धि) अपर मा
जहत
(२) रह×न(५) रहममा
न४
top sq. 1
१वरजय
वरममा
(न)
76 77 78 79 80 81 82 83 84
ममा
हमा
(मलो
हनह
) भद्रग्रह
रहक सगु
(भ)द्रग्रह
रखे
क सगु
जमाव
तग्रह
रखे
क कमा
य× सगु
मनसग्रह
रखे
क सगु
दह शणग्रह
रखे
क सगु
प्रव
तबह
धग्रह
रखे
क यशलो
धरग्रह
रखे
क
करर्वा
▼52 (स)मव
क××त व
प्रयदह
शणग्रह
रखे
क अमलो हह
ल×××र
75 74 73 72 71footprint 70 69 68 67
ककृ
ष लखे
श्यमा▼2 नह
ललखे
श्यमा▼36 पह
चवरषयसखे
रमा चमारललो
कपमा
ल अवनरकृतउपसम महमा
महलो
दय य(शलो
ग्रमाह
)व सगु
प्रव
तबदभ(व
क्ति) स
मथमा त्व दशर्वा
न
कयकशखे सण भवमाभव जहर: सखे
रक कमा
र क शल्य बमा
ल
तपस्वह▼16
56 57 58 59 60 61 62 63 64 65 66
सगु
सलौ
धमर्वा समवक्ति सनतकगु
हममा
र ममा
हहें
द्रदखे
(र)ललो
क असहयमहनमादलो
ष ब्रह्मदखे
रललो
क: लमा
तकदखे
ह रललो
क: शगु
क्रदखे
रललो
क सहशमा
र आनतदखे रललो
क आर णअचगु
त
दखे
रललो
क समथमा(त्वमा
) दखे
रललो
क (कलो
) भमा
षक दखे
रललो
क: प्रमा
णतदखे
रललो
क
इशमा
नदखे रललोक ▼41 ▲top#1
▲80
55 54 53 52 51 50 49 48 47
१४(पगु
रधर
)र बहें
लमाषबहें
द्रह बहें
लमाषतद्र
हेंहबहें परद्रलो
हह अपगु
रबक(र)ण स
कणमलोह मध पर रणमा
मह सप्तिवसनह कयलो
पसमक्तिकी
लमा
षचउर रह
द्रह गगु
णठमाणलो गगु
णठमा
णलोकयक गगु
णर मा
गह ▼28
जघनलो तकृ
ष शखे
सणआर लो
हण
कमा
लअह तमगु
हुत्तर्वा
र्वा
38footprint 39 40 41 42 43 44 45 46
व
रदममा नऽ हत
र्वा सह
जहप ह
चहें
द्रह स्
छगु
लमा
(व्र)तमा
र
मा
ध व
तयर्वा
गजहभगदखे
रमाअप्रमत्तगगुणठमाह
णलोव
तनगगु
णव्रत उपसहतमलोह जहरहस
हमा▼12 अवनरकृ
सत्तकर
ण
भवक्ति स
जनव बब मनगु ष्य क पद्मलखे
श्यमा कमा
लव स्छव त गगु
णठमा
नलो(▲80) समवक्ति
भवक्ति जघनलो तकृ ष
अह
तमगुर्वा
हुत्तर्वा
:
37 36 35 34 33footprint 32 31 30 29
आशरर लो
धक तज
खेलोलखे
श्यमा दसलमाषप्रतखे
क ७समातलमा उ प्रमतगगु
षरमा णठमा णलो समा
धगु सखे
रमा शगु
भमा(शगु
)भ धममा
र
र्वा
मा
धक अपबू
रर्वा
कर ण
सह
ररमा
त्मक: रनस्पव
तकमा य कमा सरर्वा
रकृ
वत शगु
द्धिर
मा
धक (सत्व)
(▲44)
20footprint 21 22 23 24footprint 25 26 27 28
भमा
रसमा धगु ७लमाषबमा
दर ७लमाषअप्प ७लमा
षतखे
उकमा
य दखे
शव रर वत दखे
शरककीव
रषय सदमा×भ पगु
ण्य प्रककृ
वत४२ यरमा
प्ररकृ
वतकर
ण
सपरर ग्रहह पकृ
ररहकमा
य कमा
य गगु
णठमाणलो तमाग पर
र णमा
मह▼13 शगु
भलोदय
19 18 17 16 15footprint 14 13 12 11
असगु
रकगु
ममार नमा
गकगु ममा
र स
मथमात्व व
रदगु
तकगु
ममारस
मश अरकृ
वतसमव क्ति अवगकगु
ममार मह
रगु
नसखे
रमा: अप्रतमा
ख मा
नह अप्रतमा
ख मा
नहउ
ह
सगु
र(न्न) कगु
ममार गगु
णठमा
णलो▼1 गगु
णठमा
णलो गगु
णठमाणलो ▲32 ममा
यमा ममा
न
2 3 4 5 6footprint 7 8 9 10
४चमारलमा
ष सहजहप हचहें
द्रह परममा
धमा
मह बमा
दररनस्पवत व दस श×ममा रपर× उपशमशखे
सण अन ह
तमा
नबह
(धह
) अन ह(तमा
नबह
धह) अप्रतमाख मा
×
नमा
र
ककी वत(यर्यं
)चव तव्रखे कमा
यसह जहप
हचहें
द्रह कगु
(ममा)रस्त(वन)त ममा
यमा (क्रलो
)ध (क्रलो
)ध
कषमाइ मनगु
ष्य कगु
ममा(र)
1footprint बमा
दरव नगलो
द सगु
क्ष्म वनगलो
द
असह जहप ह द्रह व
चहें ररहमा ररमा
स
श अव ररहमा ररमा
स
श
व
तयर्यं
चवमा (प्रमाद यक्ति
)व गु : अन हत सहयगुक्ति अनह
त Add. text #1
कमालकमा य कमा लकमा य
व
स्
छव त:॥ वस्
छव त।

Additional Text
Add. text #1 ल×त
हपह
।भमा
ईचह
दजह
॥शहस्तह
भतह
रर
॥

लषचलो
र
मा
सहयभ्रममहमा
तचनमा
र
रयतनयतनतमा
जह Drawn by Paṇḍit Bhāī Candjī in Śrī Stambhatīrtha.
चलो
पटसहें
त्रगु
जकहमाकहमार
मा
मतएहअनमा
मत×ह्मककीममा
जह
बमा
जहर
महें
तसक्रलो
धसमहें
भरममा
ह
नभमहें
वदलहलो
तहखे
र
मा
जह
पमा
पघटमा
र
णमलो
हवरड़मा
र
णजमा
नरधमा
र
णजमा
नककीबमा
जह१

[see Appendix E2, verse #1a]

404
Ja84#11 (Bagore-ki-Haveli Museum, Udaipur, Rajasthan)

top sq. 6
सहद्धिसह
(लमा
) ४५
top sq. 5
सररमा
ररसह ध
रहममा
ह
न॰५
top sq. 2 top sq. 3 top sq. 4
रहजय ह
(त) (...) अपर मा
(...) ह
(...)(य)तयरह
top sq.
1footprint
(...)
76 77 78 79 80footprint 81 82 83 84
×ममाहमामलो
हनह सगु
जमातग्रह
रखे
ग सगु
भ( द्र)(...)क सगु
जमाइय(ग्रह
)रखे
क कमा(य)(...) ×मनग्रह
(...)॰ सगु
दसर्वा
नग्रह
रखे
क॰ अमलो
इग्रह
रखे
क॰ जसलौ
धरग्रह
यरखे
क
क(...) छखे
॰▼59 रहममा
ह
न॰
75 74 73 72 71footprint 70 69 68 67
क्रसनलखे
समा(कखे
)॰(नह )ललखे
समाछखे
॰प ह
चवरषयसखे
वमा॰×रर्वा
रहअ×(म)त अप्रमत ममा
हमा
महलो
दमा
य(र) जसग्रमा
(इ)क सगु
प्रतह
बहध (त) तमा
ह
म(स)
▼2 ▼21 गगु
णठमा र गगु
ण॰चमा (णठमाह
)ण॰ भरहजह र॰ स(रर
)इसखे र(क)॰ भग(तह ) ×र
क अहकमार
॰▼5
ललो
कपमा ल
56 57 58 59 60 61footprint 62 63 64 65 66
(...) इ(सलो
न) (सह
)नतकगु
ममा )॰ ममा
(र हहें
(द्र) असहजमहरह
टमा
ल ब्रमदखे
र(ललो )क लमा
तकदखे
ह रललो
क शगु
क्र७समा
तमगु
॰ सहसमा
र८मलो आहणतदखे
रललो
क (...)
दखे
रललो
(क) ×॰ दखे
रखे
ललो
क॰ छखे
॰▼41 (घ)ठखे
छखे
॰ ९मलो
॰
55 54 53 52 51footprint 50 49 48 47
चलो
द(...)(धमार बखे
)र लमा
षतखे
रखे
द्रह
नह परद्रलो
हकर
खे
तखे अपबू
रर्वा
क अ(पगु
)(...) (मधखे
) पर
रणमा
मह॰रस(न) बगु
रमा (समा
प्तिखे
) रस(त) कयलो
पम
▲top#1 जलो
नह॰ भरखे
॰ (▲top#5) मधम॰ सखे
वमा ॰▼10 समककीत॰▲80
38 39 40 41 42footprint 43 44 45 46
रह×ममाह
(न) बखे
लमा
षतखे
रह
द्रह ×बखे लमा
ष(बखेर खे
)द्रहपर(द्रलो
)र ह अपगु
ररक (तह)××णव्रत उपसमा
तमलो
ह जहरहस
हमा(कर
खे
) (अ)नह(रकृ
)×-
तहर(रह
क)र न बखे
लमाषचलो रह
(द्रह
) क(र खे
तखे) ×रखे
॰ गगु
णठमाह
णगु गगु
णठमा
ण॰ ▼9 ण
(क)र
भग(क्ति)कमा
र
(...) (रगु
)ल(व्र)तमा
- (▲50)
रमा
धक॰
37 36 35 34 33footprint 32 31 30 29
(आश)रक्रलो
ध (तखे
जलो) (लखे
)×छखे १०००००(...)त समा
तलमा
षरमा
उ अ(...) (गगु
)ण(...) सगु
भमासगु
भसत्तर समा
धगु
सखे
रमा धमर्वा
आर मा
धक अपगु
(रर्वा
)क×छखे
॰
सह
××त्मक॰ रनस(...) कमा
य॰ छखे
॰ आर मा
धकछखे॰ स्तत॰
20 21 22 23 24footprint 25 26 27 28
भमा
र(समाधगु ) द्रर समा
तलमा
षबमा
दर समा
त(लमा
)षअप समा
तलमा
षतउ
खे दखे
(...)(ण)ठमाह
(ण) दखे
सरककीरह
षय (स)दमासगु
भ पगु
न प्र(ककृ
)तह॰ यरमा
प्रकर
ण
सगु
प(र)ग्रद्रह॰ प्रररहकमा
र य॰ कमा
× कमा
य॰ तमा×गम पररणमा
ह
(मह)॰
19 18 17 16 15footprint 14 13 12 11
असगु
र(कगु
)ममा
र नमा
(ग) (कगु
)ममा
र मह थमा
तगगु
णठमा
ह
णगुरहदयगु
तकगु
ममा
र अ(...)मक्ति (...) अजह(कगु
)ममा
र
॰ मखे
रनगुसखे
वमा (अ)प्रतमा
ष्यमा
नह अप्रतमा
ष्यमा
ह
नहयलो
(सगु
)×(णर्वा
) ×ममा
र ▼1 अहलोनह
स॰▼8 ममा
यमा×र (मलो
)न॰
(रह)ष×॰
2 3 4 5 6footprint 7 8 9 10
चमा
रलमाषनमा
रककी सहजहपह
चखे
द्रहतह
व्र प(रममा
)धमा
ह
मह७ बमा दररनसपतह (दह )सहकगु ममा
र उपसमशखेणह अ(नगु
)तमा
ह
नबह
धहयलोअ×तमा
ह
नरह
धनह अप्रतमा
ष्यमा
नह
ह यलो
××कमा××नगु
लखे
ठखे कषमायछखे नरकखे
रखे
द(नलो
) सहजहमनगु
कप ह
चखे
द्रहपरनकगु ममारस्तन रहसगु
ध छखे॰ (क)षमा
य॥ ××यमा
॰ क्रलो
ध
द(नमा
)नगु
ठमा
ह
×छखे
॰ घणहपममा डखे
छखे
॰ कगु
ममारह परहणमा
मह॰▲44
1 बमा
दरनह
गलो
द॰१ सबू
कमनह
गलो
द॰२
ऐकहें
द्रहप
हचखे
द्रह
Add. text #1
तहर
य ह
च
वमा
घमा दह
क॰

Additional Text
Add. text #1
सरह
यलो२३सलो
॰ भमा
इशहषबू
समा
लचह
दभमा
इ(...) जहछखे
॰शहसेँद्रह
॰ सेँक्लकी
॰ सेँ
ॐ॰
Savaiyā verse (with) 23 (syllables per line): Bhāī Śrī Khusāl Cand and Bhāī (... ) Jī. Śrīṁ! Drīṁ! Klīṁ! Om!

लषचमा
र
मा
ससयभ्रह
मममा
हमानरनमा
र
रपतनजतनसखे
तमा
जह
चलो
पटसखे
त्रगु
जककीकहमार
मा
मतएहअनलो
ह पमभ्रमककीबमा
जह:
बमा
स
जरमखे
तसक्रलो
धसमखे
: भरममा
ह
(न) भमखे
दहलहलो
तहखे
(
र मा
)
जह:
पमा
पघटमा
र
नमलो
ह(बह
)डमा
र
नजमा
ह
(ब)धमा
र
नजमा
नककीबमा
ह जह

[see Appendix E2, verse #1a]

इतमासरह
यलो
॥

Thus the savaiyā verse.

405
Ja84#12a (Victoria & Albert Museum, London)

top sq. 6
शहससद्धिसलमा
४५०००
top sq. 5
सरमा
रसर्वा
सध५
top sq. 2 top sq. 3 top sq. 4
वरजय ह
त२ अपर मा
स
जत४ जहय
हत३
top sq. 1
वरजय१
76 77 78 79 80 81 82 83 84
ममा
हमा
मलो
हवनकमर्वा भद्रग्रखे
रखे
यक सगु
भद्रग्रखे
रखे
यक सगु
जमातग्रखे
रखे
यक समक्ति कमा
यक सगु
मनसग्रखे
रखे
यक सगु
दशर्वा
नग्रखे
रखे
क अमलोहग्रखे
रखेक यसलो
धरग्रखे
रखे
क
▼59 सगु
प्रव
तबह
धग्रखे
रखे
क प्रह
यदशर्वा
नग्रखे
रखे
क॰
75 74 73 72 71footprint 70 69 68 67
ककृष लखे
श्यमा लखे
श्यमानह
ल▼36 पह
चवरषयसखे
रनमा४ललो
कपमा
ल कखे
त्रदखे
ललोक॰ महमा
मलो
हदय हह
जसग्रमा
व सगु
प्रव
तबद्धिकमा
र
क तमा
मसअहह
कमा
र
प्रणह
सम▼2 भवमाभव जहर ▼16
56 57 58 59 60 61footprint 62 63 64 65 66
सलो
धमर्वा इशमा
ह
नदखे
रललो
क सनतकगु ममा
र ममा
हखे
द्रदखे
रललो
क असहजव
त▼34 व्रह्मदखे
रललो
क लमा
त्तकदखे
ह ललो
क शगु
क्रदखे
रललो
क सहसमा
रदखे
रललो
क आर णस्वगर्वा
१ १ (ऊ)चगु
तस्वगर्वा
स्वगर्वा
॰ ▲68
55 54 53 52 51footprint 50 49 48 47
व
रनयभमा
रनमा २लमा
षतखे
रह
द्रह २लमा
षचलो
र
ह
वद्र परद्रलो
हह अपबू
रर्वा
कर णगणगु शगु
क्ललखे
श्यमा मधमपर
र ७रसनस्
ठमा
(न) कमा
यकस
▲top#6 (▲top#6) ▼11 ▲top#6
38 39 40 41 42footprint 43 44 45 46
व
र(द)ममा
ह
नअहत
र्यंहसह
जहप ह
च
व़ह
व
व़
द्र रगु
लव्रतमा
र
मा
धक पद्मलखे
श्यमा अप्रमतगगु णटमा
ह
णगुव
तनहगगु
णव्रत उपसमगगु
णटमा
ह
नगु जहरवहस्वमा अवनरकृ
वतकमा
र
ण
भत्तह मनगु
ष्य (▲50) ▼12
37 36 35 34 33footprint 32 31 30 29
आसरर लो
ध तज
खेलोलखे
श्यमा १०लमाष्य प्रतखे
क ७लमाष्य रमा
ऊ प्रमतगगु
णठमा णगु समा
धगु सखे
रमा शगु
भमा
शगु
भसत्व धमर्वा
समा धन अपबू
रर्वा
कर ण
सह
ररमा
त्मक रनस्पव
तकमा य कमा य शगु
द्धिमा
र
मा
धक
20footprint 21 22 23 24footprint 25 26 27 28
भमा
रसमा धगु ७लमाषप्रररह ७लमा
षअपकमा
य ७लमा
षतखे
ऊकमा
य दखे
शरककीव रर
तह दखे
शरव कव
रषय सदमाशगु
भप्रणमा
ह
मह पगु
ण्य प्रकमा
सह यरमा
प्ररव
तर्वा
कर ण
सपरर ग्रहह कमा
य गगु
णटमा(णगु) तमागह गगु
णटमाणगु
शमा
रकइतधमा रक
19 18 17 16 15footprint 14 13 12 11
असगु
रकगु
ममा नमा
गकगु
ममार स
मथमात्व व
रदगु
तकगु
ममार दखे
शर(ककी ) अग्रनहकगु
ममार मह
रगु
नसह
वमा▼8 अप्रतमा
ष्यमा
नहउ अप्रतमा
ष्यमा
नह
गगु
णठमा
णगु▼1 स
मशठमा
णगु ×(षय) तमा गह५ ललो
भ ममा
यमा
ठगु
गगु
णठमा ण
2 3 4 5 6footprint 7 8 9 10
४लमा
षनमा
र
ककी सहजहपह
चखे
द्रहव
तव्र अजमा
नयणगु
ह बमा
दररनस्पव त दशहकगु (ममा)र उपसमशखे
स
ण भयमचर अप्रतमा
षमा
नह
ह अप्रतमा
ष्यमा
ह
नह
कषमाइ परममा
धमा
ह
मह कमा
यसह जहउ परनकगु षमा× व
र(शगु
)धप्रणमा
स
म क्रलो
ध ममा
ह
न
पह
चखे
द्रहमनगु
ष्य परममाधमामह ▲44
Add. text #1 गगु
णठमा ह
णगु३मह शमा
(द)रहणमा मह
1footprint
व
तयर्वा
चप हचखे
द्रह

Additional Text
Add. text #1
व
रवल440 एहजमा
नचलो
ह पड़नमासगु
कनकमा
यरशगु
भक441 रमाडगु
सभक442 वमा
पमा
र
खे
दखे
सखे
वरदखे
सखे
पगु
ननमा
नमाभखे
दखे
शक
गुनजलो
ईईशभ
गुऽ
शभगुफलमा
व
नजमा
तवमा

This (drawing?) is the omen (device) of jñān caupaṛ. Having

seen the various kinds of omens with regard to business,
abundant crops or drought, trade, (staying) at home or (going)
abroad, one should know the auspicious and inauspicious
results.

440 Read: vilikhitam?

441 Read: subhikṣ.
442 Read: durbhikṣ.

406
Ja84#12b (current location unknown)
NB! Inscriptions illegible in available image reproduction.

top sq. 6
[illegible]
top sq. 5
[illegible]
top sq. 2 top sq. 3 top sq. 4
[illegible] [illegible] [illegible]
top sq. 1
[illegible]
75 74 73 72 71 70 69 68 67
- ▼60 - - - - - - - -
56 57 58 59 60 61footprint 62 63 64 65 66
- - ▼4 - - - - - - ▼14 - - ▼3 -
55 54 53 52 51footprint 50 49 48 47
- ▲top#6 - - ▼36 - - - - - - ▲64
38 39 40 41 42footprint 43 44 45 46
- ▲69 - - - - - - - ▼10 - ▲70
37 36 35 34 33footprint 32 31 30 29
- - - - - - - - ▼7 - ▲51
20footprint 21 22 23 24footprint 25 26 27 28
- - ▲33 - - ▲62 - - ▼8 - - - ▲42
19 18 17 16 15footprint 14 13 12 11
- - ▲72 - ▼5 - - - - ▼9 - - ▲24
2 3 4 5 6footprint 7 8 9 10
- - - - - - - - -
Add. text #1
1footprint
-

Additional Text
Add. text #1
[illegible]443

443 Probably identical to the additional text in the lower left corner of
Ja84#12a.

407
Ja84#13 (Art Gallery of South Australia, Adelaide, Australia)

top sq. 7
मगु
क्तिकी४५०००००अऊ
हसपदखे
top sq. 6
ॐस सद्धिस
शलमा
top sq. 5
सरमा
रस
र्वा
र्वा
सद्धि५
top sq. 2 top sq. 3 top sq. 4
(रह
ज)यहत(२) अपर मा
स
जत४ जयत३
top sq. 1
रजय
(व ह)तह )1)
(१
कपमा
टबबू
ध 76 77 78 79 80 81 82 83 84 कपमा
टबबू
द्धि
मलो
हनहकमर्वा भदखे
ग्रखे
रखे
यक सगु
भदखे
ग्रह
रहयक सगु
जमातग्रह
रहयक सगु
मनसप्रह
यदशर्वा
न सबू दशर्वा
नग्रहरखे
यक अमलो
हग्रह
रखे
यक सगु
प्रव
तबग्रह
रखे
यक यशलो
धरग्रह
रहयक
▼52
56 75 74 73 72 71 70 69 68 67 66
रह
ममा
वनकवह
तर रमा
जसअहह र अचबू
कमा तदखे
रललो
क आर णदखे
रललो
क प्रमा
णतदखे
रललो
क दखे
रललो
कष्यखे
त्र सहसमा
रदखे
रललो
क शगु
क्रदखे
रललो
क अभह षस
सद्धिहसगु
ष तमामसअहकमा
र समा
ममा नह
क
यलो
व
तषह ▼2 आनतदखे रललो
क भवमाभव समा
गर ▼23 दखे
रललो क४
भगु
रनपतहकपमा ट
बबू
द्धियलो
व
तषह
57 58 59 60 61 62 63 64 65
सगु
धमर्वा
दखे
रललो
क अरकृ
तदखे
ष(...) इसमा
ह
नदखे
रललो
× असहयमहदलो
ष दखे
रललोक सनतगु
ममा
र ममा
हहें
द्रदखे
रललो
क व्रह्मदखे
रललो
क व
ररखे
क ▲68
▼21 ▼40 भवमा भव जह
र दखे
रललो
×
४यलो(नह
)
55 54 53 52 51 50 49 48 47
बमा
रभरनमा▲80 दमा
नपमा
ह
(च) प्रकमा
र
खेचमारस
शष्यमा
रकृ
त पर द्रलो
ह मनगु
ष्य कखे
त्रभर पह
चमहमा
रकृ
त ४(यमा
ह
) धमा
ह गुमा
नम३ सप्तिदर सन
र्वा बमा
रखे
भखे
दखे
तपसगु
ध
ऽजलोगहकखेरलङ कखे
रलजमा
नशगु
क्ल गगु
णरकृ
त ▼10 सह
यमह
गगु
णठमा णलोऽ यलो
गह लखे
समा▲top#7 ▲top#1
१४
38 39 40 41 42 43 44 45 46
स
जनभक्तिकी नह
ललखे
समा कमा
पलो
तलखे
समा तखे
जगु
लखे
समा वतरचर्यंष्यखे
त्र४ सगु
भपर ह
णमा
मह
ह धमर्वा
धमा ह
नह▲50 ककृ
ष लखेसमाशगु
भ पदमलखे
समा
लष्य यलो नह व
तयर्वा
चभव परहणमा
मह▼12
सहयलो
गहकखे रलङ
गगु
णठमा णमा१ ३
37 36 35 34 33 32 31 30 29
आशर५र
लो
धन २लष्य यलो
नह २लष्य यलो
नहबखे
द्रहव
रगलहें
द्रह
यमा
दह व
रगलहेंद्रह
यमा
व
द शगु
भमा
शगु
भशमा
तमा शगु
भमा
शगु
भउदह
रणमाशगु
भमा
शगु
भउदय धमर्वा
र मा
धनखे
इछमा
सह
रर सह
जहयमाचलो
रद्रह कखे
त्र कखे
त्रखे
20 21 22 23 24 25 26 27 28
उपसमयलो
(ग) लष्य समा
त समा तलष्य (यलो
)नहसमा
तलष्य यलो
नह समानमागगु
णठमा
णमा समा
तलष्य यलो
नह लष्य यलो
नहरमा
उ १०लष्य यलो
नह शगु
भक(मर्गी
)
व
न×गलो × प्रररहकमाय तखे
उकमा
य कमा
य रनस्पतहकमा
य
19 18 17 16 15 14 13 12 11
नमा
गकगु
ममा
ररमा
यगु स्तनह
तकगु
ममार पह
चसमथमा द उदस
त्व भखे धकगु
ममा
रदह
प दसवनकमा
यष्यखे
त्र अगहकगु
ममा
र परजह
रस्पद्धिर्वा सगु
रणर्वा
कगु ममा
र वरहमा
ररमा
स
श
कगु
ममार ▼1 कगु
ममार व
रदगु
तकगु
ममा
र ▼8
2 3 4 5 6 7 8 9 10
कमा
मलष्य यलो
नह क्रलो
ध अजमा
न
ह अजमा
नमलो
ह ह पनरपर ममा
धमा
मह जमा
ह
नसमशशगु
भ मछर अनह
तमा
न
हगु
बह
धह अजमा
नममा
ह यमा
नमा
र
ककी अनह
तमा
नगु
बह
धहयलो गगु
णठमा
णमा३ परह
णमा
ह
मह▲44 अहह
कमा
र
1
७लष्य यलो
नह
नहगलो
द

1) Crudely drawn face

408
Ja84#14 (National Gallery of Victoria, Melbourne, Australia)

top sq. 2
-
top sq. 1
-
76 77 78 79 80 81 82 83 84
मलो
हनह
यकमर्वा सगु
दशर्वा
नग्रह
रयक सगुप्रव
तबद्धि सगु
जमातगह
रयक सरर्वा
तह भद्र शगु
दसर्वा
नगह रयक अमलो
हकगह
रयक शगु
प्रव
तबगु
द्धिक जसलो
धरगह
रयक
▼52 ग्रह
रयक गह
रयकव रशमा
ल गह
रयक
गह
रयक
75 74 73 72 71 70 69 68 67
तखे
जसअहहकमा
र अचगु
तदखे
रललो
क आरूणदखे
रललो
क प्रमा
णतदखे
रललो
क आनतदखे
रललो
क सखे
समा
रदखे
रललो
क शगु
क्रदखे
रललो
क असभषस
ससद्धिसमा
रतमामसअहह
कमा
र
रमा
जमद▼2 ▼15
56 57 58 59 60 61 62 63 64 65 66
८वतर८रमा
ण सलौधमर्वा
दखे
रललो
क अव्रव
तरमा
नजह
र ईशमा
नदखे
रललो
क असहजमहजह
र दखे
रललो
कभव सनतकगु
ममा
र ममा
हखे
न्द्र दखे
रललो
क ब्रह्मदखे
रललो
क व
ररखे
क ▲68 समा
ममा
व
रकमा
व
ददखे
र
वतर५रलो
वतषह ▼21 ▼52 अभव कहत्र दखे
रललो
क जमा
वत
55 54 53 52 51 50 49 48 47
दमा
दशभमा
रनमा दमा
नपमा
चप्रकमा
ह र ब्रह्मचयर्वा
सशकमा
व्रत ग्रह
स्तमाधमर्वा मनगु
ष्य कह
त्रभव महमानशगु भवक्रयमा पह
चअणव्रगुततह
न समा गुसन
तदवर्वा बमा
रमातपशगु
द्धि
दशव रधव
रनय अभव चलौ दमा मगु
वक्ति शखे
णह गगु
णव्रत ▼10 समकदृव षजह र
लमा
ष ▲top#2 ▲top#1
38 39 40 41 42 43 44 45 46
शहसजनभव
क्ति क्रकी
यमाजलो
ग कमा
पलो
तलखे
श्यमा तखे
जलोलखे
श्यमा धमर्वा
धमा नरमा
ललो [illegible] धमर्वा
धमा नरमा
ललो ककृ
ष लखे
श्यमा▼9 पदमलखे
श्यमा
▲80 पमालकजह र जहर जहर▲50
37 36 35 34 33 32 31 30 29
पमा
चदशर्वा
ह वनजह र दशप्रकमा
र
खे
जवत शह
जमात्रखे
इहद्रहजह
र शह
जहबखे
इह
द्रहजह
र व
रकलखे
व
द्रयकखे
त्र शगु
भपरर
णमा
मह शगु
भमा
शगु
भकममा
र्वा शगु
समा
शगु
भ धमर्वा
आर मा
धरमा
नह
धमर्वा गगु
णदमा
र जहर उदलो
रणमा कमलो
दयबमा
लमा इचमारमालखे
जहर
जहर
20 21 22 23 24 25 26 27 28
उपसस
मभमा
र शमा
तलमा
षइत्तर आठलमा
षपकृ
थह समा
तलमा
षअप समाररकखे
त्र७ शमा
तलमा
षतउ
खे शमा
तलमा
षरमा
यगु
: दसलमाष शगु
भकमर्वा
र मा
शह
व
नगलो
द कमा
य कमा
य लमा
षजलो
जन कमा
य कमा
य रनस्पव
तकमा
य
19 18 17 16 15 14 13 12 11
नमा
गकगु
ममार शनतकगु
ममार स
मथमात्व उदधहकगु
ममार दशकखे
त्रव
नकमा
य अगहकगुममा
र परजह
रघमा
तक सगु
रणर्वा
कगु ममा
र वरहमा
ररमा
शह
गगु
णठमा
णगु▼1 गगु
णदमा
र व
रदगुतकगु
ममा
रए जहर▼8 असगु
रकगुममा
र
बखे
वनकमा
य
2 3 4 5 6 7 8 9 10
रत्नप्रभमा
व
दकसमा
त अनन्तमा
नगु
बह
नह अनन्तमा
नगु
बनह जमा
नसमशशगु
भ प्रनहप्रकमा
रकखे स
मथमात्व दखे
षभमा
र अनन्तमा
नगु
बनह अनन्तमा
नगु
बनह
नर क क्रलो
ध ललो
भ परर
णमा
म▲44 पर ममा
धमा
महदखे
र मलो हनह
य ममा
न ममा
यमा
1
सबू
क्ष्म बमा
दर
व
नगलो द

409
Additional Text
Above top border
चलौ
दह-र
मा
ज-सगु
ललो
क-पट,चलौ
र
मा
सहलख चमा
ल।
लखे
श्यमागगु
णसहयलो
गतहें
,वनतनरबमा
जह-ख मा
ल॥१
॥
छहआर
मा
मयकमा
लकखे
, चक्र अनन्तमा
नन्त।
मधगु
बनगु
-व सगु
ख कखे
वलयखे
, सह
समा
र
हखखे
लन्त॥२॥
चढहें
-पड़हें
भर-भलो
गतखे
अपनखे
-अपनखे
दमा
र।
गगु
णसमा
नकसह
ढहअचलजलोपमा
रखे
शगु
भभमा
र॥३॥
“हर
र-करह
न्द्र" ककी
व
तर्वा
तव रजय-
ससद्धि-स
शलमाहहरमा
स।
'नरमल' स
चवत्रतजमा
नककीबमा
जहखखे
ललोखमा
स॥४॥

[see Appendix E2, verse #4]

॥ मबू
लण॥ गमा
नचलौ द]444 यमा
पड़कमा[भखे र
लोगगु
रसहतव
बनमा
ह ह
नहहपमा
ईयखे
गमा गु
॥ दरमवततत
ललो
नमत
जमा
ईममा
र
ह दयमा
सह
बू
ब्रह्मललो
कससधमा
ईयखे
गमा
॥ हह
समानर
क कहबह
चहममा
र
ह गमा
न
पमा
यकहआन
हद मतजमा
ईयखे
गमा
॥ अहह
कमा
रममा
यमामहहममा
र
रदखे
रखेधर हसगु
म सलौ बसस
सममा
ईयखे
गमा
॥तमग
हण
गुह
पकृ
थहमहहपमा
व
ड़दखे
रहसगु
धमर्वा
सधसहबू
स
सरललौ
कससधमा
ईयखे
गमा
॥तमा
मस
क्रलो
ध मतनमा
व
ह
ष दखे
रहरबत
कहसगु
ख भगु
गमा
ईयखे
गमा गु
॥ दरबगु
सध भय गलतलो
न गखे
रहपर
ममा
र
र
जमा
नललो
क पठमा
ईयखे
गमा
॥ अव
रदमाकमा
म अह
त
हकखेममा
र
हतपसह
बूसगु
रगललो
कससधमा
ईयखे
गमा
॥
अधमर्वा
मलो हककीपमा
स
ह
समर
हसगु
धमर्वा हर
तपललो
क हमा
ईयखे
गमा
॥ कगु
सहगकहसह
गबहलौमतहरूपह
भव
क्ति पमा
ईरत
कगु
ह
ठस सधमा
ईयखे
गमा
॥ससधनमा
रगमा
नककीसर
सण सदमाइनसह
बू
भवक्ति पदमा
र
र
पमा
ईयखे
गमा
॥रस(नमा
) अह
धमतर
मा
मरटलौरह
कगु
ह
ठमतजमा
ईसममा
ईयखे
गमा
॥

(Original text?): The secret of gyān caupaṛ will not be

obtained without the beloved satguru. From durmati one is
struck down to lobh, but from dayā one goes to brahmlok.
Hiṃsā strikes one down to narak, but having attained jñān
one goes to ānand. Ahaṃkār strikes one down to māyā, but
from dharm one enters into to suvas. Tamoguṇ falls into
pṛthvī, but from sudharm one goes to śivlok. Tāmas throws
one down to krodh, but vabaiṅkaṃ (i.e. vivek) gives enjoyment
in sukh. Durbuddhi causes one to sink into bhay, but from
paramārth one is sent to jñānlok (i.e. janlok?). Avidyā (ends?)
in kām, but from tap one goes to svarglok. Adharm strikes one
down to moh, but sudharm places one in taplok. Kusaṅg (...),
but if one reaches bhakti one goes to Vaikuṇṭh. (By the path of
the knowledge of Śivanātha?) one always attains the meaning
of bhakti. If the tongue (blindly?) repeats "Rāma," one will be
absorbed into Vaikuṇṭha.

NB! The text appears to have been copied from Va72#6 (or a
copy thereof) with only minor variations. As it explains the
positions of snakes and ladders on a Vaiṣṇava chart, it makes
little sense on a Jaina chart. Obviously, the author was not
aware of - or did not care about - the discrepancy.

444 Inferred from the closely related passage on Va72#6.

410
Ja84#15 (L. D. Institute of Indology, Ahmedabad, Gujarat)

top sq. 4 top sq. 6 top sq. 5

अपर मा
जहत ॥(सह द्धिसह
ल) जयह(त) व
रममा
न३
वरममा
न४ (...) (छखे
)॥
top sq. 1 top sq. 2 top sq. 3
वरजयनमा ममा सरमा
र×र्वाद्धि रह
जय ह
तव रममा
न२
वरममा
न१ ममा
हमा
रहममा ×५
76 77 78 79 80footprint 81 82 83 84
ममा
हमा हनहकमर्वा भद्रग्रह
मलो रहक सगु
भद्रग्रह
रहयक सगु
जमाय (...)क(...) सलो
मनस सगु
दशर्वा
नप्रह
यदशर्वा
न अमलो हसगु
प्रतह
बह
ध यसलो
धर
भखे
द(...) ▼52
75 74 73 72 71footprint 70 69 68 67
पह
चवरषयसखे
(रलो
) मनलोड़ह
ड़१रचन सह ररभखे
द३ ललो
कषमा
ल क(य)कशखे ण भव जह
र यसग्रमा
हह सगु
प्रतह
बह
धभव
क्ति अजमा
नबमा
ह ल
▼2 ड़ह
ड़२कमायड़ह
ड़३ कमा
र क तपसमा▼16
▼21
56 57 58 59 60 61footprint 62 63 64 65 66
सलो
धरर्वा
दखे
रललो
क इशमा
नदखे
रललो
क सनतकगु
ममारदखे
र ममाहद्र
खेदखे
रललो
क ककी
लवरषहदखे
रतमा व्रह्मदखे
रललो
क लमा
तकदखे
ह रललो
क शगु
क्रदखे
रललो
क सहस्रमा
र आनत९प्रमा
णत आर ण१ १
▼34 दखे
रललो
क अश्चश
त१२
55 54 53 52 51footprint 50footprint 49 48 47
चलो
दपबू
रर्वा
धमा र
क बखे
लमा
षबर
ह
(द्रह
) बखे
लमा
षतखे
रह
द्रह बखे
लमा
षचलो
द्रह उ(...)शमा
त(मलो)ह मध पर णमा मह परद्रलो
हह सप्तिवसनह अपगु
र
रगगु
णठमा
णह
गु
▲top#2 गगु
×ठमा (णह
गु
)१ १ ▼10 ▲top#2
38 39 40 41 42footprint 43 44footprint 45 46
ककृ
ष लखे
समा नह
ललखे
समा दखे
शव्रतधमा
र
क कमा
पलो
तलखे
श्यमा ×प्रमत(...)ठमा
णह
गुतखे
जलोलखे
समा सगु
कललखे समा जहरहस
हमादखे
ष पद्मलखे
समा
(...)तम
हगु (▲top#2) ▼9
37 36 35 34 33footprint 32 31 30 29
अनहरकृ
त्तगगु
णठमा
णह
गुआशरर
लो
धक दसलमा षप्रतखे
क समातलमा
षरमा
उ (...)म(त) समा
धगु
सखे
रमा पगु
ण्य प्रककृ
तह पगु
ण्य प्रककृ
तह सगु
कलधमा
ह
न
रनस्पतह कमा
य गगु
(...)णगु
(...)व्रत मगु
भलो दयह४२ मभगुलो दयह४२
(...)क३३ प्र(प्तितह
) प्र(प्तितह
)

20 21 22 23 24footprint 25 26 27 28
भमा
रसमा धगु
द्र× समा तलमा
षबमा
दर समा
तलमा
षअप समा
तलमा
षतउ
खे (...)(श) र(व त) दखे
सरकमारह
षय त्रमा
णतत्व नर पगु
(ण्य) (प्र)(...) जय
सपरहग्रहह प्रररहकमा
य कमा
य कमा
य धर णहमा (...) ४ तमागह तत्व दसरह ध सगुभलो दयह४२ प्ररकृ
वतकर
ण॥
दखे
स(...) जतहधर म प्र(प्ति)तह
(गगु
)णठमा ह
णह गु
19 18 17 16 15footprint 14 13 12 11
×सगु
रकगु
ममा
रनह नमा
गकगु
ममा र२ वरदगुकगु
ममा
र४ अ(गह
) कगु
ममार५ अ(...) गगु
ण×णगु दह
पकगु
ममा
र६ मखे
रगुन(सखे ह व
)वमा दसकगु
ममार८ धनह(त) कगु
ममा
र
नहकमा
य१ सगु
रणर्वा
कगु ममा
र३ प्रममा
द५भखेदबखे सह
जलनलोक्रलो
ध ६६(...)म ह
(नह) उदधहकगु
ममार७ रमा जन▼8 परनकगु
त्रहभलो ममा
र १०रमाणम ह
तरमा
▼1 (...)
2 3 4 5 6footprint 7 8 9 10
सप्तिनमा
कर ससजप हचखे
द्रह परममा
धमास
म सहजहप हचहें
द्रह
य जलोतहषहदखे रतमा
नमा उपशमशखे
ण प्रतमा
ष्यमा
नहउ
ह अप्रतमा
ष्यमा
नहउ
ह अन ह
तमा
नबह
धहउह
तहयर्यं
च आतर्वा
रलो
द्र मनगु
ष्य भखे
द१ ०१ गगु
णठमा णमाछह । व रसगु
धपर
र महें क्रलो
णमा ध४भखे दहें
छहें क्रलो
ध४भखेदछखे॥ क्रलो
ध५भखे
दहें
छखे॥
परर
णमासम असह सजप ह
द्रह ▲44
मनगु
ष्य भखे
द१ ०१
1 ॥बमा दरनहगलो
द ॥सगुकमनह गलो
दअवरहमा रर मा
शह
॥असह स
जप ह
सचवद्रयवतयर्यं
चचउद वरहमा ररमा
स
श सहजगु
क्ति अन
हतकमालकमायवस्
छत
Add. text #1
स्
छमा
व
नककीयमासमगु षर्वा
(व)म यह
क्ति
गु अन ह
तकमाल समथमा तग ह
ण
बूस्
छमा
नहय:॥
(कमायस्छङ व
त१)

Additional Text
Add. text #1
॥लकचलो
र
मा
सहयव्र
हम मलो
हमानरनमा
र
हममा
हमाकरर्वा
कर खे
(सलो
) तमा
जह॥
चलो
पसखे
त्रगु
जककीकमा
हमा
ह
रमा
मवतअनमा
मतव्रम ककीममा
जह॥
बमा
जहर
महें
नसक्रलो
धसमहें
भरममा
ह
नभमखे
दलहलो
तरमा
जह॥
(पमा
पघटमा
र
णमलो
हरड़मा
र
णजमा
न) (...)(र
ण) जमा
नककीबमा
जह१

[see Appendix E2, verse #1a]

जमा
नबमा
जह445

Jñān bājī.

445 Added in a different hand in Gujarati script. Apparently written in

ballpoint pen, and thus probably added by the person who
catalogued the chart.

411
Ja84#16 (L. D. Institute of Indology, Ahmedabad, Gujarat)

top sq. 6
ॐ मवगु
क्ति कखे
त्रस्पगु
वटकर
तन×य४५०००००॥शहअर
रहह
त
पदभलौ(न)मणः
top sq. 5
footprint

सरमा
र्वा
××स सद्धि५
top sq. 2 top sq. 3 top sq. 4
वरजय ह
त: २ footprint
जयहत३
अपर
मा
स
जत४
top sq. 1
footprint

व
रजयव
रममा
न१
दखे
रललो
क 76 77 78 79 80footprint 81 82 83 84 row title #9
मलो
हनहकमर्वा
: भदखे
१ग्रह
रखे
क सगु
भदखे
२ सगु
जमातखे
३ सगु
मनस४ सगु
दरसण६ अमलो
घ७ सगु
प्रव
तबस
गु
द्धि८ यशलो
धर९ नरग्रह
रखे
क
▼52 व
प्रयदरसण५
75 74 73 72 71footprint 70 69 68 67 row title #8
रमा
जअहह
कमा
र अचगु
त्त: आर ण१
१ आन ह
त९प्रमा
णह
त्त कखे
त्रभवमा सहस्रमा
रदखे
रललो
क शगु
क्रदखे
रललो
क७ असभषससद्धि तमा
मसअहह
कर दखे
रललो
क
▼2 १० अभव जह र ८ समा
गर६ ▼16 समा
ममा
दखे
वनक४
दखे
रललोक
row title #7
रललो
र
भय:णतह×
56 57 58 59 60 61footprint 62 63 64 65 66
दखे
रललो
क१२ सलो
धमर्वा अव्रतदलो
षकखे
त्र: ईशमा
न२ असहजमदलो
ष दखे
रललोकभवमा शनतकगु ममा
र ममा
वहह
द्र व्रह्म५लह
तक६ व
ररखे
क ▲68 दखे
रललोक५
दखे
रजलो
क१ ▼21 ▼41 ऽभव जह र४ दखे रललो
क३ दखे
रललोक४ अहतररषकखे
त्र
चमारलमा षजलोन: जलो
तषह
(▲top#6) कपमाट: ५
55 54 53 52 51footprint 50 49 48 47 row title #6
भमा
र१ २भखे
द१० दमा
नपमा
ह चप्रकमा
ह र चमारस
शष्यमा
व्रत परद्रलो
ह: मनगु
ष्य कखे
त्रसमा
धगु ममा
हमा
व्रतसगु
भ ४धमा ह
न३ सप्तिव
रसन▼10 बमा
रह
भखेदतपसगु द्धि मनगु
ष्य कखे
त्रदमा
र
दसनव र(ध) भव जह र व
क्रयमाकखे
रलजमा
ह
न गगु
णव्रत सह
जनहसगु द्धि
वरष: ▲80 ऽजलो
गहगगु णटमा
णगु सगु
कल▲61 समवक्ति
यलो
न१ ४ ▲top#1
38 39 40 41 42footprint 43 44 45 46 row title #5
स
जनधमानप्रकमा
र नह
ललखे
शमा कमा
पलो
तलखे
शमा तखे
जबू
लखे
शमा वतयर्यं
चकखे त्र शगु
भव तयर्यं
चभव धर मधमा
ह
न ककृ
ष लखे
शमाऽ
धमर्वापदमलखे
शमा वतयर्यं
चकखे त्रदमा
र:
स
जनभव
क्ति कखे
रलङ धमर्वा
धमा न ▲50 ऽसगु
भपर
रणमा
म:
गगु
णटमाणमा१ ३ पर
र णमाम ▼9
37 36 35 34 33footprint 32 31 30 29 row title #4
आशरधमा ह
न २लमाषयलो व
न २लमा
कयलो
वन २लमाकयलो
वन व
बगलहें
व ह
द्र(य) कखे
त्र शगु
भमा
शगु
भसत्तमा शगु
भमा
शगु
भ शगु
भशगु
भउदय धरमधमा
नइचमावबगलखे
द्रहदमा
र:
सह
ररर
लो: ५ असहजव नयलो असहजव ह
नयलोतखे
रर
वद्रहऽसहजनहषहें
द्रह गगु
णटमाणमागगु ॰११ उदहरणमा:
चलो
रह
र
द्रह:
20 21 22 23 24footprint 25 26 27 28 row title #3
उपसह
यलो
ग २लकइव
त समा
तलमा
षप्रररह ७समातलमा
षअप समा(र)रकखे त्रगगु
॰ ७लमाषतखे
उकमा
य ७लमाकरमा
उ १०लमाषप्रतखे
क शगु
भक(मर्गी
) पमा
चधमा
ह ररदमार
कमा
य कमा
य ९गगु
॰गगु॰ कमा
य रनस्पतहकमाय:
19 18 17 16 15footprint 14 13 12 11 row title #2
नमा
गकगु
ममा
ररमा
य (सध)नयकगुममा
र पमा
चस
ह मथमा
त्व उदसधकगु
ममा प दसव
रदह नकमा यकखेत्र असजकगु
ममा
र परह
जहरदमा
र▼8 शगु
भर णकगु
ममार: वरहमा
ररमा
सह भरनपव तदमार
कगु
ममार वदशमाकगु
ममार ५८भखे
द▼1 कगु
ममार गगु
णटमाणहें
(६) गगु५वर(दगु
)तकगु
ममा
र
गगु
४
2 3 4 5 6footprint 7 8 9 10 row title #1
कमा
म४लषजलो
व
न क्रलो
ध अजमा
न
ह अजमा
नमलो
ह हनह १५प्र(ममा)धमामह जमानसमशसगु
भ मचर▲44 अनह
तमा
णबह
धयलो अजमा
नममा
ह यमा नमा
र
ककीदमा
र:
नमा
र
ककी अनह
तमा
नबह
धहयलो गगु
णटमा (णखे २ पर
) ३गगु र
णमा
म: अहह
कमा
र
ललो
भ गगु
१
1
७लकव नत
Add. text #1
व
नगलो
दन हकमा
ल
व
स्छतह:

Additional Text
Add. text #1 Thus the caupaṛ of Baksī Rām, disciple of Śrī Śrī Svāmījī Śrī
Śrī Śrī Śrī 1008 Netsījī, on the 10th day of the bright half of the
॥ईतहशहस(मत) समत१
८६९मह
तहचह
तसगु
दह१०॥शहशहसमा
मह
ह जहशहशहशहशह
month of Cait in saṃvat 1869 (i.e. 21 April, 1812 CE) in Śrī
१
००८नखे
तससजहततस
सषबकसहर
मा
मककीचलो
ह पडछह
जहशहव
बक्रमपगु
मधह
शहशह
॥446
Vikrampur (in Gujarat?).

446 Written in a large and uneven hand, possibly different from that of
the original artist.

412
Ja84#17 (L. D. Institute of Indology, Ahmedabad, Gujarat)

top sq. 4
मव
गु
क्ति कखे
त्र
४५०००००यलो ॰
स मावटकर त्नमय
मव
गु
क्ति स
सलमाछह
top sq. 3
Add. text #1 सरमा
रस
र्वा
र्वा
सद्धि Add. text #1 (cont.)
top sq. 2
अपर मा
सजत
अनगु
त्तरव
रममा
न४
top sq. 1
जय ह
तअनगुत्तर
वरममा
न१
76 77 78 79 80 81 82 83 84
मलो
हनहकमर्वा भखे
दग्रह
रखे
यक सगु
भखे
दग्रह
रखे
यक सगु
जमातग्रह
रखे
यक सगु
मनग्रह
रखेयक४ सगुदशर्वा
नग्रहरखे
यक अमलो
हग्रह
रखे
यक सगु
प्रबद्धिगर
ह
रखे
यक जसलो
धरग्रह
रखे
यक
▼52 व
प्रयदशर्वा
नग्रहरखे
यक
75 74 73 72 71 70 69 68 67
रमा
जसअहह र अचगु
कमा तदह
रललो
क आर णदह
रललो
क ममा
नतदह
रललो
क शगु
(क्ल) पकह सहस्रमादखे
रललो
क शगु
क्रदखे
रललो
क असभष्ठस
सद्धिसगु
ष तमामससअहह
कमा
र
▼2 व
रममा
न दखे
रललो कयलो
वनल समा
ग ▼5
56 57 58 59 60 61 62 63 64 65 66
कपमा
टर हध सलौ
धमर्वा
दखे
रललो
क अरकृ
तदखे
रकखे
(त्र) इशमा
नदखे
रव रममा
न असहजमहदलो
ष दखे
रललोककखे
त्र सनतकगु
ममार३ ममा
हहें
द्रदखे
रललो
क रकृ
ह्मदखे
रललो
क व
ररखे
कआ× समा
ममा
व
नकदखे
रतमा
समा
ममा
व
नकदखेरतमा व
रममान ▼36 दखे
रललो▼41 भवमा भव यलो
व न व
रममान४ लमा
त
ह कपमा
टर ह
धसरर
५रहममा
वनक१ (ष॰) रलोव
तवष५
वहतरजमाव
त५८
रलोव
तषह
55 54 53 52 51 50 49 48 47
१०व रनमादमा
रनयभमा नभखे
ह द५ रकृ
ह्मरकृ
तभखेद(८) परद्रलो
ह गगु
णकखे
त्रयलो
गह गगुणकखे त्र(रकृ
)त गगु
णरकृ
ततहन सप्तिवसनआदर
हसमक्ति शगु
द्धितप
१२▲80 स
सद्धिरकृ
त्त कखे
रलङगगुणस्छमा
ह
न लजमाहशगुभन जमा
सणरलो▲62 ▼10 शगु
द्धिसह
यमभखे दहें
शगु
(वक्ति) लखे
श्यमा जमा
णरलो
▲top#4 ▲top#1

38 39 40 41 42 43 44 45 46
स
जनपबू जमास
जन नह
ललखे
श्यमा कमा
पलो
तलखे
श्यमा तखे
जलोलखे
श्यमा वतयर्यं
चकखे त्रखे
४ व
तयर्यं
चभय धमर्वा
(धमाह
)नह ककृ
ष लखे
श्यमा▼9 पद्मलखे
श्यमा
भवक्ति कर
ह लकयलो व
न परणमा
मह (▲50)
(स)रलोगकखे रलङ स(पर्वा
मस)र मा
व
द
गगु
॰
37 36 35 34 33 32 31 30 29
आशरर लो
ध २लकयलो व
नसह
जह२लकयलोव
नसह
जहदलोलकयलो
व
नषद्र
हेंहव
रगलहें
द्रह(कखे
त्रखे
) शगुभमा
शगु
भसत्तमा शगु
भमा
शगु
भउदमा
र
ण शगु
भमा
शगु
भउदय धमर्वा
आयर्वा
धन
सह
रमा
रभमा
र चलौ
रहें
द्रह तहें
द्रह जमा
णरमा गगु
ण इछमा
जमा
णरलो
20 21 22 23 24 25 26 27 28
उपसमयलोग ७लकइतर ७लकपकृ
थह ७अप्प कमा
यलक गगु
ण(९) ५शह७ ७लकयलो
व
नतउ
खे ७लकयलो
व
नरमा
यगु१०लकयलो
व न शगु
भकरर्गी
जमा
णरलो व
नगलो
द कमा
य गगु
णलक कमा
य कमा
य पकृ
तखे
करनमा
स्पतह
कमा
य
19 18 17 16 15 14 13 12 11
नमा
गकगु
ममार१ सनवतकगु
ममार८ पह
चस तअ उदस
मथमा धकगु
ममा
रदह
प दशव नकमा
यकखे
त्र अगवनकगु
ममा
र परजह
रसद्धिमा
र्वा सगु
रणर्वा
कगु ममा
र वरहमा
ररमा
स
श
रमा
यगु
कगु
ममा
र(८) व
दसशकगु
ममार७ ५८भखे णरमा कगु
दजमा ममार गगु
णस्छमा
नक४ व रदगु
तगु
ममा
र ▼8 असगु
रकगुममा
र
जमा
णरलो ▼1 गगु
ण५६
2 3 4 5 6 7 8 9 10
कमा
म क्रलो
ध अनह
तमा
नगु
बह
धह अजमा
नमलो
ह १५पर ममा
धमर्गी जमा
नसमशशगु
भ मचर अहह
कमा
र अजमा
नममा
यमा
व
नतनमा
(न)द ललो
भ गगु
णस्
छमा
न परर
णमा
मजमा
णरलो अनह
तमा
नगु
बह
धह
लकयलो
वन ▲44
1 गलो
लमा
यअसहव
ष
कमा
मवनत समा
त वनगलो
द२इगलो
ललो
लकयलोव
नवनत इवतरचनमा
तह
॥
व
नगलो
दअन ह
तमा
थ
स्त
कमा
य

413
Additional Text
Add. text #1
॥सरह
यमा२३

Savaiyā verse (with) 23 (syllables per line):

पमा
इमहमामगु
वनरमा
जसममा
जकगु
हकहव
ररहमा
रसगु
रमाशखे
इलमा
जह
चलोगव
तखखे
तमहें
चखे
नतचखे
तमहें
पमासखे
स
सद्धिमा
तस
ह जतखे
भरखे
गमा
जह
ओररकृ
रमाव
रकघमा
तसजभमा
रषगु
समा
लङसगु
लङ(उ) र
हहव
नठर
मा
जह
गमा
नकमारखे
ह वलर(रह
) गगु
नकखे
व
लयह
गु
षखे
लतजमा
नहसगु
ह )नककीरमा
(गमा जह१

[see Appendix E2, verse #1c]

सरह
यमा
॥२४

Savaiyā verse (with) 24 (syllables per line):

अह
सहें
आर जदखे
शमतउत्तमर
हशह
कगु
हपमा
इसजनखे
शकगु
हअरचलो
नह
कखे
(पगु
)न कखे
रमासरषखे
लसगु
पमा
सरहत
भवरजह
तलहखे
घरचलो
जमा
तहें
ललोकअललो
कवरललो
कवरर
मा
जतआन
हदअन
हतर
चलो
इनहहचलो
परचलो
परचलो
परचलो
परचलो
परचलो
परचलो
॥२॥

[see Appendix E2, verse #2]

इव
तशहचतगु
दश
र्वार
जमा
त्ममा
त्म स्वरूपव
नरूपण(तकृ
तयधमा
)व नरूपमाजमा
नक्रकी
डमासममा
समा
स
चसचतमा
चसमव
लथखत
हसह
तमा
र
मा
मखे
णयदमह
॥

Thus jñān krīḍā (i.e. the game of knowledge) in the form of

the third meditation447 examining the nature of the illustrious
fourteen ropes tall (universe) is completed. 448 Drawn (and
painted?) by Sītārām.

Unnumbered bottom row square

[inscription ends:] इव
तरचनमा
तह
॥

(The chart is completed) for the purpose of study.

447 The third of the four forms of meditation is known as virtuous or

religious meditation (dharmadhyāna).
448 I read samāpta (completed) instead of samāsa (combination).

414
Ja84#18 (Rajasthan Oriental Research Institute, Jodhpur, Rajasthan)

top sq. 5
॥सर रमा
रर्वा
(सह )धरह
ममा
न३३समा
गरथ
सतह५
top sq. 2 top sq. 3 top sq. 4
॥रह जय ह
त ॥अपर मा
जह त ॥जय ह
तहरह ममा
न
रहममा
न३२ रहममा
न३२ ३२समागर
समा
गर२ समा
गर४ थस:३
top sq. 1
॥रह जय
(अनगु
)तररह ×(न)
३२समा(ग)र
थसतह१
76 77 78 79 80footprint 81 82 83 84
॥मलो
हनहकमर्वा ॥भदखेग्रह
रखे
क ॥सगु
भदग्रह
रखे
क ॥सगु
जमा
तग्रह
रखे
क ॥सगु मनसखे ॥सदबूशर्वा
नग्रहरखे
क ॥अमलो हनह ॥सबू प्रर
हध ॥यशलो धर
▼52 प्रह
यदशर्वा
नग्रहरखे
क ग्रह
रखे
क॥ ग्रह
रखे
क॥ ग्रह
रखे
क॥
75 74 73 72 71footprint 70 69 68 67
॥र मा
जसअहह र॥अचबू
कमा त ॥आर ण ॥प्रमा
णमा
ह
त ॥आन हत ॥सहस्रमा
र ॥शगु
क्रदखे
रललो
क ॥अस भषससस
द्धि ॥तमामस
▼2 दखे
रललो
क॥१२ दखे
रललो
क॥१
१ दखे
रललोक१ ० दखे
रललोक९ दखे
रललो
क॥८ ७ सगु
षसमागर अहहकमा
र
॥▼16
56 57 58 59 60 61footprint 62 63 64 65 66
॥वह तररहममा
न ॥सलो धमर्वा तहदलो
(...)(र)र ष ॥इशमा
ह
न ॥असह जमदलो
ष ॥दखे
रललो कषखेत्र ॥सन ह
तकगु
ममार ॥ममाहद्र
खे ॥(व्रह्म) ॥लमातक
ह ॥समाममा
नहकदखे
र
९प्रकमार
॥ (दखे
)र(ललो
)क१ षत्र
खे▼21 दखे
रललो
क२ षखे
त्र॥▼41 भव जह र४लमा ष दखे
रललो
क॥३ दखे
रललो
क४ दखे
रललोक॥५ दखे
रललो
करहरखे
क ४भगु
रनपतहदखे
र
यलोतहककी५ यलो
नह ड़ड▲68 ५अहतरहकषखे
त्र
प्रकमा
र
॥ कपमा
टयलोतह
षह॥
55 54 53 52 51footprint 50 49 48 47
॥भमा
र(नमा
)× ॥दमा ह
नपह
च ॥नरभखे द ॥पर द्रलो
हहदलो
ष ॥(मनगु ष) (षखे
)त्र ॥(प ह)च ॥प ह
चधमान५ ॥समातरह
सन ॥सगुभसह यम
व
रधहरह×(य) प्रकमा
र
॥ व्र
हह्मचयर्वा
९ षखे
त्र भ(व) जह र१ ४ (ममा)हमाव्रतशगु(भ) तहन३गह
ण
गुरकृ
त गु॥▼10
दष सगु
धसह मककीत१२
▲80 रमाड़खे
कर ह लमा
षयलो वन॥ (कखे
)रलजमा न
ह बमा
रखे
भखे
दखे
तप॥
सह ष्यमा
व्रत॥ (▲top#5) शबू
(क्ल) (लखे ॥
)श्यमा ▲top#1

38 39 40 41 42footprint 43 44 45 46
॥आशर५प ह
च ॥नह ललखे
समामठखे॥कमा
पलो
तलखे। ॥तज खेगु
लखे
श्यमा
॥ ॥तह र जहचषत्र
खे४ ॥शभगुतह रजह
च ॥शगुभधमर्वा ॥ककृ ष लखे । ॥पदमलखे
श्यमा श्यमा
रलो
धनसह रर प्रणमा
मऽशगु
भ॥ श्यमादषगुप्रणमा
मह॥ लमा
षयलो वन: भव प्रणमा
मह धमानहउतम॥ अधर महअशगु
भ शगुभशगु
द्धिजहर॥
(...)ष(प्रकमा
)र॥ सह
यलो
गहकखे रलङ (▲51) प्रणमा
मह▼9
गह
ण
गुठमा
णलो ॥
37 36 35 34 33footprint 32 31 30 29
॥आशर५प ह
च ॥सनहचलोरह
द्रह२ ॥सव नतखे
रह
द्रह२ ॥सव नबखे
रह
द्रह२ ॥रह गलखेद्रहषत्र
खे ॥शभ गुमा
शगु
भ ॥शगु
भमा
शगु
भ ॥शगु
भमा
शगु
भ ॥धमर्वा
रलो
धनसह
रर लमा
षयलो
व
न: लमा
षयलो
व
न॥ लमा
षयलो
व
न॥ उपसम१ १सबूषम सतमा॥ उदहर
णमा उदय॥ आर मा
धखे
वनश्चखे
॥
१२र मा
।ग ह
ण
गु
20 21 22 23 24footprint 25 26 27 28
॥उपसमयलो
ग ॥समात७लमा
ष ॥समात७लमाष ॥समा त७लमा
ष ॥प हच५रमा रर ॥समात७लमा
ष ॥समात७लमा
ष ॥दश१ ०लमाष ॥शभगुकरमह
यलो
व
नइतर यलो
व
नप्रररहकमा
य यलो
व
न।अप षत्र
खेग ह
गु
णसमा(९) यलो व
नतखे
उकमा
य यलो
व
नरमा
ऊ यलोन) प्रतखे
(व क जहरपबू
नरह
त:
व
नगलोद॥ कमा
य॥ कमा
य॥ रनस्पतहकमाय
19 18 17 16 15footprint 14 13 12 11
॥नमागकगु
ममार१ ० ॥सनतकगु
ममा८ ॥प हचमह थमात ॥उदधहकगु र ॥सनह
ममा कमा यमा
। ॥अव गकगु
ममा
र ॥पर जहरव हमा ॥सबू
हस रणर्वा
कगु ममा
र ॥रह रहमा
र
रमा
ऊकगु
ममा
र: (९) व
दसकगु
ममार७ ५८भखे ददलो
ष (६)।दहप कखे
त्रगह
ण
गुठमा णलो ४।व रदगु
त व
रर लो
धदलो
ष▼8 २॥असबू रकगु ममा
रर मा
सह॥
षखे
(त्र)॥▼1 कगु
ममा
र५ कगु
ममार३ १॥
2 3 4 5 6footprint 7 8 9 10
॥अन ह
तमान
हगु
- ॥अन हतमाह
नहगु
- ॥अजमाह
न ॥अजमा ह
नमलो
ह ॥धमर्वाधमा नगगु
ण ॥जमानस
ह मशशगु
भ ॥भखे
दमछरनमा
म ॥अनह
तमान
हगु
बह
धह ॥अजमा ह
न
बहधहयलोकमा
म४ ब हधह
यलोक्रलो
ध॥ अनहतमा
न
हगु
बह
धह अन ह
तमा
नह
गु
बह
धह स
मशग ह
ण
गुसमान३ पर णमा
म॥▲44 स मशगु
ग
हण
गु अहह
कमा
र अन ह
तमा
नह
गु
बह
धह
लमाषयलो
वननमारककी ललो
भ॥ ममा
यमा
॥ ससह दखेगगु
ण२ ममा
यमा
॥
छइ॥ स
मथमा त(१)
परममाह
धमामह
गह
ण
गुठमाणलो॥
1 ॥सबू
क्ष्म व
नगलो
द१
Add. text #1
॥बमा
दरव
नगलो
द

415
Additional Text
Add. text #1
§O॥गणह
शमा
एनणः
॥

Bhale! Salutation to Ganeśa!

गमा
रमा:

Gāthā verse:

गलो
लमा
यअसषह
जमाअसह
षगलो
लमा
इएहह
महनह
गलो
ए
एकह
वकह
महव
नगलो
एअन
हतस
जरमा(मबू
)णखे
इछह
छमा१
॥

[see Appendix E2, verse #6]

॥सरइयलो:

Savaiyā verse:

लकचलो
र
मा
सहभ्रमणमहमा
।नमा
ड़हनरपतनहखे
तमा
जह
चलो
पड़शखे
त्रगु
जककीकहमा
ह
रमा
मतएहअनमा
मतभ्रमककीबमा
जह:
बमा
जहर
मखे
तसक्रलो
धसमखे
भरमह
नभमखे
व
दलहलो
तहखे
र
मा
जह
पमा
पघटमा
र
णमलो
हरड़मा
र
ण।गमा
नरधमा
ह र
णगमा
नककीबमा
ह जह१
॥

[see Appendix E2, verse #1a]

इव
त(शखे
य)

Thus the religious merit.

Below bottom border

(...)॥व
ल(ष)त
ह(क्रष) (हर
ष) (चह
)दम(नद)सलो
र×धखे
॥(शमा
)रक गगु
जर मा
तहपटलमा
रमा
द
कमानह
हमा
लचह
दजहगमा
नचलो
ह पडकर
मा
पहत
ह॥सह
रत१
९१२शमा
कह१
७७७प्र(रत्तर्वा
)ममा ह
नह
:
ममा
सलो
त्म ममा
सखे
शगु
भकमा
र
हभमा
द्ररममा
सखे
ककृ
ष पक १
३वतरलोर
ह
वर (रमा
)सर
खे
करमा
पहत
ह॥
शह
रस्तगु
॥कल्यमा
णमस्तगु
॥शगु
भह
भर(तगु
)

(...) Drawn by Kṛṣ Harṣ Cand in Mandsaur (in Madhya

Pradesh). The Gujarati Śrāvaka (i.e. lay disciple) Nihāl Candjī
of Petlawad (in Madhya Pradesh) caused this gyān caupaṛ to
be made. He caused it to be made on Sunday on the 13th
lunar day of the dark half of the auspicious month of Bhādra
(i.e. Bhādoṁ), the best of months, in VS 1912, Śaka 1777 (i.e. 9
Oct, 1855 CE). May there be prosperity, auspiciousness, and
good fortune!

416
Ja84#19 (Rajasthan Oriental Research Institute, Jodhpur, Rajasthan)
NB! Inscriptions illegible in available image reproduction.

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▲44
1
[illegible]

Additional Text
Museum plaque
वलव
पसमय- ई. २०रह .ह८४कलो ष्ठकमा
त्मत समा प-सह
ह ढहकखेरूपमहें जह र८४लमा ख
यलो
व
नयलोह
महें
गगु
णकमर्वा
स्वभमा रकखेअनगुरूपफलप्रमा प्तिकरभलो गभलो
गतमाहह , यहप्रदस शर्वा
त
वकयमागयमाहह।अचखे कमर्वा
कर नखे
सखेजहरअहन्तर्वा पदप्रमा
प्तिकरमगु
वक्ति कखे
त्रमहें
पहुह
चतमा
हह
।
Time of writing: 20th cent AD. This 84-square sāṁp-sīṛhī (i.e.
snakes and ladders) chart shows that the soul experiences
results corresponding to the quality of its own actions among
the 84 lākh birth-situations. The soul reaches the arhat449
stage (i.e. sq. 50?) by performing good actions, and arrives in
mukti kṣetra450 (i.e. the field of liberation, top sq. 6?).

449 Here arhat is used synonymously with kevalin which is defined as a

person who has achieved omniscience (kevalajñāna).
450 Top sq. 6.

417
Ja84#20 (Samrat Samprati Sangrahalaya, Koba Tirth, Gandhinagar, Gujarat)

top sq. 6
(शह) (...)
top sq. 5
(स)रमा
र
र्वा(स
र्वास)द्धि५
top sq. 2 top sq. 3 top sq. 4
रहजयह
तअनगु त्तर footprint जय ह
तअनगुत्तर
वरममा
न२ अपर मा
सजत वरममा
न३
वरममा न४
top sq. 1
footprint

ह
(...)य(...)
76 77 78 79 80footprint 81 82 83 84
मलो ▼2 भद्रग्रह
हनहकमर्वा रखे
क सगु
भद्रग्रह
रखे
क सगु
जमातग्रह
रखे
क (...)म सगु
दशर्वा
नव ग्ररखे
क अमलो
घग्रह
रखे
क सगु
प्रव
तषग्रह
रखे
क जसलो
धरग्रह
रखे
क
(वप्रय)×शर्वा
न
75 74 73 72 71footprint 70 69 68 67
अकमा
ररमा
जहह अचगु
तदखे
रललो
क आर णदखे
रललो
क आनतदखे
रललो
क भवमा (भ) व सहस्रमा
रदखे
रललो
क शगु
क्रदखे
रललो
क इषयगु
द्धिदखे
रललो
क तपसअहह
कमा
र
▼52 जह(र) ▼16
56 57 58 59 60 61footprint 62 63 64 65 66
रहममाणहकवहतर १ २भमा
रनमा अरकृ
तदखे
र॰ ईशमा
नदखे
॰ असहयमहदलो
षदखे
॰ दखे
रललोक सनतकगु
ममारदखे
॰ ममाहद्र
हेंदखे
रललो
क व्रह्मदखे
॰ व
ररखे आयलोसमा
कधमर्वा मनहदखे
र५
जमा तजलो
तषहपमा
च
ह ▼21 ▼41 भवललो क४ ▲68 भगु
रनपतह
प्रकमा
र लमा
(ष) (रलो)जन दखे
रललो
क
55 54 53 52 51footprint 50 49 48 47
१२भमा
रनमाव
रप्र दमा
ममा
ह
तरमा
यरलोपमा
प भखे
दव्रह्मचयर्वा परद्रलो
हतणलोपमा
प मनलो
गप्ति
गु: कखे
रलगमाह
न।शगुभ गगु
णरवत समा
तवसन तप१२सहयम
व
र(भखे
) ▲80 रकृ
त: इसमा
(...) जह र धमाह
नशगु
क्ललखे
समा ▼10 आदरखे
समक्ति
अ×गह(...)(गगु)× ▲51 ▲top#1
▲top#5
38 39 40 41 42footprint 43 44 45 46
सजनपबू जमा८ नह
ललखे
समा कमा
पलो
तलखे
समा तखे
जलोलखे
समा तह
व यर्यं
च(...) ४ शगु
भवतयर्यं
चशगुभ धमर्वा
धमा ह
नह ककृ
ष लखे
समा▼9 पदमलखे
समा
प्रकमा
रसजनभव क्ति लमा
षयलो न)
(व (द)णमा
37 36 35 34 33footprint 32 31 30 29
आशरर
लो
धन: २लमाषयलोव
न २लमाषयलोव
नसह
गह२लमा
षयलोव
न व
रग×(द्रह ) (९) शगु
भमा
सगु
मतह
नखे शगु
भउदह
रणमा शगु
भउदय: धममा
र
र्वा
मा
धनइचमा
चलो
रह
र
द्रह तखे
ररह
द्रह असह ह
गहतखे
रर
द्रह ▲50
20 21 22 23 24footprint 25 26 27 28
उ(प)समयलो
गह ७लमाषपकृ
थह ७लमा
षअपकमा
य ७लमाषतखे
उकमा
य ७लमाष×उकमा य ७लमा
षरमा
उकमा
य१ ०लमाषप्रतखे
क ४लमाषसमा
धमा
र
ण शगु
भकगु
ममा
र
कमा
य रमा
ररकमा
य रनस्पव
तकमा य रनस्पव
तकमा
य
19 18 17 16 15footprint 14 13 12 11
नमा
गकगु
ममा
र स(वन)तकगु
ममा
र स
मथमा
तभखे
द▼1 उदसधकगु
ममा
रदह
प दसव न×यषखे (त्र) अवगकगु
ममा
र परजहरस्प(द्धिर्वा
) सगु
रणर्वा
कगु ममा
र व
ररहमा
ररमा
सह
(रमा
)उकगु
ममार परनकगु
ममा
र कगु
ममार व
रदगु
तकगु
ममा
र म(र
खेगु
)णसह (गमा ) असगुरकगुममा
र
(▲31) ▼8
2 3 4 5 6footprint 7 8 9 10
लकजलोजन क्रलो
ध अगमाह
न अगमा
नमलो
ह परममाधमर्वा गमा
ह
नसमशशगु
भ मचर अगमा
ह
नबह(धह
) अगमा
ह
नरह
तहममा
यमा
नमा
र
ककीकमा
ह
म अनह
तमा
नगु
बह
धह गगु
रसमा न परर
णमा
म▲13 अहह
कमा
र
ललो
भ
1 बमा
दरव नगलो
दबखे
रमा
ररमा
सअन
हतकमा
ल सगु
षमवनगलो
दअबर
खेमा
ररमा
सअन
हत
समा
तलमा
ष : कमा
यथ सत: कमा
लकमा
यथसत:
व
नतमाव
नत द
खे
॥

Additional Text
Below bottom border (right)
गडह
·१451

(Acc. no.) gaḍī 1.

451 Written in pencil in a different hand.

418
Ja84#21 (private collection, London)

top sq. 2
[illegible]

top sq. 1
-
76 77 78 79 80footprint 81 82 83 84
मलो
हनह▼2 भद्रग्रह
रखे
क सगु
भद्रग्रह
रखे
क सगु
जमा(
त)ग्रह
रखे
क (रखे
) कमा
यक(...) सगु
भद्रग्रह
रखे
क सगु
दशर्वा
नग्रह
रखे
क अमलो हसगु
प्रतमा
× यशलो
धरग्रह
रखे
क
(त्रखे
) ग्रह
(रखे
)क
75 74 73 72 71footprint 70 69 68 67
ककृ
ष लखे
(समा
) (नह)ललखे
(समा
) पह
चरह
षय चमारललो
कपमा
ल (दखे
)र(ललो )× (य)×गकृ
हमा महमा
(मलो
)दय अभहषसह (द्धि) बमा
लतप(श्वह
)
(कखे
त्र) भ(र) भ(व) ऽ भ(व) (सगु
)षसमा
गर ▼16
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[illegible] इशमा
न▼34 सनतगु
ममार▼21 ममा हें
(ह)द्र असहजमह▼41 ब्रह्ममा ल(...)क (...) सहस्रमा
र आणतप्रमा
णतह [illegible]
(▲top#2) ▲68
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चउदपबू
रर्वा
धमा ह बखे
र रहें
द्रह तखे
रहें
द्रह चलो
रहें
द्रह प्र(द्रलो
)ह (कखे
)(...)जमा
न धमान(पगु
)ण(द) समा
(...)( )▼10 दमा
दशभखे
द(...)
▲80 ▲top#1
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सह
जहप
हचखे
द्रह सगु
लरकृ
त रहदममा
नसक्तिकी प×लखे
समा सह
यलो
गह अनगु
रकृ
त उ(प)×त×ह जह हमा▼9
रहह
स ×तह
37 36 35 34 33footprint 32 31 30 29
सगु
क्ललखे
समा तखे
जगु
लखे
समा समा
धमा
रण रनस्पतहकमा
य प्रमत्त सभमा
(सगु
)भतत्व (...) रककी(...)र धमर्वा
आर मा
धन अपबू
रर्वा
कर ण
रनस्पतह तमा ग(▲61)
20 22 [21] 22 23 24footprint 25 26 27 28
असगु
रकगु
ममार बमा
दरपकृ
थहकमा
य अप्प कमा
य तखे
उकमा
य दखे
(स) रकृ
तह रमा
उकमा
य स(दमा
) (...)म पगु
न प्र(ककृ
)तह प्रतखे
करनस्पतह
19 18 17 16 15footprint 14 13 12 11
अपगु
नमा
नहममा
यमा सगु
रणर्वा
कगु ममा
र अन ह
तमा
नगु
बह
धह अन ह
तमा
नगु
बह
धह दह
(समा) कगुममा
र अगहकगु (पगु नगु
)नमा (ललो
)भ नमा
गकगु
ममार अपगु
नमा
नगु
ममा
न
क्रलो
ध▼1 ललो
भ ▼8
2 3 4 5 6footprint 7 8 9 10
नमा
र
ककी× सह(जह
)पह
चखे
द्रह परममा
धमा
मह बमा
दररनस्पतह प×नकगु ममार हनह ममा
उ(...)तमलो यमा अनह
तमा
नगु
बह
धहममा
न अपगु
नगु
हमा
स
▲31 अन ह
तमा
नगु
बह
धह
1 बमा
दरनह
गलो
द सगु
क्ष्म नह
गलो
द
मनगु
ष्य तहयर्यं
च
पह(चखे
)द्रह

419
Ja84#22 (private collection, London)

top sq. 6
॥मवगु
क्ति स
सद्धिस
सलमा४५०००लमा
षजलो
जनर
हछह
top sq. 5
footprint

व
रजयवरममा
ह
न
॥५॥
top sq. 2 top sq. 3 top sq. 4
footprint footprint footprint

रखे
जय ह
तवरममा
ह
न सरमा
रस
र्वा
र्वा
सद्धि जयह
तवरममा
ह
न
:॥॥२॥ व
रममाह
न:॥३॥ :॥४॥
top sq. 1
footprint

अपरमा
स
जत
व
रममा
ह
न:॥१॥
76 77 78 79 80footprint 81 82 83 84
मलो
हनह भद्रग्रह
रखे
यकनमा
ममासगु
ह भद्रग्रह
×यक सगु
जमातग्रह
रखे
यक सगु
मनसग्रह रखे
यक: सगु
दशर्वा
नग्रह
रखे
यक अमलो घनमा
ह
ममा सगुप्रव
तवषत यसलो
धरग्रह
रखे
यक
कमर्लो
दयमा
(स) : ग्रह
रखे
यक ग्रह
रखेयक
▼52
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रमा
जसअहह कमा
र अचगु
तदखे
रललो
क : आर ण(नमा
ह
)(...) आहणतप्रमा
णत
ह ॥कखेत्रवमा भव सहशमा
र )क्रनमा
(शगु ह
× असभषससद्धि तमा
ह
मसअहहकमा
र
पमा
पमा
त्पतन
ह:॥ दखे
रललो
क दखे
रललो
क जहरदखेरललो क: दखे
रललो
क: दखे
रललोक: समा
गरदखे
रललोक पमा
पमा
तदखे
रललो
क:
▼2 ▼16
56 57 58 59 60 61footprint 62 63 64 65 66
॥अह त(...) सलौ
धरर्वा अव्रतदलो
षषखे
त्र: ईशमा
ह
× असहजममा
व
ददलो
ष ॥कखेत्रवमा भव सनतकगु ममा
र ममा
हहें
द्रदखे
रललो
क व्रह्मव्रह्मलो
त्तर व
ररखे
कभमा
रशखे
सण ॥(अ)ह ×रकखे
त्र
दखे
रललो× दखे
रललो
क: ▼21 (दखे
)र(ललो
)× पमा
पमा
रपतनह ४लमाषगण गुटमा
ह
णमा दखे
रललो
क दखे
रललो क चढहइह
▲68 (जलोवत)षह
▼41 दखे
(...)क:
55 54 53 52 51footprint 50 49 48 47
दशवरषधमर्वा पह
चपकमा
ररमा
रर आरसशकव्रत परद्रलो
तवरततहरन ॥मनस शरसगु ष पह
चममा हमा
व्रतह
शगु
क्ल धमाह
नगगु
णव्रत सप्तिवसन बमा
रमाप्रकमारतप
वरनयभमा
रनमा रकमा पमा
पकमा र तह अरसलो
णमा ककमा र
ण धमा ह
नकखे रलगमा ह
न पमा
पमातनरक शगु
स
द्धिसह जम
▲80 गगु
णटमाह
णमा मगु
वक्ति शखे
स
ण गमन ह▼10 सहमक्ति सरमा र
र्वार्वा
चढहई॥ सस(द्धिमा
) (च)ड़खे
(▲top#6) ▲top#3
38 39 40 41 42footprint 43 44 45 46
स
जनपगु
जमाभव
क्ति नह
ललखे
समा कमा
पलो
त(लखे
)× तखे
जलोलखे
समा ॥तह रर्वा
कखेत्र सगु
भव तयर्यं
चभद्र धमर्वा
धमा ह
नककी ककृ
ष लखेसमा पद्मलखे
समारह
भमा
र सह
यलो
गहकखे पर
र णमा
ह
म: शखे
णह▲50 पमा
पमा
तपतनह पमा
रडहचह ढह
गगु
णटमाह
णमा समातह▼9
37 36 35 34 33footprint 32 31 30 29
आशरव नरलो
ध दलो
यलमा
ष दलो
यलमाष×(द्रह
) बखे
लमा
षबद्र
खेहरह ॥वरकलहें द्रह
य शगु
भमा
शगु
भशमतमा शगु
भमा
शगु
भउदह
णमा
र्वाशगु
भमा
शगु
भउदय धमर्वा
धमा ह
नइछमा
सह
ररधमा
रइह चउररह
व
द्रर
हयलो
व
न रहयलो
व
न यलो
नह गगु
णटमाणमा पर
र णमाह
म
20 21 22 23 24footprint 25 26 27 28
उपसमयलो
गदमा
र समा
तलमा
षबमा
दर समा
तलमा
ष×नह समा
तलमा
षअपह ॥रमाररकखे त्र समा
तलमा
षतउखे समा
तलमाषरमा
ऊ दशलमा षप्रतखे
क शगु
भकरर्वा
पमा पणह
व
नगलो
द पकृ
ररह×यरह कमा
यनहयलो
नह गगु
णटमाह
णमा कमा
यनहयलो
नह कमा
यमायलो
नह रनस्पतहनह
यलो
नह:
19 18 17 16 15footprint 14 13 12 11
नमा
गकगु
ममा
ररमा
यगु समा
तलमा
षबमा
दर पह
चस मथमा× भगु
दसधकगु
ममा
र ॥दशरह कमा य अवगकगु
ममा
र परजह रब ह
धदमा
र शगु
रणर्वा
कगु ममा
र वरहमा
ररमा
स
श
कगु
ममार व
नगलो
द दलो
षमा
तह द)पकगु
पत: ▼1 (व ममार कखे
त्रगगु
णटमा ह
णमा व
रदगु
तकगु
ममा
र पमा
पमा
स्मतनमह
▼8
2 3 4 5 6footprint 7 8 9 10
४लमाषनमार
ककी अन ह
तमा
शगु
बह
धह अनह
तमा
नगु
×धह अजमानमलो
ह ह ॥पनर अजमा
नस
ह मशशगु
भ मछरभमा र अन ह
तमा
नह
गु
बह
धहममा
ह
न अजमानकपट
ह
दमा
रपमा
पमा
तह क्रलो
धपमा
पमा
तह ललो
भपमा
×तह पमा
पमा
तह परममाधमाह
मह: परर
णमा
ह
ममा
तह▲44 पमा
पमा
तह पमा
पमा
तह अन ह
तमा
नह
गु
ब ह
धह
ममा
यमापमा
पमा
तह
1 row title #1 row title #2 row title #3 row title #4 row title #5 row title #6 row title #7 row title #8
व
नगलो
दगलो
लह नरकदमार१ पमा
लनहकमा× रमा
ररकखे
त्रदमा
र वरकलखे
द्रह
यकखेत्र वतयर्यं
चकखे त्रदमा
र मनगु
ष्य कखे
त्रदमा
र दखे
रललो
कदमा
र नरग्रखे
रहयककखेत्र
भगु
रनकखे(त्र) ।३॥ दमा
र४॥ :॥५॥ ॥६॥ ॥७॥ दमा
र:॥८॥
॥२॥
Add. text #1

Additional Text
Add. text #1 चलो
पडशह
त्र
हगु
जककीकहह
यहर
मा
मतएहअनमा
ह मतभ्रमककीबमा
जह

॥सरह
इयलो: बमा
जहर
महतशक्रलो
धसमह
भरममा
ह
नभमह
वदलहलो
तहह
रमा
जह
पमा
पघटमा
र
णमलो
हवरड़मा
र
णगमा
नरधमा
ह र
णगमा
नककीबमा
ह जह:॥१
॥
Savaiyā verse:
[see Appendix E2, verse #1a]
लषचलो
र
मा
सशयभ्रमणमहमानरनमा
डहजतनपतनहतमा
जह

420
Ja84#23 (private collection, London)

top sq. 6
॥§O॥मव गु
क्ति कखे
त्र४५लकजलो
जनप्रममा
ह
ण: ऽ
हतर्यंपदभलो
नमणः
top sq. 5
३३समा॰आउ॥
चलो
मठ×णनलो मलो (
वत) १सरमारस
र्वा
र्वा
सध
वरममा
ण
Add. text #1 Add. text #2
top sq. 2 top sq. 3 top sq. 4
वरजय ह
तव रममा
ण अपर मा
स
जत जय ह
तअणगु तर
२आ(य)बूसमागर वरममा
ह
णआ(य ह
)बू वरममा
ह
णआ(यबू ह
)
३०जमा: ३२समागर समा
गर३०
top sq. 1
वर(जय)त
वरममा
(ण) (१)
आ॰३०समा गर
76 47 [77] 78 79 80 81 82 83 84
मलो
हवनकमर्वा
(वन) १भद्रव
ग्ररखे
रखे
ग शगु
भद्र सबू
जमात सलोमनरखे ग सगु
दशर्वा
ण अमलो घष सगु
प्रव
तषव
ग्रव
ररखे
ग जसलो धर
थ
सव त७० व
ग्रव
ररखे
ग२× व
ग्रव
ररखे
ग३ (य)दर शण व
ग्रव
ररखे
ग६ ग्रह
वररखे
ग७ व
ग्रव
ररखे
ग९
कलो
ड़मा
कलो
ड़व
न (ग्र)रखे
ग५
▼2
75 74 73 72 71 70 69 68 67
रमा
जसऽ
हहकमा
र उचत आर ण अन ह
तदखे
रललो
क भवभव
रसजर सहशमा
र कगु
क्रदखे
रललो
क७ अवनषशगु
द्धि तमा
ह
मससअहह
कमा
र
▼52 दखे
रललो
क१२ दखे
रललो
क११ दखे
रललो
क८ व
रक६ छह▼16
56 57 58 59 60 61 62 63 64 65 66
वरममाह
स
णकवतर सलो धमर्वा
दखे
रललो
क१ अ(व्र)तदलो
ष इसमा
नदखे
रललो
क२ असहजमव्रतदलो
ष दखे
रललो
क (भ)रन शनतकगुममा
र ममा
हखे
द्रदखे
रललो
क व्रह्मदखे
रललो
क रहरखे
कड़ह
ड़कखे
त्र समा
ममा
व
नक
जमा त२जलो
तककी५ ▼21 ▼41 रलभ४(लमा त)क दखे
ह रललो
क ▲68 दखे
रललो
क
प्रकमा
र
खे वरममा
ह
न
(▲top#5)
55 54 53 52 51footprint 50 49 48 47
बमा
रखे
भमा
रनमा दमा
नमाअह
तर
मा
य व्रह्मचमा
यर्वा
पणलो परद्रलो
हपणलोतखे मनगगु
प्तिप्रसमा
धगु शगु
क्ललखे
श्यमा गगु
णव्रत सप्तिकगु
वरसन बमा
रखे
भखे
दखे
तप१
७
▲80 पमा लहतखे
रकृ
त पमा
प भव जह र कखे
रलजमा ह
न ▼10 भखे
दह सह
जम
ऽजलो
वगकखे रलङ ▲61 पमा
लनहें
जमा
भमा
र१ ४(यलो ) ▲top#1
38 39 40 41 42footprint 43 44 45 46
स
जनपबू
जमा८प्र व
नललखे
श्यमा२ कमा
पलो
तलखे
श्यमा३ तखे
जबू
लखे
श्यमा४ व
तयर्यं
चकखे त्र४ शगु
भगव तवतयर्यं
च धमर्वाधमा वनधमर्वा ककृ
ष लखे
श्यमा१ पद्मलखे
श्यमा५
जहनभवक्ति : लमा
षजलो वनछह शगु
भप्रणमा
स
म आर मा
स
द्धिछह ▼9
37 36 35 34 33footprint 32 31 30 29
आशरर
लो
धन २लमा
षयलो
वन २लमाषयलो
व
न व
रकलहें
वद्रकखे
त्रछह शगु
भमाशगु
भमव त शगु
भमा
शगु
भमव तन शगु
भमा
शगु
भप्रणमा
स
म शगु
भप्रणमा
स
म धमर्वा
आर मा
धन
सह
सजचलो
र
ह
द्रह ऽसहस
जतखे
र
ह
द्रह उदहणमा
र्वा
: इछयमा
20 21 22 23 24footprint 25 26 27 28
उपसमरलोछह सप्ति(ल)कप्रथ
थ समा
तलमा
षअप्प समा
त(७) लमा
ष सप्तिलकतउ खे सप्तिलकरमा
उ दशलकप्रतखे
क चरदहलक शगु
भकरस
म
कमा
य७ कमा
य ७ रमा
ररकमा
य७ कमा
य७ कमा
य७ रनमा
सपव
तकमाय समा
धमा
र
णअन ह
त
१० कमा
य१ ४०००००
19 18 17 16 15footprint 14 13 12 11
नमा
गकगु
ममार थ
सनतकगु
ममार स
मथमातभखेदछह उदस द्धिकगु
ममार भरनपव त१ ० व
रदगु
तकगु
ममा
र जहरमा
ररहहसमाकर
हेंसलो
रणर्वा
कगु ममा
र रहरहमा
ररमा
सहछह
कगु
दखे
रकगु
गगु
(रु) कखे
त्रदखे
ररव तर्वा अगहकगु
ममा
र स(रर्वा
) जह र असगु
रकगुममार
कगु
धमर माचह▼1 गगु
णसरनकछह (▲49) ▼8
2 3 4 5 6footprint 7 8 9 10
लकजलोजन क्रलो
धलखे
श्यमा अजमा न अगमा
ह
नमलो
हनहछहअ(र)×गगु ण४ जमा नसमशशगु
भ मछरभमा
रछह अजमा
ह
नबहस
द्धि अजमा
नब
ह ह
स
धममा
यमा
नमा
र
ककी
(नमा
) भमा
र अनगुतमा
नबह
स
धयलो समशगगु (ण)समा न प्रणमा
स
म▲13 ऽहह
कमा
रछह
छह क्रलो
ध ३समा श्वमा
द(न) गगु
ण
२स मथमा (त)
(गगु
)ण१
1 गममा रह
समा स
शलमा अह
जनमा रर टमा मघमा ममाघरइ
व
नगलो
दरमा द र
सहभखे त्नप्रभमा शत्रगु
प्रभमा रखे
(लगु
)प्रभमा पह
कह
प्रभमा ध्रगु
मप्रभमा तमप्रभमा त्मत्मलो
प्रभमा
२रह
रहमा
रर मा
सह
अरह
रहमा
रर मा
सह

421
Additional Text
Add. text #1
॥करह
तषट
हपव
द॥

Kavitt ṣaṭpadī [six-footed] verse:

ललो
कमा
कमा
रसह
क
गुखे
त्र।जह
हमा
ह
लषचलो
र
मा
सहमहें
ह जलोव
न
सह
क
गुमर्वा
कखे (भखे
द) स
जरव
तहमा
ह
वफर
नहें
असहगु
वन
शदगबू
रकहें
सह जलो
गभयलोरह
रहमा
ररमा
सह
ममा
हमा
व्रतअणगु
व्रतकखे
ईजहरभयखे
अरह
नमा
सह
चलो
गईकखे
त्र
हजहहमा
ह
आत्म भयहें
आगमममा
गर्वा
महें
भलहें
पमासमाव
नकखे
पभरमा
तरव
ह रनयकहत
मगु
वक्ति चलह
१

[see Appendix E2, verse #3]

गुमा
दह ॥

Dohā verse:

॥नररमा
ड़चलो
र
मा
सहकलो
ठमासखे
वड़चमा
रप्रममा
ण
ह
कर
महें
पमासमालखे
(ईनहें
) षखे ह
ललो
चउरसगु
जमाण: २
ह

[see Appendix E2, verse #8]

(ई)णहरह
ध जमा
नचलो
ह पड़र
समजह
॥वलष
हतमा
॥प
ह हलथ
क्ष्मनमाजखे
ठ॥ शमा
रक कखे
सलोर
मा
मजह
ह
रमा
चनमा
र॥

In this manner you should play jñān caupaṛ. Drawn by Paṇḍit

Lakṣminā452 Jeṭh for the study of Śrāvaka (i.e. lay disciple)
Keso Rāmjī.

Add. text #2
॥सरईयलो२३॥

Savaiyā verse (with) 23 (syllables per line):

लषचलो
र
मा
ससभ्रमणममा
हमानररमा
व
ड़च॥मणजतनपहें
तनसतमा
जह
चलो
पड़सखे
त्रगु
जहककीकमा
हमार
॥मनएहअधमा
मतव्रह्मककीरमा
जह
बमा
जहर
महें
तसक्रलो
।धसमहें
भरममा
ह
नरदखे
रमहें
हलोतहह
रमा
जह
पमा
पघटमा
र
ण।।मलो
हरमा
ड़मा
र
ण(गमा
)ह
नरधमा
र
नजमा
नवकबमा
जह२

[see Appendix E2, verse #1a]

गुमा
दह ।:।

Dohā verse:

हदचलहें
सलोआदमहरखे
हदचलखे
सलोसमा
ध
हदरखे
हद।दलो
नबू
चलहें
तमाकमामतमाअगमा
ध२

[see Appendix E2, verse #5]

जमा
नचलो
ह पड़र
समजखे
तखे
जहरसगु
षपमा
(र)ह:

The souls who play jñān caupaṛ attain happiness.

452 Since Lakṣminā is a woman's name, perhaps the correct reading

should be Lakṣmanā.

422
Ja84#24a (private collection, Mysore, Karnataka)

top sq. 6
ससद्धिस
शलमा
top sq. 5
सरर्वा
रसर्वा
सद्धि५
top sq. 3 top sq. 4
जयहतवरममा न३ अपर मा
स
जत
Add. text #1 Add. text #2
वरममा
न४
top sq. 2
वरजय ह
तव रममा
न
२
top sq. 1
वरजयव रममान१
76 77 78 79 80footprint 81 82 83 84
मलो
हनह
यकमर्वा
· सगु
दशर्वा
नग्रह
रखे
क· सगु
प्रव
तबद्धिग्रह
रखे
क· मनलो
र
मग्रह
रखे
क· सरर्वा
तलो
भद्रग्रह
रखे
क सगु
मनसग्रह
रखे
क· सलो
मनसग्रह
रखे
क· प्रह
वतकरग्रह
रखे
क· आव दत ग्रह
रखे
क·
▼52 तरमावरशमा ल
ग्रह
रखे
क
75 74 73 72 71footprint 70 69 68 67
रमा
र अहह
कमा
र अचगु
तदखे
रललो
क· आर णदखे
रललो
क· प्रमा
णतदखे
रललो
क· आनतदखे रललोक· सहस्रमा
रदखे
रललो
क शगु
क्रदखे
रललो
क लमा
तकदखे
ह रललो
क तमा
मसअहह
कमा
र
रमा
र मद▼2 ▼24
56 57 58 59 60 61footprint 62 63 64 65 66
वह तरतरमापमा
च सलौ
ह धमर्वा
दखे
रललो
क अव्रव
तजह
र (ई)शमा
(न) असहयमहजह
र दखे
रललोककखे त्र सनतगु
ममा
र महहें
द्रदखे
रललो
क ब्रह्मदखे
रललो
क व
ररखे
ककीजह
र समा
ममा
वनकदखे रतमा
,
प्रकमा
रनमा ▼21 दखे
रललो
क ▼41 दखे
रललो
क ▲68 भगु
रनपव तदखे र,
रलो वतषह रमा
कसकखेत्र, पमा
च
ह
भखे
दनमाछखे
·
55 54 53 52 51footprint 50 49 48 47
दशवरधव
रनय नह
ललखे
श्यमा
र
हत चमा
रसशकमा
व्रत गकृ
हहधमर्वा मनगु
ष्य कखे
त्रसमा
धगु पमा
चमहमा
ह व्रत त्रणगगु
णव्रतधमा
र
हसमा गुसन
तदवर्वा बमा
रभखे
दखे
तपसमा
पमा
लक भव जह र धमा
रकशगु
द्धिसमा
धगु सखे
रनमा
र
·▼10 कर नमा
र
माशगु
द्धि
अयलोगहकखे रलङ कखे रलजमा
नहजह र समकखेव
तजह र·
▲top#6 ▲top#1
38 39 40 41 42footprint 43 44 45 46
स
जनपबू जमासजन नह
ललखे
श्यमा
र
हत कमा
पलो
तलखे
श्यमा
र
हत तखे
जलोलखे
श्यमा
र
हत व
तयर्यं
चकखे त्र शगु
द्धिपर
रणमासम धमर्वा
धमा नहजह
र ककृ
ष लखे श्यमा
ह
र
हत पद्मलखे
श्यमा
र
हत
भवक्ति कमा
र
क जहर जहर जहर भव व तयर्यं
च ▲50 अधव मर्वा
अशगु भ जहर
जहर▲80 पररणमा
समजह र
▼9
37 36 35 34 33footprint 32 31 30 29
पमा
चप्रकमा
ह रनमा बखे
लमा
ख चलौ
र
रह
द्रह बखे
लमा
ख तहें
द्रह बखे
लमा
ख बहें
द्रह व
रकलहेंद्रह
यकखे
त्र शगु
भपरर
णमा
मह शगु
भमा
शगुभ शगु
भमा
शगुभ धमर्वा
आर मा
धरमानह
आशरर लो
धक जहर जहर जहर गगु
णठमाणगु जहर कमर्लो
दह र
कजह
र कमर्लो
दयरमालमा इचमाकर नमा
र
मा
जहर जहर जहर
20 21 22 23 24footprint 25 26 27 28
Add. text #3 Add. text #4
उपशमयलो
ग समा
तईतरव
नगलो
द समा
तलमाख पकृ
थह समा
तलमाख अप एरमाररकमा य समा
तलमा
ख तखे
उ समा
तलमा
ख रमा
यगु दशलमाख प्रतखे
क शगु
भकमर्वा
र मा
सह
कमा
यनमाभखे
द कमा
यनमाभखे
द गगु
णठमाणगु कमा
य कमा
य रनस्पव
तकमा य
19 18 17 16 15footprint 14 13 12 11
नमा
गकगु
ममारअनखे स्तव
नतकगु
ममा
र पमा
चभखे
ह दहें उदसधकगु
ममा
रअनखेदशव नकमा यकखेत्र अवगकगु
ममा
रअनखे परजह
रघमा
तह सगु
रणर्वा
कगु ममा
र शगु
भभमाररमा
सह
रमा
यगु
कगु
ममा
रएबखे अनखेव
दशमाकगु
ममार स
मथमा त्व गगु
णठमा
न
हगुदहपकगु
ममा
रएबखे गगु
णठमाणह गु
चलोरलो व
रदगु
तगु
ममा हह
रएबखे वसकजहर▼8 असगु
रकगुममा
र वरहमा
ररमा
सह
व
नकमाय एबखेव
नकमा
य पहखे
लगु
ह
▼1 वनकमा
य व
नकमा
य व
नकमाय जहर
2 3 4 5 6footprint 7 8 9 10
रत्नप्रभमा
व
दकसमा
त अन ह
तमा
नगु
बह
धह अनन्तमा
नगु
बह
धह जमा
नसमशशगु
भ पह
दरप्रकमा र
नमा अजमा नमलो
ह हजह
(म)त्सर र अनह
तमा
नगु
बह
धहममा
न अन ह
तमा
नगु
बह
धह
नर कपकृ थह क्रलो
ध ललो
भ परर
णमा
म▲44 परममाधमावमर्वा
कदखेयलो अहह
कमा
रहजहर ममा यमाकपटह
गगु
णठमा णगुपखे
हल
खेगु जहर·
बहजगुत्रह
जगु
1
चलौ
दलमा
खव नगलो
द
Add. text #5
अनहतकमा
ल
थ
सव त

423
Additional Text
Above top sq. 6
जमा
नबमा
जह

Jñān bājī.

Add text #1
सबू
यर्वा

Sun.453

Add text #2
चह
द्रममा

Moon.454

Add text #3
लखे
श्यमा
र
हतपगु
रुषलो
नमास्वभमा
रजमा
बगु
हरकृ
कनखे
दृषमा
तखे
ह.

The parable of the rose-apple tree and the nature of the

karmically stained men.455

Add text #4
वबह
मधगुदगु
नलोदृषमा
त.
ह

The parable of Madhubindu.456

Add. text #5
सरह
यलोतखे
रहसलो
॥

Savaiyā verse (with) twenty-three (syllables):

लख चलो
र
मा
सहभमतमहमानरनमा
डहयपत्तनयत्तनसहें
तमाजह
,
चमा
पटशत्र
हगु
जहककीकहमार
मा
मतएहअनमा
मतब्रह्मककीबमा
जह॥
बमा
जहर
मखे
तसक्रलो
धसमखे
भरममा
ह
नभमखे
व
दलहलो
तहह
रमा
जह,
पमा
पघटमा
र
नमलो
हवरदमा
र
नझमा
नरधमा
र
नजमा
नककीबमा
जह॥१
॥

[see Appendix E2, verse #1a]

कव
रत्त॥

Kavitt verse:

ललो
कमा
करसगु
कखे
त्र,व
तहमा
ह
चलो
र
मा
सहलख जह
रमाजलो
नहह॥
सगु गु
कमर्वा
दणः कमर्वा
कमाभखे
दजहरव
तहमा
ह
वफर
तअफगु
नह ह॥२॥

[see Appendix E2, verse #3]

Below grid
म
हब
गुईममा
ह
शमा
. खखे
तसहजह
(र)
रमा
जखे
बबमखे
स
सवटप्रखे
स ममा
ह
छपमा
वगु
ह
. सन१
८९४ईसरह
.
व
रक्रमसह
रतह
१९५०नमारषर
. ठखे
कमाणह
गु
- दमा
णमाब
हदरशखे
ठभहमसहशमा
मजह
नलोनरलोममा
ललो
.
बह
जखे
दमा
दरखे
.वकह
मत(...)
Printed by Śā. Khetsī Jīvrāj at Bombay City Press in Mumbai in
the year of 1894 AD, VS 1950. Address: Dana Bandar, new
house of Śeṭh Bhīmsī Śāmjī, second floor. Price: (...). 457

453 Written inside an illustration of the sun.

454 Written inside an illustration of the moon.
455 Written above an illustration of the parable of the rose-apple tree
and the six karmically stained men.
456 Written above an illustration of the parable of Madhubindu.
457 The price (kīmat) is written in an unidentified notation system
consisting of strokes, dots, and other symbols (cf. Guitel 1975: 622-
28).

424
Ja84#24b (private collection, London)
NB! Printed chart supplemented with readings from other known copies where necessary.

top sq. 6
ससद्धिस
शलमा
top sq. 5
सरमा
रस
र्वा
र्वा
सद्धि५
top sq. 3 top sq. 4
जयहतवरममा न३ अपर मा
स
जत
Add. text #1 Add. text #2
वरममा
न४
top sq. 2
वरजय ह
तव रममा
न
२
top sq. 1
-
76 77 78 79 80footprint 81 82 83 84
मलो
हनह
यकमर्वा सगु
दशर्वा
नग्रह
रखे
क सगु
प्रव
तबद्धिग्रह
रखे
क मनलो
र
मग्रह
रखे
क सरर्वा
तलो
भद्रग्रह
रखे
क सगु
मनसग्रह
रखे
क सलो
मनसग्रह
रखे
क प्रह
वतकरग्रह
रखे
क आव दत ग्रह
रखे
क
▼59 तरमावरशमा ल
ग्रह
रखे
क
75 74 73 72 71footprint 70 69 68 67
रमा
र अहह
कमा
र अचगु
तदखे
रललो
क आर णदखे
रललो
क प्रमा
णतदखे
रललो
क आनतदखे रललोक सहस्रमा
रदखे
रललो
क शगु
क्रदखे
रललो
क लमा
तकदखे
ह रललो
क तमा
मसअहह
कमा
र
रमा
र मद▼2 ▼24
56 57 58 59 60 61footprint 62 63 64 65 66
वह तरतरमापमा
च सलौ
ह धमर्वा
दखे
रललो
क अव्रतहजह
र ईशमा
नदखे
रललो
क असहयमहजह
र दखे
रललोककखे त्र सनतगु
ममा
र महहें
द्रदखे
रललो
क ब्रह्मदखे
रललो
क व
षरखे
ककीजह
र समा
ममा
वनकदखे रतमा
,
प्रकमा
रनमा ▼21 ▼41 दखे
चललो
क ▲68 भरनपव तदखे
र,
रलो वतषह रमा
कसकखेत्रपमा
च
ह
भखे
दनमाछखे
55 54 53 52 51footprint 50 49 48 47
दशवरधव
रनय नह
ललखे
श्यमा
र
हत चमा
रसशकमा
व्रत गकृ
हहधमर्वा मनगु
ष्य कखे
त्रसमा
धगु पह
चमहमा
व्रत त्रणगगु
णव्रतधमा
र
हसमा गुसन
तदवर्वा बमा
रभखे
दखेतपसमा
पमा
लक भव जह र धमा
रकशगु
द्धिसमा
धगु सखे
रनमा
र▼10 कर नमा
रमाशगु
द्धि
अयलोगहकखे रलङ कखे रलजमा
नहजह र समकखेतहजह र
▲top#6 ▲top#1
38 39 40 41 42footprint 43 44 45 46
स
जनपबू जमासजन नह
ललखे
श्यमा
र
हत कमा
पलो
तलखे
श्यमा
र
हत तखे
जलोलखे
श्यमा
र
हत व
तयर्यं
चकखे त्र शगु
द्धिपर
रणमामह धमर्वा
धमा र ककृ
नहजह ष लखे श्यमा
र
हत पद्मलखे
श्यमा
र
हत
भवक्ति कमा
र
क जहर जहर जहर भव व तयर्यं
च ▲50 अधव मर्वा
अशगु भ जहर
जहर▲80 पररणमा
महजह र
▼9
37 36 35 34 33footprint 32 31 30 29
पमा
चप्रकमा
ह रनमा बखे
लमा
ख चलौ
र
रह
द्रह बखे
लमा
ख तहें
द्रह बखे
लमा
ख बहें
द्रह व
रकलहेंवद्रयकखे
त्र शगु
भपरर
णमा
मह शगु
भमा
शगुभ शगु
भमा
शगुभ धमर्वा
आर मा
धरमा
नह
आशयर लो
धक जहर जहर जहर गगु
णठमाणह गु जहर कमर्लो
दह र
कजह
र कमर्लो
दयरमालमा इछमाकर णमा
रमा
जहर जहर जहर
20 21 22 23 24footprint 25 26 27 28
उपशमयलो
ग समा
तईतरव
नगलो
द समा
तलमाख पकृ
थह समा
तलमाख अप एरमाररकमा य समा
तलमा
ख तखे
उ समा
तलमा
ख रमा
यगु दशलमाख प्रतखे
क शगु
भकमर्वा
र मा
सह
Add. text #3 Add. text #4
कमा
यनमाभखे
द कमा
यनमाभखे
द कखे
त्रगगु
णठमा णलो कमा
य कमा
य रनस्पव
तकमा य
19 18 17 16 15footprint 14 13 12 11
नमा
गकगु
ममारअनखे स्तव
नतकगु
ममा
र पमा
चभखे
ह दहें उदसधकगु
ममा
रअनखेदशव नकमा यकखेत्र अवगकगु
ममा
रअनखे परजह
रधमा
तह ससवरर कस मतर अससर शगु
भभमाररमा
शह
रमा
यगु
कगु
ममा
रएबखे अनखेव
दशमाकगु
ममार स
मथमात्व दहपकगु
ममा
रएबखे गगु
णठमाणह बू
चलौरलो व
रदगु
तगु
ममा हह
रएबखे वसकजहर▼8 कस मतर वनकतर वरहमा
ररमा
सह
व
नकमाय एबखेव
नकमा
य गगु
णठमा
णगुपहखे
लबू
ह वनकमा
य व
नकमा
य जहर
▼1
2 3 4 5 6footprint 7 8 9 10
रत्नप्रभमा
व त अन
दकसमा ह
तमा
नगु
बह
धह अनह
तमा
नगु
बह
धह जमा
नसमशशगु
भ पह
दरप्रकमा र
नमा अजमा नमलो
ह मत्सर
हजह
र अनह
तमा
नगु
बह
धहममा
न अन ह
तमा
नगु
बह
धह
नर कपकृ थह क्रलो
ध ललो
भ परर
णमा
म▲44 परममाधमावमर्वा
कदखेरलौ अहह
कमा
रहजहर ममा यमाकपमा
टह
गगु
णठमा णगुपहलखेबू
ह जहर
बहजहगु
तरमात्रहजहगु
छखे
1
चलौ
दलमा
खव नगलो
द
Add. text #5
अनहतकमा
ल
थ
सव त

425
Additional Text
Above top sq. 6 Paper strip attached to back of chart
जमा
नबमा
जह (Schlangen spiel) IEEE (Bikaner) 2 ru- [.] I 13 [.] 1903462

Jñān bājī. Earliest printed Jain board. See Topsfield II no. 14. A second
example is in the Madho Singh Museum, Kotah.463
Add text #1
सबू
यर्वा

Sun.458

Add text #2
चह
द्रममा

Moon.459

Add text #3
लखे
श्यमा
र
हतपगु
रुषलो
नमास्वभमा
रजमा
बगु
हरकृ
कनखे
दृषमा
तखे
ह.

The parable of the rose-apple tree and the nature of the

karmically stained men.460

Add text #4
वबह
मधगुदगु
नलोदृषमा
त.
ह

The parable of Madhubindu.461

Add. text #5
॥सरह
यलोतखे
रहसलो
॥

Savaiyā verse (with) twenty-three (syllables):

लख चलो
र
मा
सहभमतमहमानरनमा
डहयपत्तनयत्तनसहें
तमाजह
॥
चमा
पटशत्रबू
जह ह
ककीकहमार
मा
मतएहअनमा
मतब्रह्मककीबमा
जह॥
बमा
जहर
मखे
तसक्रलो
धसमखे
भरममानभमखे
व
दलहलो
तहह
रमा
जह॥
पमा
पधटमा
र
नमलो
हवरदमा
र
नझमा
नरधमा
र
नजमा
नककीबमा
जह॥१
॥

[see Appendix E2, verse #1a]

॥कव
रत्त॥

Kavitt verse:

ललो
कमा
करसगु
कखे
त्र,व
तहमा
ह
चलो
र
मा
सहलख जह
रमाजलो
नहह॥
सगु गु
कमर्वा
दणः कमर्वा
कमाभखे
दजहरतहमा
ह
वफर
तअफगु
नह ह॥२॥

[see Appendix E2, verse #3]

Below grid
स
चत्रलो
त्तखे
जक प्रखे
स॰कलो
लभमा
टसस
ह
टमह
ब
गुई. छपमा
रनमा
रशमा
॰भह
मससहममा
णक. म
हब
गुई.
सह
रतह
१९५९
Citrottejak Press, Kolbhāṭ Street, Mumbai. (Printed by) Śā.
Bhīm Siṃh Māṇak, Mumbai, VS 1959 (i.e. 1902/03 CE).

458 Written inside an illustration of the sun.

459 Written inside an illustration of the moon. 462 Written in a different hand. They appear to be the notes of a
460 Written above an illustration of the parable of the rose-apple tree previous owner in Germany.
and the six karmically stained men. 463 Written in a different hand. They appear to be the notes of the
461 Written above an illustration of the parable of Madhubindu. present owner in London.

426
Ja84#24c (private collection, India)
NB! Inscriptions illegible in available image reproduction.

top sq. 6
-
top sq. 4 top sq. 5
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top sq. 2 top sq. 3
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▲44
1
Add. text #5
[illegible]

Additional Text
Add. text #1 Add. text #5
(...) (...) सहें
तमाजह
॥
चमा
पटशत्रबू
जहककीकहमार
मा
मतएहअनमा
मत(...)
Add. text #2
(...)॥
(...)
पमा
पधटमा
र
नमलो
हवरदमा
×(न)झमा
नरधमा
र
नजमा
नककीबमा
जह॥१
॥
Add. text #3 [see Appendix E2, verse #1a]
(...)
(...)
Add. text #4 सगु गु
कमर्वा
दणः कमर्वा
कमाभखे
दजहरतहमा
ह
वफर
तअफगु
नह ह॥२॥
वबह
मधगुदगु
नलोदृषमा
न [see Appendix E2, verse #3]

The parable of Madhubindu.464 (...) ममा

हहदमा
सजहजमा
नचलौ
पड़समरतह
१८२०जलो
ध×(र
) मबू
लक"ममा
र
रमा
ड़"

Jñān caupaṛ (drawn by?) Māhīdāsjī, VS 1820 (i.e. 1763/64 CE),

Jodhpur, "Marwar" region.

464 Written above an illustration of the parable of Madhubindu.

427
Ja84#25 (private collection, London)

top sq. 6
-
top sq. 5
-
top sq. 2 top sq. 3 top sq. 4
- - -
top sq. 1
-
[76] [77] [78] [79] [80] [81] [82] [83] [84]
- ▼41 - - - - - - - -
[56] [75] [74] [73] [72] [71] [70] [69] [68] [67] [66]
- - ▼2 - - - - - - - - ▼15 -
[57] [58] [59] [60] [61] [62] [63] [64] [65]
- - ▼36 - - ▼41 - (▲top#6) - - - - ▲68
[55] [54] [53] [52] [51] [50] [49] [48] [47]
- ▲80 - - - - - ▲61 - - ▼10 - ▲top#1
[38] [39] [40] [41] [42] [43] [44] [45] [46]
- - - - - - - ▲50 - ▼9 -
[37] [36] [35] [34] [33] [32] [31] [30] [29]
- - - - - - - - -
[20] [21] [22] [23] [24] [25] [26] [27] [28]
- - - - - - - - -
[19] [18] [17] [16] [15] [14] [13] [12] [11]
- - - ▼1 - - - - ▼8 - -
[2] [3] [4] [5] [6] [7] [8] [9] [10]
- - - - - ▲44 - - - -
[1]
-

428
Ja84#26 (private collection, Melbourne, Australia)

top sq. 6
॥मक्ति
गुकीकखे
त्र
ह ४५०००००लमा ह
षजलो
जनअद्धिर्वा
मधखे भलोनम
हणः
सगु
टकमधछखे अद्धिच×ममाआकमा
र
माॐ
top sq. 5
सरमा
रस
र्वा
र्वाह
ध
रहममा
नछह :५
top sq. 2 top sq. 3 top sq. 4
वरजय ह
त ॥अपर मा
जह (त) ॥जयत
रहममा
ह
न२ रहममा
ह
न: ४ रहममा
ह
न: ३
top sq.
1footprint
॥व रजय ह अ×तर
रहममाह
(न) १
76 77 78 79 80footprint 81 82 83 84 row title #9
मलो
हनहकर
म: अचगु
तदखे
रललो
क शगु
भखेदग्रहरखे
क सबू
जमातग्रहरखे
क: प्रह
यदसनग्रहरखे
क शगु
दशह
णगकृ
हखे
रखे
क : अमलोहगकृ
हरखे
क सगु
प्रब
हधगकृ
हरखे
क यसलोधरगकृ
हरखे
क ॥गकृ
हखे
रखे
कदमार
ह
▼41 गकृ
हरखे
क छखे
: छखे
: छखे छह: १॥
75 74 73 72 71footprint 70 69 68 67 row title #8
रमा
जसअहह
कमा
र: अबतगुदखे
रललो
क: आर णदखे
रललो
क : प्रह
णमा
ह
तदखे
रललो
क दखे
रललो कषत्र
खे सहसमा
र शगु
क्रदखे
रललो
क अवतषह
ससध: तमा
ह
मसऽ
हहकमा
र: ॥दखे
रललोकदमार
ह
▼2 छह : भ(...)व जह र दखे
रललो
क: छखे
: शगु
षसमा
गर
ह ▼16 २॥
छह×
58 59 60 61 62footprint 63 64 65 66 row title #7
अभगु
तदलो
ष ईशमा
इणदखे
रललो
क असहजमदलो
ष: दखे
रललो
कनमा
ह शह
न(त)कगु ×र ममा
हखे
द्रदखे
रललो
क: ×दखे
रललो
कछह
: रहरखे
कषखे
त्रछखे समा
ममा
नहक ॥अहतर माकखे
त्र३॥
▼22 ▼34 भवमाभव जह
ह र: दखे
रललोक: (▲80) दखे
रतमा:
57 56 55 54 53 52footprint 51 50 49 48 47
सगु
धमर्वा
दखे
रललो
क: रहममा
नहकवतर भमा
रनमाछह
: दमा
ह
नपमा
चप्रकमा
ह र (ब्रह्मचमा
)यर्वा
भखे द (मनषह ) कखे
त्र×गहपरद्रलो
ह: (सगु
कल) (लखे
)× (...)॥(▲80) समा
ह
तरह
सन७ (रमा
र
खे
) (भखे
दखे
)
दखे
रतमा: ▲80 कखे
रलङ कखे
रल(गमा
ह
)नह ▲49 ▼10 (तपसमा) ▲64
▲top#6
row title #6
॥कपमाट
जलो
तषह॥४॥
38 39 40 41 42footprint 43 44 45 46 row title #5
जहनपबू
जमा: नह
ललखे
समाह
: कमा
पलो
तलखे
समाह तखे
जगु
लखे
समाह
: तह
यर्वा
चकखे त्र४ शगु
भव तयर्वा
चकखे त्र: धमर्वा
धमा ह
न कय ह
: क्रसह पदमलखे
समाह
कहह ॥मनगु
कह कखे
त्र५॥
लकह यलोनह: ह
)ररलो:
(धमा लखे
समाह: ▼9 छखे
: ▲80
37 36 35 34 33footprint 32 31 30 29 row title #4
आहशर: बलो
ध ईकलकह यलो नह बहलकह यलो
नह बखे
लकह यलो
नह व
रगलखेद्रहकखेत्र शगु
भमासगु
भमा
म शगु
भमा
शगु
ह भ शगु
भमा
हसगु
भउदय: धमर्वा
समा धन
हईछमा
ह
: ।वतयर्यं
चकखे त्र
सह
(र)र सह
जहबखे
रह
द्रह: तखे
रह
द्रहजहर: चउररद्रहजहर: गगु
ण: यलो
ग: (▲42) उदमा
रणलो
नखे
स: छह
॥६॥
20 21 22 23 24footprint 25 26 27 28 row title #3
उपसमजलो
गह: लकह ईतरनह
गलो
द ७समातप्र(रमा
)रह ७लकह अप समार×कखे
ह त्र: ७लकह तखे
उ ७लकह रमा
उ ७लकह यलो
नह शगु
भकरमयलो
ग ।वरगलखे
द्रहदमा
र
ह
॥
छह: कमा
य: कमा
य: कमा
यह: कमा
ह
य: रमा
यरलो: प्रतखे
क: छह: ७॥
रनमास्पह
तह:
19 18 17 16 15footprint 14 13 12 11 row title #2
नमा
ह
गकबू
ममा
र: रमा
यगुसनतकगुममा
रभगु
रन पमा
चस
ह म(थमा
ह
)त्व दसनहकमा
यकखे
त्र उ(द)सध(कगु )×र अगनहकगुममा
र परजहरस्पर
धमा
ह
: शगु
रणर्वा
कगु ममा
र (रहह
र)र
मा
सहछखे
: ॥समाह
ररदमा र
ह
कगु
ममार: इद्र: भखे
दछह : ▼1 गगु
ण: (दह
)× दखे
रतमा: (त) ▼8 दखे
रतमा
ह
: ८॥
2 3 4 5 6footprint 7 8 9 10 row title #1
४लकहयलोनह क्रलो
ध: असमाह
न: अजमा
नमलो
ह हछखे
: परममाद्धिमा
ह
(मह
) गमा
ह
नमह शह
: शगु
भ पर मछरजह
र: अनगु
तमा
ह
नबहधहयलो: अगमाह
नबह
धहन: ॥भगु
रनदमा ह
र९॥
नमा
ह
र
ककी: ऽमगु
तमा
ह
नणः
बधह
यलो
णः गगु
णसमा ह
न परणमा
ह
मह अहह
कमारछह: ममा
यमा
ललो
भछह॥ दखे
(र)×नमाघरछखे :
1
Add. text #1 Add. text #1 Add. text #1 Add. text #1 Add. text #1 Add. text #1
७लकह: नह
गलो
द Add. text #1
(cont.) (cont.) (cont.) ▲32 (cont.) (cont.) (cont.)
छह:

429
Additional Text
Add. text #1
॥ककी
रत:

Kavitt verse:

तरखे
नरलमा
षजकखे
नरस(र)र्वा: छरहह
समा
ह
तमा
गककीठलो
ह ङड़र
खे
हलो
नरतत्वह
कखे
नरपगतमा
ह
लहलो: नह
गलो
द(मखे
) समा
ररषकखे
नहकसलो
हखे
:
ऐकसखे
: लखे
कखे: छतमा
द्रहचलखे
ह अणरह
ध: (ग)नमा
नप
ह ह
चहसहषखे
लङयखे
॥
अकप्रममा
णखे
अनक्र
गुमखे
कलो
ठमाछह
: नह
गलो
रकमागलो
लमा
ह
आ(कमा
)रजह
(र) छह
॥

[see Appendix E2, verse #7]

लषत
हरमा
णमा
र
ह
समह
यमाचह
दचणचखे
नरमा
मनखे
णमा
र
हमा
लगछहपलो
समा
लकगु
रमासखे
तरमा
कखे
ह ल×सह
रत
१
९२४र
मा
ह
रषर
मतहजखे
टसबू
द३बगु
धरमा
सरखे
॥शहसगु
(षह)॥र
मा
णमा
जहशहशहसह
ह भगु
सहगजह
र
हरमा
रमधखे
र
मा
जशहओभमा
ड़सह
गजह(क्र)त(कधममा
र्वा
) मधखे
॥

Drawn by Bāṇāras Mīyā Cand ... (in the pośāḷ465 of the ...
gaccha466...?) on Wednesday on the 3rd day of the bright half
of the month of Jeṭh in the year of VS 1924 (i.e. 4 Jun, 1867 CE),
in the day of the illustrious and happy Rāṇājī Śrī Śrī Śaṃbhu
Siṃhjī467 (and?) Rāj Śrī Obhāṛ Siṃhjī in (Kratakdharmā?).

465 I.e. a Jaina place of worship.

466 A gaccha is an order within especially Śvetāmbara Jaina tradition.
467 I.e. the ruler of Udaipur State from 1861-74.

430
Ja84#27 (private collection, Melbourne, Australia)

top sq. 6
मगु
गवतसह लमापखे
तमा
लङस४५लमा
षजलो
जनलह
बहछह
जठह
सहधमा
हरलोव्रमा
जणलो
top sq. 5
footprint

श्वमा
र
रसह ध
रह ममाह
ण५
Add. text #1 top sq. 2 top sq. 3 top sq. 4
footprint footprint footprint

जयह
त अपरमा
स
जत रह
जयह
त
रह
ममा
ह
ण३ व
रममा
ह
ण४ रह
ममा
ह
ण२
top sq. 1
footprint

रह
जह
य
रह
××ममा
ह
ण१
76footprint 77 78 79 80footprint 81 82 83 84
अचगु
तदखेरललो क रमा
जसऽ
हहकमा
र सगु
भग्रह
रखे
ग सगु
जमातग्रह
रखे
ग सगु
ममानसग्रह रखे
ग प्रह
यदर
सन अमलोहखे
ग्रह
×रखे
ग सगु
प(वड़)भदखे जसलोधरग्रह
रखे
ग
▼52 सगु
भ दखे
रललो
क दखे
रललो
क दखे
रललोक दखे
रललो
क दखे
रललोक दखे
रललो
क दखे
रललोक
75 74 73 72 71footprint 70 69 68 67footprint
व
ररखे
कअभव भरनपवत अहहकमा
रअसगु
भ सगु
षसमा
गर ममा
हमा
सगु
कर सहसमा
रदखे
रललो
क भव जह र पमा
णतदखे
ह रललो
क आहणतदखे रललो
क
असगु
भ▼2 दखे
रललो
क दखे
रललोक दखे
रललो
क ▼16
56footprint 57 58 59 60 61footprint 62 63 64 65 66
जलो
तषहदखे रतमा सगु
धर ममादखे
रललो गुअसगु
क दष भ▼21 इसमा
नदखे
रललो
क असहजमहदलो
ष भव जह रसगुभ सनतकगु
ममा
र महहें
द्रदखे
रललो
क व्रर
मदखे
रललो
क अर णदखे
रललो
क अह
तरकखे
त्रसगु
भ
असगु
भ▼41 षत्र
खे दखे
रललो
क ▲68
55 54 53 52 51footprint 50 49 48 47footprint
रहनयधर × सह
नमगु कमा
ररतसगु
भ व्रह्मचर
जसगु
भ परद्रलो
(हमा गुदमा
) दष इ मनगु
कखेभव जह र ममा
हमा
व्रतसगु
भ गगु
णररतसगु
भ सदमादगु
षअधर
मह तपसह यमासगु भ
(सगु
)भ सगु
भ कखे
रलङ ▼10 सह
जमह
▲80 (▲top#6) ▲top#3

38footprint 39 40 41 42footprint 43 44 45 46
जहनमव हममा नह
ललखे
सह यमा कलो
पलो
तलखे
समा तखे
जगु
लखे
समा तहर
जह चकखे त्र सगु
भपरणमा
मह धरमधमाह
नशखे
णह क्रखे
ष लखे
समा पदमलखे
स सगु
भ
भगव त कखे
रलङ (▲50) अधर मह▼9
37 36 35 34 33footprint 32 31 30 29footprint
पमा
पबह
धसह
बर चलो
इह
दर
हजलो
नह तखे
इह
दरहजलो
नह बखे
इहदर
हजलो
नह नह
रमलमन सत रचनसगु
भ सगु
षकखे
त्रउदह
रणमा सगु
भमा
सगु
उदय पमा
पमाधर मह
दमा
र
20footprint 21 22 23 24footprint 25 26 27 28
उपसमयलो ग मनगु
ककखे
त्र पमा
रथहकमा
य अपकमा
यरमा
रर तखे
उकमा य रनमा
सपतहकमा
य सगु
भकरमह रहगलखे
इह
द्रह धरमहनर
19 18 17 16 15footprint 14 13 12 11footprint
असगु
रकगु
ममार परजह गुदमा
रदष इ रहजगु
कगु र▼1 अव
ममा गकगु
ममार धहपकगु ममार1) उदसधकगु
ममार दह
समाकगु
ममार▼8 (र)×य(...)र रमा
यगु
कगु
ममार
2footprint 3 4 5 6footprint 7 8 9 10
नरक क्रलो
ध ललो
भपमा
पमगु
ल मलो
हकमर्वा
ब ह
ध १५पर ममा धमा
मह गमा
ह
नसगु
भमन मछर अहह
कमा
र ममा
यमाकपटमा
ई
▲44
1 २ ३ ४ ५ ६ ७ ८ ९
नहगलो
दघर

1) The correct reading दहadded above धहin what may be a different hand.

Additional Text
Add. text #1
गमा
नचलो
ह पडहजह
त्रगमा
नबमा
ह जहमलो
कफ फलदमा
यकछह
१

The diagram of gyān caupaṛ diagram, (also known as) gyān

bājī, brings the fruit of liberation // 1

[2½ line of illegible writing]468

468 Written in a different hand.

431
Ja84#28 (private collection, Melbourne, Australia)

top sq. 6
पहसतमा
वलसलमा
ष×स
सद्धिसह
लमाछखे
top sq. 5
सरमा
र
र्वा
×(सशद्धि)
वरममा
ह
नछखे ५
top sq. 2 top sq. 3 top sq. 4
वरजयमा
ह
तव रममा
ह
न अप्रमा
स
जतव रममा
ह
न जयहतवरममा ह
न
छखे
२ छखे
४ छखे
३
top sq. 1
वरजय×(ममा ण) १
76 77 78 79 80footprint 81 82 83 84
ममा
हमा
मलो म भद्रग्रखे
हनहकर रखे
यक सगु
भद्रग्रखे
रयक सगु
नमा
तग्रखे
रखे
यक ष्यमा
यकसमककी त सगु
मनसग्रखे
रखे
यक सगु
दरसनग्रखे
रयक अमलो हग्रखे
रखे
यक यशलो
धरग्रखे
रखे
यक
▼59 सगुप्रव
तबह
ध
ग्रखे
रखेयक
75 74 73 72 71footprint 70 69 68 67
ककृ समा▼2 नह
ष लखे ललखे
समा पह
चव रषय चमा
रललो
कपमा
ल अवनरकृवतकमा र
ण ममा
हमा
मलो
हदय यश्यमा
ग्रहह सगु
प्रव
तबह
धकर
ण बमा
लतपस्वह
सखे
रनमार उपसमशखे वन भवमाभव जह र ▼16
कयकशखे णह
56 57 58 59 60 61footprint 62 63 64 65 66
सलो
धमर्वा
दखे
रललो
क इसमा
ह
नदखे
रललो
क सनतकगु
ममा
र ममा
हखे
द्रदखे
रललो
क असहयमह▼34 व्रह्मदखे
रललो
क लमा
तकदखे
ह रललो
क सगु
क्रदखे
रललो
क सहस्रदखे
रललो
क आह णहतदखे
रललो
क आर णदखे
रललोक
दखे
रललो
क ▼18 प्रमा
ह
णतदखे
रललो अचबू
तद खे
रललोक
55 54 53 52 51footprint 50 49 48 47
चलौ
दपबू
रर्वा
धमा र
क बखे
लमा
ष(तखे
ह
व
)र द्र (बखे
लमाबखे
ह
व
)र द्र प्रर
द्रलो
हह अपगु
र(र)×णस शबू
क्ललखे
श्यमा मधमपर
णमा
म तरसन▼10 ष्यमा
समा यकसमव
कत
▲top#1 ▲top#1
38 39 40 41 42footprint 43 44 45 46
व
रदममा
ह
नअर र
हह
त सव चह
नयमापसद्रह सगु
लव्रव
तधमा
र
क पद्मलखे
(समा
) अप्रमतगगु णठमा
णह
गुनहतगगु
णरकृ
तह उपसहत
हमलो
ह जहरहस नमा▼9 असव
हमा नरकृ
तहकमा
र
ण
जहनभवक्ति मनगु
ष्य गगु
णठमा
णगु
(▲top#1)
37 36 35 34 33footprint 32 31 30 29
आशमारकब तखे
जगु
लखे
समा दसलमाषप्रतखे
क समा
तलमा
षरमा
यबू प्रमतगगुणठमाण गु समा
धगु
सखे
वमा सगु
भमा
सगु
भ(स)त्त धरमधमा
नछखे अ(पगु
रकर
)र ण
रलो
(धक) रणस्पव
तकमा य कमा
य (सरर्वा
त) रककी सगु
(धमा
)(...)
सहतररमा
मक कमकर मा
रकृ
ण (▲44)
20 21 22 23 24footprint 25 26 27 28
जमा
नसमा धसर समा
तलमा
षप्ररव
र समा
तलमा
षअपमा समा
तलमा
षतउ
खे दखे
सरकृवतगगु णठमा
णगुदखे
सरककीरह
षव सदमाप्रसमा पगु
ण्य प्रक्रव
त यरमा
प्ररकृ
तहकर
ण
पर
र ग्रखे
हखेरव
हतछखे कमा
व छखे कमा
य कमा
व शमा
रक(रकृ )तह तमा ग परहनमा
म
19 18 17 16 15footprint 14 13 12 11
असगु
तकगु
ममार नमा
गकगु
ममार महथमा
त्व वरदबूतकगु
ममा
र अरकृ
वतर्वा
समव कत अगहकगु
ममार महरबू
नसखे
रमा▼8 अप्रतमा
षमा
नह अप्रतमा
ह ह
(षमा
)नहनलो
गगु
णठमा
णगु▼1 प्रसमा
दहगगु णगु अस्पमा×तहसमा
णतमा गर ममा
यमाघररहषय ममा
ह
(न) ममा
(य)
अ×क
2 3 4 5 6footprint 7 8 9 10
चमा
रलमा
षजलो
नह सनमाप ह
चद्रह परमधर
मजह
र बमा
दररणस्पव
त दह सह तकगु ममा
र उपसमशखे
णह अनगु
तमा
ह
णबह
धहउ अनगु
तमा
नबह
धहउ अप्रतमा
ह
षमा
नह
नमा
र
वक मनगु
ष्य बखे
॥ कमा
यसहजमाप
हचखे
द्रह सह तह तकगु ममा
र व
रसगु
धपर
णम ममा
यमा कषमा
व क्रलो
ध
परनकगु ममार ▲32
1 बमा
दरनहगलो
द सगु
क्ष्मगु
नहगलो
द
असहवनप ह
चखे
द्रह वरहमार
मा
सह अवरहमा रसगुगत
Add. text #1
तहवहच (शबू
)गतअन हत अन ह
तकमा य
बमा
दरमा
व
दकछखे कमा
यरककी॥छखे॥ वरहमा रछह

Additional Text
Add. text #1 इतहजमा
नबमा
ह जहसममा
(प्तिह
) सह
रत१
९६४कमास
मतहपलो
स ककृ
(ष) पकहतह
रह२ल।

अरसरह
यलोएकत्रह
सलोचमा
लखे
॥ ममा
णक रह
ह जखे
य

Now comes a savaiyā verse (with) twenty-three (syllables per Thus jñān bājī is completed. Drawn by Māṇak Vijay on the

line): second lunar day in the dark half of Pūs in VS 1964 (i.e. 20 Jan,
1908).
लमा
षचलो
र
मा
सहयभ्रमतमहमानरनमा
र
हपत्तनजत्तननमातमा
जह
चलो
पटककीसखे
त्रगु
जहककीकमा
हमार
मा
मतअखे
ह ह469 अनमा
मतब्रमककीबमा
जह
बमा
जहर
मखे
तखे
सक्रलो
धसमखे
भरममा
(नसेँ
) नभ(मखे
)मखे
दहलहलो
तहखे
र
मा
जह
पमा
पघटमा
र
णमलो
हबह
ड़मा
र
णमाजमा
नरधमा
ह र
णजमा
नककीबमा
ह जह॥१
॥

[see Appendix E2, verse #1a]

469 अखेis probably a Devanāgarī rendering of Gujarati એ which
transliterates as "e."

432
Ja84#29 (private collection, Antwerp, Belgium)

top sq. 4 top sq. 6 top sq. 5

अपर मा
जहत: ४ स(रमा
र्वा
)र(स र्वास)द्धि ॥जय ह
त:॥३
:॥५
top sq. 2 top sq. 3
वरजयव रममाह
न:॥ रईजय ह
त: २
१
top sq. 1
×
76 77 78 79 80footprint 81 82 83 84
हनहकरर्वा ॥(भ)द
॥मलो खे गकृ
रखे
क ॥सगु
भखे
दगकृ
रखे
यक ॥सजगुमा
तगकृ
रखे
यक कमा
यकसमककी त ॥सद गुशर्वा
न ॥अमलोह ॥सगुप्रब
हध ॥यसलोधर
▼52 :॥ :॥ :॥ गकृ
रखे
यक :॥ गकृ
रखे
यक :॥ गकृ
रखे
यक:॥ गकृ
रखे
यक :॥
75 74 73 72 71footprint 70 69 68 67
॥र मा
ज ॥अचगु
त ॥आर ण ॥(...) ॥शगुक्ल(...) ॥(स)हसमा
र ॥शगुक्र ॥अस भषसससद्धि ॥तमामस
अहहकमा
र:॥▼2 दखे
रललो
क दखे
रललो
क (दखे
)रललोक×णत (दखे
र) यलोनह दखे
र(ललो
)क:॥ दखे
रललोक:॥ सगु
ख समा
गर:॥ अहह कमा
र:॥
दखे
रललोक (लक) :॥ ▼16
56 57 58 59 60 61footprint 62 63 64 65 66
॥व रममा
ह
नहक१ ॥सलोधरर्वा ॥अव्रतदलो
ष ॥(ई)(...) ॥असहजमह ॥दखेरललोकखे त्र ॥सनतकगु
ममा
र
। ॥ममा हह
वद्र व्रमदखे
रललो
क ॥रहरखे
कड़मा
ड़ह [rosette]
वहतर२ दखे
रललो
कस॥१ कखेत्र:॥▼18 (दखे
र)ललोक(...) दलो
स:॥▼41 भवमा भव २३समा
गर७हमाद दखे
रललो
क४समा। लह तक ▲68 (...)
यलो
तसह३ दखे
२ (हमा
) (७) (यलो
नह) लक ७झमाझखे
रु
ह दखे
(र॰)ललो
क
चमार४ हमा
र६:॥
56 [55] 55 [54] 54 [53] 53 [52] 52 [51]footprint 50 49 49 [48] 47
व
रनयभमा रनमा दमा
नभखे
द५ व्रह्मव्रतभखे
द९ परद्रलो
हव्रह्मव्रत९ मनगु
ष्य कखे
त्रभव महमाव्रतहशगुभ शमा
द्धिगगु
ण रनसनसमा त× समक्ति तप१२
(रह)नयभखे
द१० सह कमा व्रत४ सहकमा व्रत जहरयलो गहकखेरल भक्तिकीकखे
रलजमाह
न ▼10 भखे
दसगु
द्धिसह
जम
गगु
णस्छमाह
न शगु
क्ललखे श्यमा शखे
णह▲top#1
39 [38] 40 [39] 40 41 42footprint 43 44 45 46
स
जनपबू जमास
जन नह
ललखेसमा कमा
पलो
तलखे
समा तखे
जगु
लखे
श्यमा तहयर्यं
चषत्रखेचमा
र तह यर्यं
चभव धमर्वा
धमा ह ड़ह ककृ
नड़मा
ह ष लखे
श्यमा▼9 पद्मलखे
श्यमा
भक्तिकी▲80 लमा
ख सह यलो
गह प्रणमा
मह कसपर्वा ▲top#6
कखे
रलङ मयगुर
39 [37] 37 [36] 35 34 33footprint 32 31 30 29
आसव रर लो
धन बखे
लकजलो न बखे
लकजलोन बहें
लमाकयलो
न अप्रमतगगु णटमा
ह
णह
गु॥सगु भअसगु
भ ॥सगु
भअसगु
भ ॥सगुभमा
सगु
भ ॥धमर्वा
आर मा
धन
सह
ररभमार चलो
रह
द्रह तखे
रह
द्रह ह
बहें
रहद्र
ह सत्तमा उदमा
र
णमा (उ)दय इछमा
20 21 22 23 24footprint 25 26 27 28
॥उपसमयलो
ग॥ ॥समा
तलमा
षइतर॥समा तलमा
ख ॥समा
तलमा
ख ॥शमा रक ॥समातलमा
ख तखे
उ ॥समा तलमा
ख ॥दसलमा ख ॥सभगुकमर्वा
॥
व
नगलो
द प्रररहकमा
ययलो
नहअपकमा
ययलो
नह (नमा
)बमा
रव्रत कमा
य रमा
उकमा
य प्रतखे
करनस्पव
त
गगु
णटमाह
णखे: कमा य
(च)ढतलो
19 18 17 16 15footprint 14 13 12 11
॥नमा
गकबू
ममार:॥ ॥स्तनहत ॥पमाचमह
ह थमा
त्व ॥उदस धकगुममा
र ॥दशनह कमाय ॥अजहकबूममा
र॥ ॥पर जह र ॥सबूरणर्वा
कबू ममा
र
॥ ॥रह रहमा
र
कगु
ममार:॥ भखे
द:॥▼1 :॥व दप कखे
त्र:॥ रहदगु
तकबू
ममा
र:॥ स्पमा
द्धि:॥▼8 ॥असगुर रमा
सह:॥
कबू
(ममा
र
) :॥ गह
ण
गु(समा ह
)न:॥ (कगु
)ममा
र:
2 3 4 5 6footprint 7 8 9 10
॥चमारलमाख सहव
नपह
चहें
द्रहबमा
दर ॥बमादररनस्पव
त ॥अजमाह
न ॥पर ममाधमामह
क ॥जमानस
मस्र: ॥ ॥अनह
गु
तमाह
न(ब
ह द्धि ॥अजमा
)स न
नमा
र
ककी:॥ कषमा
य: कमा
य:॥ मलो
ह:॥ गगु
णसमा ह
न:॥ शगु
भपरर
णमा
ह
म:॥ अनह
गु
तमा
ह
नबह
स
द्धियलो अहह
कमा
र:॥ ममा
यमा
॥:॥
▲44 कलो
ध:॥

1 बमा
दरनह गलो
द
समा
तलमा
ख यलो
व
न वरहमा रर मा
सश
व
नत नहगलो
द यक्ति
गुह अन ह
तकमा ल
अनह
तथस्तव
त कमायर्वा
वस्
ठवतसगुक्ष्म
व
नगलो दअवरहमा र Add. text #1
रमा
स
ससह यगु
क्ति
अन ह
तकमा लकमा यर्वा
व
स्ठव तअवरहमा र
रमा
शह ॥

Additional Text
Add. text #1
॥लख चलो
र
मा
ससयव्रह्मममा
हमानरनमा
व
ड़पतन्नजतनसहें
तमाजह
चलो
पटसहें
×जककीकमा
हमार
मा
ह
मतएहअनमा
स
मतव्रह्मककीबमा
जह
बमा
जहर
महें
त×सकलो
धसमहें
भरममानभमहें
दह लहलो
तहखे
र
मा
जह
पमा
पघटमा
र
णमलो
हरह
ड़मा
र
णगमा
नरधमा
ह र
णगमा
नककीबमा
ह जह: १
॥

[see Appendix E2, verse #1a]

433
Ja84#30 (Polumbaum Collection, New York)

top sq. 6
(...)1)
top sq. 5
सरमा
ररसह धरहममा
ण
३३समागरकलोसरसर
आनगु
षलो५
top sq. 2 top sq. 3footprint top sq. 4 Add. text #1
२रह रमातरहममा
णमखे४अपर मा
जहतरह ममाह
ण ३जखे
यतरह ममा
णमखे
आनगु गरकलो आनगु
षलो३२समा षलो३३समा गरकलो आनगु
षखे
३२समा गरकलो
top sq. 1
१रहजरह ममा
णमखे
आनगु
षखे
३१समागरकलो
छह
75 [76] 76 [77] 77 [78] 78 [79] 79 [80]footprint 81 82 83 84
मलो
हनहयकमर्वा
कलो डमा सगु
दशर्वा
नग्रह
रखे
क सगु
प्रतह
बह
धग्रह
रखे
क मनलो
रमग्रह
रखे
क सरर्वा
भद्रग्रह
रखे
कतरमा सगु
मनखे
सखे
ग्रह
रखे
क सलो
मनसग्रह
रखे
क प्रह
तहकरग्रह
रखे
क आदहत ग्रह
रखे
क
कलो
ड▼22 रहशलग्रहरखे
क
74 [75] 73 [74] 72 [73] 71 [72] 70 [71]footprint 69 [70] 68 [69] 67 [68] 66 [67]
अचगुतदखे
रललो
क रमा
जअहकमार
हरमा
×र आर णदखे
रललो
क प्रमा
णतदखे
रललो
क अनहतदखे
रललोक सहसमारदखे
रललो
क सगु
क्रदखे
रललो
क ततामस अअंकतारता लमा
तकदखे
ह रललो
क
मखे
▼55 ▼32
57 [58] 58 [59] 59 [60] 60 [61] 61 [62]footprint 62 [63] 63 [64] 64 [65] 65 [66]
सलौ
धमर्वा
दखे
रललो
क अरकृ
तहजह र▼42 इसमा
ह
नदखे
रललो
क असहयमहजहर▼53 दखे
रललोककखेत्र सह
नतगुममा
र।दखे
रललो
क महद्र
हेंदखे
रललो
क ▼45 रकृ
हमदखे
रललो
क षहरखे
ककीजहर▲68
56 [57] 55 [56] 54 [55] 53 [54] 52 [53]footprint 51 [52] 50 [51] 49 [50] 48 [49]
वह तरतरमापमा
च
ह दसरह धरहनयखे नह
(त)लखे श्यमा
र
हतह चलो
रमासह
कमा
रकृ
तपमा
लक मनगु
कषखेत्रसमा
धगुभर पह
चममाहमा
व्रतधमा
र
ह ग्रहहधमर्वा सममा नहकदखे
रतमाभरन शणगगु णरकृ
तधमा
र
ह
प्रकमा
र
नमाजलो
तहककी जहरअजलो गर ▲top #1 प्रहदखे
रतमार
मा
क(स) कखे ▲top #1
▲top #1
39 [40] 40 [41] 41 [42] 42 [43] 43 [44]footprint 44 [45] 45 [46] 46 [47] 47 [48]
कमा
पलो
तलखेसमा
र
हत तखे
जलोलखे
समार
हतजह
र तहयर्वा
कखेत्र सगु
धपर ह
णमा
महभव धमर्वा
धमा ह
नजह र पदमलखेसमा
र
हतजह
र ककृष लखे
समा
रह
त बमारखे
भखे
दखे
तपसमा तदगु
समा वर्वा
सनखे
सखे
रनमा
र
जहर तहयर्वा
च अधमर्गीअसगु
भ क्रनमा
(रमा
) सगु
ध
प्रह
णमा
महजहर▼28 समककी तजह र
38 [39] 37 [38] 36 [37] 36 35footprint 34 33 32 31
नह
(प्र)लखे
समार
हतजह
र जहनपगु
जमाजहनभमा
व
क पमा
चप्रकमा
ह र
नमाआशय बखे
लमा
ख चलौ
र
रद्रहजह
र बखे
लमा
ख तखे द्रहजह
र बखे
लमा
ख बखे
द्रहजह
र रहकखे
(यखे
)कखे
त्रजमा
ण
ह सगु
भपरह
णमा
ह
(मह
) जह
र सगु
भमा
सगु
भकमर्लो
दह र
क
कमा
रकजह र रमा
धकजह र ▲52 जहर
21 [22] 22 [23] 23 [24] 24 [25] 25 [26]footprint 26 [27] 27 [28] 28 [29] 30 29 [30]
समा
तलमाषपकृ
ररह समा
तलमाषअप रमा
ररकत्र
खेठमा
णखे
ह समा
तलमाख तखे
उकमा
य समा
तलमाषरमा यगुकमाय दसलमा षप्रतखे
क सगु
भकर मरमा
सह धमर्वा
आर मा
धरमानह सगु
भमासगु
भ
कमा
यनमाभखे
द कमा
यनमाभखे
द रनस्पतहकमा य इछमाकर णमा
रमाजह
र कमर्लो
दयरमालमाजह
र
20 [21] 19 [20] 18 [19] 17 [18] 16 [17]footprint 15 [16] 14 [15] 14 13 12
समा
तईतरनहगलो
द उपसमयलो ग▼1 नमा
गकगु
ममारअनखे
रमा
य सबू
नह
तकगुममारअ(न) पमा
(च) भखे
दमह थमाटर ×उदधहकगुममा
र(दह
)प दसकमाय३गगु
ण अवगकगु
ममा
र परजह
रघमा
तह सगु
ररणकगु
ममार
कगु
ममारएबलोकमा
य (द)समाकगु
ममारएबलो गगु
णठमाह
णगु
पहलमा कगु
ममारएबखे
नहकमा
य अनखे
रहदगु
तगुममा
रहहसकजह▼9 असगु
रकगु
ममार
कमाय एबनह कमा
य नहकय
2 3 4 5 6footprint 7 8 9 10 11
रतनप्रभमा
कदह
कसमा
त अनतमा
नगु
बह
धहक्रलो
ध अनह
तमा
नगु
बह
धललो
भ जमा
नमह
ह शसगु
भ (पहमा) पमार(ममा
) प्रममा
ध अजमा
नहमलो
ह हलो▲33 मतसर
हजह
र अहनतमा
नगु
बह
धह अन ह
तमा
नगु
बह
धह सगु भभमाररमा
सह
नरकपकृ थह परह
णमा
म गुलोगगु
दर णमागगु
णरखे लहबमा ममा
ह
नअहह कमा
र
ह ममा
यमाकप(द्धिह
) वरहमा
ररमा
सह
जहर जहर
1
चलो
रदलमा
षनहगलो
द Add. text #2
अनहतकमा
लथसवत।

1) Seven lines of closely written and almost illegible text. Begin: मगु
गतहसह
लमा(...).

434
Additional Text
Above grid
जमा
नबमा
ह जह

Jñān bājī.

Add. text #1
चह
द्रममा

Moon.470

सह
धसह
लमा(श) १
२नमा
म॥
ह

The abode of the perfected ones. (The 12 names of the

perfected ones?).

सह
धसह
लमा
।स।१
२नमा
म।471
ह

The abode of the perfected ones. (The 12 names of the

perfected ones?).

शहजखे
नसमा
य(क)
ससर
।आ म
ह।न(
शह)सहप।जहम।र
मा
उ।(भ)।(शह
)१०८शह
गयर
मा
जह(भ)।(शह
ह )472

(...)

Add. text #2
[two short illegible inscriptions and traces of faint writing]

470 Written inside an illustration of the moon.

471 Added below the "top right #1" inscription in a different hand.
472 Written in the same hand as the "top right #2" inscription.

435
Ja84#31a (private collection, Udaipur, Rajasthan)

top sq. 6
ससद्धि-स
शलमा
top sq. 3 top sq. 4 top sq. 5
२- रह
॰ ५- स॰ ३- ज॰
top sq. 1 top sq. 2
१- व
र॰ ४- अ॰
76 77 78 79 80footprint 81 82 83 84
मलो
हनह
यकमर्वा सगु
दशर्वा
नग्रह
रखे
यक सगुप्रव
तबद्धि मनलो
र
मग्रह
रखे
यक स॰ग्रह
॰व र॰ सगु
मनसग्रह
॰ सलौ
मनस ग्रह
रखे
यक प्रह
वतकरग्रह
रखे
यक आव दत ग्रह
रखे
यक
▼59 ग्रह
रखेयक
75 74 73 72 71footprint 70 69 68 67
अषमद▼2 अचगु
तदखे
रललो
क आर ण्य दखे
रललो
क प्रमा
णतदखे
र॰ आनतदखे रललोक सहस्रमा
रदखे
रललो
क शगु
क्रदखे
र॰ असभषस
ससद्धि तमा
मसअ॰▼33
56 57 58 59 60 61footprint 62 63 64 65 66
आ॰वह तरआ॰ सलौ
धमर्वा
दखे
रललो
क अव्रतह▼21 ईशमा
नदखे
॰ असहयमहजह
र दखे
॰कखे॰भ॰अ॰ सनतकगु॰ ममा
हखे
न्द्र दखे
रललो
क ब्र॰दखे
॰ व
ररखे
क▲68 समा
ममा
व
नकमा
व
ददखे
र
बमा
ण॰पमा
ह
॰ ▼52 दखे
रललो
क जमा
वत
रलोव
तषह
55 54 53 52 51footprint 50 49 48 47
दमा
॰भमा
॰द॰व
र॰ दमा
नपमा
ह
॰ चमा
रसशकमा
ब्रत गकृ
हसमा
शम म॰कखे॰भ॰अ॰ प ह
॰मव
गु
क्ति शखे
णह पह
॰अणगु
॰तहन सप्तिदगु
वर्वा
सन शगु
॰समगह॰बमा
॰
चलौ
॰ ▲top#6 गगु
ण॰ ▼10 तप॰▲top#1
38 39 40 41 42footprint 43 44 45 46
शहसजनभव
क्ति नह
ललखे
॰जहर कमा
पलो
तलखे
॰रमा
लमा तखे
जलोलखे
श्यमारमा
लमा चमा
॰लमा ॰व त॰कखे
त्र शगु
भ॰भ॰व
त॰ शगु
क्ल॰धमर्वा
जह र ककृ
ष॰अ॰जह
र पद्म॰जह
र
▲80 जहर जहर ▲50 ▼9
37 36 35 34 33footprint 32 31 30 29
आ॰सह॰धमा
॰ दलोलमा
ख दलोलमा
ख तखे
इथन्द्रय दलोलमा
ख बखे
इथन्द्रय व
रक॰कखे त्र शगु
भमा
॰सत्तमा शगु
भमा
शगु
भउदह
रणमाशगु
भमा
॰उदय धमर्वा
आ॰जहर
जहर चलौ
ररथ
न्द्रय
20 21 22 23 24footprint 25 26 27 28
उपशमभमा
र चलौ
॰समा
॰ समा
तलमा
ख पकृ
थह समा
तलमा
ख समाररकखे त्र समा
तलमा
ख तखे
उ समा
तलमा
ख रमा
यगु द॰प्र॰र॰कमा
य शगु
॰क॰उदय
रनस्पव
त॰ कमा
य अपमाय कमा
य कमा
य
19 18 17 16 15footprint 14 13 12 11
Add. text #1 रमा
॰कगु
॰स्त॰कगु
॰ उदस धकगु
ममार पमा
चप्रकमा
ह र अवगकगुममा
रदह
प दश॰भ॰कखे त्र सगु
॰कगु
ममा
रवर॰ परजह
रघमा
तक अ॰कगु
॰नमा
॰कगु
॰ वरहमा
ररमा
स
श Add. text #2
व
दसशकगु
ममा
र स
मथमात्व ▼1 कगु
ममार कगु
ममार जहर▼8
2 3 4 5 6footprint 7 8 9 10
रत्नप्रभमा
॰समा
त अ॰ब॰क्रलो
ध अनन्तमा
नगु
बनह जमा
नसमशशगु
॰ प॰प्र॰प॰दखेर स
मथमात्व दखे
षभमा
र अनन्तमा
नगु
बनह अनन्तमा
नगु
बनह
नर क ललो
भ परर
णमा
म▲44 मलो
व
हनहय ममा
न ममा
यमा
1)
1
सबू
॰बमा
दरव
नगलो
द Add. text #3
अ॰

1) Four pawns and a stick die with four pips showing on the visible side.

436
Additional Text
Above top border (central) ३५, दलोलमा
ख तखे
इथन्द्रय३६, दलोलमा
ख चलौ
र
खे
थन्द्रय३७, आस्रमा
रवनर
लो
ध समरधमा
र
ण

जमा
नचलौ
पड़(बमा
जह)473 कर
नखे
रमा
लमाजह
र ३८, शह
सजनभव
क्ति कमा
र
क जह
र ३×, नह
ल लखे
श्यमा
रमा
लमाजह
र ४०,
कमा
पलो
तलखे
खे श्यमा
रमा
लमाजह
र४१, तखे
जलोलखे
श्यमा
रमा
लमाजह
र४२, चमा
रलमा
खवतयर्यं
चकखे त्र४३,
Jñān caupaṛ (bājī).
शगु
भ पर
रणमा
महभव व
तयर्यं
च जह र४
४, शगु
क्ल लखे
श्यमाधमर्वा
धमा नहजह
र४५, ककृ
षलखे
श्यमा
Above top border (left) अशगु
भ पर
रणमा
महजह
र ४६, पद्म लखे
श्यमा
रमा
(लमा
) जह
र ४७, बमा
र
ह प्रकमा
रकमातप
चलौ
दहर
मा
जललौ
क।उध्वर्वा
ललो कव
तयर्वा
गह ललो
कअधलोललो
क कर
नखे
रमा
लमाशगु
द्धिसमगह
दृव
षजह गुसन४९, पञ्च अणगु
र४८, सप्तिदवर्वा व्रततह
नगगु
ण व्रत
५०, पञ्च महमा
व्रतहकखे
रलजमा
नहमगु
वक्ति शखे
णह५१, मनगु
ष्यह
कखे
त्र-भव-अभव चलौ
दहलमा
ख
The fourteen universal realms.474 Upper realm, middle realm,
lower realm.475 ५२, गकृ
हसमा
शम ५३, चमा
रसशकमा
व्र×५४, दमा
नपमा
च प्रकमा
ह रकमा५५, दमा
दश भमा
रनमा
दशव
रध व
रनय५६, आठप्रकमा
र
कखेवह
तरआठप्रकमा
र
कखेबमा
णवह
तर, पमा
च प्रकमा
ह रकखे
Above top border (right)
रलो
व
तषह५७, सलौ
धमर्वा
दखे
रललो
क ५८, अव्रतह५६, ईशमा
नदखे
रललो
क ६०, असह
यमहजह
र
कमा
लचक्र।उत्स १पर्वा
सण२कमा
ल३(कखे
) ४(छह) ५आर
मा६अर६सपर्वा
सण५कमा
ल४ ६१, दखे
रललो
क कखे
(त्र)-भव अभव चमा
रलमा
ख यलो
व
न ६२, सनतगु
ममारदखे
रललो
क ६३,
कखे
३छह२आर
मा१ ममा
हखे
न्द्र दखे
रललो
क ६४, ब्रह्म दखे
रललो
क ६५, रखे
रखे
क ६६, समा
ममा
व
नकमा
व
ददखे
रजमा
व
त ६७,
The wheel of time.476 The six spokes of the ascending cycle, the तमा
मसअहङमा
र६८, अव
नषस
ससद्धि६९, शगु
क्र दखे
र(ललो
क)(...) ७३, आर
ण्य दखे
रललो
क ×४,
six spokes of the descending cycle.477 अचगु
त दखे
रललो
क, ७५, अषमद ७६, मलो
हनह
य कमर्वा७७, सगु
दशर्वा
न ग्रह
रखे
यक ७८,
सगु
प्रव
तबद्धि ग्रह
रखे
यक ७९, मनलो
र
म ग्रह
रखे
यक ८
०, सरर्वा
तलोभद्रग्रह
रखे
यक, (व
र)(...) क।
Add. text #1
(पमा
च-अनगु
ह त्तरव
रममा
न)480 १- व
रजय२- रह
जयन्त ३- जयन्त ४- अपर
मा
स
जत५-
षट
हलखे
श्यमा
सरमा
रस
र्वा
र्वा
सद्धि।(कमा
लचक्र)481 (अरसपर्वा
सण कमा गु मा(उत्सपर्वा
लकखेछहआ 482(...) दखम सण
The six karmic stains.478 गु दखम
गु मा५- दखम
गु मा४- दखम
गु सगु
कमा
लकखे
छहआर
मा
):483 - ६- दखम खममा३- सगु
खममा
Add. text #2 सगु
खममा२- सगु
खममा१- सगु
खमसगु
(...)

मधगु
व
बनगु [The passage gives the full readings of the abbreviated
legends on the chart. See the chart transcription above.]
Madhubindu.479
[pub]lished by - NAT(H)(...)
Add. text #3
चलौ
दह-र
मा
ज-सगु
ललो
क-पटचलौ
र
मा
सह-लख चमा
ल।
लखे
श्यमागगु
णसहयलो
गतहें
वनतनरबमा
जह-ख मा
ल॥१
॥
छहआर
मा
मयकमा
लकखे
चक्रअनन्तमा
नन्त।
मधगु
बनगु
-व सगु
ख कखे
वलयखे
सह
समा
र
हखखे
लन्त॥२॥
चढहें
-पडहें
भर-भलो
गतहें
अपनखे
अपनखे
दमा
र।
गगु
णसमा
नकसह
ढहअचलजलोपमा
रहें
शगु
भभमा
र॥३॥
"हर
र-करह
न्द्र" ककी
व
तर्वा
तव रजय-स
सद्धि-स
शलमाहलोरमा
स।
'नरमल' स
चवत्रतजमा
नककीबमा
जहखखे
ललोखमा
स॥४॥

[see Appendix E2, verse #4]

Below bottom border

१, सबू
क्ष्म, बमा
दर व
नगलो
द अनन्तकमा
लथसव
त २, र
त्नप्रभमा
व
दक समा
त नर
क ३,
अनन्तमा
नगु
बनहक्रलो
ध ४, अनन्तमा
नगु
बनहललो
भ ५, जमा
नसमश शगु
भ पर
रणमा
म६, पन्द्रह
प्रकमा
रकखेपर
ममा
धमा
महदखे
च७, स
मथमा
त्व मलो
व
हनह
य८, दखे
षभमा
र९, अनन्तमा
नगु
बनहममा
न
१
०, अनन्तमा
नगु
बनहममा
यमा१
१, वरहमा
ररमा
स
श१२, असगु
रकगु
ममा
र
, नमा
गकगु
ममार१
३, पर
जहर
घमा
तक जह
र१४, सगु
रणर्वा
कगु
ममा
र
, व
रदगु
तकगु
ममा
र१५, दश व
नकमा
य भरनपव
तकखे
त्र१
६,
अव
गकगु
ममार
, दह
पकगु
ममार१७, पमा
च प्रकमा
ह रकमास
मथमा
त्व १
८, उदस
धकगु
ममार
,वदस
शकगु
ममार
१
९, रमा
यगु
कगु
ममा
र
, स्तव
नत कगु
ममार२०, उपशम भमा
र २१, चलौ
दह लमा
ख समा
दमा
र
ण
रनस्पव
तकमा
य२२, समा
तलमा
ख पकृ
थह कमा
य२३, समा
तलमा
ख अपमा
य२४, समा
ररकखे
त्र२५,
समा
तलमा
ख तखे
उकमा
य२६, समा
तलमा
ख रमा
यगु
कमाय२७, दशलमा
ख प्रतखे
क रनस्पव
तकमा
य२८,
शगु
भकमर्वा
उदय२९
, धमर्वा
आर मा
धनककीइचमाकर
नखे
रमा
लमाजह
र३०, शगु
भमा
शगु
भउदय३१,
शगु
भमा
शगु
भ उदह
रणमा३२, शगु
भमा
शगु
भ सत्तमा३३, व
रकलखे
थन्द्रयकखे
त्र३
४, दलोलमा
ख बखे
इथन्द्रय
473 The parenthesis appears as such on the chart.
474 Written above an illustration of the cosmic man (lokapuruṣa)
embodying the fourteen universal realms (rājaloka).
475 Written along the sides of the cosmic man embodying the realms.
476 Written above an illustration of the wheel of time (kālacakra).
477 Written between the spokes inside the wheel of time. 480 The parenthesis appears as such on the chart.
478 Written above an illustration of the parable of the rose-apple tree 481 The parenthesis appears as such on the chart.
and the six karmically stained men. 482 The parenthesis appears as such on the chart.
479 Written above an illustration of the parable of Madhubindu. 483 The parenthesis appears as such on the chart.

437
Ja84#31b (Parshvanathji Mandir, Jaipur, Rajasthan)

top sq. 6
(...)
top sq. 3 top sq. 4 top sq. 5
Add. text #1 Add. text #2
(...) (...) (...)
top sq. 1 top sq. 2
१वरजय ४अपर मा
स
जत
76 77 78 79 80footprint 81 82 83 84
सगु
दशर्वा
न१ सगु
प्रव
तबद्धि२ मनलो
र
म३ सरर्वा
तलो
भद्र४ व
रशमाल५ सगु
मनस६ सलो
मनस७ प्रह
वतकर८ आव दत ९
मलो
हनह
यकमर्वा
▼59
75 74 73 72 71footprint 70 69 68 67
रमा
र अहह
कमा
र अचगु(त) आर णदखे
रललो
क प्रमा
णतदखे
रललो
क दलो
षभव अभव आनतदखे
रललो
क९ सहस्रमा
रदखे
रललो
क असभषस सद्धि तमा
मसअहह
कमा
र
▼2 दखे
रललोक ११ जहर ८शगु
क्रदखे
रललो
क समागमा
र ▼33
56 57 58 59 60 61footprint 62 63 64 65 66
वह तर(८) प्रकमा
र सलो
धमर्वा
दखे
रललो
क१ अ(व्र)तहदलो
ष ईशमा
नदखे
रललो
क२ असहयमहजह
र दखे
रललोककखे त्र सनतगु
ममा
र ममा
हखे
न्द्र दखे
रललो
क (व्र)ह्मदखे
रललो
क५ व
ररखे
क▲68 समाममा
वनकदखे
र
कखे रलोव
तषह५ ▼21 ▼52 भव अभव ४ दखे
रललो
क३ लमातक६
ह भरनपव तदखे
र१०
प्रकमा
रकखे लमा
ख दखे
रललो क प्रकमा
रकखे
55 54 53 52 51footprint 50 49 48 47
१२भमा
रनमा१
० दमा
नपमा
चप्रकमा
ह र चमा
रसशकमा
रकृ
त प्रद्रलो
ह मनगु
ष्य कखे(त्र) ५महमा
रकृ
तह धमान४५ गुसन▼10
दवर्वा बमा
रखेप्रकमारकमा
व
रधवरनय भव अभव १ ४ कखे
रलजमा
नहमव
गु
क्ति अणगु
रकृ
त तपशगु द्धिसहयमह
लमा
ख शखे
णह▲top#6 शगु
द्धिसमव क्ति
▲top#1
38 39 40 41 42footprint 43 44 45 46
शहस जनपबूजमा नह
ललखे
श्यमा कमा
पलो
तलखे
श्यमा तखे
जलोलखे
श्यमा व
तयर्वा
ञ्चकखेत्र४ शगु
भव तयर्वा
ञ्चभद्र शगु
क्ललखे
श्यमाधमर्वा ककृ
ष लखे
श्यमा१ पद्मलखे
श्यमा५
भवक्ति ▲80 लमा
ख पर
र णमा
मह धमानहजह र६ अशगु
भपर रणमा
मह
▲50 जहर▼9
37 36 35 34 33footprint 32 31 30 29
आशरर लो
धन २लमा
ख चलौ
र
रह
वद्रय २लमा
ख तव
हें
द्रय २लमा
ख बव
हें
द्रय व
रकलहेंवद्रयकखे
त्र शगु
भमा
शगु
भसमा
त शगु
भमा
शगु
भउदह
रण शभ
गुमा
शभ
गुउदय धमर्वा
आर मा
धन
पमा
चप्रकमा
ह रकमा व
रदनह उदहरण इचमा
सह
रर
20 21 22 23 24footprint 25 26 27 28
उपशमयलो
ग समा
तलमा
ख पकृ
थह समा
तलमा
ख अप्प समा
तलमा
ख तखे
उ रमा
ररकखे त्र समा
तलमा
ख रमा
उ दशलमाख प्रतखे
क चलौदहलमाख शगु
भकमर्वा
उदय
कमा
य कमा
य कमा
य कमा
य रनस्पव
तकमा य समा धमा
रण
रनस्पव
तकमाय
19 18 17 16 15footprint 14 13 12 11
Add. text #3 रमायगु
कगु
ममा
र९ उदसधकगु
ममार७ पमा
चप्रकमा
ह रकमा अवगकगु
ममा
र५ दशव नकमा य सगु
रणर्वा
कगु ममा
र३ परजह
रघमा
व
तक असगु
रकगु
ममा
र१ शगु
भभमा
र Add. text #4
स्तवनकगुममा
र१० व
दसशकगु
ममा
र८ स
मथमात्व ▼1 दह
पकगु
ममा
र६ भगु
रनपव तकखे त्र व
रदगु
तकगु ममा हह
र४ वसक▼8 नमा
गकगु
ममा
र२ वरहमा
ररमा
स
श
2 3 4 5 6footprint 7 8 9 10
रत्नप्रभमा
व
दकसमा
त अनन्तमा
नगु
बथन अनन्तमा
नगु
बह
सध जमा
नसमशशगु
भ पनर खे
प्रकमा
र अजमा
नमलो
ह मस्तरभमा
र अनन्तमा
नगु
बथन अनन्तमा
नगु
बथन
नर कपकृ थह क्रलो
ध ललो
भ परर
णमा
म▲44 परमधमा मह ममा
न ममा
यमा
1
बमादरव नगलो
द
सबू
क्ष्म व
नगलो
द
अनन्त कमा ल
थ
सव त

Additional Text
Above top border (central) Add. text #3
जमा
नचलौ
पड़(जमा
नबमा
जह)484 षट
हलखे
श्यमातखे
जपद्मकमा
पलो
तनह
लककृ
ष शगु
क्ल

Jñān caupaṛ (jñān bājī). The six karmic stains.487 Red, pink, gray, blue, black, white.488

Add. text #1 Add. text #4

[illegible]485 मधगु
व
बनगु

Add. text #2 Madhubindu.489

[illegible]486

484 The parenthesis appears as such on the chart.

485 Written above and inside an illustration of the cosmic man 487 Written above an illustration of the parable of the rose-apple tree
(lokapuruṣa) embodying the fourteen universal realms (rājaloka). and the six karmically stained men.
486 Written above and inside an illustration of the wheel of time 488 Written inside the illustration.
(kālacakra). 489 Written above an illustration of the parable of Madhubindu.

438
Ja84#31c (Babu Derasar, Palitana, Gujarat)
NB! All inscriptions in Gujarati script; illegible in available image reproduction.

top sq. 6
[illegible]
top sq. 3 top sq. 4 top sq. 5
[illegible] [illegible] [illegible]
top sq. 1 top sq. 2
[illegible] [illegible]
76 77 78 79 80 81 82 83 84
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
▼59
75 74 73 72 71 70 69 68 67
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
▼2 ▼33
56 57 58 59 60 61 62 63 64 65 66
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
▼21 ▼52 ▲68
55 54 53 52 51 50 49 48 47
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
▲top#6 ▼10 ▲top#1
38 39 40 41 42 43 44 45 46
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
▲80 ▲50 ▼9
37 36 35 34 33 32 31 30 29
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
20 21 22 23 24 25 26 27 28
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
19 18 17 16 15 14 13 12 11
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
▼1 ▼8
2 3 4 5 6 7 8 9 10
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
▲44
1)
1
Add. text #1
[illegible]

1) Faded illustration shows four pawns and possibly a stick die (cf. Ja84#31a).

Additional Text
NB! All additional text written in Gujarati script.

Above top border (central)

जमा
नचलौ
पड़(बमा
जह)490

Jñān caupaṛ (bājī).

Add. text #1
र
मखे
श चह
द्रजह
ररमा
ज मगु
लतमा
नमलजहगमा
म फतमा
पगु
रमाममा
र
रमा
डमगु
नहरमा
ज शहसलो
मचह
द्र
व
रजयजह
नमाउपदखे
शरह

(Drawn by) Rameś Candra Jīvrāj Multānmaljī, Fatapura

village, Marwar, according to the instruction of Muni Rāj Śrī
Somcandra Vijayjī.

490 The parenthesis appears as such on the chart.

439
Ja84#32 (private collection, Munich, Germany)
NB! Inscriptions illegible in available image reproduction.

॥नरग्ररखे
क॥५॥ top sq. 6 [illegible]
[illegible]
॥पमा
चअनबू
ह त्तरव
रममा
ह
नछह
॥९॥ ह
॥शहईसपभमा
र
मापकृ
थह ॥१
॥
top sq. 5
[illegible]
top sq. 2 top sq. 3 top sq. 4
[illegible] [illegible] [illegible]
top sq. 1
[illegible]
76 77 78 79 80 81 82 83 84
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
▼52
75 74 73 72 71footprint 70 69 68 67
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
▼2 ▼16
56 57 58 59 60 61footprint 62 63 64 65 66
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
▼21 ▼41 ▲68
॥र
मा
ऊधमर
द्र॥ 55 54 53 52 51footprint 50 49 48 47 ॥ईसमा
नखे
द्र:॥
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] (५॰
)
▲80 ▲top#6 ▼10 ▲top#1
खे
) दह
(आर रललौ
क॥
१
॥

38 39 40 41 42footprint 43 44 45 46
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
▲50 ▼9
37 36 35 34 33footprint 32 31 30 29
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
20 21 22 23 24footprint 25 26 27 28
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
19 18 17 16 15footprint 14 13 12 11
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
▼1 ▼8
2 3 4 5 6footprint 7 8 9 10
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
▲44
Add. text #1
1 ॥नर
कवनगलौ
द॥
[illegible]

Additional Text
Add. text #1
व
ल।(श)।मगु
।मलो
तहचह
दरमा
चनमा
र॥
र्यं१
९३७शमा
र
मामह
तहआसलो
जशगु
द७रमा
रअदह
त

Drawn by Śa. Mu[ni] Motī Cand for the purpose of study on

the 7th lunar day of the bright half of Asoj (i.e. Āśvin) in (VS)
1937 (i.e. 11 Oct, 1880 CE).

440
Ja84#33 (private collection, Kanpur, Uttar Pradesh)

top sq. 6
मव
गु
क्ति कखे
त्र
४५००००ऽ हत
र्यं
ह
पदखे
भलोन(ममा )
top sq. 5
सरमा
रस
र्वा
र्वा
सस द्धि५
top sq. 2 top sq. 3 top sq. 4
वरजय ह
तअनगुत्तर अपर मा
स
जत जय ह
तअनगुत्तर
वरममा
न२ वरममा
न४ वरममा
न३
top sq. 1
वरजयअनगु त्तर
वरममा
न१
उद्धिर्वा
वरममा
न 76 77 78 79 80 81 82 83 84 उद्धिर्वा
वरममा
न
मलो
हनहकमर्वा भद्रग्रह
रखे
क१ सगु
भद्रग्रह
रखे
क२ सगु
जमातग्रह
रखे
क३ सलोमन४ सगु
दशर्वा
नग्रह
रखे
क६ अमलो
घग्रह
रखे
क७ सगु
प्रव
तषग्रह
रखे
क८ जसलो
धरग्रह
रखे
क९
▼52 प्रह
यदशर्वा
न५
75 74 73 72 71 70 69 68 67
रमा
जऽहह
कमा
र▼2 ऽचगु
तदखे
रललो
क आर णदखे
रललो
क आनतदखे
रललो
क९ भवमा
भव जह
र सहशमा
दरललो
क८ शगु
क्रदखे
रललो
क७ अवनषशगु
द्धि तमा
मसमा
हह
कमा
र
दखे
रललो
क ▼16
57 58 59 60 61 62 63 64 65 66
सगु
धमर्वा
दखे
रललो
क१ ऽव्रतदखे
रललो
क ईशमा
नदखे
रललो
क२ असहयमदखे
रललो
क दखे
रललो
क सनतकगु
ममारललो
क ममा
हद्र
हेंदखे
रललो
क४ ब्रह्मलमा
तक
ह व
ररखे
कधमर्वा
अयलो समा
ममा
नहकदखे
र५
पखे
ललो ▼21 ▼41 भवमाभव ललो
क ३ ▲68 भरनपव तदखे
र
४०
56 55 54 53 52 51 50 49 48 47
रहममानह
कवहतर १ २भमा रप्र दमा
रनमाव नह
तरमा
यरलोपमा
प ९भदखेव्रह्मचयर्वा
व्रत परद्रलो
हपणलो
तखे मनलो
गप्ति
गुप्रसमा
धगु शगु
क्ललखे
श्यमा गगु
णव्रतह मह
रगु
नसखे
रनमा १२भखे
दखेतपसयम
जमा त२जलो
तककी५ व
रजह▲80 पमा
प भव अजलो गह कखे
रलजमा नसगुभ ▼10 समक्ति आदरह
प्रकमा
र कखे
रमालयखे भमा
रगगु
प्ति धमान▲top#6 ▲top#1
१४
38 39 40 41 42 43 44 45 46
सजनपबू जमा८ नह
ललखे
श्यमा२ कमा
पलो
तलखे
श्यमा३ तखे
जलोलखे
श्यमा४ व
तयर्यं
चकखे त्र४ सगुभव तयर्वा
चसगु भ धमर्वा
धमा नह▲50 ककृ
ष लखे
श्यमा१ पद्मलखे
श्यमा५
प्रकमा
रसजनभव क्ति लमा
षयलो जन प्रणमा
मह ▼9
37 36 35 34 33 32 31 30 29
आशरर
लो
धन५ २लमा
षयलोव न २लमा षयलो
व
नसह
गह२लमाषयलो
वन व
रगलहें
द्रहषखे
त्रगगु
प्ति सगु
भमा
सगु
भमतह
नह शगु
भमा
शगु
भउदह
रणमाशगु
भमा
शगु
भउदह
य धमर्वा
आर मा
धन
सह
जह४रमा
ह
द्रह तखे
रह
द्रह ऽसहगहतखे
रह
द्रह १० (ई)छमा
20 21 22 23 24 25 26 27 28
उपसयलो ७लमाषपकृ
थह ७लमा
षऽपकमा
य रमा
ररकमा
य ७लमा
षतखे
उकमा
य ७लमा
षरमा
यगु
कमा
य ७लमाषप्रतखे
क समा
धर ण शगु
भकमर्गी
कमा
य ३ रनमा
स्पतह रनमा
स्पतह१
४
19 18 17 16 15 14 13 12 11
नमा
गकगुममा
र१ ० रनतकगु ममा
र८ स
मथमा द५ उदधहकगु
मत्तभखे ममा
र दसनह
कमा
यकखे
त्र ऽव
गकगुममा
रवरदगु
त जह रहतमाकर
ह सगु
रणर्वा
कगु ममा
र वरहमा
ररमा
स
श
(रमा
पगु
) कगु
ममार(५) परनकगु
ममार७ ▼3 ऽदहपकगु
ममार५ कगु
ममार ▼8 असगु
रकगुममा
र
2 3 4 5 परममा
धमा
मह 7 8 9 10
लकयलो
जन क्रलो
ध ऽजमा
न अजमा
नमलो
ह गगु
णसमान१ ।२। गमा
ह
नस मशशगु
भ मचर अजमा
नरहधह अजमा
नरह
धहममा
यमा
नमा
ह
र
ककीकमा
म अनह
तमानर
हधह ३ परणमा
मह▲50 ऽहह
कमा
र
ललो
भ
1
७लमा
ष
व
नतमा
वनत
व
नगलो
द

441
Ja84#34 (L. D. Institute of Indology, Ahmedabad, Gujarat)
NB! Reconstruction based on description in Jeṭhābhāī 1877/78.

top sq. 6
सहधस सलमा
top sq. 5
अनगु
तरवरममाह
न
top sq. 2 top sq. 3 top sq. 4
अनगु
तरवरममाह
न सरमा
रस
र्वा
र्वा
सस ध अनगु
तरवरममाह
न
top sq. 1
अनगु
तरवरममाह
न
74 [76] 75 [77] 76 [78] 77 [79] 78 [80]footprint 79 [81] 80 [82] 81 [83] 82 [84]
मलो
हनहकमर्वा सद्रग्रह
रखे
यक सगु
भद्रग्रह
रखे
क सबू
जमातग्रह
रखे
क शह मन४ सगु
दर सणग्रह
रखे
क अमलोघग्रह
रखे
क शगुप्रव
तष(यखे
) जयलोधरग्रह
रखे
क
▼52 प्रह
यदर
सण ग्रह
रखेक८
▲top#1
73 [75] 72 [74] 71 [73] 70 [72] 69 68 [70] 67 [69] 66 [68] 65 [67]
रमा
र अहह कमा
र बमा
रमलोअचबू
त आर णदखे
रललोक ९नरमलोआनह
त [71] footprint?
सहस्रमा
रदखे
रललो
क शगु
क्रदखे
रललो
क शगु
सभषशगुद्धि तमा
ह
मसअहह कमा
र
▼? दलो
रलमा
क अगह आर मलो दखे
रललोक दखे
रललो कगुमखे व
ररखे
क ▼16
भवमा भव स जर
▲?
54 [56] 55 [57] 56 [58] 57 [59] 58 [60] 59 60 [62] 61 [63] 62 [64] 63 [65] 64 [66]
रह
ममा
ह
नहकवहत्र सबू
धमर्वा
दखे
रललो
क अरकृ
तदखे
रललो
क ईसमा
ह
न×दखेरललो
क असहजमहदलो
ष [61]footprint? सनतकगुममा
र ४महखे
द्रदखे
रललो
क व्रह्म५लमा
ह
तक६ व
ररखे
क ▲? समा
ममा
वनकदखे
र
रलोवत ▼? दखे
रललोककखे ह दखे
त्रममा रललोक भगु
रनपव त
भवमाभव
53 [55] 52 [54] 51 [53] 50 [52] 49 48 [50] 47 [49] 46 [48] 45 [47]
दमा
दसभमा रनमा दमा
नमा
ह ह
तरमा
य ९व्रह्मचमायर्वा
४ परद्रलो
हपणलो [51]footprint? महमा
रकृ
वतसबू
भ गगु
णव्रत समा
तवसन १२भखे
दखे
सबू
भ
बखे
प्रव
रलह
▲? स
सकमा व्रत मनगु
स कखे॰३ कखे
रव ल▲? सह
जमह
समा
धगु
लव जह व ▲top#1
38 39 40 41 42footprint? 43 [44] [45] 44 [46]
स
जनपबू
जमाभव
क्ति नह
ललखे
समा कमा
पलो
तलखे
समा तखे
जलोलखे
समा व
तयर्यं
चकखे त्रलमा
ष सबू
भव तयर्यं
च [missing] [missing] पद्मलखे
समा
जलो
जन (भ)व परर णहम
37 36 35 34 33footprint? 32 31 30 29
पह
चआशरलोककी चलौ
रहें
द्रह सवन्नतखे
रह
द्रह सह
जहबहें
रह
वद्र रहगलखे
वद्रकखे
त्र सबू
भमा
सगु
भमतह सबू
भमा
सबू
भलो
दहर
णमा शभ
गुमा
सबू
भलो
दय धमर्वा
आर मा
धनमा
रलो
ध ▼? ईछमा
20 21 22 23 24footprint? 25 26 27 28
उपसमयलो
ग चमारलमा
षनमा
र
ककीसमा
तलमा
षपकृ
रवर अप्प कमा
य रमा
ररकमा य५ तखे
उकमा
य रमा
उकमा
य प्रतखे
करनस्पव
त शगु
भकमर्वा
कमा
य गगु
णटमाह
।६।७।
19 18 17 16 15footprint? 14 13 12 11
नमा
गकगु
ममार१० सनतगु
ममा
र८ स
मथमा
त्व ×भखे
द वदपकगु
ममा
र५ दसव नकमा यकखेत्र अवगकगु
ममा
र परजह
रपह
ड़मा सबू
रणर्वा
कगु ममा
र वरहमा
ररमा
सह
रमा
यगु
कगु
ममा
र९ परनकगु
ममा
र७ ▼? उदसधकगु
ममार व
रदगु
तगु
हममा
र ▼? असबू
रकगुममा
र
2 3 4 5 6footprint 7 8 9 10
नमा
र
ककीकखे
जहर क्रलो
ध अनगु
तमा
ह
नबह
दहललो
भ अजमा
नमलो
ह ह पन्नर
खे
पर ममाधमा
मह गमा
ह
नसमथ शगु
भ मतसर अजमा
ह
नअहह
कमा
र अजमा
नममा
ह यमा
गगु
णटमा ह
णमा२।३। पर ह
णमा
ह
मह▲44
१॥
1
नहगलो
द

Additional Text
Jeṭhābhāī 1877/78
NB! See Appendix F2 for a complete transcription of the manuscript,
including rules and commentary.

शलो
क॰

जलो
परसखे
मवतदमा
यक लमा
यकरलोयहसखे
त्रगु
जब्रह्म
लकचलो
र
मा
सहभरखे
नरनमा
र
हभमखे
नहहममा
नरकखे
ह तनतमा
जह
बमा
जहर
मखे
तस क्रलो
धसमखे
भरनमा
हहभमखे
व
दलहलो
तहखे
र
मा
जह
पमा
पकटमा
बनमलो
हवबदमा
र
नममा
नर(र)धमा
ह र
णजमा
नककीबमा
ह जह॰
॥१

[see Appendix E2, verse #1a]

442
Ja84#35 (current location unknown)
NB! Inscriptions illegible in available image reproduction.

top sq. 6
[illegible]
top sq. 5
[illegible]
Add. text #1 Add. text #1 (cont.)
top sq. 2 top sq. 3 top sq. 4
[illegible] [illegible] [illegible]
top sq. 1
[illegible]
76 77 78 79 80 81 82 83 84 row title #9
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
▼53 ▼16
75 74 73 72 71 70 69 68 67 row title #8
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
▼2
56 57 58 59 60 61 62 63 64 65 66
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
▼21 ▼41 ▲68
55 54 53 52 51 50 49 48 47 row title #6
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
(▲top#5) ▼10 ▲top#3
38 39 40 41 42 43 44 45 46 row title #5
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
▲80 ▲50 ▼9
37 36 35 34 33 32 31 30 29 row title #4
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
20 21 22 23 24 25 26 27 28 row title #3
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
19 18 17 16 15 14 13 12 11 row title #2
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
▼1 ▼8
2 3 4 5 6 7 8 9 10 row title #1
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
▲44
1 [illegible]
[illegible]

Additional Text
Add. text #1
[illegible]

443
Ja84#36 (sold at Christie's, New York, 13 Sep, 2011)

top sq. 6
॥अ(हु)नह (प)दखे
भलोनम×मवगु
क्ति कखे
त्रसगु
टकमय
४५०००००लमा षजलो×नककीस
सद्धिस सलमाछह१
top sq. 5
॥सरमा र्वा)×
(र र्वाद्धि
अनगु
त्तर(...)न:॥
top sq. 2 top sq. 3 top sq. 4
(॥रहजय ह
त) (...) (...)त(अनगु
त्त) ॥ज(य ह
)त
(अ)नगु
त्त(र
) (...) (...)(ममा
ह
)न॥(...) वरममा
न॥अनत्त
गुर
(ममा
ह
न)॥२ वरममा
ह
न॥३
top sq. 1
(...) व
रममा
हन(॥)
(...)ममा
ह
न:
76 77 78 79 80 81 82 83 84
॥मलोहनह ॥भखे दग्रह
रखे
क॥ ॥सगु जमा
त ॥पमापदशर्वा
न॥॥ ॥प्रमा
(...) सगु
मनस ॥सगु दशर्वा
न ॥मलोह ॥सगु प्रब
हध ॥यसलो धर
कमर्वा
॥॥१ ॥ २॥सगु भद्र ग्रह
रखे
क॥३॥ सगु
जमातग्रह
रह
क। ग्रह
रखे
क॥५॥ ग्रह
रह
क६ गकृ
रहक॥७॥ ग्रह
रह
क॥॥८॥ ग्रह
रह
क९
▼41 ग्रह
रखे
क॥१ सगुभग्रह
रह
क॥ ४
75 74 73 72 71 70 69 68 67
॥र मा
जस ॥अचबूत ॥आर ण ॥प्रमा
णत
ह ॥दखे
रललो
ककखे
त्र ॥अनतदखे
रललो
क ॥शगुक्र ॥असभप्रस
ससद्धि तमा
ह
मसऽ
हहकमा
र
॥
अहहकमा
र॥२॥ दखे
रललो
क॥१२॥ दखे
रललो
क।॥१
१॥ दखे
रललोक१ ०॥ भव अभव कखेत्र ९॥सहशमा
र दखे
रललोक॥७ आगमा
र
॥ ▼16
▼19 ९(॥९) दखे
रललो
क८
56 57 58 59 60 61 62 63 64 65 66
॥व रममा
न॥ ॥सलौधमर्वा ॥अव्रव
तदलो
ष॥ ॥इसमा
ह
न ॥असहयमहदलो
ष। ॥दखे
रललो
कषखे
त्र ॥सनतकगु
ममा
र ॥ममाव
हद्र ॥लमा तक
ह ॥व ररहकशगु
द्धि ॥समाह
ममा
व
ह
नक
१॥॥व रहतर
॥ दखे
रललो
क१ ▼21 दखे
कललो
क॥२॥ ▼41 भव अभव ४ दखे
रललो
क॥३॥ दखे
रललो
क४ दखे
रललो क६॥ प्रप्रणमा
ह
म॥▲68 दखे
रललो
क४
९॥॥यलो व
तषह॥ लमा
ख व्रमा
ह्मदखे
ह रललो
क५ भगु
रनपव त
५॥॥प्रकमा
रनमा
॥ दखे
रललो
क५
अहतरह
ककखेत्र
जलो
वतषह५॥
55 54 53 52 51 50 49 48 47
॥भमा
रनमाबमारखे ॥दमा
नमा
ह ह
तरमा
य ॥चमा र ॥परद्रलो
ह॥ ॥मनगु
ष्य षखे
त्र ॥प ह
चममा हमा
व्रव
त ॥धमा ह
नगगु गुसन॥
णव्रत ॥सप्तिदवर्वा ॥बमारभखेदतप
१२दसवरसद्धि स
सष्यमा
व्रत४ भव ऽ भव १ ५ शगु
ककृ
यमाकखे
रल- ५ ▼10 सगु
भसह जमह हसगु
द्धि
व
रनय१ ०▲80 लमा
ष॥ जमा
नह
ह ह
शगु
क्ललखे
श्यमा समक्तिकीशमा
रक
▲top#6 ▲top#1
38 39 40 41 42 43 44 45 46
॥स जनपबूजमा व
नललखे
श्यमा×× ॥कमा पलो
त ।तखे
जगु
लखे
श्यमा ॥व तयर्यं
चषखे त्र३
४ ॥शभगुव
तयर्यं
च ॥धमर्वा
धमा ह
न॥ ॥ककृ ष लखे
समा ॥पद्मलखे
श्यमा
॥
भक्ति।मखे
ह लखे
श्यमा
॥मखे
ह लमा
षमखे
ह भव॥ मखे
ह▲50 धरह असगु
भ मखे
ह
प्रणमा
ह
म॥▼9
37 36 35 34 33 32 31 30 29
आशरर
लो
धन दलो
यलमा
षयलो न दलो
यलमा
षयलो नह ॥दलो
यलमा षयलोवन ॥व रगव
लह
द्रह
यमा
ह
र
मा ॥शगु
भद्रसगु
भ ॥शगु
भमा
शगुभ ॥शगु
भमा
शगु
भ ॥धमर्वा
आर मा
धन
सह
जमाचलौ
र
त
द्रह सह
जमातह
र
रह
द्रह सह
जमायमाबह
र
रद्रह षत्र
खे॥ समा
त॥ उव
दणमा
॥
र्वा उदय॥ इछमा
20 21 22 23 24 25 26 27 28
उपसमयलो
ग चरदखेलमा
ष समा
तलमा
षपकृ
ररह समा
तलमा
षअप्प (...) कमाय समा
तलमा
षतउ
खे ॥समातलमा
षरमा
उ ॥दसलमा ष शगु
भकमर्वा
:
समा
धमा
रण कमा
य॥७॥ कमा
य॥७॥ कखे(त्र)॥ कमा
य७ कमा
य॥७॥ प्रतखे
करनस्पव
त
रनस्पतह१४ १०
19 18 17 16 15 14 13 12 11
नमा
गकगु
ममार१० श्वव
नतकगु
ममा
र८ पह
चस मथमात्व उदसधकगु
ममार५ ॥दर सण(...) अगहकगु
ममार४ द्रलो
ह▼8 शगु
रणर्वा
कगु ममा
र२ वरहमा
ररमा
सह
रमा
यगु
कगु
ममा
र११ दह पकगु
ममार९ (सखे
)वलो▼1 दह
पकगु
ममा
र४ कखे
त्रभबू
रन(...) व
रसवदकगु
ममा
र३ असगु
रकगुममा
र१
2 3 4 5 6 7 8 9 10
कमा
ह
मतमतमप्रभमा क्रलो
ध अजमान अजमा नमलो
ह ह परममा
धमा
ह
(मह )ह अजमानस
ह मश मछररमा
लगु
प्रभमा अहहकमा
र अजमा नममा
ह यमा
समा
तमहनर
कछह अनगु तमा
न
हगु
बह
धह अनगु
तमा
ह
नगु
बह
धह यलो पहकप्रभमानर
क नरककखेत्रल(...) पमा
र
गमा
ह
महह▲44 नरक॥पकृ
थह३॥ अनगु तमा
नहगु
ब ह
धह रत्नप्रभमापकृ
थह१
७ तमप्रभमा६नर
क )मप्रभमानर
(धगु क प्रमा
थह४ (यलो
)जन रसकर प्रभमानर
क
५मह पकृ
थह२
1
॥अन ह
तकमा ल
थसतनलोजह र
Add. text #1
समा
तलमाषव नत Add. text #1
(cont.)
वनत वनगलो
दमहें
प(ड़ड
लो
) जहर
गु दखे
(द)ख षह
चह॥

444
Additional Text
Add. text #1
॥तजलोनरकषमा
यसप्पर्वा
छव हह
समातमा
गककीछड़मा
ड़हग्रहलो
ह
नरतत्व कखे
नर××रह
रमालहलौव
नगलो
दमत
समा
ररषकत
वनकसखे
एकसखे
तहलखे
कह छतमा
इह
ह चमा
लहअनगु
क्रमह
कमा
ठमाछह
इतव
रधजमा
नपचह
ह सहषखे
लङयह
अकप्रममा
ण॥॥व
ह नगलो
दकमागलो
लमाआकमा
र
॥

[see Appendix E2, verse #7]

॥सरह
यलो२३सलो
॥

Savaiyā verse (with) 23 (syllables per line):

लकचलौ
र
मा हह
सहममा
व
ह ह
भ्रमतइमहहनरभमा
स
मयह
तनसगु
नमा
जह(॥)491
(चलो
)पड़सखे
त्र
हगु
जककीकहमार
मा
मतएहअनमा
ह मतव्र
ह हदककीबमा
जह॥
बमा
जहर
महतसगु
क्रलो
धसमह
भरममा
ह
नभमह
वदलहलो
तहह
रमा
जह॥
पमा
पघटमा
र
णमलो
हवरड़मा
र
ण(२) गमा
×
हरधमा
र
णजमा
नककीबमा
ह जह॥१
॥

[see Appendix E2, verse #1a]

इतहजमा
नचमा
ह पड़कलोसरह
यलोसममा
पतह
॥१॥

Thus the savaiyā verse on the jñān caupaṛ is completed.

॥गमा
रमा
॥

Gāthā verse:

गलो
लमा
यअसह
रककी
×असह
रकव
नगलो
हहरइगलो
ललो
एव
ककव
नगलो
यगलो
ललोअसह
षजह
रमा
यमगु
णहयरमा
॥१॥

[see Appendix E2, verse #6]

491 The last part of the line has been corrected or glossed above the line
as follows: [लकचलौ रमा
सहममा
व
हहह
] जखे
ममा
ह
नरभ्रम(न) व
फरखे
जहर(लखे
)हसगु
नमा
जह.

445
Ja84#37 (sold at Christie's, New York, 21 Sep, 2007)

top sq. 5
-
top sq. 2 top sq. 3 top sq. 4
- - -
top sq. 1
footprint

-
[76] [77] [78] [79] [80]footprint [81] [82] [83] [84]
- - - - - - - - -
[75] [74] [73] [72] [71]footprint [70] [69] [68] [67]
- - - - - - - - -
[57] [58] [59] [60] [61]footprint [62] [63] [64] [65]
- - - - - - - - - ▲68
[56] [55] [54] [53] [52] [51]footprint [50] [49] [48] [47] [66]
- - ▲80 - - - - - (▲top#4) - - - ▲top#1 -
[38] [39] [40] [41] [42]footprint [43] [44] [45] [46]
- - - - - - - (▲50) - -
[37] [36] [35] [34] [33]footprint [32] [31] [30] [29]
- - - - - - - - -
[20] [21] [22] [23] [24]footprint [25] [26] [27] [28]
- - - - - - - - -
[19] [18] [17] [16] [15]footprint [14] [13] [12] [11]
- - - - - - - - -
[2] [3] [4] [5] [6]footprint [7] [8] [9] [10]
- - - - - - ▲44 - - -
[1]
-

446
Ja84#38 (sold at Christie's, New York, 17 Oct, 2001)

top sq. 6
एकजलो जनअललोकतखे
हन बखे
हडहभमा
गहस
सद्धिभगरहत
वरर मा
जममा
ह
न४५लमाषयलो
जनदलबखेहडहममा
षहनमा
पमा
षसर
ह ह
षह
स्पगु
वटकरत्नमईछह
इनमा
ह
मतहछह
(॥)
top sq. 3 top sq. 4 top sq. 5
अनगु
त्तरव
रममा
ह
न३ सरमा
र्वास
र र्वा
सद्धि अपर मा
स
जत
Add. text #1 Add. text #1 (cont.)
वरममा
ह
न५ वरममा
ह
न४

top sq. 1 top sq. 2

रह
जयतव रममा
न१ जयहतवरममा न२

76 77 78 79 80footprint 81 82 83 84
मलो
हनहकमर्वा
७० नरग्रह
रखे
क१ शगु
भदमाग्रह
रखे
क२ सगु
जमातग्रह
रखे
यक३ सगुमनग्रह
रखे
क४ सगु दशर्वा
नग्रहरखे
यक६ अमलो
हग्रह
रखे
क७ सगु
प्रब
हधहग्रह
रखे
यक यशलो
धरग्रह
रखे
यक
कलो
कलो
ड़मा
ड़हररस ग्रह
यदशर्वा
नग्रह रखे
यक ८ ९
▼52 ५
75 74 73 72 71footprint 70 69 68 67
रमा
जसअहह
कमा
र अचगु
तदखे
रललो
कलो आर णदखे
रललो
क प्रमा
ह
णतदखे
रललो
क दखे
रललोककखे त्र सहस्रमा
रदखे
रललो
क शगु
क्रमा
रदखे
रललो
क असभषससद्धि तमा
मसअहह
कमा
र
▼2 १२ भव अभव समा
गर ▼16
जहर४लमा ष
यलो
जन
56 57 58 59 60 61footprint 62 63 64 65 66
रह
ममा
नकवहतर सलो
धमर्वा
दखे
रललो
क अव्रतदलो
षकखे
त्र ईशमा
नदखे
रललो
क असहजमदलो
ष दखे
रललोकषत्रखे सनतकगु
ममा
र ममा
हहें
द्रदखे
रललो
क ब्रह्मदखे
रललो
क व
बखे
बखे
क (भमा
)र समा
ममा
ह
व
नक
रलोतषह५ ▼21 ▼41 मधखे(भ)व दखे
रललो
क ▲68 दखे
रललो
क
उपजह ४लमा ष भरनपतहदखे
र
जलो
वन
55 54 53 52 51footprint 50 49 48 47
स
जनपबू जमागगु दमा
नभखे
ह द नरव्रह्मचयर्वा परद्रलो
ह मनगु
ष्यहकखे
त्रसमा
धगु महमा
व्रतशगु
भ धमाह
नगगु
णव्रत समा
तवरसनकखे
त्र रमा
रह
भखे
दखे
तप
भवक्ति ▲80 स
सष्यमा
व्रत भव जह रसमाधगु कखे
रलगमा हनशगु
भ कखे
त्र ▼10 सह
जमशगुद्धि
१४अयलो गह लश्यमा▲top#6
कखे
रलङ१ ४लमाष
जलो
वन
38 39 40 41 42footprint 43 44 45 46
२) व
(१ बनय नह
ललखे
श्यमा कमा
पलो
तलखे
श्यमा तखे
जगु
लखे
श्यमा वतयर्यं
चकखे त्रगगु शगु
भव तयर्यं
चकखे त्र धमर्वा
धमा ह
न▲50 ककृ
ष लखे
श्यमाऽ
धमर्वापद्मलखे
श्यमा
भमा
रनमा ११।४लमा ष भद्रपरणमामह ऽशगु
भपररणमाम
सजनसह यलोगह ▼9
कखे
रलङगगु णठमा
ण
१३
37 36 35 34 33footprint 32 31 30 29
आशरर लो
धन१ सनहचलो
इह
द्रह२ तखे
इह ह
द्रह२लमा
ष व
रकलहें
द्रह२लमा
ष व
रकलखे ह
द्रह शगु
भसमातमाअशगु
भ शगु
भमा
शगु
भउदह
रणमाशगु
भमा
शगु
भउदय धमर्वा
आरमाह
छमा
य
सह
बरदमा
र लमा
षयलो
व
न यलो
व
न यलो
व
न गगु
णठमाह
णमा१ १
। असमात
१२
20 21 22 23 24footprint 25 26 27 28
उपसमयलो
ग १३लमा
षरमा
दर ७समा तलमा
ष समा
तलमा
षअप्प रमा
ररकखे त्र ७लमा
षतखे
उकमा
य ७लमा
षरमा
उकमा
य१ ०लमाषप्रतखे
क शगु
भकमर्वा
व
नगलो
द प्रथहकमा
य कमा
य व
नकमायगगु णठमा
णमा बनस्पतहकमाय
९।८।७।
19 18 17 16 15footprint 14 13 12 11
रमा
यगु
कगु
ममा
रनमा
ग सनतकगु
ममार८ पमा
चसमथमा
त्व उदसधकगु
ममार दशव नकमा यकखे
त्र अगहकगु
ममा
र परजह
रवरर
लो
ध सगु
रणर्वा
कगु ममा
र व
ररहमा
ररमा
स
कगु
ममार व
दसकगु
ममार ▼1 गगु
णठमाह
ण४। व
रदबू
तकगु
ममा
र ▼8
(६)।७।×
2 3 4 5 6footprint 7 8 9 10
कमाह
म४लमाष क्रलो
ध अगमान अगमा
ह
नमलो
ह परममाधमामह गमा
नसमशशगु
भ मदमचर अनहतमा
नगु
रहस
धयलो अगमा
ह
नममा
यमा
जलो
जननमारककी अनह
तमा
नगु
बह
सधयलो गगु
णठमा णमा३।२। परर
णमा
म▲44 पमा
पअहह कमा
र कपट
सहसमा
रवदककखे
त्र ललो
भ
[1]
Add. text #2
-

447
Additional Text
Add. text #1
॥सरह
यलो२३

Savaiyā verse (with) 23 (syllables per line):

चलो
र
मा
सहलषभ्रमणममा
हमानरषमा
डरमा
मव
ह तएहअनमा
नदह
व्रह्मककीरमा
जहरमा
जहर
महतसमलो
हरडमा
र
णगमा
नरधमा
ह र
ण
गमा
न॥समतमा
ह र
सहहें
सगु
वरतमा
जहचलो
घटसखे
त्रगु
हें
जककीकमा
हमाक्रलो
ध
पमहें
भरममा
ह
नरदखे
हमहें
हलोयतर
मा
जहपमा
पघटमा
रणककीरमा
जह१

[see Appendix E2, verse #1a]

Add. text #2
॥गमा
रमा

Gāthā verse:

गलो
लमा
यअसह
थ
ख(जमा
) असह
खवनगलो
यहरइगलो
ललो
इ
(कह
)कह
व
पवनगमा
एअणह
तजह
रमामगु
णखे
य(द्धिमा
)१

[see Appendix E2, verse #6]

448
Ja84#39 (sold at Christie's, New York, 20 Sep, 2000)

top sq. 6
शहणः(
ससध)स्वगर्वा
××०००(...)
top sq. 5
Add. text #1 - Add. text #2
top sq. 2 top sq. 3 top sq. 4
- - -
top sq. 1
-
76 77 78 79 80 81 82 83 84
ममा
हमा
मलो
हनहकमर्वा भद्रग्रखे
रखे
यक सगु
जमातग्रखे
रखे
यक सगु
भद्रग्रखे
रखे
यक समक्तिषन सगु
मनसग्रखे
रखे
यक सगुदशर्वा
नग्रखे
रखे
यक अमलो हकग्रखे
रखे
यक यसलो
धरग्रखे
रखे
क
▼59 कमा
यक सगुप्रव
तबह
ध प्रह
यद(वश्
ण)
Add. text #3 ग्रखे
रखेयक ग्रखे
रखे
यक Add. text #4
footprint
75 74 73 72 71 70 69 68 67
(ककृ)षनजखे
श्यमा ण) नह
(श् ल▼36 पह
च(वर)षय ४ललो
कपमा
ल कखे
त्रदखे
रललो
क महमा
मलो
ह(द)य जसग्रमा
व
ह सगु
प्रव
तबधकमा
र तमा
मसअहह
कमा
र
प्र
हणह मह▼2 सखे
रनमा भव्ण भव्ण जह
र ▼16
57 58 59 60 61footprint 62 63 64 65
इशमा
ह
नदखे
रललो
क सनतकगु
ममारस्वगर्वाममा
हखे
द्रदखे
रललो
क असह×(मह
) ▼34 ब्रह्मदखे
रललोक लमा
तकदखे
ह रललो
क शगु
क्रदखे
रललो
क सहसमा
रदखे
रललो
क आर णस्वगर्वा
१ १
▲68
55 54 53 52 51footprint 50 49 48 47
व
रनयभमा
रस्वगर्वा२लमा
षतखे
रद्रह २लमा
षचलो
र
ह
वद्र परद्रलो
हह अपबू
रर्वा
कर ण शगु
क्ललखे
श्
ण मधमपर
ह ७रसनस्
छमा कमा
यकस
▲top#6 (▲top#6) ▼11 ▲top#6
38 39 40 41 42footprint 43 44 45 46
Add. text #5 व
रदममाह
नअहत
र्वाह सह
य ह
चहव
द्रमनगु
ष्य रगु
लव्रत्तमा
र
मा
धक पद्मलखे
श्यमा अप्रमलगगु णटमा
णगुव
तनगगु
णव्रत उपसमगगु
णठमा
नगु जहरवहस्वमा अवनरकृ
वतकमा
र
ण Add. text #6
भत्तह (▲50) ▼12
37 36 35 34 33footprint 32 31 30 29
आसरर लो
ध तखे
(जलो
) लखे
(श्यमा
) १०लमाख प्रतखे
क (७) (लमा
ख) रमा
ऊ प्रमत्तगगु
णतमाणगु समा
धस
गुलोसखे
रमा शगु
भमा
शगु
भसत्त्व धमर्वा
समा धन अपगु
रर्वा
कर ण
सररमा
त्मक रनस्पव
तकमा य कमा य शगु
धमा
रमा
धक
20footprint 21 22 23 24footprint 25 26 27 28
भमा
रसमा धगु ७लमाख पररह ७लमाख अप ७लमाख तखे
ऊ दखे
शरकमाव ररनह दखे
शरव कव
रषय सदमाशगु
भप्रणमा
ह
म
गुह पगु
णप्रकमा
सह यरमा
(प्र)रवतकर
सपरर गहह कमा
य कमा
य कमा
य शमा
रक तमागह णगगु
णठमा नगु
19 18 17 16 15footprint 14 13 12 11
असगु
रकगु
ममा नमा
गकगु
ममार स
मरर मा
त्व रस
मतकगु
ममा
र शदगु
दखे गबू
णठमा णगु शगनगुहकगु
ममार मह
रगु
नसह
रणगु
▼8 जहरनउललौ
भणगु सगु
मनममा
यमा
कणगु
गगु
णठमा
णगु ▼1 शठमा
णगु
Add. text #7 2 3 4 5 6footprint 7 8 9 10 Add. text #8
४लमा
ख नमा
र
ककी सहजहयचखे
द्रह अजहनयणगु रनस्पव
तकमा
य उय हमनगुष्य करुणमा
गुउपसमशहस
ण भयचर
कह(णगु
) अप्रतमा
षमा
नह
ह अप्रतमा
षमा
ह
नहममा
न
वत(ई) कषमा× परममा
धमा
मह (शर)रुण व
रशगु
धपगु
णसम क्रलो
ध
▲44
[1]footprint
-

449
Additional Text
NB! All legends surrounded by illegible commentary written in red ink.

NBB! I have not been able to translate the additional text, but I have
transcribed it exactly as it appears on the chart with regard to word
separation and punctuation. The surrounding commentary in red ink is
only partly legible, and has therefore been left out.

Add. text #1
(समा
)हुणचखे
इयमा
णहपडणह
ण्यह
तहअरन्त रमा
य
ह च।
स
जण(प)तयणस अव
हयह
.
सव्वतमा
मखे
णररर
इ॥

Add. text #2
जखे
सखे
घपच्चणह
यमा
.परयणउरदमा
यगमानर
माजखे
उ।

(स)ममा
णहनहग्रममा
ण(स्
छह)(...)णह
यनह
यभत:।

Add. text #3
नर
खे
(श्व)रभगु
जचमा
यमा
ममाममा
मा
[sic]शह
तमा
शसमण: सगु
खम।
व
नभर्वा
यमाधरर्वा
(कमा )यमा
स
र्वा
णकगुरर्वा
थन्त स्वमा
ननन्तर
म॥

Add. text #4
धरमा
र्वा
(उ)जन कगु
लखेशर
ह गुमासलौ
र(रद)त भमा
गमा
ममा
यगु
धन
र्वा
ह
, धरर
णह
र (भकृ
श)थन्तह(व
नमर्वा
)×
यशलोव
रदमा
रमा
र्वा
सह य(थ
च)य:।
कमा
न्तमा
र
मा
च्च महमा
भयमा
च्च सत(प्ति
ह
) धरर्वा
: पर
रत्रमा
यमखे
, धरर्वा
: समगयमा
स
सतलोअरव
तवह
स्वगमा
यरगर्वा
र्वा प्रद:॥

Add. text #5
(अ)हतखे
व गुसह
रदट समा
, (य)भमा
य(स)मएगगु
रु
हग्रयखे
चह तमा
।
सव्वयगरखे
गह
तमा
, रत्तसखे
जमायर
सभह
रह
॥

Add. text #6
"असमा
र
लोएससह
समा
(...) तहचह
चलह
।
सह
जहर
मा
गसममा
णह
च, जगु
व्वणइतहमामगु
ण"॥

Add. text #7
उत्तमा
नरह
स
चत॥१
॥

Add. text #8
उर
लो
मह
(ड़)लङ
ठबू
यह
॥२॥

450
Ja84#40 (sold at Christie's, New York, 21 Sep, 2007)

top sq. 6
४५०००००लक(जलो
)जनसह
द्धिसलमाछखे
:
top sq. 5
सरमा
र(स
र्वा
र्वाह
द्धि) (५)
top sq. 2 top sq. 3 top sq. 4
वरजय ह
त२ अपर मा
(जह)त४ जयहत३
top sq. 1
footprint

व
रज(य) १
76 77 78 79 80footprint 81 82 83 84
मलो
हनहकमर्वा भखे
दग्ररखे
क सगु
जमातहग्रह
रखे
क - - - - - -
▼52
75 74 73 72 71footprint 70 69 68 67
रमा
जसअहह
कमा
र अचगु
तदखे
रललो
क आर णदखे
रललो
क अनतप्रमा
णह
त बलो
धकखे ××व सहसमा
रदखे
रललो
क शगु
क्रदखे
रललो
कह अव नषसगु
षसमा
गर तमा
मसअहह
कमा
र
▼2 दखे
रललो
क जहरल× (१) ▼16
56 57 58 59 60 61footprint 62 63 64 65 66
रहममानह
कखे
वहतर सलो
धमर्वा
दखे
रललो
क अरकृ
तदलो
षषखे
त्र इसमा
नखे
द्र असहजमहदलो
ष त्रह
ललो
क×व सनतकगु
ममा
र ममा
हखे
द्रदखे
रललो
क (व्र)मलमा
ह
तक व
ररखे
क ▲68 समा
मनह(क) (दखे
)र
जलो तषहपह
च (१) ▼21 ▼41 जह र।लमा ष दखे
रललो
क दखे
रललोक ५भरनप(तह )
प्रकमा
रछह (जलोज)न अन ह
तदखे
रललो
रमा
कसषत्र
खे
55 54 53 52 51footprint 50 49 48 47footprint
भमा
रवरबबू
ध दमा
नप्रकमा
ह र▲72 नरभखे
दखे
व्रमचयर्वा परद्रलो
ह वतमज(षखे )× पहचममा हमा
व्रतसगु
भ ३गण गुरकृ
त ७व रसन▼11 १२भखेदखे
तपसगुभ
(ल)कजलो ग क्रकी
यमाकखे
रल- भमा
र▲top#6
कखे
(रलङ ) गमा ह
नह▲top#6
38 39 40 41 42footprint 43 44 45 46footprint
जह नपगु
जमादह८ नह
ललखे
समा कमा
पलो
तलखे
समा तखे
जलोलखे
समा वरसल(षखे )×लक शगु
भव तयर्वा
च धमर्वा
धमा नह▲50 (ककृ
ह ष) ××▼9 पद्मलखे
समा
(प्र)चर कखे
(ब्रम) (ललो
)क भवर ह
न
37 36 35 34 33footprint 32 31 30 29footprint
सह
ररभमा
र २०००००बखे
रखे
द्रह २०००००सह
जह ४०००००सहजह व
रगलहें
(द्रह
) षखे
त्र सगु
भमा
सगु
भसत सगु
भमा
सगु
भउदह
रण सगु
भमा
सगु
भ धममा
र
र्वा
मा
धन
तखे
रखे
द्रह चलो
रखे
द्रह
20footprint 21 22 23 24footprint 25 26 27 28footprint
उपसमयलो ग ७लमा
षइतमा
र ७लकप्रररह
(र) ७लकअपकमा
य ७समा र(र ) ×गम ७लकतखे
उकमा
य ७लकयलो
नहरमा
यगु१(०) लकप्रतखे
क शगु
भकमर्वा :
नह
गलो
द कमा
य कमा
य रनस्पवतकमा
य Add. text #1
footprint footprint
19 18 17 16 15 14 13 12 11
सनह तकगुममा
र नमा
गकगुममा
र महथमा
त्व भखे
द उदसधकगु
ह
ममा
रदह
प- अगहकगु
ममा
र रमा
ररजहरस सगु
रणर्वा
कगु (ममा
)र रहरर
मा
हमा
ररमा
सह
रमा
यगु
कगु
हममा
र (दह)शहकगु
हममा
र ▼1 कगु
ममार व
रदगु
तकगु
ममा
र सह तह▼8 असगु
रकगु
हममार
2footprint 3 4 5 6footprint 7 8 9 10
लकजलो जमाननमा
र क्रलो
ध अनगु
तमा
नबह
धहयलो अगमा
ह
नमलो
ह परममा धमा
(मह ) गमा
ह
नमहशशह
भ
गु मछह
छर ममा
ह
न ममा
यमा
ललो
भ (गह
गु
)णठमा ह
णखे१। पर ह
णमा
ह
म▲44
२।३।जखे ×ठमा
ह
णखे
चढखे:
1footprint
७लकनह गलो
द
Add. text #2
अन हतकमा ल
थ
सतह

Additional Text
Add. text #1 [see Appendix E2, verse #1a]

शहर
ह
म(ज) इव
तगमा
नबमा
ह जहसह
पबू
णर्यं
:॥रहदमा
॥शह

Illustrious Rāmajī! Thus gyān bājī is completed. Knowledge! Prosperity!

Add. text #2
॥§0॥सरइयलौ
॥२३॥

Bhale! Savaiyā verse (with) 23 (syllables per line):

लकचलो
र
मा
सहयभ्रमममा
हमान(र) नमा
व
ड़पतन(य)×(म) सखे
तमा
जह
चलो
पटसखे
त्र
हगु
जककीकहमार
मा
मतएकअनमा
ह सहतव्रह्म ककीममा
जह
बमा
जहर
महें
तसक्रलो
धसमहें
भव रमलो
हनकलोदह
लहलो
तहखे
र
मा
जह
पमा
पघटमा
र
णमलो
×(व
र)ड़मा
र
णगमा
नरधमा
ह र
णगमा
नककीबमा
ह जह१

451
Ja84#41 (on sale at Piquet Auction House, Geneva, Switzerland, 14 Dec, 2016)

top sq. 5
५
२ top sq. 3 ३
footprint

४
top sq. 2 top sq. 1 top sq. 4
२वरजह यहत footprint
३अप्रमा
स
ज
१रजय
76 77 78 79 80footprint 81footprint 82 83 84
ममा
हमलो
हनहकमर्वा भद्रग्रह
रखे
क१ सगु
भद्रग्रह
रखे
क२ सगु
जमातग्रह
रखे
क३ कमा
यकसमक्ति (सगु
)मनसग्रह रखे
क सगु
दशर्वा
णग्रहरखे
क५ अमलोहग्रह
रखेक जसलो
धरग्रह
रखे
क९
▼60 ६ पह
यदह
शणग्रहरखे
क सगु
प्रव
तबद्धिग्रह
रखे
क
६ ८
Add. text #1
75 74 73 74 [72] 73 [71]footprint 72 [70]footprint 69 71 [69] 68 70 [68] 67
ककृ
ष लखे
समा▼2 नह
ललखे
समा▼21 पह
चवरषयसखे
रमा ४ललोकपमाल अनह रकृ
सत्तकरण महमहलो द× यसग्रमा
हह सगु
रवतबद्धिभव
क्ति बमा
लतपस्वह
उपसमशखे सण भवमाभवमाजह र कमा
रक ▼16
कयकशखे सण
56 57 58 59 60 61footprint 62footprint 63 64 65 68 [66]
सगु
धमर्वा
दखे
रललो
क१ इशमा
नदखे
रललो
क२ ×नहतकगु
(ममा
)र३ ममा
हद्र
खेदखे
रललो
क४ असहयमह५ व्रह्मदखे
रललो क५ लतकदखे रललो क६ शगु
क्रदखे
रललो
क७ सहसमारदखे
रललो
क अणह तदखे
रललो
क९ आर (ण्य)
▲top#1 ▼41 ८ (प्रमा
)णतदखे
रललो
क दखे
रललोक१ १
१०▲68 अचगुतदखेरललो
क
footprint footprint १२
55 54 53 52 51 50 49 48 47
१४पबू
रर्वा
धमा र
क २लमा
षबखे
बहें
रहें
द्रह २लमाषतखे
रहें
द्रह२ परद्रलो
ह अपबू रर्वा
कर ण )क्ललखे
(शगु समा मध पर रणमा
मह समा
तवसन कयलो पसमहक
लमा
षचलो
रहें
द्रह (▲top#5) ▼10 ▲80
38 39 40 41 42footprint 43footprint 44 45 46
व
रदममानमा
ह(ड़
र्वाह
भ) सह
जहप ह
चहें
द्रह रगु
लप्रमा
तरमा
चक पद्मलखे
समा अप्रमत्तगगु
णठमा
णलोतह(न) गगु
णरकृत्त उपसहतमलो
ह जहरवहमा▼9
हस अनहरकृ
सत्तकर
ण
व
क्ति मन(...) गगु
णठमा
णलो
(▲50)
37 36 35 34 33footprint 32footprint 31 30 29
आशरर लो
धक तज
खेलोलखे
समा ७लमाषप्रतखे
क ७लमा
षरमा
उकमा
य प्रमत्तगगु
णठमा
णलो (समा
)धगुसखे
रमा शगु
भमा
शगु
भमासत धममा
र
र्वा
मा
धनखे
छमा अ(पगु
)रर्वा
(क)र ण
सह
ररमा
त्मक रनस्पतह सरर्वा
रककी शगु
(धमा)रमा
धक
महमा रकृ
त्तर
मा
धक॥
20 21 22 23 24footprint 25footprint 26 27 28
भमा
रसमा
धगु
गु द्रव ७लमा(ष) बमा
दर ७लमा
षअपकमा
य ७तउखेकमा
य दखे
सरकृसत्त (दखे
स) रककी सदमाशगु
भ पबू
ण्य प्रककृ
४२ य(रमा
)रकृ
वत-
सनपरर
ग्रहह पकृ
(थह ) कमा
य गगु
णठमाणलोशमा रककीवरषयतमा गह पर
र णमा
मह सगु
भलोदय क(रण)
रकृ
त
19 18 17 16 15footprint 14footprint 13 12 11
असगु
रकगु
ममा
रनमा
ग नमा
गकगु
ममार स
मत्वमा
त्व व
रदगु
तगु
ममा
रमह श अरकृसत्तसमक्ति अव गकगु ममार मह
रगु
नसखे
रमा▼8 अप्रतमा
ख मा
नह अप्रतमा
(ख मान
)व
कगु
ममार गगु
णठमाणलो▼1 गगु
णठमा
णलोप्रममा
दह गगु
णठमाणलोकमा ल ममा
यमापर
वरषह ×न Add. text #2
व
स्
छव त६६समा गर
स
धकठमाअतमगु हुत्तर्वा
:व
स्
छव त
2footprint 3 4 5 6footprint 7footprint 8 9 10
४लमा षयलो न)
(व सहजहव तयर्यं
च परममा
धमा
मह बमा
दररनस्पवत व दसकगु ममा रपरन उ(प)समशखे सण अन ह
तमा
नगु
बह
धह अन ह
तमा
नबह
धह अप्रतमा(ख मान
)व
नमा
रककी पह
चहें
द्रहवतव्र कमा
यसह जहप
हचहें
द्रह कगु
ममारस्तव नत व
रशगुधपर र मह ममा
णमा यमा क्रलो
ध (क्रलो
)ध
कषमाय: मनगु
ष्य कगु
ममारगगुणठमाणलो ▲44
४
1footprint footprint footprint

असह जहव तयर्यं

च बमा
दरव नगलो
द सगु
कमव नगलो
द
पह
चहें
द्रह
य वरहमा ररमा
स
श ऽव(र)हमा ररमा
स
श
वमाघमावदक यक्ति
गु अन ह
तकमाल सहयगु
क्ति अनह
त Add. text #3
कमाय(वस्
छ)वत कमालकमा य
वस्
छव तऽ वरहमार
रमा
स
शनहअन ह
तमा
नह

452
Additional Text
Add. text #1
[a few illegible words written in Gujarati(?) script]492

Add. text #2
[a few illegible words written in Gujarati script]493

Add. text #3
॥लषचलो
र
मा
सहयभ्रममहमानरनमा
र
र(प)त्तनजतनसहें
तमाजह
चलो
पटसहें
त्रगु
जककीकहमार
मा
मव
ह तएहअ(नमा
म)तव्रह्मककीममा
जह
बमा
जहर
(महें
) तसक्रलो
धसमहें
भरममा
ह
नभमखे
व
दलहलो
लहलो
तहत
रमा
जह
पमा
पघटमा
र
णनमलो
हवरड़मा
र
नगमा
नर×र
ह णगमा
नककीबमा
ह जह

[see Appendix E2, verse #1a]

सगु
द(र)जहर(खगु
)तचह
द494

Sundarjī Vakhut Cand.

492 Written in red ink in a different hand.

493 Written in pencil(?) in a different hand.
494 Written in a different hand. Possibly the name of a previous owner
of the chart.

453
Ja84#42 (sold at Christie's, New York, 22 Mar, 2011)
NB! Avagrahas (ऽ) substituting for daṇḍas (।) in sqs. 64 and 76 have been transcribed as such (cf. the related Ja84#1).

top sq. 6
मगु
(वक्ति) कखे
त्र४५
लमा ष×जन
प्रममा
ह
ण
top sq. 5
स(रमा
र)स
र्वा
र्वाह
ध
(रह
)ममान३३
समा
गरआ(यगु )
top sq. 2 top sq. 3 top sq. 4
अपर मा
जहत वरजय ह
तरह ममा
न जयहतरह ममान३२
रहममा
ह
न३२समागर ३२समागरआयगु समा गरआय॥ गु३॥
आयगु४
top sq. 1
रहजयव रममाह
न३२
समा
गरप्रममा
ण॥
१॥
76 77) ×दसन 78 79 80footprint 81 82 83 84
मलो
हनहकमर्वा
उदय ग्रह
रखे
क२१समा गर सगु
प्रव
तष२जघ ह
न मनलोर
मव ग्ररखे
क सररभद्रजय ह
त सलो
मनसग्रहरखे
क सगु
ममा
नसग्रहरखे
क वप्रयह
करव ग्ररखे
कज न हदहकरव ग्ररखे
कज
७०कमाह
डमा
कलो
ड २२समा गरउतकृषह२३समा गरउतकृषलोजघ॰२४ २५समा गरउ। ज२७उ२८ ज२८उ।२९ २९उ॰३३ ३०समा गरउतकृ षलो
समा
गर॥३तह न थसव तजमा णरह १
ह ४समा गरमा
लो
पम समा गर
लो
पमउतकृ २(६) समागर समा
गरप्रममा
ह
ण समा
गरप्रममा
ह
ण(॥) समा गरलो
पमप्रममाह
ण ३(६) समागर
बमा
ह
धखे
▼59 जह (रनह) दखे
रतमानह
गु २५समा
गर लो
पम प्रममा
ह
ण
75 74 73 72 71footprint 70 69 68 67
रमा
जस अहह कमा
र ऽचगु
तदखे
रललोक आर णदखे
रललोक आन(नह ) प्रमा
णतदखे
ह रललोक सहसमारदखे
रललो
क शगु
क्रदखे
रललो
क७ असभषमनर ह
छङत अन ह
गु
तमा
ह
नह
गु
बह
धहनगु
अषमदग्रमा
हक १२मह
गु
समा
गरलो
पम ११रमहगु
समा
गर दखे रललो
क१ ०म
हगु (१ ५) मह
गु
भव (८) मह
गु
समा
गर१७ ह
(म)गुज॰१४ दखे
रमा
नह
गु
भरहसगु
ष क्रलो
धअहहकमा
रह
▼2 २२ रहसनह
गु
आयगुयमा
ह
धखेसमा
गर१९आयगु अभव दक्ष्य उतह १
८समा गर उतकृ षसमा
(ग)र समा
गरआयगु हलोयउपरखे
उ(रमा )धर्वा (१७) ▼16

56 57 58 59 60 61footprint 62 63 64 65 66
त्रह
गवतपर
रणमा
महें धमर्वा
दखे
रललो
क अरर वत सह
जमव रर मा
धक इसमा
ह
नदखे
रललो
क दखे
रललो
कदखे रमानह
गु सन ह
तकगु
ह
ममार ममा
हहें
द्रदखे
रललो
क १ १।१ २म ह
गु व
ररखे
ककीदसव रध व
तजर्वा
गतह लखे
रमा
रह ममा
नकजलो
तककीसमा गर××आय: प्रतमा
ष्यमा
नहव रर
वह सजमह(रद्र) समा
गरआयबू पगु
रहभव दकजह र दखे
रललो
कखेजघन व्रह्मदखे
रललो
क७ ग ह
ण
गुरमा
ह
नक ×पक व
रनयकत्तमा
र्वा सममा
नहकदखे
रतमा
वह तरकपमा
ट दलोषजगु क्ति ▼21 (भर) ग्रमा
हक सह
जमहसर र प्रव
तबलो
सधषत्रखेछखे समा
गर२आयगु ३। समा
गरपमा चमहें शखे
ह णहकर खे ▲68 भरनपतहजलोतषह
▼40 रनहतजहर (▲top#5) समा
तसमागरआयगु समा
तसमा गरआयगु चरपमा
ठ

55 54 53 52 51footprint 50 49 48 47
दशररतहर हखे
तमा सगु
भभमारनमा नरव रधभ्रह
ह्मव्रत परद्रलौस
चतक२५ मनहगु
षष्यहत्रतखे
ममा
हखेपह
चव्रतपमा लक मलो हमा
व
दकग
हण
गु समा
तरसन बमा
रखे
भखे
दखे
सजनभक्ति कमा
र
क बमारमहसह
लरहत पमा
लकसह कमा व्रत ×रहयमा चउदलमा भहें(धह) महमा व्रतशगु
क्ल अशगु
भधमा
ह
नह (सखे
रह)त तपसमा नलोधणहतखे
व
रनमा धमा
रकपमा
च
ह यखे
कर हमगह
ध गगु
णठमाह
णमा१ ४ लखे
समाकखे रलममा गर्वाजहर आ(चमार) शगु
धसह जमहमलो
क्ष्य
अणगु
तररहममा ह
न सरह रतहलष् दह मलो क्ष्य गमा
मह ×षन ह
द(क) गमा
ह
महजह र
गगु
ण२८ ०४ ▲61 (जह)रछखे॥ ▲top#1
पमा
लक ▼10
38 39 40 41 42footprint 43 44 45 46
जहनममारग नहललखे
समा
रह
त कमा
पलोतलखे
समा तखे
जगुलखे
समा मनहगु
षषखेत्रतखे
ममा
ह शगुभतह यर्यं
चभव धरम ककृ
ष लखेसमा धरमआरमा
धन
अगह यमा
र
महपडह कठलोरकरमह भरनपतह भरनपतह चउदलमा भहें प्रमा
ह
णहव्रतग्रमा
हक धमाह
(...)तमह(...) अशगु
भप्रणमा
ह
मह पदमलखे
समाशभ
गु
ममा
नलो
रहणमा
र ऽ(ऽ)ठकमर्वा दखे
रतमानहगतह दखे
रतमानहगतह सह
जमहधह ह
(नगु
) (स)ममा समा
तममानरकखे
गछखे
जहरसगुभगतह मल
खेक दखे
नमा
रह(१)३ दखे
नमा
रह गह
ण
गुठमा
ह
णमा१ ४ गह
ण
गुठमाह
णमान
हगु
▲50 ▼9
▲80 स(बखे
) ३नलो लकग हगु
२८८४
मखे
लणहमा र पमा
लक
37 36 35) बखे
लषजलो नह34) बखे
लमा
ष 33footprint 32 31 30 29
आशरनलोमखेलण बखे
लमा षजलो नह सह
गनहबखेर
हद्रह जलो
नहबहें
बखे
रह
द्रह रहगलहें
द्रहषखे
त्रनलो शगुभअशगुभ सगु
भअशगु भ कमर्वा
प्रककृ
तह करह सह
ररममा
गरसह
तलो
×
हमा
रअरकृतह चलो
र ह
द्रह९
००००० ८००००० स(नह) ७००००० धणहपमा चममा
ह प्रककृ
तह७(भखे
)दखे कमर्वा
नलोउदमा
र
ह सगु
भ(अ)×भ जहरशगु
भगतह
गह
ण
गुनलोधणह लक्ष्य कलो
ड़ह कगु
लकलो
डह कगु
लकलो डहजह र गगु
णठमाह
णमा जमा य(जह)र जहर कर (म)(...) जह
र धमा
रक
20 21 22 23 24footprint 25 26 27 28
उपसमजलोगह ७लमा षनह गलो
द ७लमा षप्रररह समा तलमा षऽ प रमा
र(र ) (पमाच)नलो७लमा
ह षरमा उकमा
य ७लमा षतखेउकमा य दसलमाषप्रतखे
क दसलमा ष
ऽनलह
गहभमा
षखे
तखे गलोलमा
नमाजहर जह रप्रममा
दहजह र कमा यतखे अप्रजमा
प्तिमा(सखे
) भ(व) मनहगु
क्ष्य गतह (भमा) तहयर्यं
चगतह रनस्पतह(कमा )य कगु
लकलो डह
जहररमा
ररमहें
×डखेकलो
इकमालखे
भव प्रममा
दहमन हगु
ष्य प्रतखेमनहगु
ष्य गतह अभव र मा
सह अप्रमा
प्तिह
क ममा
हप्रजमा
प्तिमाजहर (कगु)लकलो
डहजहर रनस्पतहममा
ह
जह रनर गगमा मह गह
ण
गुठमा
ह
णमा३लमा भखे मनगु
कगतहप्रमा प्ति उपरखे उपरखे
19 18 17 16 15footprint 14 13 12 11
नमा
गकगु
ह
ममा
र दह
पकगुह
ममा
रदसह महथमा त्व ५ परनकगु
ह
ममा
र नरनह कमायषखेत्र यगनकगु ह
ममा
र५ जह रससर धमा
र
हत भरनपतहऽ सगु
र२ रहरहमा
ररमा
सह
व
र(दगु हममा
)तगु र४ कगु
ह
ममार८कहपगु
ष ऽव्रतहनलोपमालक सनतकगु
ह× तखे
परव रतरषखे त्र उदधहकगु ममा
रभगु
त स्वमखे
हममा
करक सगु
रणर्वा
३पह समा
च जहरतखे
भरह क
गह
धरव रह
तर मलो
हर ग७व रह
तर महमा कमर्वा
बह
धक मा
(र)षस४व कह
नर शगु
भअशगु भ रह
जक्ष्य वतर जह र▼8 रह
व तरजह र जहर
ऽगतह ▼1 ५वरहतर
॥ जहर॥
2 3 4 5 6footprint 7 8 9 10
कमा
ह
ममलो हमछर अह नतमा
ह
नबह
धह उ अगनमा ह
तदशमा कगु
गगु
रुकगु
दखे
र प्रररहललो कखे
१५ गमाह
नखे
कर हप्रखे
म रमा
गदखे
षखे
कर ह अप्रतमा ष्यमा
नह
ह अदयमा रहतममायमा
४लमा षनमा
र ककी क्रलो
धममा
ह
(न) मदहधअरखे
रमा
र कगु
धरमपबू
जक पर ममा
धमा
ह
मह४ उपरखेभगत्वह रह
त सहह त कमाय जहरक्रलो धखे
कर ह रइकपटहममा यमा
सप्तिमहनरकखे ममायमाललो
भनर कखे रमा
सह कगु
ठसहगह लखेसमारह
त गहण
गुर
मा
सहदयमा रह
तर पह
×ड़तजह र तहयर्यं
चगतहमहें (धगु)त्तर्वा
कगु डह
नहगलो दलक्ष्य छखे ▲44 जमा
(व) प्ररुपणमा
1 Add. text #1 Add. text #1 Add. text #1 Add. text #1 Add. text #1
Add. text #1
नहगलो
द(नमाककी
)र (cont.) (cont.) (cont.) (cont.) (cont.)

454
Additional Text
Add. text #1
॥लकचलो
र
मा
सहयव्र
हह्म महमानरनमा ह
ड़हप(त)नजत
हनसहें
तमाजह
चलो
पटशह
त्र
हगु
जककीकहमार
मा
मतएहअनमा
ह मतब्र
हह्मककीबमा
जह
बमा
जहर
महें
तसक्रलौ
धसमहें
भरमहें
नभमहें
दह लहलो
यतहहें
रमा
जह
गमा
न(र)धमा
ह र
णपमा
पघटमा
(स)णमलो
हरह
ड़मा
र
णगमा
ह
नरधमा
र
णजमा
नककीबमा
ह जह॥१
॥

[see Appendix E2, verse #1a]

455
Ja84#43 (on sale at 25 Blythe Road, London, 6 Nov, 2014)
NB! Inscriptions illegible in available image reproduction.

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Additional Text
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456
Ja84#44 (on sale at 25 Blythe Road, London, 6 Nov, 2014)

top sq. 6
-
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-
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- -
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- -
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1
-

457
Ja84#45 (current location unknown)
NB! Inscriptions illegible in available image reproduction.

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[illegible]

Additional Text
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[illegible]

[illegible]

Add. text #2
[illegible]

458
Ja84#46 (Völkerkundemuseum, Heidelberg, Germany)
NB! Inscriptions illegible in available image reproduction.

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[illegible]

459
Ja84#47 (current location unknown)
NB! Inscriptions illegible in available image reproduction.

top sq. 6
footprint

[illegible]
top sq. 5
footprint

[illegible]
top sq. 2 top sq. 3 top sq. 4
footprint footprint footprint

[illegible] [illegible] [illegible]

top sq. 1
footprint

[illegible]
76 77 78 79 80footprint 81 82 83 84
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
▼59
75 74 73 72 71footprint 70 69 68 67
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
▼2 ▼18 ▼16
56 57footprint 58 59 60 61footprint 62 63 64 65 66
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
▼41 ▲top#6 ▲68
55footprint 54 53 52 51footprint 50 49 48 47footprint
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
▲80 ▲61 ▼10 ▲top#1
38footprint 39 40 41 42footprint 43 44 45 46footprint
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
▼9
37footprint 36 35 34 33footprint 32 31 30 29footprint
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
20footprint 21 22 23 24footprint 25 26 27 28footprint
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19footprint 18 17 16 15footprint 14 13 12 11
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
▼1 ▼8
2footprint 3 4 5 6footprint 7 8 9 10
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
▲50
1
[illegible]

Additional Text
Below bottom border (left)
Gyanchopar Rajasthan 18 (century?)495

Below bottom border (right)

L'attico - 1*/120 (...)496

495 Printed or stamped below the chart.

496 Handwritten, probably by the L'attico esse arte gallery in Rome,
Italy.

460
Ja84#48 (private collection, London)

top sq. 6
-
top sq. 5
footprint

-
top sq. 2 top sq. 3 top sq. 4
footprint
- -
-
top sq. 1
footprint

-
76 77 78 79 80footprint 81 82 83 84
- ▼52 - - - - - - - -
75 74 73 72 71footprint 70 69 68 67
- ▼19 - - - - - - - - ▼22
56 57 58 59 60 61footprint 62 63 64 65 66
- - - ▼21 - - ▼41 - - - - - ▲68 -
55footprint 54 53 52 51footprint 50 49 48 47footprint
- ▲80 - - - - (▲top#3) - - - ▼11 - ▲top#5
38footprint 39 40 41 42footprint 43 44 45 46footprint
- - - - - - - (▲51) - ▼12 -
37footprint 36 35 34 33footprint 32 31 30 29footprint
- - - - - - - - -
20footprint 21 22 23 24footprint 25 26 27 28footprint
- - ▼1 - - - - - (▲44) - -
19footprint 18 17 16 15footprint 14 13 12 11footprint
- - - ▼3 - - - - ▼8 - -
1 2footprint 3 4 5 6footprint 7 8 9 10footprint
Add. text #1
- - - - - - - ▲26 - - -

Additional Text
Add. text #1
सह
रत१
९०२यमा
र
मामह
वतभमा
द्ररमासगु
द८म॥गमा
नचलो
पडसरुपव
रजह
यजहर
हछह
१॥

The 8th day in the bright half of Bhādravā (i.e. Bhādoṁ) in

saṃvat 1902 (i.e. 9 Sep, 1845 CE). The gyān caupaṛ of Sarūp
Vijayjī. // 1

461
Ja84#49 (private collection, London)

top sq. 6
६×क्ति :
top sq. 5
५×रमारस
र्वा
र्वा
सद्धि
Add. text #1
top sq. 2 top sq. 3 top sq. 4
२रहजय ह
त ३(ज)य ह
त ४ऽ परमा
स
जत
top sq. 1
१(वर)जय
76 77 78 79 80footprint 81 82 83 84
म×दऽ
हहकर▼2 अह
तरतप(स्वह
) हषर्वा आर ण ×(चगु)त व
नद्रमा रमा
ग दखे
ष व(क ) तपस्वह
▼1
75 [56] 74 [75] 73 [74] 72 [73] 71 [72] 70 [71]footprint 69 [70] 68 [69] 67 [68] 66 [67] 65 [66]
(...)मर्वा
▲80 1),2)
(...) कगु
ममार (...) (...) (...) (...)(ललो
)क (...) (...) (आनत) (प्रमा
णत) इशमा
ह
न
56 [57] 57 [58] 58 [59] 59 [60] 60 [61]footprint 61 [62] 62 [63] 63 [64] 64 [65]
कगु
वरदमा▼54 जमा
न▲751) अजमान व
रनय ×तललोक अवरनय तमलो
गगु
ण रजलो
गगु
ण सत्वगगु
ण
55 54 53 52 51footprint 50 49 48 47
व
बदमा कगु
सहगव
त▼3 सह
गवत▲571) आऊषलौ (...)ललो
क अह
तरमा
य गलो
त्रकमर्वा नमा
मकमर्वा
▼43 मलो ह
हनह
38 39 40 41 42footprint 43 44 45 46
(...) (...) (...) (...) (...)ललो
क (सप्ति) (लखे
)समा (जमा णह
)(...)र दसर्वा
णमारर
णह रखे
×दनह
▼31
37 36 35 34 33footprint 32 31 30 29
कमा
यगगु
प्ति रचनगगु
प्ति मनलोगगु
प्ति तवसन▼5 (ज)×ललो
समा क समा
ल▲421) कगु
समाल▼8 तपसमा रमा
त्रहभलो
जन
▼10
20 21 22 23 24footprint 25 26 27 28
पमा
प अधमर्वा
▼2 धमर्वा
▲511) स
मथमा
तधमर्वा (भबू
ललो)क स
जरनधमर्वा
▼6 ज)नधमर्वा
(स स
कयकशखे
ण उपसमशखे
ण
▲321)
19 18 17 16 15footprint 14 13 12 11
पगु
ण्य ▲221) ममा
न ललो
भ▼4 ममा
यमा (...)क (क्रलो
ध) ▼7 (...) (...) कमा
य (...)य
2 3 4 5 6footprint 7 8 9 10
तमप्रभमा भबू
मप्रभमा पह
कप्रभमा रलबू
कप्रभमा (स)×करप्र(भमा
) रत्नप्रभमा पकृ
थहकमा
य अप्प कमा
य तखे
उकमा
य
1
Add. text #2
तमतमप्रभमा

1) Red snake; 2) Unclear whether the red snake originates in sq. 74 or 75

Additional Text
Add. text #1
Bhuj 150,- € I14497

Add. text #2
॥जमा
नककीरमा
जहर
मलोस
चतलमा
यकह
एहअनमा
(...) व्रह्मककीममा
जह॥
पमा
पघट
हअरुममा
नबधह
एहर
ममाव
दलहलो
तवहर
मा
जह:॥
बमा
यघटमा
र
णपगु
ण्य बधमा
र
णजमा
नरधमा
र
णजमा
×ककीबमा
जह॥१
॥

[see Appendix E2, verse #1a]

जतहजयकल्यमा
णवलषत
ह:॥

Drawn by yati (i.e. mendicant) Jay Kalyāṇ.

Back of chart
[filled with undeciphered handwriting]498

497 Written in soft pencil in a different hand (cf. Va72#17,18).

498 Written in a different hand, indicating that the chart was drawn on
re-used paper.

462
Ja84#50 (on sale at Sotheby's, London, 16-17 Feb, 1981)
NB! Inscriptions illegible in available image reproduction.

top sq. 7
[illegible]
top sq. 6
[illegible]
top sq. 5
-
top sq. 2 top sq. 3 top sq. 4
[illegible] [illegible] [illegible]
top sq. 1
[illegible]
76 77 78 79 80 81 82 83 84 row title #9
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
▼52
75 74 73 72 71 70 69 68 67 66
56 [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
[illegible] ▼2 ▼16
57 58 59 60 61 62 63 64 65
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
(▲80) ▼21 ▼41 ▲68
55 54 53 52 51 50 49 48 47
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
▲80 ▲top#51) ▼12 ▲top#1
38 39 40 41 42 43 44 45 46
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
▲50 ▼9
37 36 35 34 33 32 31 30 29 row title #4
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
20 21 22 23 24 25 26 27 28 row title #3
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
19 18 17 16 15 14 13 12 11 row title #2
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
▼1 ▼8
2 3 4 5 6 7 8 9 10 row title #1
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
▲44
1 [illegible]
Add. text #1
[illegible]

1) A second line leads up to top sq. 1, but appears fainter and slightly smeared.

Additional Text
Add. text #1
[illegible]499

499 The colophon names the artist as Gyān Cand and dates the chart to
VS 1937 (1880/81 CE) according to Topsfield who presumably had
access to a higher resolution image of the chart (1985: 208, no. 13).

463
Ja84#51 (current location unknown)
NB! Inscriptions illegible in available image reproduction.

top sq. 6
[illegible]
top sq. 5
[illegible]
top sq. 2 top sq. 3 top sq. 4
[illegible] [illegible] [illegible]
top sq. 1
[illegible]
76 77 78 79 80 81 82 83 84
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
▼52
75 74 73 72 71 70 69 68 67
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
▼20 ▼5
57 58 59 60 61 62 63 64 65
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
▼36 ▼41 ▲68
55 54 53 52 51 50 49 48 47
56 66
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
[illegible] [illegible]
▲80 ▲top#6 ▼10 ▲top#1
38 39 40 41 42 43 44 45 46
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
▲50 ▼12
37 36 35 34 33 32 31 30 29
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
20 21 22 23 24 25 26 27 28
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
19 18 17 16 15 14 13 12 11
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
▼1 ▼9
2 3 4 5 6 7 8 9 10
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
▲44
1
[illegible]

464
Ja84#52 (current location unknown)
NB! Only the bottom left quarter of the chart is available; the remaining parts have been reconstructed on the basis of similar known charts.

top sqs.
[n/a]
76 77 78 79 80 81 82 83 84
[n/a] [n/a] [n/a] [n/a] [n/a] [n/a] [n/a] [n/a] [n/a]
75 74 73 72 71 70 69 68 67
[n/a] [n/a] [n/a] [n/a] [n/a] [n/a] [n/a] [n/a] [n/a]
56 57 58 59 60 61 62 63 64 65 66
[n/a] [n/a] [n/a] [n/a] [n/a] [n/a] [n/a] [n/a] [n/a] [n/a] [n/a]
55 54 53 52 51 50 49 48 47
[n/a] [n/a] [n/a] [n/a] [n/a] [n/a] [n/a] [n/a] [n/a]
38 39 40 41 42footprint 43 44 45 46
॥स जनपबू जमा ॥नह ल(लखे)समा (॥) (कमापलो
त) ॥(तखे
जगु श्यमा: ॥×(यमा
) लखे क) (षखे)त्र शगु
(...)मह: [n/a] [n/a] [n/a]
भक्तिकी८प्रकमा
र
खे मठखे
प्रमा
णमा
म (लखे)समादगु
ष ४लमाषयलो (वन) :
ऽशभणः ॥ प्रणमा
मह सह
यलो
गहकखे रलङ:
×णठमाणलो:
37 36 35 34 32 [33]footprint 32 31 30 29
॥आशर५प ह
चह ॥सव नचलो
द्रह२ ॥सव नतखे
रह
द्रह२ ॥सव नरखे
(द्रह
) २ ×(रह यह
)द्रहषखे
(त्र) ॥शभ
गुमा
(...) [n/a] [n/a] [n/a]
रलो
धनसह
रर: लमा
षयलो
व
न: लमा
षयलो
नह:॥ रखे
लमा
षयलो
व
न: (उ)पसम१ १
×नप्र×गगु
ण
20 21 22 23 24footprint 25 26 27 28
॥उपसमयलो
ग: ॥समात७लमा
ष ॥सत७लमा ष ॥समा ष ॥(पमा
त७लमा च) ५
ह ॥समात(...)ष [n/a] [n/a] [n/a]
यलो
व
नइत× यलो
व
नप्रररहकमा
य यलो
व
न(अ)पकमा
य रमा
ररषखे(त्र) यलो
व
न(...)उकमा
य
नह
गलोद गगु
णसमा न९
19 18 17 16 15footprint 14 13 12 11
××कबूममा
र१ स(नमा
)कगु
ममार ॥प हचस
मथत ॥॥उदधह ॥(तमा)नकयष ह
त्र ॥अ(...)ममा र(४) [n/a] [n/a] [n/a]
(रमा
)ऊ(कगु
मर) ९ दह
सहकबूमर(७) ५८××( दलो
ष) कगु
ममार६दह प गगु
णठमाणलो (...)ममा
र(...)
कखे
त्र▼1 कगु
ममार(५)
2 3 4 5 6footprint 7 8 9 10
(अ)नहतमा
नह
गु
- अन ह
तमा
न
हगु
बह
धहयलो अजमान अजमानमलो
ह ॥धर मधमा न ॥(...) [n/a] [n/a] [n/a]
(बह
)धह (म) क्रलो
यलोकमा ध अगु
नतमा
न
हगु
बह
धह अहनतमा
नगु
रह
धह गगु
णमह (स्र) शगु
(...)णमा
(...)
(लमा
ष) यलो
नह ललो
भ (ममा
ऽ)य गगु
(णस) ×सस× ▲?
नमा
र(क) ×इ गगु
ण(२) मह थत
×पर ममाधमामह
गगु
णठमा णलो
1 (सगु
क्ष्म) व
नगलो
(द)
बमा
दर(व
न)गलो
द१

Additional Text
[n/a]

465
Ja84#53 (private collection, Munich, Germany)

ॐ नमणः ॐ ॐ ॐ ॐ
स
सद्धिखे
भलो स
सद्धिखे
भलो स
सद्धिखे
भलो स
सद्धिखे
भलो स
सद्धिखे
भलो
नमणः नमणः न(मणः) नमणः नमणः
top sq. 6
मगु
वक्ति स
सलमाकखे
त्रस मा
व
टक(मइ) छह
पह
तमा
लङसलमा षयलो
यन
लमा
बहचलो
ह डह८आठयलो जनजमा
डहछहकलो
रमा
ह
ममा
ह
षहककी
पमा
(ष) सममा ह
नछह ×तलङछहवतहउपररस
सद्धिकखे
त्रछह
top sq. 5
××य×
top sq. 2 top sq. 3 top sq. 4
रह
जय ह
त२ स(द्धि) ×
(...)स जयहत३
top sq. 1
अपर मा
स
ज(१ )
row title #9 76 77 78 79 80footprint 81 82 83 84
नरग्रह
रखे
यक मलो
हनह भद खे
ग्रह
रखे
क शगु
भमा
दखे
ग्रह
रखे
क सगु
जमातग्रह
रखे
क ×(म)नसग्रह रखे
क सगु
दशर्वा
नग्रहरखे
यक अमलो
घग्रह
रखे
यक सगु
प्रव
तषग्रह
रखे
यक यसलो
धरग्रह
रखे
यक
कमर्लो
दयमा
तह▼52
row title #8 75 74 73 72 71footprint 70 69 68 67
दखे
रललो
कदमा र रमा
जसमाअहह
कमा
र अचगु
तदखे
रललो
क आर णदखे
रललो
क आणतप्रमा
णत (कखे
त्र) सहशमा
रदखे
रललो
क शगु
क्रदखे
रललो
क असभषससद्धि तमा
मसमाअहह
कमा
र
पमा
पमा
तह▼2 दखे
रललो
क (भ)वमा भव समा
गरदखे
रललोक दखे
रललो
क▼16
(जह)रदखेरललोक
56 57 58 59 60 61footprint 62 63 64 65 66
अहतरह
क सलौ
धरर्वा
दखे
रललो
क अव्रतदलो
ष(कखे
त्र) ईसमा
नदखे
रललो
क असहममा
वददलो
ष कखे
त्र×वमाभ(व) सनतगु
ममा
र ममा
हहें
द्रदखे
रललो
क व्रह्मव्रह्मलो
तर वररखे
कभमारशखे
णहअहतर ह
ककखे (त्र)
दखे
र(ललो
)क ▼21 पमा
पमा
तह▼41 (...) दखे
रललो
क (दखेरललो क) (चढह
) ▲68 जलो
वतषमादखे
रललो क
row title #6 55 54 53 52 51footprint 50 49 48 47
मनगु
ष्य कखे
त्रदमा
र दसवरधधमर्वा पह
चप्रकमा
ररमा
रर चमारस
सष्यव्रत परद्रलो
हसचतरन म(नगु
ष्य) कखेत्र पमा
चममा
ह व्रतशगु
क्ल धमाह
नगगु
णव्रत सप्तिरसनसखे रन रमा
रमाप्रकमा रतप
वबनयभमा
रनमा
ह ककीरष्यमा पमा
पकमा र
ण समा
धभव जह र धमा ह
नकखेरलगमा ह
न पमा
पमातहनकर्वा
गमन शगु
द्धिसह यम
अ(यलो)गह मगु
वक्ति शखे
सण ▼10 समक्ति
गगु
णटमाह
ण (▲top#6) सरमा रस
र्वा
र्वा
सस द्धिशखे
णह
▲top#3
row title #5 38 39 40 41 42footprint 43 44 45 46footprint
वतयर्यं
चकखे त्रदमा
र स
जनपबू
जमाभव
क्ति नह
ललखे
समा कमा
पलो
तलखे
समा तखे
जलखे
समा तयर्यं
(व च) कखे त्र शगु
भव तयर्यं
चभद्र धमर्वा
धमा ह
नककी ककृ
ष लखेसमा पद्मलखे
समा
भमा
र▲80 स(यलो
गह )व तकखे परणमा
ह
स
म शखे
णह(▲50) पमा
पमा
तह▼9
गगु
ण×ण
row title #4 37footprint 36 35 34 33footprint 32 31 30 29footprint
वरकलहें
व र आशरव
द्रयदमा नर लो
ध दलो
यलमा ह
षचलो
र
हद्रह दलो
यलमा
षतहें
द्रह दलो
यलमा
षबहें
द्रह व
ब(कलहें)वद्र शगु
भमा
शगु
भसमतमा शगु
भमा
सगु
भउदह
णमा
र्वाशगु
भमा
शगु
भउदय धमर्वा
धमा ह
नइछमा
करहसहररधमा रह यलो
व
न यलो
व
न यलो
व
न गगु
ण×ण पर
रणमा म
row title #3 20footprint 21 22 23 24footprint 25 26 27 28footprint
रमा
ररकखे
त्रदमा
र उपसमयलो ग समा
तलमा
षरमा
दर समा
तलमा
षयलो
यन समा
तलमा
षअप रमा
(र)रकखे त्र समा
तलमा
षतउ
खे समा
तलमाषयलो
व
न प्रतखे
करनमा
स्पतह शगु
भकरर्वा
व
नगलो
द यलो
व
नपकृ
थहकमाय कमा
ययलो
नह गगु
णटमाण कमा
ययलो
व
न रमा
यगु
कमा
य दसलमा ष
row title #2 19 18 17 16 15footprint 14 13 12 11
दशवनकमा यदमा
र नमा
गकगु
ममा
ररमा
यगु (रवन)तकगु
ममा
र पह
चस मथमा
त उदसधकगु
ममा प द(...)यकखे
रदह (त्र) अवगकगु
ममा
र परह
जह रबद्धिदमा
र सगु
रणर्वा
कगु ममा
र वरहमा
ररमा
स
स
कगु
ममार वदगहकगु
ममार दलो
षमा
तह▼1 कगु
ममार (...)(टमा
)ण व
रदगु
तगु
ममा
र पमा
पमा
तह▼8
row title #1 2 3 4 5 6footprint 7 8 9 10
नरकदमार ४लमाषनमारककी अनगुतमा
नगु
रह
धह अनगु
तमा
नगु
बह
धह अजमानमलो
ह पन(र मा
ह
) अजमा
नस मशशगु
भ मचरभमा र अनगु
तमा
नगु
बधहममा
ह
न अजमानकपट
दमा
रपमा
पमा
मा
तह क्रलो
धपमा
पमा
तह ललो
भपमा
पमा
तह पमा
पमा
तह परममाधमाह
मह परणमा
ममा
तह▲44 पमा
पमा
तह पमा
पमा
तह अह
नगु
तमा
नगु
रधह
ममा
यमापमा
पमा
तह
1 व
नगलो
दगलो
लक
Add. text #1
व
नगलो
दगलो
लक

466
Additional Text
Above top border (left)
॥शह
॥१(फबू
)लहजमा
र
ह२गगु
लटहरडलो
500
३गगु
ल(भगु
)ररलो

Prosperity! 1. The thousand-petaled flower. 2. The rose (of

ṭīr?). 3. The rose (of the earth?).

॥शहसह
षखे
स्वर
मा
यनणः
॥

Salutation to the illustrious Śaṅkheśvara!501

Add. text #1
घट
हनर
मा
स
सवनगलो
दककीबधह
नससधअन
हत
एजखे
तमाकमातखे
तमार
हहएस
जनरचनकहह
त१

[see Appendix E2, verse #12]

Back of chart
गमा
नचलौ
पड़502

Gyān caupaṛ.

॥शहसह
तन(र)जह

The illustrious sant Nāthajī!

[two lines of undeciphered writing]503

500 Read: ro?

501 I.e. the Jaina spiritual teacher Pārśvanātha.
502 Inscription enclosed by a star at either end.
503 Written in a different hand.

467
Ja84#54 (on sale at Mallams Auctioneers, UK, 27-28 Apr, 2016)
NB! Inscriptions illegible in available image reproduction.

top top top top top

sq. 7 sq. 8 sq. 9 sq. 10 sq. 11
[illegi- [illegi- [illegi- [illegi- [illegi-
ble] ble] ble] ble] ble]
top sq. 6
[illegible]
top sq. 5
[illegible]
top sq. 2 top sq. 3 top sq. 4
[illegible] [illegible] [illegible]
top sq. 1
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[illegible]
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▼18 ▼41 ▲68
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[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
(▲top#6) ▼10 ▲top#3
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[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
(▲50) ▼9
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[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
▼1 ▼8
row title #1 2 3 4 5 6footprint 7 8 9 10
[illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible] [illegible]
▲44
[1] [illegible]
Add. text #1
[illegible]

Additional Text
Add. text #1
[illegible]

468
Ja84#55 (private collection, Munich, Germany)

top sq. 6
अजर्वा
न
गुस्व(हह
मयह
) ॐ मगु
क्तिकीकखे
त्र४५००००
top sq. 5
५सरमारस
र्वा
र्वा
सद्धि
वरममा
नसमा गर३३
top sq. 2 top sq. 3 top sq. 4
२वरजय हत ४अपर मा
स
जत ३जय हत
समा
गर३२ समा
गर३२ समा
गर३२
ह
ॐ हह top sq. 1 ह
ॐ हह
१वरजय
समा
गर३२
76 77 78 79 80 81 82 83 84
मलो
हनहकर
म भखे
दगकृ
रखे
क१ शगु
भखे
दगकृ
रखे
क२ सगु
जमातगकृ
रखे
क३ सगुमनस४ सगु
दशर्वा
न६ अमलो
घ७ सगु
प्रव
तबह
ध८ यसलो
धरगकृ
रखे
क९
▼52 प्रह
यदर
सन
75 74 73 72 71footprint 70 69 68 67
रमा
जचखे
अहह र अचगु
कमा तदखे
रललो
क आर णदखे
र(॰)१
१ प्रमा
णतदखे
रललो
क दखे
रललोकषत्रखे सहसमा
रदखे
रललो
क शगु
क्रदखे
रललो
क७ अवनषसगु
षसमा
गर तमा
मसअहह
कमा
र
▼2 आन हतदखे
रललो
क भ(वमा भ)व ▼16
जहर
56 57 58 59 60 61footprint 62 63 64 65 66
व
रममा
व
नक१ सलो
धमर्वा
दखे
रललो
क१ अररव
तकखे
त्रदलो
ष ईशमा
नदखे
रललो
क असहजमषत्र
खे दखे
रललोककखे त्र सनतकगु
ममा
र ममा
हहें
द्रदखे
रललो
क व्रह्मदखे
रललो
क व
ररखे
क ▲68 समा
ममा
नद खे
रतमा४
वह
रतर९जलो
तषह ▼36 ▼41 भवमाभव जह र दखे
रललो
क३ भरनपव तपमा
च
ह
५।५× अह
तर ह
कषखे
त्र
55 54 53 52 51footprint 50 49 48 47
ममा
नभमा
रनमा१
० दमा
न५प्रकमा
र
खे ४ससकमा
व्रत परद्रलो
हकपटह मनगु
कखे
त्रसमा ध महमा
व्रतशगु
वक्रयमा ५धमा न३ समा
तवरसनह तप(श्वह
) शगु
भ
व
रध१ २▲80 भव जह र कखे
रलगमा नशगुक्ल गगु
णव्रत ▼10 (सम)व कवत
ऽजलो
गहकखे रलङ लखे
समागगुण१ ३ ▲top#1
गगु
णमाठमा
णमा (▲top#6)
38 39 40 41 42footprint 43 44 45 46
आशर५र लो
धन सवन्नचलौ
रह
द्रह२ सन्नहतखे
रहें
द्रह(जलो
) स॰बहें
द्रह
1)
व
रगलहें
द्रहकखेत्रगगु
ण सगु
भमासगु
भ धमर्वा
धमा न▲50 क्रष लखे
समा पद्मलखे
समा
सह
रर1) लमा
षजलो नह १०।१ १ ।१ २1) सत्तह यमा
ह
चभरक ▼12
परहणमा
मह
37 36 35 34 33footprint 32 31 30 29
आशर५र
लो
धन सनहचलो
र
हें
द्रह स॰तखे
रहें
द्रह स॰बहें
द्रह व
रगलहें
द्रहकखेत्रगगु
ण सगु
भमा
सगु
भसतमा सगु
भमा
सगु
भउदह
रणमाशगु
भमा
शगु
भउपमा
य धमर्वा
समा धनइचमा
सह
रर १०।१ ११ २
20 21 22 23 24footprint 25 26 27 28
उपसमजलो
ग वनगलो
द७लमा
ष समा
तलमा
षप्रथह समा
॰लमा
॰अप्प॰ रमा
ररकखे ॰७।८। समा
॰लमा
॰तखे
उ समा
॰लमा
॰रमा
उ समा
तलमाषप्रतखे
क सगु
भकमर्वा
(२)
इतर कमा
य ९ कमा
य कमा
य रनस्पव
त पगु
नर ह
त
19 18 17 16 15footprint 14 13 12 11
नमा
गगु
कगु
॰रमा
यगु
कगु
॰ स्तव
नतकगुममा
र स
मथमा
त५भखे
द उदधहकगु
ममा
रदह
प दसव नकमा यकखे
त्र ऽव
गकगु
ममा
र परजह हह
रवसमा सगु
रणर्वा
कगु ममा
र व
ररहमा
ररमा
सह
वदशमाकगु
ममार ▼1 कगु
ममार गगु
ण(६)।५।४ व रदगु
तगु
ममा
र दलो
ष▼8 असगु
रकगुममा
र
2 3 4 5 6footprint 7 8 9 10
४लमाषनमा
र
ककी क्रलो
ध अगमान अगमा
नमलो
ह परधमामहगगु ण२। गमा
नमखे
शगु
भ मछर अनगु
तमा
नबह
धहममा
न अ॰अनगुतमा
नबह
धह
यलो
नह अनह
तमा
नबह
धह ३।१ परह
णमा
मह▲44 ममा
यमा
ललो
भ
1
७लमा
षजलो
नहसगु
क्ष्म व
नगलो
द
अनह
तकमा
लथ सत॰ ।॰।

1) Traces of additional writing in a different hand added behind or in front of legend.

469
Ja84#56 (Acharya Shri Kailassagarsuri Gyanmandir, Koba Tirth, Gandhinagar, Gujarat)

top sq. 7
(...)
top sq. 6
मलो
क(समा
)ग्रर्वा
६
top sq. 5
Add. text #1 Add. text #2
स(रमा
र्वा र्वा
)र(...)
top sq. 2 top sq. 3 top sq. 4
जयत३ (...)यमा अपर मा
स
जत४
top sq. 1
(...)यमा
76 77 78 79 80footprint? 81 82 83 84
ममा
हमा
मलो
हनह
य नरग्रह
रखे
क सबू
भद्रग्रह
॰ सबू
जमातग्रह
रखे
क। कमा यक(...)ककी
त सलो
मककीग्र ×दशर्वा
नप्रहयदसर्वा
न अमलो हसगु
प्रव
तबह
ध जसलो
धरग्रह
रखे
क
कम▼52 (...) ग्रह
॰
75 74 73 72 71footprint 70 69 68 67
क्रष लखे
समा▼1 नह
ललखे
शमा▼21 पह
चवरखयसखे
रमा आरललो
कपमा
ल अवनव्र(त) कमार
ण ममा
हमा
महलो
दय असलो
आईसखे
रमा
क सबू
प्रव
तकबलो
धक महथमा
तदसन
▲77 उप(स) मशखे णह भरमा
भरजह र भवत स(व)पहतकमा
र
▼23
56 57 58 59 60 61footprint 62 63 64 65 66
सबू
धमर्वा
दखे
रललो
क (...)नदखे
र।ललो
क शवनतकगु
ममा
र ममा
हहें
द्रदखे
र।ललो
क असहयमदखे
र। व्रह्मदखे
रललो
क लमा
तकदखे
ह रललो
क शगु
क्रदखे
रललो
क सहसमा
रदखे
रललो
क आहणह
तप्रमा
णह
त आर णआचबू
त
दखे
रललो
क ललो
क▼41 (▲80) ▲68 दखे
रललो
क
55 54 53 52 51footprint 50 49 48 47
पबू
:रर्वा
धरछह ▲78 बखे
लमा
षबखे
रखे
द्रह बखे
लमा
ष: तखे
रखे
द्रह पर:द्रलो
ह अपबूरर्वा
क× कणआर लो
(ह)ण मध प्रणमलोगगु
रू सप्तिरसन▼10 कमा
यलो
पसमककी
त
जहर: जहरमा
जहर गगु
ण(ठमा ह
)×कमाल चरमकगगु
ण॰ ▲61 शखे
णहक॰
रकृ
(...) कखे
यकशखे
णह ▲top#1?

38 39 40 41 42footprint 43 44 45 46
व
र:दमा
ह
तभव
तर्वा सप्तिप
हचहें
द्रमनबू
ख सबू
लमा
रतमा
र
मा
धक वत(यर्यं
ज)×क (...) थ
सत(...) ×नगगु
णरकृ
व
त उप(श)(...)(ह) जर) उदमा
(स सह स
मशसमक्ति
दखे समा (षह
रतप(द्म) लखे ) गगु
णठमा
ह
णबू ▼9 अवतरकृ
सत्त
37footprint 36 35 34 33footprint 32 31 30 29footprint
आश्वरर लो
धक तखे
जबू
लखे
शमा दशलमाषप्रतखे
क समातलमा
षरमा
यबू प्रमवतगगु
ण॰ समा
धबू
सखे
रमा शगु
भशगु
भसत्व धमर्वा
आर मा
धक अपबू
रर्वा
कणर्वा
वरनस्पव
तकमा य कमा
य कमा लशजय(तह ) लखे
शमाजह र
20footprint 21 22 23 24footprint 25 26 27 28footprint
त(र) शमा धबू
॰ समा तलमा
षबमा
दर समा
तलमा
षअप समा
तलमा
षतखे
यबू दखे
सरकृवतगगु ॰ दखे
श्य : व
रषयमा सदमासबू
भप्रणमा
ह शभ
गुलो
दय पबू
:न प्रकव त
शपर हग्र॰ प्रररहकमा
य कमा
यजहरछह कमा
यजहर तमावग॰ ॰
19 18 17 16 15footprint 14 13 12 11
अशबू
रकगु
ह
ममार नमा
गकगु
ममा
रसबू
रन्न स
मथमा
तगगु
णठमा
ह
ण व
रदबू
नकगु
:ममा
र अरकृ
वतस(...)त अवगकगु
ममार मह
रबू
नसखे
रमा▼8 अप्रमत: ममा यमा प्रतमा
खमाह
ननर
Add. text #3
Add. text #3 कगु
ह
ममार ▼3 गगु
णठमा
ह गगु
णठमाह
(...) ह
(ष)खमा(...) (ममायमा
)
(cont.)
2 3 4 5 6footprint 7 8 9 10
नमा
र
ककीचमा
र सहजमापहें
चहें
द्रह परममा
(धमा
ह
)मह बमा
दररनस्पतह (...)र जह (...)छङ दशकगुह
ममा
रपरन अनबू
तमा
ह
बमा
ह
धहममा
यमाअनबूतमा
ह
नहरमा
धह
ह अप्रतमा
खमा
ह
ननर
लकण वतयर्यं
चछह कमा
यसहजमाप
हचहें
द्रह (...) कगु
हममा
रछहशखे
णह जहर॰ क्रलो
ध ममा
यमा
▲44
1 बमा
दरनगलो
दवरहमा
र(ण) सयक्ति
बू सक्ति व
नगलो
दररहमा
रसह
यत्त
बूअनह
त
असह जमावतयर्यं
च अन ह
तकमा
लकमा
यथस्ततरहहें
छह ॰ईवत (क)×थ सत।रखे
रहमा
र(क)लथसत२
Add. text #4
पमा सहव
ड़मास दक शखे
यॐ नमणः१
पहें
चहें
द्रह

470
Additional Text
Add. text #1 within the illustrious (Ṭhi)bendaṇīk(?) gaccha.510 (Copied?) by
Khem Ratnajī in the village of Ūñjhā (in Gujarat, near
ह
॥§O॥शहअह
बकमा
स
जसत छह
शहपमा
श्वर्वा
नमारजह:॥
Pālanpur). Made for the sake of Khentājī.511
Bhale! Śrīṁ! Ambikājī504 is the truth! The illustrious
Pārśvanāthajī!505 Add. text #4
॥कव
रत॥
एहममा
हहें
जखेउचबू
आवरनहें
नहें
चबूघणह
रमा
रपमा
डहें
तखेबहुलसह
समा
र
हक जह
रजमा
ण
हरलो
।
तरमानहें
सर णह
इहआव
रनहें
तगु
र तउ
हचलो(आ)रहें
शबू
ल(भ) जह
रजमा
णरलो
ह Kavitt verse:

तरमापड़हें
नव हसपर्वा
मबूखहें
नमारखे
तलोतगु
रतउचलोआरखे
तलोतखे
हलबू
क(मर्गी
)स जरजमा
णरलो
ह । लख चलो
र
मा
ससयभ्रमममा
हमा
व्रत।नमा
ह
मपत्तन्न।यत्तन्नसखे
तमा
व
न्न।
तरमाउ
ह कह
चलोव महें
नमारहें
ममाव
ह
हममा
हहें
रड़रड़लोतलोममा
हलोममा
हखे
गगु
रर यतलोतखे
भमा
र
खे
कवमर्वा
सजर चलो
पटसहें
त्रबू
जककीकमा
हमार
मा
मव
ह तएहअन्नमा
मत्त: व्रह्मककीबमा
स
ज।
ममा
हमाजमा
ण
हरलो बमा
स
जरमहें
तसक्रलौ
धसमहें
भरममा
ह
नभमहें
दल्य।हलो
तहहें
रमा
सजह
।
[see Appendix E2, verse #10] पमा
पघट
हें
अनहें
मलो बह
हवड़मा
र
णजमा
नव
ह रधमा
र
णजमा
नककीबमा
ह स
ज॥१
॥

ह
सहहइतहशहर
खे
हसह506
ह
शहर
स्तबू
छह ह
शह [see Appendix E2, verse #1a]

Thus exactly. Śrīṁ! (The secret?)! Śrīṁ! The path! Śrīṁ! ईव

तशहजमा
नचलो
ह पटलथ
ख छह
सहपबू
णर्यं
छह ह
: शह
रस्तगु
शहकल मा
ण
हमस्तबू
।शबू
भह
भरतगु ह
: शह

Add. text #2 Thus jñān caupaṛ is drawn. It is completed. Let there be

prosperity, auspiciousness, and good fortune! Śrīṁ!
ह
॥§O शहकगु
ह
रबू
नमा
रजहशहव
त्रपबू
रमा
स
जनणः
॥
Back of chart
Bhale! Śrīṁ! Salutation to Kunthūnāthajī507 and the illustrious
Tripurājī!508 [official stamp of Acharya Shri Kailas-sagarsuri Gyan-
mandir, Koba, Gujarat]
इह
मसह
समा
र
हककमा
मनमाशबू
ह कनपणजलो
ररमा
इह
।
रखे
हललोकमा
मरमानमा
ह रहलो
रखे
तखे
तगु
रतउचलोआरहें
। सह
षनमा
भटमा
ह
१मलो
र
रगु
रगु
टमा
ह
१पह
परह×आ टमा१पह
परटमा१बह
जमा
बलो
लटमा
ह
१512
कमा
इढह
ह लरमानमा
रहलो
रहें
तलोपमा
छलोपड़हें
। The glorious śaṅkhanābha513 1; the glorious blue vitriol514 1;
मलो
ड़गु
कमा
मरमानमा
ह रहलो
रखे
तलोपड़ह
नइह
तगु
रतपमा
छलोपड़हें
। the glorious long pepper515 (...) 1; the glorious (...) 1; the
कमा
मनरमानमा
ह रहलो
रहें
तलोममा
हलोममा
हहें
गगु
रमा
यईणखे glorious gum-myrrh516 1
र
हतहें
शबू
भमा
शबू
भशबू
कवनपणजलो
ररमा
इह
॥१॥
[two simple drawings of three stalks with flowers]
[see Appendix E2, verse #11]
॥§O॥ममा
तमा
जहसतछ(२)॥पमा
सजहसतछअ(ब)कमा
जहसतछ517
ईतहशहजमा
नचलौ
ह पटसह
पबू
णर्यं ह
: शहॐ हह ह
क्लकी
एतनणः
Bhale! Mātājī is truth! Pāsajī518 is truth! Ambikā is truth!
Thus the illustrious jñān caupaṛ is completed. Prosperity! Om!
॥§O॥ममा
तमा
जहसतछ×सजहसत।519
Hrīṁ! Klīṁ! Aiṁ! Salutation!
Bhale! Mātājī is truth! [Pā]sajī is truth!
Add. text #3
॥§O॥सर
हत: १
८५४नमारकृ
षरशमा
कखे१७१
९॰प्ररकृ
त्तर्वा
ममा नखे
हइहममा
सलो
तमममाममा
सहें
कमास
त्तर्वा
क [a simple drawing of three stalks with flowers growing from

ममा
सहें
शबूक्ल : (...) चह
द्ररमा
सरखे
बणमा
र
स शहकलमा
जहसबू
त।दह
पचह
दजहततसबू
तषहें
तमा
जह a pot]

भमा
।॰प्रहें
ममा जहत।॰रूपमा
जहभमा
॰खहें
गमारस
ज प॥ठनमा
रर्यं
:॥ गमा
म पमा
ह लणपबू
रपलौ
समा
लह [two official stamps of Acharya Shri Kailas-sagarsuri Gyan-
लपह
ककृ
त
ह शह
मत(व
ठ)बहें
द:णहक गछहें
: उपमा
धमा
यशह
ममा
लदखे
रसज सह
तमा
नहें
ह ततपमा
दमा
नबू
पमा
दहें mandir, Koba, Gujarat]
(...) शहर।॰जमा
नर
ह त्नस
ज तत।शह
ष्य।ममा
णक र
ह त्नजहतरमाभमा
(त्रह
)।हहें
तर त्नलषह
॰
षहें
मर (त्न)स
जग्रमा
मउझमामधखे
ह लष्यलोछह
षहें
तमासजनहें
।रमास्तहकर
लोछत
१

Bhale! Drawn in the pośāl509 in the village of Pālanpur (in

Gujarat) on the lunar day (...) of the bright half of the month
of Kārttik, the best of months, in VS 1854, Śaka 1719 (i.e. Oct-
Nov, 1797) for the study of Khentājī and his wife Premājī, as
well as Rūpājī and his wife Kheṅgārjī, sons of Dīp Candjī, son
of Baṇāras Śrī Kalājī. Drawn by Māṇakya Ratnajī and Bhātrī
Hent Ratna, disciples of Śrī Va. Jñān Ratnajī (...) following in
the footsteps of the succession of Upādhyāya Śrīmāl Devjī
504 The Jaina goddess (yakṣī) most frequently associated with the 22nd
spiritual teacher (tīrthaṅkara) Neminātha.
505 The 23rd spiritual teacher (tīrthaṅkara) in Jainism.
506 Read: rahasya?
507 The 17th spiritual teacher (tīrthaṅkara) in Jainism.
508 An alternative name for the Jaina goddess (yakṣī) Padmāvatī
associated with the 23rd spiritual teacher (tīrthaṅkara) Pārśvanātha.
509 I.e. a Jaina place of worship.
510 A gaccha is an order within especially Śvetāmbara Jaina tradition.
511 Thanks to Tillo Detige for helping me making more sense of this
colophon than I originally had. Any mistakes are, of course, only
attributable to myself.
512 Written in a different hand. It appears to be a list of ingredients for
an Āyurvedic product unrelated to the game chart.
513 Śaṅkhanābha is the 20th of the 88 planets in Śvetāmbara Jaina
cosmology (Kirfel 1920: 279-80), but given the context of the present
list of Āyurvedic ingredients, it probably refer to the śaṅkhanābhī
plant (ĀVŚK, p. 800).
514 Skt. mayūratuttha (ĀVŚK, p. 603).
515 Skt. pippalī (ĀVŚK, p. 503).
516 Skt. vola (ĀVŚK, p. 567).
517 Written in a different hand in red ink.
518 I.e. Pārśvanātha.
519 Written in the same hand and the same red ink as the line above.

471
Ja84#57 (Shree Sanjay Sharma Museum & Research Institute, Jaipur, Rajasthan)
NB! Full transcription not available.

Additional Text
Below grid
[verse begins:] लमा
ख चलो
र
मा
सह(...)

[see Appendix E2, verse #1a]

[colophon ends:] (...) समा: र

तनचह
दमखे
हरदमा
सआत्ममा
ररलषमा
रहत
हलमा
भखे
ट:
व
रजयशह
करव
रदमार
मा
ह
म॥शह
रस्तगु
॥

(...) (drawn by?) Vijay Śaṅkar Vidyā Rām (...) by the order of
Ratan Cand Mehar Dās. Let there be prosperity!

472
Ja84#58 (private collection, Munich, Germany)

top sq. 6
ॐ मवगु
क्ति कखे
त्रस मा
व
टकमयछह
४५०००००शहअहत
र्यं
पदखे
भलोनमणःसहह
top sq. 5
सरमा
रस
र्वासद्धि५
top sq. 2 top sq. 3 top sq. 4
रह
जय ह
त२ अपर मा
स
जत४ जयहत३
top sq. 1
वरजय
[76] 77 [78] [79] [80] [81] [82] [83] [84] row title #9
मलो
हनहकमर्वा भखे
दग्रह
रखे
क शगु
भदखे
र२ पबू
जमातसगु
भ३ नसव प्रयदशर्वा
न४ सगु दशर्वा
ण६ अमलोह७ सगु
प्रतलौर
हध यशलो
धर९ नरग्रह
रखे
क
▼52
73 [75] 72 [74] 71 [73] 70 [72] 69 [71] 68 [70] 67 [69] 66 [68] 65 [67] row title #8
रमा
जऽ हह
कमा
र▼2 आ(चगु)त आर ण प्रमा
णतआनह
त षत्र
खेभवमाऽभव सहसमार(८) शगु
क्रदखे
र७ अभह षससद्धि तमा
मसऽ हहकमा
र दखे
रललो
क२
दखे
रललोक जहरललोक ▼16
[56] 56 [57] 57 [58] 58 [59] 59 [60] 60 [61] 61 [62] 62 [63] 63 [64] 64 [65] [66]
रहममा
न१वह तर सलौ
धमर्वा
१ ऽव्रतदखे
र▼21 इसमा
नदखे
रललो
क असहजमहदलो
ष दखे
रललोककखे
त्र सनतकगुममा
रदखे
: ममा
हहें
द्रदखे
॰ व्रह्मदत्त रह
व रक ▲68 समा
ममा
वनकदखे
रललो
जमा व
तजलो
व
तगह५ ▼41 भवमाभव जह र ४भरनपव त५
प्रकमा
र ४जलोवन ऽत
हरहककखे
जलो
वत(षह
) पटल
55 54 53 52 51 50 49 48 47
भमा
रनमा१
०रह दमा
नप्रकमा
र चमारस
शष्यमा
व्रत परद्रलो
ह मनगु
ष्य कखे
त्रसमा
धगु महमा
व्रत ५धमा
नगगु )त(दगु
णव्रत (समा रसन रमा
)व रहभखे
दतप
▲top#1 भव जह (र) (▲top#6) ▼10 सगु
भ▲top#1
ऽजलोगस मगगु
38 39 40 41 42 43 44 45 46 row title #5
स
जनधमा ह
न नह
ललखे
श्यमा कपलो
तलखे
समा तखे
जलोलखे
समा वतरयर्यं
चकखे त्रचमा
र सगु
भव तयर्यं
तभव धमर्वा
धमानह ककृ
ष लखे (श्यमा
) पद्मलखे
समा वतयर्यं
चकखे त्रदमा
र
व
त्रकमा लस
जन लकजलो स जन परणमा
मह (▲50) ऽधमर्वा
सगुभपर णम
भव क्ति सहजलो
गकखे रलङगगु ▼9
१३
37 36 35 34 33 32 31 30 29 row title #4
ऽशरर
लो
धसह
रर २लकयलोवन २लकजलो वन २लकजलो वन व
रगलद्रह
यकत्र शगु
भमाऽ शगुभ शगु
भमाऽ
शगु
भउदय शभ
गुमाऽ
शगु
भउदय धमरलो
धनइछमा वरगलहें
द्रहदमा
र
सह
×यमाचलो
र
द्रह सह
जहयमातखे
रहह
द्र
ह सह
जहयमाचलो
(रह
ह
द्र
ह
) गगु
ण(स्
ठमा
)न१
०गगुउदहणर्वा
१२
रनस्पव
त८कलो
रह20 21 22 23 24 25 26 27 28 row title #3
उपसमजलो
ग ७लकइतर ७लकपकृ
थह ७लकअपकमा
य रमा
ररकखे
त्रगगु
९। ७लकतखे
उकमा
य ७लकजलो
नरमा
उ१ ०लकजलोव
न शगु
भकमर्गी पह
चरमाररदमार
व
नगलो
द कमा
य ८।७ कमा
य प्रतखे
क
19 18 17 16 15 14 13 12 11 row title #2
नमा
गकगु
ममाररमा व
स्
छनतकगु
ममार८ पह
चस त▼1 उदस
मथमा धकगु
ममार दशनकमा
यकखे
त्र अगवनकगु
ममार४ परजह
रस्पद्धिर्वा सगु
रणर्वा
कगु ममा
र वरहमा
ररमा
सह भरषवतदमा र
गगु
ण॰ व
र: ३ ▼8
2 3 4 5 6 7 8 9 10 row title #1
कमा
म: चमा
रलक क्रलौ(४) अजमा
न
ह अगनमा
नमलो
ह पर ममा
धमा
मह स
जनस मशशगु
भ मछर अनह
तमा
नरह
धहयलो अजमा
नकपटमा
इ नमा
र
ककीदमा
र
जलो
व
ननमा
रककी अनह
तमा
नरह
धहयलो गगु
णठमा
णखे३गगु
२ पमर्वा
णमा मह▲44 अ×क
ललो
भ गगु
१
1
७लकव नत
व
नगलो
दअन ह
त
कमा
लवस्
छत

Additional Text
[chart drawn on a page in a Jaina notebook without related additional text (Girdhārī Lāl n.d.)]

473
 Appendix D
Critical Readings

The critical readings presented below aim at establishing standardized versions of 72-
square Vaiṣṇava type a and 84-square Jaina type a1 charts for purposes of further
analysis and discussion. The original charts are read square by square, and a single
key reading is chosen for each square, together with an indication of any snake or
ladder which consistently originates in that square. Original readings are rendered in
Devanāgarī as they appear on the charts, and grouped together under collective
headwords in Roman transliteration according to lexical similarities and regardless of
orthographical differences. Semantically identical words are grouped together if
lexically related, such as tap and tapasyā (austerity), but kept apart if not, such as jal
and āp (water). The orthography of transliterated headwords has been standardized
according to the relevant dictionaries, such as Monier-Williams for Sanskrit (SED),
McGregor for Hindi (OHED), and Lāḷas for western Indian vernaculars (RSK). Since the
latter dictionary includes numerous variant spellings of individual words, non-
standard spellings have sometimes been adopted when consistently adhered to by the
charts, though always followed by the standard Sanskrit or Hindi equivalent in
parentheses when not immediately obvious. Words derived from Arabic or Persian
have been noted as such in cases where they may be said to bear on the provenance
and cultural context of individual charts.

Irregular characters, such as अहfor ई(e.g. अह

रषलोfor ईष्यमा
र्वा have been retained to the
),
extent that I have been able to reproduce them, and additional inscriptions written in
a hand different from the original have been rendered in blue wherever I have been
able to detect them. A ladder leading up from a square has been indicated by an
upward-pointing arrow added in green superscript after the inscription (e.g. तप▲23
indicating a ladder leading up to sq. 23), while a snake leading down from a square has
been indicated by a downward-pointing arrow added in red superscript after the
inscription (e.g. दखे
ष▼4 indicating a snake leading down to sq. 4). The only major aspect of
the charts not covered by the critical readings is the additional legends written in

474
Nastaʿlīq script on two Vaiṣṇava charts (Va72#7,8). The legends on Va72#7 merely
reproduce the legends written in Devanāgarī, while the legends on Va72#8 translate
the Vaiṣṇava terminology into Ṣūfī terminology awaiting further comparison with
other Ṣūfī charts.

All readings have been given according to the following structure:

[headword(s) in transliteration] + [English translation] + [chart number(s)] +

[transcribed reading] + [ladder/snake originating in square]

E.g.:

tap, tapasyā (austerity) #1,2,6,7,8 तपसमा

▲23
#3 तप#4ab,18,27,33 तप▲23 #5 तपसमा
▲23
#9
तपणः
▲23
#10 तपललो
क▲23 #13 tap▲23 #17 तमा
पललो
क#28 तप॰
▲23
#31 तपलमा
क▲23 #32 तप(ललो
)×▲23

The example, taken from sq. 10 of the Vaiṣṇava chart reading, shows the variant
readings given for the semantically identical and lexically related headings tap and
tapasyā. Charts #1,2,6,7,8 read tapasyā and have a ladder leading up to sq. 23, chart #3
reads tap and does not have a ladder originating in the square, charts #4ab,18,27,33
read tap and have a ladder leading up to sq. 23, etc.

Legends on especially Vaiṣṇava charts sometimes include an additional word

conveying the meaning of a square on a game board. In the case of ghar (lit. house)
and koṭhā (lit. storeroom) the additional word can easily be separated from the
headword, and thus ignored in the reading, but in the case of the much more frequent
lok (world, realm) things are not quite as simple. While the difference between tap
(austerity) and taplok (realm of austerity) is the difference between an individual
practice and a cosmographical realm, the difference between dayā (compassion) and
dayālok (lit. realm of compassion) is less certain. Since the legend is only attested on a
single chart (Va72#1, sq. 17), and since it does not correspond to any known concept or
realm, it is likely that lok should merely be translated as "square." Consequently,
separate entries for occurrences of lok after a given word have only been included
whenever a semantic difference is suspected.

Orthography
The majority of charts are written in western Indian languages and dialects
demonstrating a marked preference for Sanskrit or Sanskritic terminology. This results

475
in a non-standardized orthography where the same word is rendered in multiple ways,
none of which can be said to be more correct than the other (e.g. सगु
धमर्वा
, सगु
धरम, and सगु
ध्रम
for Sanskrit sudharma). Care has been taken not to regard a reading as corrupt or
otherwise erroneous simply because it does not agree with the orthographical
conventions of classical Sanskrit or Modern Standard Hindi. In cases where the
orthography introduces ambiguity into the reading, I have had to rely on common
sense and context, just as we are wont to do when deciding between the multiple
possible meanings of a single word.

An overview of the most common orthographical variations encountered in the critical

readings is given below:520

Separation of conjunct consonants (e.g. सपर

स<-- स्पशर्वा
)

Conjunction of separate consonants (e.g. प्रममा

र
र<-- पर
ममा
र)र्वा

Nasalization of vowels before nasal consonants (e.g. प्रमा

ण<-- प्रमा
ह ण)

Interchangeable use of vowel length (e.g. भगु

ललो
क<-- भबू
ललो
क; सह
रव़
ललो
क<-- स
शरललो
क)

Interchangeable use of vowel grades (e.g. क्रलौ

ध<-- क्रलो
ध; बखे
कगु
ठ<-- रह
कगु
ह
ठ)

Interchangeable use of aspiration (e.g. ग

हदर
रललो
क <-- ग
हधरर्वा
ललो क; अव
बधमा<-- अव
रदमा
)

Reduction of double consonants (e.g. उतम<-- उत्तम)

Weakening of semi-vowels (e.g. सगु

रगललो
क<-- स्वगर्वा
ललो क; व
रसन<-- वसन)

अर/ र
र/ ईर<-- ऋ (e.g. सतर
ष<-- सतकृ
ष; व
प्ररह<-- पकृ
थह ; पर
ककी
र
वत<-- प्रककृ
वत)

क/ ख <--> ष(e.g. सह
तलो
क<-- सह
तलो गु<-- दख)
ष; दष गु

ग<-- क(e.g. सलो

ग<-- शलो
क)

ग <-- ज(e.g. गमा

न<-- जमा
न)

च/ छ/ ष<-- क(e.g. अह
तर
हच/ अह
तर
रछ/ अतर
हष<-- अह
तर
रक)

ज<-- य(e.g. कमर्वा

जलो ग<-- कमर्वा
यलो ग)

ट<-- त(e.g. बगव

ट<-- भव
क्ति)

र/ ठ/ ट/ स्
छ<-- स (e.g. रमा
रर<-- समा
रर; गगु
णठमा
न/ गगु
णटमा
न<-- गगु
णसमा
न; व
स्
छवत<-- थ
सवत)

520 Cf. Snell 1991: 4-6; Thiel-Horstmann 1983: 21-24.

476
 न<--> ण(e.g. तमलोगगु
न<-- तमलोगगु
ण; व
प्रयदर
सण<-- व
प्रयदशर्वा
न)

प<-- र(e.g. ग
हधर
पललो
क <-- ग
हधरर्वा
ललो क)

ब<--> र(e.g. व
बबखे
क<-- व
ररखे
क; सगु
रगु
सद्धि<-- सगु
बगु
सद्धि)

स<-- ष/ श (e.g. दलो

स<-- दलो
ष; सगु
भ<-- शगु
भ)

Some charts also make use of an underdot to distinguish between different

pronunciations of the same character. यis used to distinguish यfrom ज(e.g. ममा
यमाfor ममा
यमा
instead of ममा
जमा
), and रव़
is used to distinguish रfrom ब(e.g. भरव़
ललो
क for भरललो
क instead of
भबललो
क).

Legend
# = chart number (e.g. #2)

▲ = ladder leading up to a numbered square (e.g. भव

क्ति▲68)

(▲) = ladder making a turn toward a new numbered square (e.g. धमर्वा
धमा ह
नह
(▲50)
)

▼ = हह
snake leading down to a numbered square (e.g. वसमा
▼35
)

अ = text added in a different hand (e.g. सगु

बगु
धसब)

× = illegible or missing character (e.g. मत××)

(...) = one or more missing characters (e.g. (...)क)

(अ) = uncertain reading (e.g. (सगु

)सहग)

§O = auspicious bhale sign (cf. Bhattacharya 1995: 202, fn. 5)

: = visarga sign used as separator (e.g. ममा

यमा: र
मा
षखे
)

NB! Crossed out characters and non-essential daṇḍas (।) and separators (:) are not included in
the critical readings, but can be found on the chart transcriptions in Appendix C.

477
Appendix D1: 72-Square Vaiṣṇava Charts (Type a)
The critical reading is based on the following 23 charts which constitute the group of
72-square Vaiṣṇava type a charts (see Appendix B1):

Va72#1,2,3,4ab,5,6,7,8,9,10,11,13,15,17,18,26a,27,28,29,31,32,33

It should be noted that Va72#3,17 have several affiliations with the 72-square Vaiṣṇava
charts from Nepal (type c), including the substitution of benign snakes for ladders.
Terminological correspondences between Va72#3,17 and the Nepalese charts are
commented upon in the footnotes. It should also be noted that Va72#9 sometimes
glosses legends (e.g. Sanskritic dveṣ with vernacular burāī in sq. 16), and that Va72#1
shows a higher frequency of Arabic and Persian loan-words than any other non-Ṣūfī
chart.

Row #1
Sq. 1: janma
janma (birth) #1 जनम घर#10 शहर
मा
मजहजमा
नचलो
पड़जनम521 #11,27,33 जनम #13 janam #26a
janma #29 जनमललो
क #32 जन | utpatti (origin) #3 उत्पव
त#5 उतपतह#6 उतपव
त#7 उत्पस
त्तणः#8,28
उत्पस
त्त#17 उतलो
पमा
त| janmabhūmi (place of birth) #31 जनमभगु
म

Uncertain #9 जनतर(लह
)द522 (?)

Missing #2,4ab | blank #15,18

Sq. 2: māyā
māyā (phenomenal reality) #3,5,6,7,8,10,11,17,18,28,31,32,33 ममा
यमा#13,26a maya #27 ममा
यमा
| māyā rākhe (you harbor illusions) #29 ममा
यमा: र
मा
षखे
| bhām523 (anger) #1 भमा
म| mad524
(intoxication, pride) #9 मद

521 The first part of the reading before janma identifies the chart as the gyān caupaṛ of Śrī Rām.
522 Nikolai Serikov reads jammata vahannanda which he translates as "движение от рождения до
удовольствия" (movement from birth to bliss) (Serikov 2008: 296). Neither the transliteration nor
the translation is supported by the chart itself.
523 The reading bhām (भमा म) resembles the main reading māyā (ममा यमा
) in the same square orthographically
and the main reading krodh (anger) in sq. 3 semantically.
524 The reading mad is identical with the main reading in sq. 7 where Va72#9 reads the synonymous
abhimān (pride).

478
Missing #2,4ab | blank #15

Sq. 3: krodh
krodh (anger) #1 ककी
र
मा
(ध) #3,5,6,8,9,10,11,18,27,32,33 क्रलो
ध#7 क्रलो
धणः#13,26a krodh #17 क्रलौ
ध
#28 क्रलो
(ध) #31 कर
लो
ध| krodh rākhai (you feel anger) #29 क्रलो
धरमा
षह

Uncertain #2 ×ध(krodh?)

Missing #4ab | blank #15

Sq. 4: lobh
lobh (greed) #1,17 ललौ
भ#2,5,6,8,9,10,11,18,27,28,31,32,33 ललो
भ#3 ललो
×#7 ललो
भणः#13,26a lobh
| lobh rākhai (you feel greed) #29 ललो
भरमा
षह

Missing #4ab | blank #15

Sq. 5: bhūlok
bhūlok, bhuvlok (Earth) #1 भलो
रललो
क #2,8 भबू
ललो
क #7 भबू
ललो
कणः#9 भबू
रललो
क #11,27 भगु
ललो
क #18
भगु
लर्लो
कर्वा#26a bhu-loka #29 भगु
रललो
क #31 (भगु
) ललो
क #32 (भगु
) (ललो
)क #33 भलो
रललो
क | bhāvlok,
bhāilok (realm of existence) #13 bhai lok #17 भमा
रललो
क | bhuvlok525 (atmosphere) #3 भबू
र
ललो
क#10 भगु
रललो
क | pātāl (netherworld) #6 पमा
(तमा
)लललो
क

म(bhram, wandering? error?) | #28 भय(bhāi, existence? bhay, fear?)

Uncertain #5 (भ)र

Missing #4ab | blank #15

Sq. 6: moh
moh (bewilderment) #1 मलो
हलो#2,3,5,6,8,9,10,11,17,18,27,28,33 मलो
ह#7 मलो
हणः#13 moh #26a
moha | moh rākhe (you feel bewilderment) #29 मलो
हरमा
षखे
| mohjāl (net of bewilderment)
#31 महजमा
ल#32 मलो
हजमा
ल

Missing #4ab | blank #15

525 Bhuv has the double meaning of Earth and atmosphere. The translation of bhuvlok as atmosphere on
Va72#3,10 is inferred from the fact that they read bhūlok (Earth) in sq. 14 directly above sq. 5,
thereby accidentally switching around the readings.

479
Sq. 7: mad
mad (intoxication, pride) #1,5,27 म
हद #2,3,6,8,10,11,17,18,28,33 मद #7 मदणः#26a mada
#31,32 मध | mad rākhe (you feel intoxication, pride) #29 मद र
मा
षखे| abhimān526
(arrogance) #9 अस
भममा
न

Illegible #13 | missing #4ab | blank #15

Sq. 8: matsar
matsar, machar (jealousy) #2 म
हछर#3,8 मत्सर#5,10,31 मतसर#6,29 मछर
तमा#7 मत्सर
णः#13
matsar #17,18 मछर#26a matsar/matsarya #27 म
हछर
तमा#28 मत्सर
तमा#33 मतसर
तमा| makra527
(deceit) #1 मकर| mithyā (falsehood) #9 स
मथमा| kām528 (desire) #11 कमा
म

Uncertain #32 मत××(matsar?)

Missing #4ab | blank #15

Sq. 9: kām
kām (desire) #1,2,10,17,29 कमा
म
ह#5 कह
म#6,8,9,18,27,28,31,32,33 कमा
म#7 कमा
मणः#13 kám #26a
kama-loka | ahaṃkār529 (egoity) #11 अहह
कमा
र

Missing #3,4ab | blank #15

Row #2
Sq. 10: tap▲23
tap, tapasyā (austerity) #1,2,6,7,8 तपसमा
▲23
#3 तप#4ab,18,27,33 तप▲23 #5 तपसमा
▲23
#9 तपणः
▲23

#10 तपललो
क▲23 #13 tap▲23 #17 तमा
पललो
क #28 तप॰
▲23
#31 तपलमा
क▲23 #32 तप(ललो
)×▲23 | tapasyā
karai (you perform austerities) #29 तपसमाकर
ह
▲23
| taplok530 (realm of austerity) #11 तपलो

526 The reading abhimān may have been chosen over the reading mad since the latter already appears
in sq. 2 on Va72#9.
527 Ara. makr. Va72#1 also shows Perso-Arabic influence in sqs. 20,43,57,63.
528 The reading kām is identical with the main reading in sq. 9 where Va72#11 reads ahaṃkār (egoity).
529 The reading ahaṃkār is identical with the main reading in sq. 55, and thus appears twice on
Va72#11.
530 The Sanskritic reading tapolok on Va72#11 indicates that it was intended as a reference to the
cosmographical realm of austerity rather than the mere performance of austerities apparently
indicated by the reading taplok on Va72#10,17,31,32. Va72#11 repeats the reading in sq. 50 where the
main reading is taplok in the sense of the cosmographical realm of austerity.

480
ललो
क▲24 | śuddhi531 (purification) #26a shuddhi▲23

Blank #15▲24?

Sq. 11: gandharvlok

gandharvlok (realm of gandharvas) #1 ग
हधर
पललो
क #2 ग
हदर
रललो
क #3,4b ग
हधरर्वा
#4a,8,11,18 ग
हधरर्वा
ललो
क #5 गदर
पललो
क #6 ग
हधर
क #7 ग
हधरर्वा
ललो कणः#9 ग
हधरललो
क #13 gandharb lok #17 ग
ह(धर
)र #26a
gandharvas #29 ग
हधर
रललो#33 ग
हद्रपललो
क| gandh532 (smell) #28,31 ग
हध

Uncertain #10 ग
हर ललो
क (gavlok,533 realm of cows, i.e. Kṛṣṇa's heaven?) | #27 कदर
(यर्वा
)
(gandharv? kadarya, miserly?) | #32 (...) ललो
क(gandharvlok?)

Blank #15

Sq. 12: īrṣyā▼8

īrṣyā (envy) #1 इह
र
षमा
▼7
षमा
#2,10,33 ईर ▼8
#4ab ईषमा
र्वा
▼row#1
षलो
#5 अअर ▼8
समा
#6 इर ▼8
#7 ईषमा
र्वा #8 ईष्यमा
▼8
र्वा
▼8

#18,28,32 इर
षमा
▼8
षमा
#26a eirsha▼8 #27 (ई)र ▼8
यमा
#31 इर ▼8
| īrṣyā rākhe (you feel envy) #29
ईर
षमार
मा
षखे
▼8
| īrṣyā hirs534 (envy; imitation) #9 ईर
षमाव
हरस▼8 | spardhā535 (envy) #3 (स्प)धमा
र्वा
▼9
|
tṛṣā (thirst) #13 trasha▼8 | antarikṣ536 (intermediate space) #11 अह
तर
खे
षह

Uncertain #17 असध▼8 (asiddh,537, unaccomplished?)

Blank #15

Sq. 13: antarikṣ

antarikṣ (intermediate space) #2,28,29 अह
तर
हक#3 अह
तर
र॰#4a अह
तर
रक #4b अह
व
तरक #5 अत
हर
(क) #6
अह
तर
षह#7 अह
तर
रकह#8 अन्तर
रक #9 अह
तर
रछ #10 अह
तर
हषललो
क #13 antriksh #26a antariksha #27
अह
तर
रछङ#31,32 अह
तर
हच #33 अह
तर
हष | antar (interior, intermediate) #17 अह
तर| satṛṣ (thirsty)
#1 सतर
ष| īrṣyā538 (envy) #11 इर
षमा
▼8

531 The authenticity of the reading śuddhi is uncertain as it only appears on Va72#26a which is a
modern redesign of an allegedly older chart.
532 Va72#28,31 switch around the main reading gandharvlok with the main reading gandh from sq. 33.
533 Skt. goloka.
534 The vernacular hirs (Ara. ḥirṣ) appears to gloss the Sanskritic īrṣyā.
535 The reading spardhā is reminiscent of the reading aśraddhā (lack of faith) in sq. 12 on two Nepalese
charts (Va72#21,22).
536 Va72#11 switches around the main reading īrṣyā with the main reading antarikṣ from sq. 13.
537 The reading asiddh is identical to the reading in sq. 12 on two Nepalese charts (Va72#20,23).
538 Va72#11 switches around the main reading antarikṣ with the main reading īrṣyā from sq. 12.

481
Uncertain #18 अह
तर
म(ष) (antarikṣ?)

Blank #15

Sq. 14: bhuvarlok

bhuvarlok, bhuvlok (atmosphere) #1,18 भगु
रलर्लो
क #4a (भरव़
लर्लो
क) #7 भगु
रलो
ललो
कणः#8 भगु
रललो
क #9
भबू
रललो
क #26a bhuvar-loka #28 भगु
र(लर्लो
)क #29 भगु
रर: ललो
क | bhūlok, bhuvanlok539 (Earth) #3
भबू
ललो
क #5 भगु
लखे
क #10,31 भगु
ललो
क #11 भगु
रनललो
क #32 (भगु
) (ललो
)क | bhavlok540 (realm of existence)
#2 भरललो
क #33 भरव़
ललो
क | lok (realm, space) #4b ललो
क | pūrvlok541 (eastern continent) #17
पबू
ररललो
क| amarlok542 (realm of immortals, heaven) #27 अमरललो
क

Uncertain #6 भगु
×लखे
क(bhuvlok?)

Blank #13,15

Sq. 15: nāglok

nāglok (realm of nāgas) #1,4ab,6,8,9,11,17,27,28,29,32,33 नमा
गललो
क #5 नमा
गलखे
क #7 नमा
गललो
कणः
#10 नमा
गमाललो
क #13 nág lok #26a naga-loka #31 नमा
ललो
क | tāmlok543 (realm of darkness) #18
तमा
मललो
क

Uncertain #2 नमा
गगु
रुललो
क#3 नमा
(...) (nāglok?)

Blank #15

539 The several occurrences of the main reading bhūlok (Earth) from sq. 5 indicate some confusion
between sqs. 5 and 14. Va72#3,10 switch around the readings, and Va#31,32 repeat the reading
bhūlok in both squares. Va72#11 may have intended bhuv (atmosphere) instead of bhuvan (Earth),
while the intention of Va72#5 is unclear because of its uncertain reading bharam(?) in sq. 5.
540 Unless intended as bhuvlok (atmosphere), the reading bhavlok suffers from the same confusion as
the reading bhūlok on Va72#3,5,10,11,32 (see fn. 539).
541 Unless intended as bhuvarlok (भगुररललो
क), the reading pūrvlok (पबू
ररललो
क) may indicate the continent to
the east of Mount Meru referred to as pūrvavideha in Buddhist cosmology (Kirfel 1920: 183). The
reading pūrvavideha appears on several of the Tibetan and Nepalese sa lam rnam bzhag charts
discussed in chapter two (e.g. Tatz & Kent 1978: 86). This is especially interesting since Va72#17
shows influence from the 72-square Vaiṣṇava type c charts from Nepal, indicating a possible further
influence from sa lam rnam bzhag charts. The reading pūrvlok, however, is not found on any of the
Nepalese charts.
542 The reading amarlok (realm of immortals) is synonymous with the main reading svarglok (realm of
heaven) in sq. 23 directly above sq. 14, and thus invokes the realm of heaven a second time on
Va72#27.
543 The reading tām is reminiscent of the main reading tāmas (darkness, ignorance) in sq. 63 where
Va72#18 reads tāmas ahaṃkār (egoity dominated by the quality of inertia).

482
Sq. 16: dveṣ▼4
dveṣ (hatred) #1,3,8,10,11 दखे
ष▼4 #4b दखे
ष्य▼row#1 #17 दरखे
ष▼3 #26a dwesh▼4 | dveṣ rākhe (you
feel hatred) #29 दखे
षर मा
षखे| doṣ (fault) #2,18,32,33 दलो
ष▼4 #5 दलो
षलो
▼4
#6 दलो
स▼4 | duḥkh544
गु
(sorrow) #7 दणः गु▼4 | dveṣ burāī545 (hatred; evil) #9 दखे
ख▼3 #13 dukh▼4 #31 दष ष रगु
रयह▼4
|
daityamukh (the mouth of a daitya) #27 दद(तर) मसष▼4 | durmati (weak-minded) #28
गु
दरमवत▼4 | lobh546 (greed) #4a ललो
भ▼row#1

Blank #15

Sq. 17: dayā▲69

dayā (compassion) #1 दयमाललो
क▲66 #2,27 दयमा
▲69
#3 दयमा#4ab,6,7,8,10,11,28 दयमा
▲69
#13,26a
daya▲69 #33 दयमा
▲32
| dayā rākhe (you feel compassion) #29 दयमार
मा
षखे
▲69
| dayā mihar547
(compassion; mercy) #9 दयमास
महर
▲69
| dayābhāv (feeling of compassion) #31 दयमाभमा
रव़
▲69
|
dayādevtā (deity of compassion) #17 दयमादखे
रत| vidyā548 (learning) #18 व
रदमा
▲69

Uncertain #5 गमा
न
ह
हदयमा
▲69
(jñān dayā, knowledge; compassion?) | #32 (द)× भरन▲69
(dayābhavan, abode of compassion?)

Blank #15▲52?

Sq. 18: harṣ

harṣ (joy) #1 हह
र
षघर#2,5,11,17,27,28,29,33 हर
ष#3,4ab,8,10,18 हषर्वा
#6 हर
स#7 हषर्वा
णः#13 harsh
#26a harsha-loka | harṣ khuśiyālī549 (joy; happiness) #9 हर
षषगु
समालङ| ras550 (taste) #31 र
स
लमा
क#32 र
सललो
क

Blank #15

544 The reading duḥkh may have been intended as the negative counterpart of the main reading sukh
(happiness) in sq. 62.
545 The vernacular burāī appears to gloss the Sanskritic dveṣ.
546 The reading lobh is identical with the main reading in sq. 4 which is missing on Va72#4a.
547 The vernacular mihar (Per. mihr) appears to gloss the Sanskritic dayā.
548 The reading vidyā is reminiscent of the main readings avidyā (ignorance, sq. 44) and suvidyā (right
knowledge, sq. 45), and might be seen as replacing the latter since it does not appear on Va72#18.
549 The vernacular khuśiyālī (Per. khvuśī) appears to gloss the Sanskritic harṣ.
550 The reading ras is identical with the main reading in sq. 34, and thus appears twice on Va72#31,32.

483
Row #3
NB! Chart #4b switches around rows #3 and #4. Only readings which cannot be explained as a
result of this will be commented upon in the following.

Sq. 19: karmyog

karmyog (discipline of action) #1,17,29,31,32 कर
मजलो
ग#3,9,28 कमर्वा
यलो ग#4a कमर्वा
जलो ग#6 कर
म
जग #10 क्रम यलो
ग▲41 #18 कमर्वा
जलोग▲32 #33 कर
म जलो
ग▲50 | karm (action) #8 कमर्वा
#11,27 कर
म|
karmlok551 (realm of action) #5 कर
मलखे
क #26a karma-loka | karmbhog (experiencing
the consequences of actions) #7 कमर्वा
भलो गणः| brahmkarm (action of brahmins) #2 ब्रम
करर्वा
▲59
| ajñān552 (ignorance) #13 agyan

Blank #4b,15

Sq. 20: dān▲32

dān (charity) #2,4a,10,11 दमा
न▲32 #5 दमा
ह नदमा
ह ×▲32 #6,18 दमा
न#7 दमा
न
ह▲32
#8,27,28 दमा
न▲32 #13 dán▲32
#26a daan▲32 #33 दमा
न▲69 | udārtā (generosity) #31 उदमा
र
तमा
▲32
#32 उदमा
(र)▲32 | udān553 (rising
bodily wind) #3 उदमा
न#17 उदन| dān denā554 (charity; to give, giving) #9 दमा
नगु
दखे
णमा
▲32
|
dānpun555 (merit from charity) #29 दमा
नपगु
न▲32 | dīn556 (faith) #1 दह
नघर
▲40

Blank #4b▲60, 15▲32

Sq. 21: samān

samān557 (equal disposition) #3,8,28 सममा
न#13 samán #17,31,32 समा
ममा
न| sanmān (respect

551 The reading karmlok might be taken as synonymous with karmabhūmi (land of religious action)
used to describe the land of the Bhāratas (bhāratavarṣa), i.e. India.
552 The reading ajñān contrasts with the main reading jñān (higher knowledge) in sq. 37 two squares
above sq. 19, and is reminiscent of the main readings avidyā (ignorance, sq. 44) and tāmas (darkness,
ignorance, sq. 63).
553 The reading udān indicates one of the five bodily winds, and may have been prompted by the
reading samān in the adjacent sq. 21. Though samān generally refers to "equal disposition" in the
context of the charts, it is also the name of one of the bodily winds. The remaining three bodily
winds appear in sqs. 38,39,40 two squares above sqs. 20,21.
554 The vernacular denā appears to gloss the Sanskritic dān.
555 Skt. dānapuṇya.
556 Ara. dīn. The Sanskritic meaning of dīn (distressed) is not supported by other charts and does not
agree with the ladder leading up from the square. Va72#1 also shows Perso-Arabic influence in sqs.
8,43,57,63.
557 Considering the reading udān (rising bodily wind) in sq. 20 on Va72#3,17, it is possible that the two
charts in question understand samān in the sense of the similarly named digestive bodily wind.

484
for the good) #2,6,18,33 सनममा
न #5 सगु
नममा
ह
न #11 सनममा
न | samān barābar558 (equal
ह
disposition; equal) #9 सममा
न रर
मा
रर| samān pāp (atonement)559 #26a saman paap |
samatā bhāyai (you attain equanimity) #1 समतमाभमा
यह| santoṣ (pleasure) #7 सह
तलो
षणः|
dhan (wealth) #10 धन| samāvṛt (concealed) #29 समरकृ
त| ras (taste) #4b र
स

Uncertain #4a (अ)सममा

न (asamān, without equal disposition? āsmān,560 sky?) | #27
(सममा
ह
)व
त(samāntā, equality?)

Blank #15

Sq. 22: dharm▲60

dharm (religion) #1 धर
म कलो
ठह#2,5,27,31,33 धर
म▲60 #3,8,10,32 धमर्वा
▲60
#4a धमर्वा
#6 धर
म #7
धमर्वा
णः
▲60
#13 dharm▲60 #18 धर
म▲59 #26a dharma-loka▲60 #28 धमर्वा
▲68
| udyān van (garden,
forest) #29 उदमा
न: रन| kusaṅg561 (bad company) #11 कगु
सहगत▼6 | gandh (smell) #4b ग
हध▲60

Uncertain #9 धमर्वा
ककीसहकरऽ
ऽसन▲60 (dharm kī sahkār āsan, place of following religion?) |
#17 धगु
म▲60 (dharm? dhūmra, smoke, sin?)

Blank #15

Sq. 23: svarglok

svarglok, svarlok (heaven) #2,4a,9,10,18,28 स्वगर्वा
ललो क #3 स्वललो
(कर
) #5 सगु
रगललो
×#7 स्वगर्वा
णः#8 स्वगर्वा
#13 swarg lok #26a swarga-loka #27 सगु
रगललो
क #29 स्वर
गललो
क #31 सगु
रगलमा
क #32 सगु
रग(ललो
)क |
surlok (heaven) #6 सबू
मा
(र ) ललो
क#11,33 सगु
रललो
क| lok (realm, space) #4b ललो
क

Uncertain #1 र
रषललो
क (ṛṣilok, realm of the sages? rikhlok,562 region of the stars?) | #17
सगु
व्रललौ
क(svarglok?)

Blank #15

Sq. 24: kusaṅg▼7

kusaṅg (bad company) #1 कगु
सहगत▼6 #2,6 कगु
सहग#3,28 कगु
शहग▼7 #4a कगु
सहग▼row#1 #5 कगु
समाग▼7 #7
ह
कगु
सहगणः
▼6
#8,31,32 कगु
सहग▼7 #9,18,29 कगु
सहगत▼7 #10 कगु
(सह)ग▼7 #13 kasang▼7 #17 कगु
सहग
गु▼7 #26a ku-

558 The vernacular barābar (Per. barābar) appears to gloss the Sanskritic samān.
559 Translation adopted from Johari 2007 (p. 57).
560 Per. āsmān.
561 Va72#11 switches around the main reading dharm with the main reading kusaṅg from sq. 24.
562 Skt. ṛkṣaloka.

485
sang-loka▼7 #27 कगु
सहगव
त▼7 | dharm563 (religion) #11 धर
म| susaṅg564 (good company) #33
सगु
सह
गतह| sparś (touch) #4b स्पशर्वा
▼row#1

Blank #15

Sq. 25: susaṅg

susaṅg (good company) #2,3,4a,5,8,17 सगु
सह
ग#7 सगु
सह
गणः#9,18,29 सगु
सह
गत#10 (सगु
)सहग#26a su-
sang-loka #27 सगु
सगवत#28 सगु
शह
ग▲60 | satsaṅg (association with the good) #6 सतसह
ग#13
satsang #31 स(त) सह
ग#32 सतसह
(ग) | śok565 (sorrow) #1 सलो
ग| viśvāsghāt (treachery) #11
व
रस्वमा
सगमा
त▼9 | ātmagati (course of the self) #4b आत्म गव
त| kusaṅga566 (bad company) #33
कगु
सहगतह
▼7

Blank #15▼8

Sq. 26: sok

śok (sorrow) #2,4a,6,17,18,27,29,33 सलो
क #5,10 सलो
ग #7 शलो
कणः#8,28 शलो
क #13 shok | śok
cintā567 (sorrow; anxiety) #9 सलो
गसचह
तमा| duḥkh568 (sorrow) #26a dukh | sukh569
(happiness) #32 सगु
ष| pratham (first, best) #4b प्ररम| sevā (service) #31 सखे
रव़
मा| satīpurī570
(Satīpurī, city of satīs) #1 सतहपगु
रलो

Uncertain #3 समा
क (śok? sākh, trust?) | #11 (सगु
लौ
)च (śocya, miserable? śauc, purity?)

Blank #15

Sq. 27: paramārth▲41

paramārth (highest truth) #1 पर
ममा
र
त▲33 #2,31 प्रममा
र
र▲41 #3 प्रममा
×▲30 #4a,9,18 पर
ममा
र▲41
र्वा #6
पर
ममा
र
र▲42 #7 पर
ममा
रणः
र्वा
▲41
#10 प्रममा
र
(ध)▲40 #11,27,29 पर
ममा
र
र▲41 #13 parmárth▲50 #17 पर
ममा
र
र▲30

563 Va72#11 switches around the main reading kusaṅg with the main reading dharm from sq. 22.
564 Va72#33 switches around the main reading kusaṅg with the main reading susaṅg from the adjacent
sq. 25.
565 The reading śok is identical with the main reading in the adjacent sq. 26 where Va72#1 reads
satīpurī (Satīpurī, city of satīs).
566 Va72#33 switches around the main reading susaṅg with the main reading kusaṅg from the adjacent
sq. 24.
567 Sanskritic cintā glosses Sanskritic śok.
568 The reading duḥkh may have been intended as the negative counterpart of the main reading sukh
(happiness) in sq. 62.
569 The reading sukh is identical with the main reading in sq. 62, and thus appears twice on Va72#32.
570 The reading satīpurī (a.k.a. satīlok) refers to the heavenly city or realm where widows go after
burning themselves to death on the funeral pyre of their husbands.

486
#26a parmarth▲41 #28 पर
ममा
र▲42
र्वा #32 प्रममा
(र)र्वा
▲41?
| paramdharm571 (supreme
righteousness) #5 परधर
म▲41 #8 पर
मधमर्वा
▲41
#33 पर
मधर
म▲41 | sudharm (righteousness) #4b
सगु
धमर्वा
▲50

Blank #15▲41

Row #4
NB! Chart #4b switches around rows #3 and #4. Only readings which cannot be explained as a
result of this will be commented upon in the following.

Sq. 28: sudharm▲50

sudharm (righteousness) #1 सगु
ध्रम▲50 #2 सगु
धर म▲50 #3 सगु
ध×#4a,,28,32 सगु
धमर्वा
▲50
#6 सगु
धर म▲67 #7
सगु
धमर्वा
णः
▲50
#8,10 सगु
धमर्वा
▲59
#11,33 सगु
धर म▲59 #13 sudharm▲59 #18 सगु
ध(मर्वा
)▲50 #26a sudharma▲50 |
sudharm bhalāī572 (righteousness; goodness) #9 सगु
धमर्वाभलयमा
यह▲50
| sarv dharm (all
religions) #29 सर
बधर
म▲50 | dharm573 (religion) #17 ध्रम| śubh karm (auspicious action)
#27 सगु
भकरम▲49 | paramārth (highest truth) #4b पर
ममा
रर्वा
| subudh574 (intelligent) #5 सबगु
ध▲59
| suvidyā575 (good knowledge) #31 सगु
बदयमा
▲50

Blank #15▲59

Sq. 29: adharm▼6

adharm (unrighteousness) #2,6 अधर
म▼7 #3 अध×▼6 #4a अधमर्वा
▼row#1
#5,29,33 अधर
म▼6 #7
अधमर्वा
णः
▼7
#8,10,28,32 अधमर्वा
▼6
#13 adharm▼9 #17 अध्रम▼6 #18 अध(मर्वा
) (ललो
क)▼6 #26a adharma▼6 |
adharm burāī576 (unrighteousness; evil) #9 अधमर्वा
रगुरर
यमा
यह▼6
| adham (low, vile) #1 अधम▼3
| śok (sorrow) #4b शलो
क▼row#1 | akarm577 (inaction, wrong action) #27 अकर
म▼6 |

571 The reading paramdharm is reminiscent of the main readings dharm (religion, sq. 22), sudharm
(righteousness, sq. 28), and adharm (unrighteousness, sq 29).
572 The vernacular bhalāī appears to gloss the Sanskritic sudharm.
573 The reading dharm is identical with the main reading in sq. 22 where Va72#17 reads dhumra
(dharm? dhūmra, smoke, sin?).
574 The reading subudh is identical with the main reading in sq. 62, and thus appears twice on Va72#5.
575 Va72#31 switches around the main reading sudharm with the main reading suvidyā from sq. 45.
576 The vernacular burāī appears to gloss the Sanskritic adharm.
577 The reading akarm contrasts with the main reading karmyog (discipline of action) in sq. 19 where
Va72#27 reads karm (action).

487
uttamgati578 (best course) #11 उव
तमगत| avidyā579 (ignorance) #31 अबदयमा
▼6

Blank #15

Sq. 30: uttamgati

uttamgati (best course) #4a,6,8 उत्तमगव
त#10 उतमगव
तललो
क #26a uttam gati #27 उतमगव
त#33
उतम गतह| uttam (best, highest) #3 उत्तम ललो#7 उत्तमणः#17 उतम #28 उमा
त्तम #31 उतम (लमा
)क |
ātmajñān (self-knowledge) #1 आतम गमा
न #29 आतम जमा
न | uttamgati bhalāī580 (best
course; goodness) #9 उत्तम गव
त भलङ| uttamguṇ (supreme quality) #13 uttamgun |
susaṅgati (good company) #4b सगु
सह
गवत| sugandh581 (fragrance) #18 सगु
गह
ध | adharm582
(unrighteousness) #11 अधर
म▼7

Uncertain #5 रगु
त
व़म गमा
न (uttamjñān, highest knowledge?) | #32 (...)क (uttamlok, best,
ह
highest?)

Blank #2,15

Sq. 31: sparś

sparś (touch) #3,8 स्पशर्वा
#4a सपसर्वा
#6,33 सपर
स #7 स्पशर्वा
णः#10 (सप)र
(स) ललो
क #13 sparsh #17
स(पर
)स #18 स्पसर्वा
#27 स्पर
स | sparś vāy583 (touch; wind) #1 सपर
स बमा
य | sparś milāp584
(touch; meeting) #9 स्पशर्वा
समलमा
प| aras-paras (touch) #28 अर
सपर
स| sarvras (every taste,
learned) #11 सरर्वार
स लक | yakṣlok585 (realm of yakṣas) #26a yaksha-loka| suvās
(fragrance, breath, good place) #5 सगु
रव़
स| kusaṅg (bad company) #4b कगु
सहगव
त

Uncertain #29 सगु

शर्वा
(sparś?) | #31,32 अगनतत(ajñāntā, ignorance?)

578 Va72#11 switches around the main reading adharm with the main reading uttamgati from the
adjacent sq. 30.
579 Va72#31 switches around the main reading adharm with the main reading avidyā from sq. 44.
580 The vernacular bhalāī appears to gloss the Sanskritic uttamgati.
581 The reading sugandh is reminiscent of the main reading gandh (smell) in sq. 33 where Va72#18
reads aparamārth (not possessing the highest truth).
582 Va72#11 switches around the main reading uttamgati with the main reading adharm from the
adjacent sq. 29.
583 Skt. vāyu. The reading seems to indicate the Sāṃkhyan understanding of the subtle elements
(tanmātra) as being generative of the gross elements (mahābhūta), with the subtle element of touch
(sparśa) being generative of the gross element of wind (vāyu) (Larson & Bhattacharya 1987: 51-52).
584 The vernacular milāp appears to gloss the Sanskritic sparś.
585 The authenticity of the reading yakṣlok is uncertain as it only appears on Va72#26a which is a
modern redesign of an allegedly older chart.

488
Blank #2,15▼7

Sq. 32: maharlok

maharlok, mahālok (realm of majesty) #1 ममा
हमाललो
क #2 महमाललो
क #3,4a,8, महललो
क #5 ममा
हलखे
फ
#6 म(ह)र
खे
ललो
क #7 महलर्लो
कणः#10 (म)हरललो
क #11 महह
रललो
क #17,33 महरललो
क #26a maha/mahar-loka
#27 मखे
हरललो
क #28 महलर्लो
क #29 मव
हलर्लो
क #31 महमालमा
क #32 ×हमा(ललो
)क | mahātaplok586 (realm of
great austerity) #13 mahátap lok | svarglok (heaven) #4b स्वगर्वा
ललो क

Uncertain #9 मव
हललो
क (mahālok? mahīlok,587 Earth?) | #18 मलो
हललो
क (mahālok? moh,588
bewilderment?)

Illegible #2 | blank #15

Sq. 33: gandh

gandh (smell) #3 ग
ह(ध) #4a,6,17,27,33 ग
हध#8 गन #10 ग
हधललो
क #26a gandha-loka | sugandh
(fragrance) #2,29 सगु
गह
ध#7 सगु
गह
धणः| gandharvlok589 (realm of gandharvas) #28 ग
हधरर्वा
ललो क #31
ग
हधर
पलमा
क #32 ग
हधर
पललो
क | gandh sugandhatā (smell, fragrance) #9 ग
हधसगु
गह
धतमा| gandharv
surlok (heaven of gandharvas) #1 गधर
(दखे
) सगु
रललो
क | udyān (garden) #4b उदमा
न| gaṇlok
(realm of gaṇas) #13 gan lok | aparamārth590 (not possessing the highest truth) #18
अपर
ममा
र
र

Uncertain #5 ग
हदृपलखे
क (gandharvlok, realm of gandharvas?) #11 र
रषललो
क (ṛṣilok, realm of
the sages? rikhlok,591 region of the stars?)

Blank #15

Sq. 34: ras

ras (taste) #1,31 र
स ललो
क #2,4a,5,8,10,17,27,29,32,33 र
स #3 र
(स) #7 र
सणः#26a rasa-loka #28
र
समह
| narak592 (hell) #6 नर
क #11 नकर्वानर
क कह
ममखे
पमा
पहपड़खे
ममा
हमा
कगु
हभ नर
क छखे
कगु
म(उ)
पपमा
पहप| ras

586 The reading mahātaplok is synonymous with the main reading taplok in sq. 50, and thus invokes the
realm of austerity twice on Va72#13.
587 The reading mahīlok would be synonymous with the main reading bhūlok (Earth) in sq. 5.
588 The reading mohlok would be synonymous with the main reading moh (bewilderment) in sq. 6.
589 The reading gandharvlok is synonymous with the main reading in sq. 11. Va72#28,31 switch around
the main reading gandh with the main reading gandharvlok from sq. 11.
590 The reading aparamārth contrasts with the reading paramārth (highest truth) in sq. 27.
591 Skt. ṛkṣaloka.
592 Va72#6 switches around the main reading ras with the main reading narak from the adjacent sq. 35
where Va72#11 reads harṣ (joy). The added inscription on Va72#11 states that sinners (pāpī) fall into

489
saṃsārī (worldly pleasure) #9 र
स सह
समा
र
ह| harṣ (joy) #4b हषर्वा
| surlok593 (realm of gods,
heaven) #13 sur lok

Uncertain #18 सह
तरस(śāntras, tranquility?)

Blank #15

Sq. 35: narak

narak (hell) #4a नकर्वा#5 नर
गकृ
#7 नर
कणः#8,9,18,27,28,31,32,33 नर
क #10 नर
क ललो
क #13 narak
#26a narka-loka | rūp594 (form) #3 सबू
प#17 रूप| narakkuṇḍ (hell-pit) #29 नर
क कगु
ड़ |
yamlok (realm of Yama) #2 जमललो
क | nāglok595 (realm of nāgas) #1 नमा
गललो
क | harṣ596
(joy) #11 हर
षलक| ras597 (taste) #6 र
स

Blank #4b,15

Sq. 36: śabd

śabd (sound) #3,8 शब #5 सगु
बगु
धसब #13 shabd #17,33 सबद#29 सब ललो
क | svād598 (taste) #2
सरव़
मा
द#7 स्वमा
दणः#11 स्वमा
दप्रर| sandhyākarm (performance of sandhyā prayers) #31,32 सह
धयमा
कर
म | śabd dhvani599 (sound; sound) #9 शब ध्वव
न | svacch600 (pure) #26a swatch |
suśuddh (very pure) #18 सगु
षगु
ध | sukh601 (happiness) #1 सगु
षघर| rāg (passion) #6 र
मा
ग|
buddhi602 (intellect) #27 (बगु
ध| siddhi (accomplishment, supernatural power) #4a स
)स ससद्धि

Uncertain #10 सगु

ध ललो
क (sudh, intelligence? śuddh, pure?)603 | #28 स
सद्धिरन (siddhvān,
possessing supernatural powers?)

hell (narak), and specifies the name of that hell as kumbhīpāk where people are cooked in huge
vessels.
593 The reading surlok is synonymous with the main reading svarglok (realm of heaven) in sq. 23, and
thus invokes the realm of heaven twice on Va72#13.
594 The reading rūp is identical with the reading in sq. 35 on three Nepalese charts (Va72#19,21,22).
595 The reading nāglok is identical with the main reading in sq. 15, and thus appears twice on Va72#1.
596 The reading harṣ is identical with the main reading in sq. 18, and thus appears twice on Va72#11.
597 Va72#6 switches around the main reading narak with the main reading ras from the adjacent sq. 34.
598 The reading svād is synonymous with the main reading ras (taste) in sq. 34, and thus invokes the
subtle element of taste twice on Va72#2,7, whereas Va72#11 reads narak (hell) in sq. 34.
599 The Sanskritic dhvani appears to gloss the equally Sanskritic śabd.
600 The authenticity of the reading is uncertain as it only appears on Va72#26a which is a modern
redesign of an allegedly older chart.
601 The reading sukh is identical with the main reading in sq. 62 where Va72#1 reads śubh (auspicious).
602 The reading buddhi is reminiscent of the main readings subuddhi (intelligent, sq. 60) and durbuddhi
(foolish, sq. 61).
603 The reading sudhlok is identical with the reading in sq. 43 on Va72#10.

490
Blank #4b,15

Row #5
NB! Chart #10 overwrites the reading in sq. 38 with the reading from sq. 39, causing the
remaining readings of the row to be displaced one square to the left. Only readings which cannot
be explained as a result of this will be commented upon in the following.

Sq. 37: jñān▲66

jñān (knowledge) #1 गमा
नघर
▲69
#2 गमा
न▲66 #3 जमा
ह न#4a जमा
न▲66 #5 (गमा
ह ह
)न(गमा
)न▲66 #6,9 गमा
न▲66
#8,28,29 जमा
न▲66 #10 जमा
न▲68 #11 गमा
नललो
ह क▲66 #13 gyán▲66 #26a gyana (jnana)▲66 #27 (गमा
)न▲66
#31,32,33 गयमा
न▲66 | anna604 (food) #7 अन्नमह
▲66

Uncertain #17 ग
हनमा
न(jñān?) | #18 अन(दमा
)न▲66 (ānand, bliss?)

Blank #4b▲60,15▲66?

Sq. 38: prāṇ

prāṇ (breath, vital bodily wind) #2 प्रमा
ण#3,6,8,18,28,33 प्रमा
ह ण#4a प्रमा
न#5 प
ह हकृ
न#7 प्रमा
णणः#17 (प्र)ण
#26a prana-loka #29 प्रमा
ण: परन| prāṇyān (vehicle of breath) #9 प्रमा
णयमा
न| mān (respect)
#31,32 ममा
न| apān (disposing bodily wind) #10 अपमा
न| udān605 (rising bodily wind) #4b
उदमा
न| dhyān (meditation) #13 dhyán | prīti (love) #27 व
प्रतह

Uncertain #1 प्रनरमा
स (prāṇvās, seat of vital bodily wind?) | #11 (व
ब)णपतलक (vinipāt,
calamity?)

Blank #15

Sq. 39: apān

apān (disposing bodily wind) #2,3,4b,6,8,9,28,29 अपमा
न#4a अपमा
न#7 अपमा
ह नणः#26a apana-
loka #33 आपमा
न| apamān (disrespect) #31,32 अपममा
न| puṇya (merit) #17 पबू
न #18 पगु
न|
)न| prāṇ606 (vital bodily wind) #13 prán | aprīti
vyān (circulating bodily wind) #10 (वमा
(hatred) #27 अव
प्रव
त| rūp607 (form) #11 रूपललो
क

604 The reading anna is identical with the reading in sq. 42 on Va72#3,8,17. See fn. 610.
605 See fn. 553.
606 The reading prāṇ is identical with the main reading in sq. 38 where Va72#13 reads dhyān
(meditation).
607 The reading rūp is identical with the reading in sq. 35 on Va72#3,17, and may be further related to
the same reading in sq. 35 on three Nepalese charts (Va72#19,21,22).

491
Uncertain #1 अपमा
न रमा
स (apānvās, seat of disposing bodily wind?) | #5 (अह
)प्रन (apān?
aprāṇ, lifeless?)

Blank #15

Sq. 40: vyān

vyān (circulating bodily wind): #2,5 बह
न#3 (वमा
)न#4a वमा
ह
न#4b वमा
नरमा
यगु
#6,8,28 वमा
न#7
वमा
नणः#17 रमा
न#18 रखे
ह यमा
न#26a vyana-loka #29 वमा
नपरन#33 बमा
न| dhyān (meditation) #31,32
धयमा
न| dhan (wealth) #27 धन| janlok (realm of men) #10 जनललो
क | hariguṇ608 (qualities
of Hari) #11 हर
रगगु
नललो
क| āpatti (adversity) #13 apattí

Uncertain #1 वमा
जहक (vyāj, deceit?) | #9 वमा
नकर
णमा(vyān karnā, vyānkaraṇ, producing
circulating bodily wind?)

Blank #15

Sq. 41: janlok

janlok (realm of men) #1,2,4ab,8,9,17,18,27,28,29,33 जनललो
क #5 लखे
क ज(ऩ) लखे
क #6 जन(ललो
)क
#7 जनललो
कणः#13 yan lok #26a jana-loka #31 जनलमा
क #32 जनलो
×क | agni609 (digestive fire) #10
अगललो
क

Uncertain #3 जत्रललो
क (janlok? atralok, this world? yātrā, pilgrimage?) | #11 आसमाव
रशमा
म
ललो
क(āśā viśrām, cessation of desire?)

Blank #15

Sq. 42: agni

agni (digestive fire) #2,18 अगव
न#4ab अव
ग #7 अव
गणः#11,28,29 अव
ग ललो
क #26a agni-loka |
anna610 (food) #3,17 अन#8 अन्न | suvās (fragrance, breath, good place) #31 सगु
बमा
स #32
सगु
रमा
स| agnikuṇḍ (fire-pit) #9 अव
गकगु
ह
ड| agra611 (first, best) #1 अग्रललो
क | ānand612 (bliss)
#5 आह
न
हद| manuṣya (human being) #10 मनगु
षललो
क | sūryalok (region of the sun) #13

608 The reading hariguṇ is one of three readings referring to Hari, or Viṣṇu, on Va72#11 (cf. sqs. 54,61).
609 The reading agni is identical with the main reading in the adjacent sq. 42 where Va72#10 reads
manuṣyalok (realm of human beings).
610 The reading anna is reminiscent of the readings annapūrṇa (sacred Nepalese mountain) and
annapūrṇā (wife of Śiva) in sq. 42 on two Nepalese charts (Va72#20,22). Cf. atapurn in sq. 43 on the
Nepalese chart Va72#23.
611 The reading contrasts with the reading māṁdā (slow, remaining) in sq. 43.
612 The reading ānand is identical with the main reading in sq. 66, and thus appears twice on Va72#5.

492
surya lok | ajñān613 (ignorance) #27 अह
गमा
न

Uncertain #6 अ(गन) ललो

क#33 अगन(agni?)

Blank #15

Sq. 43: manuṣyajanma

manuṣyajanma (human birth) #4a मनगु
ष्य जनम#4b,9 मनगु
ष्य जन #26a manushya-janma #28
मनगु
स जन #31,32 मनषजनम| manuṣya (human being) #6 मनस ललो
क #18 ममा
नषलो#27 मनगु
षललो
क
#29 मनगु
ष्य ललो
क | sṛṣṭi manuṣya (creation of human beings) #33 सर
सटहमनष | sṛṣṭi
(creation) #3,8 सकृ
वष| vidhi (rite, creation) #2 व
रसधललो
क | manīṣitā (wisdom) #7 मनह
वषतमा|
yampurī (city of Yama) #11 जमपगु
रह
▼8
| agni614 (digestive fire) #13 agní lok | māṁdā615
(slow, remaining) #1 ममा
नमाललो
क

Uncertain #5 (शखे
)×ट(sṛṣṭi?) | #10 सगु
धललो
क (sudh, intelligence? śuddh, pure?)616 | #17 सर
टमा
णः
(sṛṣṭi? sarṭā, lizard?)

Blank #15

Sq. 44: avidyā▼9

avidyā (ignorance) #2,3,7,8,9,28,29,33 अव
रदमा
▼9
#4a अव
रदमा
▼row#1
#4b अव
रदमा
▼10
#5 अबह
दमा
▼9

#10 अव
रदमाललो
क▼9 #13 avidya▼6 #26a avidya▼9 #27 अव
बधमा
▼9
| kubuddhi, abuddhi617
(foolish) #1 अबदघर#6 कगु
रगु
सध▼9 #17 अबगु
ध▼9 | adharm618 (unrighteousness) #11 अधर
म▼43 #31
अधमर्वा
▼9

Uncertain #18 अव
र×▼9 (avidyā?) | #32 रधयमा
▼8/9
(vadhyā, killing? vidyā, knowledge?)

613 The reading ajñān contrasts with the main reading jñān (higher knowledge) in sq. 37, and is
reminiscent of the main readings avidyā (ignorance, sq. 44) and tāmas (darkness, ignorance, sq. 63).
614 The reading agni is reminiscent of the main reading in the adjacent sq. 42 where Va72#13 reads
sūryalok (region of the sun).
615 Per. mānda. Va72#1 also shows Perso-Arabic influence in sqs. 8,20,57,63. The reading contrasts with
the reading agra (first, best) in sq. 42 on Va72#1.
616 The reading sudhlok is identical with the reading in sq. 36 on Va72#10.
617 Va72#1,6,17 replace the main readings avidyā (ignorance, sq. 44) and suvidyā (right knowledge, sq.
45) with the readings kubuddhi (foolish, sq. 44) and subuddhi (intelligent, sq. 45). The latter two are
identical with the main readings in sqs. 60,61, and thus appear twice on Va72#6,17 (cf. sqs. 60,61 on
Va72#1).
618 The reading adharm is identical with the reading in sq. 30 on Va72#11, and thus appears twice on
the chart. Va72#31 switches around the main reading avidyā with the main reading adharm from sq.
29.

493
Blank #15▼6

Sq. 45: suvidyā▲67

suvidyā (right knowledge) #4b,7,8,9,28,29 सगु
वरदमा
▲67
#10 सगु
थत्वधमा
▲67
#11 (सगु
रदमा
)व ▲47
#13
suvidya▲67 #26a suvidya▲67 #33 सगु
बहदमा
▲67
| subuddhi619 (intelligent) #1 सगु
बध घर
▲67
#6
सगु
रगु
सध▲59 #17 सगु
रध▲67 #27 सगु
बगु
धह▲67
| sudharm620 (righteousness) #5 सगु
धर म सगु
धर म▲67 #31
सगु
धर म▲67 | susiddhi (good accomplishment) #4a सगु
सससद्धि▲67 | sevābhakti (devotion
through service) #2 सखे
रव़
माभगव
त▲67 | aṣṭāṅgyog (eightfold system of yoga) #18 अ(षमा
)गजलो
ग▲67

Uncertain #3 सगु
××▲67 (suvidyā?) | #32 सगु
रगु
धयमा
▲67
(suvidyā? subuddhi?)

Blank #15

Row #6
Sq. 46: vivek▲62
vivek (discriminating judgment) #2 ररखे
क▲62 #3 व
रर× #4ab,6,8,11,18,28,29 व
ररखे
क▲62 #5
बखे
बखे
षमा
▲62
#7 व
ररखे
कणः▲62
#10 व
ररखे
क▲66 #13,26a vivek▲62 #17 रखे
रखे
क #27,31 व
बबखे
क▲62 #32 ररक
खे▲62 #33
बबखे
क▲62 | vivek karnā (making a discriminating judgment) #9 व
ररखे
ककनमा
र्वा
▲62

Uncertain #1 रह
मक▲62 (?)

Blank #15▲62?

Sq. 47: sarasvatī

sarasvatī, sursatī, śāradā (Sarasvatī, sacred river, energy channel) #2,3,4ab,7,8,9,17,32
सर
स्वतह#5 सगु
रस्वतह#6,10 सगु
रसतह#11 सर
धमा#18 सर
स्वव
त#26a saraswati #27 सगु
रस्वव
त#29 शहसर
स्वतह
#31 सर
सगु
तह#33 स्वर
स(तह
) | gaṅgā621 (Gaṅgā, sacred river, energy channel) #28 शहग
हगमा
जह|
kuber622 (Kubera, god of wealth) #13 kuber lok

619 See fn. 617. Note that the reading subuddhi also appears twice on Va72#27.
620 The reading sudharm is identical with the main reading in sq. 28 where Va72#5 reads subudh
(intelligent). Va72#31 switches around the main reading suvidyā with the main reading sudharm
from sq. 28.
621 Va72#28 changes the sequence of the main readings sarasvatī (sq. 47), yamunā (sq. 48), and gaṅgā
(sq. 49) to gaṅgā (sq. 47), sarasvatī (sq. 48), and yamunā (sq. 49).
622 Va72#13 replaces the main readings sarasvatī (sq. 47), yamunā (sq. 48), and gaṅgā (sq. 49) with kuber
(Kubera, god of wealth, sq. 47), nārad (Nārada, divine sage, sq. 48), and kailās (Kailāsa, sacred
mountain, sq. 49), indicating Śaiva influence. The winning square, however, remains vaikuṇṭh
(Vaikuṇṭha, Viṣṇu's heaven, sq. 68). Also see fn. 645.

494
Uncertain #1 सर
सचह
त(Sarasvatī?)

Blank #15▼10

Sq. 48: yamunā

yamunā, jamnā (Yamunā, sacred river, energy channel) #1 जमनघर#2 जमनमा
जह#3,10,27
ह
जमगु
नमा#4a,6 जमगु
नमा
जह#4b,31,32,33 जमनमा#7,8 यमगु
नमा#9 यमगु
नमा
जह#11 जगु
मनमा
जह#15 शहजमगु
नमा#17 जमनमा
ह
#18 जगु
मनमा
×#26a yamuna #29 शहजमन
गुमा
जह| jamnā gaṅgā623 (Yamunā; Gaṅgā, sacred rivers,
energy channels) #5 जगु
मन हगमा
गमा| sarasvatī624 (Sarasvatī, sacred river, energy channel)
ह
#28 शहसर
स्वतह
जह| nārad625 (Nārada, divine sage) #13 nárad lok

Sq. 49: gaṅgā

gaṅgā (Gaṅgā, sacred river, energy channel) #2,4a,6,9,11,18,33 ग
हगमा
जह
#3,4b,7,8,10,17,27,31,32 ग
हगमा#15 शहग
हगमा#26a ganges/ganga #29 शहग
हगमा
जह| sūrajlok
gaṅgā626 (region of the sun; Gaṅgā, sacred river, energy channel) #5 सगु
रज ललो
कगह
गमा|
yamunā627 (Yamunā, sacred river, energy channel) #28 शह(यमगु
)नमा
जह| gajtīrth628
(Gajatīrtha, pilgrimage site) #1 गज तह
रर | kailās629 (Kailāsa, sacred mountain) #13
kailásh

Sq. 50: taplok

taplok (realm of austerity) #1,2,3,4a,4b,9,10,18,27,28,29,33 तपललो
क #6 त(प) ललो
क #7 तपलो
ललो
कणः
#8 तपलोललो
क #11 तपलौललो
क #13 tap lok #26a tapa/tapar-loka #31 तप(ललो
)क | tap630 (austerity)
#15 तप| sūrajlok631 (region of the sun) #5 सगु
रजलखे
क

Uncertain #17 रपललो

क#32 त(...)क(taplok?)

623 The reading jamnā is encircled, and appears to be a correction for gaṅgā which is also found in the
adjacent sq. 49 where it is the main reading.
624 See fn. 621.
625 See fn. 622.
626 The reading sūrajlok is encircled, yet gaṅgā appears to be the intended reading, as sūrajlok is also
found in the adjacent sq. 50.
627 See fn. 621.
628 The reading gajtīrth may refer to a similarly named pilgrimage site mentioned in the Skandapurāṇa
(SP 4.2.83.62).
629 See fn. 622.
630 The reading tap is identical with the main reading in sq. 10 which remains uninscribed on Va72#15.
631 The reading sūrajlok is identical with the reading in sq. 65 on Va72#5, and thus appears twice on the
chart (cf. fn. 626).

495
Sq. 51: pṛthvī
pṛthvī (earth) #2 प्र(रह
) #3 प्रथ
थ #4a,7,8,9,15 पकृ
थह#4b पकृ
थह ▲66
#5 प्ररह#6,27,28,32 प्रथह#10 पकृ
रह
#17 प्रररह#26a prithvi #29 व
प्ररह#31 प्ररह#33 प्रथ | jal632 (water) #18 जल| hiṃsā633 (injury)
#1 हह
समा#11 हह
समा| andhakār634 (darkness) #13 andhkár

Sq. 52: hiṃsā▼35

hiṃsā (injury) #1 हसमा
▼35
#4a,8,15,28,29 वहमा
हस ▼35
#5 हह
सलो
▼35
#6 हह
समा
▼34
#10 व
हसमा
▼35
#13
hinsá▼35 #18 वहमा
हस ▼35
#26a himsa-loka▼35 #27 हह
(समा
)▼35 #31,32 हह
समा
▼35
हमा
#33 हह
स ▼35
| hatyā
(killing) #2,7 हतमा
▼35
| ajñān635 (ignorance) #3 अजमा
न▼34 | hatyā burāī636 (killing; evil) #9
हतमारगु
रह
▼35
| akarm637 (inaction, wrong action) #11 अकमर्वा
कर खे
(सलो
) नर
कपड़खे
▼34

Uncertain #17 अगन▼34 (ajñān?)

Blank #4b▼35

Sq. 53: jal

jal (water) #2,4ab,5,6,8,15,27,28,29,31,32,33 जल#10 जलललो
क #26a jala-loka | āp (water)
#7 आपणः#17 आप| jal samudra (water, ocean; freshwater ocean)638 #9 जलसमगु
द्र| janlok639
(realm of men) #1 जनललो
क | jap (muttering prayers) #13 jap | dayā640 (compassion) #18
दयमा| tapasyā641 (austerity) #11 तपसमा

632 The reading jal is identical with the main reading in sq. 53 where Va72#18 reads dayā (compassion).
633 The reading hiṃsā is identical with the main reading in the adjacent sq. 52, and thus appears twice
on Va72#1. However, a snake only leads down from sq. 52, indicating that the reading in sq. 51 is a
mistake.
634 Considering the Śaiva influence on Va72#13 (see fn. 622), it might be noted that the reading
andhakār invokes the name of the demon (asura) Andhaka killed by Śiva.
635 The reading ajñān contrasts with the main reading jñān (higher knowledge) in sq. 37, and is
reminiscent of the main readings avidyā (ignorance, sq. 44) and tāmas (darkness, ignorance, sq. 63).
636 The vernacular burāī appears to gloss the Sanskritic hiṃsā.
637 The reading akarm contrasts with the main reading karmyog (discipline of action) in sq. 19 where
Va72#11 reads karm (action). The added inscription states that those who practice akarm shall fall
into hell.
638 Va72#9 often glosses legends, and it is uncertain whether samudra should be understood as glossing
jal, or as entering into a compound with it. The freshwater ocean (jalasamudra) encircles the
outermost ring continent in Purāṇic cosmology.
639 The reading janlok is identical with the main reading in sq. 41, and thus appears twice on Va72#1.
640 The reading dayā is identical with the main reading in sq. 17 where Va72#18 reads vidyā (learning).
641 The reading tapasyā is identical with the main reading in sq. 10 where Va72#11 reads taplok (realm
of austerity).

496
Uncertain #3 भय(bhay, fear? bhāi,642 existence?)

Sq. 54: bhakti▲68

bhakti (devotion) #3,8,9 भव
क्ति▲68 #4a भमा
व
क्ति▲68 #6 (शह
) भव
क्ति▲top#1 #7 भव
क्तिणः
▲68
#10,18 भगव
त▲top#1
#11 भव
क्ति643 भव
क्ति गतहकर
खे
(सह
रखे
)कहट(पमा
यखे
)▲68 #26a bhakti-loka▲68 #28 भव
क्ति▲top#1 | bhakt (devotee)
#5 भ्रग्
तमा
▲68
#17,31,32,33 भगत▲68 | haribhakt644 (devotee of Hari) #29 हवर भक्ति▲68 |
bhaktamārg (path of the devoted) #1 भगतममा
र
ग▲68 | bhakti śrī prabhujī kī (devotion to
Śrī Prabhujī) #2 भव
क्ति शहप्रभबू
जहककी
▲top#1
| satya645 (truth) #13 satya▲68

Uncertain #15 हर भव
क्ति▲68 (harabhakti, devotion to Hara? haribhakti, devotion to Hari?) |
#27 ×व
क्ति▲68 (bhakti?)

Blank #4b▲69

Row #7
Sq. 55: ahaṃkār▼2
ahaṃkār (egoity) #2 अहह
कमा
र
▼1/2
#3,6,9,10,15,18,28,31,32,33 अहह
कमा
र
▼2
#4a अहह
कमा
र
▼row#1
#5
आह
हमा
क
हमा
र
▼2
#7 अहह
कमा
र
णः
▼2
#8 अहह
(कमा
)र▼2
#11 अहह
कमा
र
▼1
#13 ahankár▼2 #17 अहहें
कमा र
▼2
#26a
ahamkara▼3 #27 अहह
कमा
र
▼2
#29 अहह
कमा
रललो
▼2

Uncertain #1 अरममा
ग▼2 (apamārg, bad path?)

Blank #4b▼row#1

Sq. 56: ākāś

ākāś (space) #2,4ab,5,6,10,11,18,28,32,33 आकमा
स#3,8,9,15 आकमा
श#7 आकमा
शणः#13 akash #27
आह
कमा
स#29 आकमा
ह सललो| tej646 (fire) #31 तखे
ज| omkār647 (the syllable om) #26a omkar

Uncertain #1 आकमा
रललो
क#17 अक(र
) (ākār, form? akār, not acting?)

642 The reading bhāi would be reminiscent of the reading bhāilok (realm of existence) in sq. 5 on
Va72#13.
643 The added inscription states that those who practice bhakti shall calm all agitation.
644 The reading haribhakt is one of three readings referring to Hari, or Viṣṇu, on Va72#11 (cf. sqs. 40,61).
645 Va72#13 is alone among the charts in not mentioning bhakti. One might speculate whether this
could be a further consequence of the Śaiva influence evident in sqs. 47,48,49 (see fn. 622).
646 Va72#31 switches around the main reading ākāś with the main reading tej from sq. 58 two squares
to the right.
647 The authenticity of the reading omkār is uncertain as it only appears on Va72#26a which is a
modern redesign of an allegedly older chart.

497
Sq. 57: vāyu
vāyu, vāy, vāü (air) #2 रमा
य#3,4ab,6,8,11,15,18 रमा
यगु
#7 रमा
यगु
णः#9,29 रमा
यगु
ललो
क #10 रमा
यललो
क #13
bábu #17 रमा
उ#26a vayu-loka #31,33 बमा
य#32 रमा
य| tej648 (fire) #28 तखे
ज | dīvān649 nāth
(name or title)650 #1 दह
रमा
ननमा
र

Uncertain #5 बमा
बव (vāv,651 wind?) | #27 (व
ब)×(ई) (?)

Sq. 58: tej

tej (fire) #1 तखे
ज घर#2,3,4ab,6,8,11,15,17,18,27,33 तखे
ज #7 तखे
जणः#9,10,29 तखे
ज ललो
क #13 tej #26a
teja-loka #32 (तखे
ज) | āp652 (water) #28 आप| ākāś653 (space) #31 आकमा
स

Uncertain #5 तलो
जतलो
ज(tej?)

Sq. 59: satyalok

satyalok, satlok (realm of truth) #2,3,4a,8,9,10,28,29 सत ललो
क #4b,5,6,18,27,33 सतललो
क #7
सतललो
कणः#11 सत ललो
×654 #13 sat lok #26a satya-loka #31 सत(ललो
)क | satya (truth) #15 सत |
santoṣ (pleasure) #17 सह
तलो
क| sun655 (void) #1 सगु
नललो
क

Illegible #32

Sq. 60: subuddhi

subuddhi (intelligent) #3,6,10 सगु
रगु
सध#4ab,8,15,28 सगु
रगु
सद्धि#5,27 सगु
बगु
धह#7 सगु
रगु
सद्धिणः#9,32,33 सगु
रगु
ध
#11 सगु
बगु
सध#13 subad(h)i #17,18,31 सगु
बगु
ध#26a subuddhi #29 सगु
बगु
धकलो
क | buddhi (intellect)

648 The reading tej is identical with the main reading in the adjacent sq. 58 where Va72#28 reads āp
(water).
649 Per. dīvān. Va72#1 also shows Perso-Arabic influence in sqs. 8,20,43,63.
650 The reading dīvān nāth can both be understood as a name and as the title of a minister. A famous
mansion known as Dīvān Nāth Mahal kī Havelī was built for Dīvān Mohtā Nathmal in 1885 in
Jaisalmer. Nathmal served as prime minister at the royal court of Jaisalmer from c. 1885-1901. The
chart, however, is believed to be from Gujarat.
651 Skt. vāta.
652 The reading āp is synonymous with the main reading jal in sq. 53, and thus invokes the gross
element of water twice on Va72#28.
653 Va72#31 switches around the main reading tej with the main reading ākāś from sq. 56 two squares
to the left.
654 The reading satyalok is identical with the reading in sq. 69 on Va72#11.
655 Skt. śūnya. Though adopted from Buddhism where it denotes ultimate reality and the emptiness of
phenomenal existence, the reading sun should not be seen as an expression of Buddhist influence on
the religious orientation of Va72#1. Rather, it should be understood as the divine principle in bhakti,
and as a reference to the highest cakra in Haṭhayogic philosophy (cf. DoB, p. 2073-74).

498
#2 बबू
सद्धि| śubh656 (auspicious) #1 सगु
भघर

Sq. 61: durbuddhi▼13

durbuddhi, kubuddhi (foolish) #2 कगु
बगु
स गुर्वा
द्धि▼13 #3 दर गु गुर्वा
धह#4a दर गु
स गुर्वा
द्धि▼13 #4b,15 दब स
गु गुगु
द्धि▼13 #5 दब धमा
▼3

#6 कगु
रगु
स गुर्वा
ध▼24 #7 दर गु
सद्धिणः
▼6
गुर्वा
#8 दर गु
स गुर्वा
द्धि▼6 #9 दर गु गुर्वा
द्धि▼3 #10 (दर गु
)स बू
ध▼13 #13 durbadhi▼6 #17 दर
बगु
ध #18
कगु
बगु गु
ध▼13 #26a durbuddhi▼13 #27 दरबगु
स गु
ध▼13 #28 दररगु
स गु
द्धि▼5 #29,31,33 दर ध▼13 #32 (दगु
बगु (रगु
)र )ध▼13 |
haribhajan657 (hymn to Hari) #11 हर
रभजन

गुधघर
Uncertain #1 दभ ▼8
(durbuddhi?)

Sq. 62: sukh

sukh (happiness) #2,5,6,11,15,17,18,27,31,33 सगु
ष#3,4b,8,28 सगु
ख #7 सगु
खमह#9 सगु
ख ललो
क #13
sukh #26a sukh #29 सगु
षललो
क #32 (सगु
ष) | santoṣ (pleasure) #4a सह
तलो
ष| śubh658 (auspicious)
#1 सगु
भललो
क

Uncertain #10 सषललो

क(sukh?)

Sq. 63: tāmas▼3

tāmas (darkness, ignorance) #2,6,8,11,27,28,31,32,33 तमा
मस▼3 #3 तमा
मस▼9 #4ab तमा
मस▼row#1 #5
त
हमस▼13 #7 तमा
मसणः
▼3
#9 तमा
मस ललो
क▼13 #10 तमा
मस▼3 #13 támas▼3 #15 तमा
ह मस▲65▼3 #17 तमा
मस▼4 #26a
tamas▼2 #29 तमा
मसललो
क▼3 | tāmas ahaṃkār (egoity dominated by the quality of inertia)
#18 तमा
मसअहक
हमा
र
▼3

Uncertain #1 तलो
बसघर(tobā,659 repentance?)

Row #8
Sq. 64: prakṛti
prakṛti (primordial matter) #2 प्रक्रव
त#3,4ab,6,8 प्रककृ
वत#7 प्रककृ
वतणः#13 prakrit #15 प्रककृ
(वत)▼3
#26a prakriti-loka #27 पर
ककी
र
वत#28 प्रककी
स
त्तर्वा
ललोक #29 प्रक्रव
तर्वा
ललोक #31,32 प्रर
करत#33 प्रककी
र
तह|

656 The reading śubh is identical with the reading in sq. 62 on Va72#1, and thus appears twice on the
chart.
657 The reading haribhajan is one of three readings referring to Hari, or Viṣṇu, on Va72#11 (cf. sqs.
40,54).
658 The reading śubh is identical with the reading in sq. 60 on Va72#1, and thus appears twice on the
chart.
659 Ara. tauba. Va72#1 also shows Perso-Arabic influence in sqs. 8,20,43,57.

499
prakṛtimāyā (māyā in the form of primordial matter)660 #18 प्रक्रव
त ममा
यमा| prākṛt
(natural, original) #17 प्रमा
ककृ
त| sukṛti (right conduct) #10 सगु
क्रव
तललो
क | prakaṭ (manifest)
#1 प्रगतघर
▼9
| pitṛlok (realm of ancestors) #5 पह
त्रललो
क | sūryalok661 (region of the sun)
#11 सबू
यर्वा
ललो क

Uncertain #9 प्रकतललो
क(prakṛti? prakṛta, true, original?)

Sq. 65: durati

गु
durat, durati662 (hidden, distant) #4a,6 दरव गु
त#33 दरव
तललो गु
क #13 durat #31 दरत| duratyay
गु
(inaccessible) #15 दर गु
तय#29 दरतयललो
क | vaivasvat663 (Vaivasvat, the seventh Manu) #3
रह
रस्वत#7 रह गु
रस्वतणः| durit (bad course) #9 दरर
तललो गु
क | durgati (bad course) #27 दरगवत|
गु
durant (endless, having a bad end) #1 दरमा गु त| pūrit
तघर| duṣkṛt (evil action) #8 दषकृ
ह
(completed) #4b पगु
रर
त| puruṣ664 (pure consciousness) #18 पगु
रषललो
क | indralok (realm of
Indra) #28 ईंद्रललो
क | sūrajlok665 (region of the sun) #5 सगु
रज लखे
कक | sukh (happiness) #10
सगु
षलोललो
क| ānand666 (bliss) #11 आन
हदललो
क| urant667 (inner space)668 #26a uranta-loka

गु
Uncertain #2 दवतयमा(dutiyā, second? duniyā,669 world?) | #17 ध्ररत(dhruv, the pole star?
गु
dhruvatā, constancy?) | #32 दर×(durat, durati?)

660 Prakṛtimāyā is a technical term in the Śaiva Siddhānta tradition where it denotes the lowest form of
māyā, or pure substance (śuddhamāyā), from which the material universe evolves (Paranjoti 1954:
64-65; cf. Flood 2006: 126-27).
661 The reading sūryalok contrasts with the reading candralok (region of the moon) in sq. 71 on
Va72#11, and reflects the illustration of the sun sitting in a horse-drawn chariot in the top panel of
the same chart.
662 Hi. durnā, dūr. Cf. fn. 214 in chapter four.
663 The reading vaivasvat is identical with the reading in sq. 65 on three Nepalese charts
(Va72#22,23,24), and reminiscent of the reading vaivaspāk (seat of Nepalese kings acc. to Katrin
Stamm, pers. comm.) in sq. 65 on a single Nepalese chart (Va72#21). Cf. fn 85 in chapter two.
664 The reading puruṣ contrasts with the main reading prakṛti (primordial matter) in the adjacent sq.
64, as they indicate the male and female principles of creation in Sāṃkhya philosophy.
665 The reading sūrajlok is identical with the reading in sq. 50 on Va72#5, and thus appears twice on the
chart (cf. fn. 626).
666 The reading ānand is identical with the main reading in the adjacent sq. 66 where Va72#11 reads
brahmlok (realm of Brahmā).
667 Skt. *uras-anta. The authenticity of the reading is uncertain as it only appears on Va72#26a which is
a modern redesign of an allegedly older chart.
668 The translation is taken from Johari 2007 (p. 123).
669 Ara. dunyā.

500
Sq. 66: ānand
ānand (realm of bliss) #1 आनदघर#2,4a,17,27 आन
हद#3 आह
न
हद#4b आनन #5 आनमा
द(लखे
ह )क
#6,9,10,18,28,29,31,32 आन
हदललो
क #7 आन
हदललो
कणः#8 आनन ललो
क #13 ánand #15 आन
हद▼13 #26a
ananda-loka | brahmlok670 (realm of Brahmā) #11 व्रह्म ललो
क | indralok (realm of Indra)
#33 ईद्रललो
क

Sq. 67: śivlok

śivlok (realm of Śiva) #2 शहस
सरव़
ललो
क #4b,8,15,28,29 स
शरललो
क #5 सह
रव़
ललो
क #6,18 स
सरललो
क #7
स
शरललो
कणः#33 शर ललो
क | rudralok (realm of Rudra) #3,4a,9,27 रुद्रललो
क #17 रूद्रललो
क #26a
rudra-loka #31 र
लो
दरललो
गु क | śivmārg (path of Śiva) #1 सह
रममा
र
ग| śivlok kailās (realm of
Śiva; Kailāsa, sacred mountain) #13 sirlok kailása | indralok (realm of Indra) #10 इद्र
क| muktilok (realm of liberation) #11 मगु
ललो वक्ति ललो
क

Uncertain #32 उदर(ललो

क) (rudralok? udar, womb? udār, generous, the generous one, i.e.
Viṣṇu?)

Sq. 68: vaikuṇṭh

vaikuṇṭh (Vaikuṇṭha, i.e. Viṣṇu's heaven) #3,15,32 रह
कगु
ह
ठ #4a रह
कगु
ह
× #4b रह
कगु
ह
ठ ललो
ग #5 शह
बखे
यर्वा
कगुट671 (रखे
कगु
)ठ#7 रह
कगु
ह
ठणः#8 रह
कगु
ह
ठललो
क #9 रह
कगु
ह
ठधमा
म#11 शहरह
कगु
ह
ठललो
क #13 vaikunth #17 रह
कगु
ठललो
क
#18 रह
कगु
ठ#26a vaikuntha-loka #27 बखे
कहठललो
क #29 शहरह
कगु
ह
ठ#31 बखे
×ठ#33 बखे
कगु
ठ| viṣṇulok
(realm of Viṣṇu) #2 शहव
रषगु
ललो
क #28 व
र(षगु
) ललो
क | śivlok (realm of Śiva) #10 स
शरललो
क|
muktimārg (path of liberation) #1 मगु
गतममा
र
ग

Blank #6

Sq. 69: brahmlok

brahmlok (realm of Brahmā) #1 रर
मललो
क #2 शहब्रमललो
क #3 ब्रह्म ×क #4ab,8,15 ब्रह्म ललो
क #5
ब्रहह
म×कक #6,9,28,29 व्रह्म ललो
क #7 व्रह्मललो
कणः#10 व्रह्ममाललो
क #13 brahmlok #18,27 ब्रमललो
क #26a
brahma-loka #31 बह्म ललो
क #32 ब्रह्म (ललो
क) #33 बर
मललो
क | satyalok672 (realm of truth) #11 सत
ललो
क

670 The reading brahmlok is identical with the main reading in sq. 69 where Va72#11 reads satyalok
(realm of truth).
671 The reading beryakuṭ, probably a local Rajasthani variant of vaikuṇṭh, is reminiscent of the reading
in sq. 68 on the apparently forged Va72#30a-q not included in the critical reading (see Appendix B1).
672 The reading satyalok is identical with the main reading in sq. 59, and thus appears twice on
Va72#11.

501
Uncertain #17 र
हमललो
क (brahmlok?)

Sq. 70: satoguṇ

satoguṇ, sattvaguṇ (quality of goodness) #1,2,4ab,6,9,10,28,29,33 सतलोगगु
ण #3,15 सत्व गगु
ण
#7 सत्वगगु
णणः#8 सत्त्व गगु
ण #13 satogun #18 सतगगु
ण #26a satoguna #27,32 सतलोगण #31 सतलोगगु
न|
rajoguṇ673 (quality of activity) #5 र
जलोगगु
ण | śivlok674 (realm of Śiva) #11 ॐ शहस
शरललो
क|
ant (end, death) #17 अह
तललो
क

Sq. 71: rajoguṇ

rajoguṇ (quality of activity) #1,2,3,4ab,6,8,9,10,15,18,28,29,33 र
जलोगगु
ण #7 र
जलो
गगु
णणः#13
rajogun #26a rajoguna #27 र
जलोगण#31 र
जलोगगु
न#32 र
(जलो
) गण| rājas (relating to the quality
of activity) #17 र
मा
जस| satoguṇ675 (quality of goodness) #5 समा
तलोगगु
ह ण| candralok676 (region
of the moon) #11 चह
द्रललो
क

Sq. 72: tamoguṇ▼51

tamoguṇ (quality of inertia) #1,2,3,4ab,5,6,8,9,10,15,28,29,33 तमलोगगु
ण▼51 #7 तमलो
गगु
णणः
▼51
#11
तमलौगगु
ण लक▼51 #13 tamogun▼51 #18 तमलोगगु
ण▼33 #26a tamoguna▼51 #27 तमलौ(गगु
)ण▼51 #31 तमलो
गगु
न▼51 #32 तमलोगण▼51 | tāmas677 (relating to the quality of inertia) #17 तमा
मसललो
क▼51

Top Squares
Top Sq. 1
vaikuṇṭh678 (Vaikuṇṭha, i.e. Viṣṇu's heaven) #6 शहरह
कगु
ह
ठ#10 रह
कगु
ठ#28 बह
कगु
ठ| paramdhām

673 Va72#5 switches around the main reading satoguṇ with the main reading rājoguṇ from the adjacent
sq. 71.
674 The main reading śivlok is identical with the main reading in sq. 67 where Va72#11 reads muktilok
(realm of liberation).
675 Va72#5 switches around the main reading rājoguṇ with the main reading satoguṇ from the adjacent
sq. 70.
676 The reading candralok contrasts with the reading sūryalok (region of the sun) in sq. 64 on Va72#11,
and reflects the illustration of the moon riding on an antelope in the top panel of the same chart.
677 The reading tāmas is identical with the main reading in sq. 63 where it indicates darkness or
ignorance. Considering that all other charts consistently read tamoguṇ in sq. 72, and that Va72#17
also reads rājas (relating to the quality of inertia) instead of rajoguṇ (quality of activity) in sq. 71, it
should probably be understood in the sense of "relating to the quality of inertia."
678 The reading vaikuṇth is identical with the main reading in sq. 68 which is not shared by
Va72#6,10,28, indicating that top sq. 1 replaces sq. 68 as the winning square on the charts in
question.

502
(Paramadhāma, i.e. Viṣṇu's heaven) #2 शहप्रमधमा
म| amarpad sarglok679 sudhām (abode
of immortals, heaven, the good place) #18 अमरपदसर
ग(ललो
क) सगु
धमा
म(ध) | śrī rām680 (Śrī
Rāma) #31 शह(र
मा
मजह
) शह(शह
) | śrī (Śrī, goddess of wealth, wife of Viṣṇu) #33 शह

Top Sq. 2
śrī rām681 (Śrī Rāma) #2 शहर
मा
मजह
ह

679 Skt. svargaloka.

680 The reading śrī rām invokes the divine principle in the form of Rāma, further emphasizing the
element of Vaiṣṇava bhakti on Va72#31.
681 See fn. 680.

503
Appendix D2: 84-Square Jaina Charts (Type a1)
The critical reading is based on the following 30 charts which constitute the group of
84-square Jaina type a1 charts (see Appendix B2):

Ja84#3ab,4,5,7,8,9,13,16,17,18,(19),20,22,23,26,27,29,(32),33,34,36,38,40,(50),52,53,
(54),55,58

Charts in parentheses have been left out due to incomplete documentation.

Bottom Square
Sq. 1: sāt lākh yoni nitya nigod anant kāl sthiti
sāt lākh yoni nitya nigod anant kāl sthiti (700.000 birth-situations as permanent
basic lifeforms existing for an infinite period of time) 682 #3a ७लमा
षवनत व
न(गलो
)
द(अ)
नह
त(...)
(त)#3b ७लमा
षवनत व
नगलो
दअन
हतकमा
लसरत#5 ७लमा
षवनत व
नगलो
दअन
हतकमा
लथसत#16 ७लकव
नत व
नगलो
दनह
कमा
लवस्
छतह#17 समा
तलकयलो
व
नवनत व
नगलो
दअन
हतमा
थ
स्त कमा
य#29 समा
तलमा
ख यलो
व
नवनत नह
गलो
दअन
हतथ
स्तव
त#58 ७
लक व
नत व
नगलो
दअन
हतकमा
लवस्
छत| sāt lākh nigod anant kāl sthiti (700.000 basic lifeforms
existing for an infinite period of time) #40 ७ लक नह
गलो
दअन
हतकमा
लथसतह
footprint
| sāt lākh
yoni sūkṣma nigod anant kāl sthiti (700.000 birth-situations as subtle basic lifeforms
existing for an infinite period of time) #55 ७लमा
षजलो
नहसगु
क्ष्म व
नगलो
दअन
हतकमा
लथसत| sāt lākh
nityānitya nigod (700.000 permanent and non-permanent basic lifeforms) #20 समा
तलमा
ष
व
नतमा
व
नत दखे
#33 ७लमा
षवनतमा
व
नत व
नगलो
द| sāt lākh nigod (700.000 basic lifeforms) #13 ७लष्य
यलो
नहनह
गलो
द#26 ७लकहनह
गलो
दछह
| nigod bādar (gross basic lifeforms) #4,8,18 बमा
दरव
नगलो
द#9
बमा
दरव
नगलो
दfootprint #52 बमा
दर(
वन)
गलो
द१| nigod golak683 (clusters of basic lifeforms) #22 व
नगलो
द
गलो
लह#53 व
नगलो
दगलो
लक | nigod (basic lifeforms) #27 नह
गलो
दघर#34 नह
गलो
द| nigod rāśi bhed do
vyavahār rāśi avyavahār rāśi (the two groups of basic lifeforms are the specifiable
and the unspecifiable) #23 व
नगलो
दरमा
सहभखे
द२रह
रहमा
ररमा
सहअरह
रहमा
ररमा
सह

Uncertain #36 अन
हतकमा
लथसतनलोजह
रसमा
तलमा
षवनत व
नत व
नगलो
दमहें
प( ड़ड
लो
)जह
र(दगु
)ख दखे
षहचह
(anant kāl
sthitino jīv sāt lākh nitya anitya nigod meṁ paṛe jīv dukh dekhai chai, souls fallen

682 Digambara tradition separates the souls inhabiting the basic lifeforms (nigoda) into permanent
(nitya) and non-permanent (anitya), or simply "other" (itara), while Śvetāmbara tradition separates
them into non-specifiable (avyāvahārika) and specifiable (vyāvahārika) (Jaini 1980: 225). Cf. the main
reading vyavahār rāśi (group of specifiable souls) in sq. 11.
683 Golak refers to balls or clusters of basic lifeforms (nigoda), often illustrated on the charts as dots and
circles drawn inside sq. 1 and the bottom panel.

504
among the 700.000 permanent and non-permanent basic lifeforms existing for an
infinite period of time experience unhappiness?)

Blank #7,38

Row #1
Row title: nārkī dvār
nārkī dvār (gateway to hell-beings) #3ab,16 नमा
र
ककीदमा
र#8,9 नमा
र
ककीदमा
र३#58 नमा
र
ककीदमा
र#4
नमा
र
वक दव़
मा
र३684 | narak dvār (gateway to the hells) #22 नर
कदमा
र१685
#53 नर
क दमा
र

Uncertain #26 भगु

रनदमा
र९(bhuvan dvār, gateway to the bhavanapati gods?)686
ह

N/A #4,5,7,13,17,18,20,23,27,29,33,34,36,38,40,52,55

Sq. 2: kām, cār lākh yoni nārkī

kām cār lākh yoni nārkī (desire; 400.000 birth-situations as hell-beings) #3ab कमा
म४
लमा
षजलो
ननमा
र
ककी#4 कमा
म
ह४लक यलो
नह#13 कमा
मलष्य यलो
नहनमा
र
ककी#16 कमा
म४लषजलो
व
ननमा
र
ककी#58 कमा
मचमा
र
लक जलो
व
ननमा
र
ककी#8 ४लषयलो
व
ननर
ककीकमा
म#9 लक यखे
वननमा
र
ककीकमा
मfootprint | anantānubandhī kām
cār lākh yoni nārkī chai (desire resulting in endless worldly existence; there are
400.000 birth-situations as hell-beings) #18 अन
हतमा
न
हब
गु
ह
धहयलोकमा
म ४ लमा
ष यलो
व
न नमा
र
ककीछइ #52
(
अ)न
हतमा
न
हगु
(बह)
धहयलोकमा
(
म)(
लमा
ष)यलो
नहनमा
र
( क)×इ| cār lākh yoni nārkī (400.000 birth-situations
as hell-beings) #5 ४लमा
षजलो
स
जन687 नमा
र
ककी#26 ४लकह
यलो
नहनमा
ह
र
ककी#29 चमा
रलमा
ख नमा
र
ककी#55 ४लमा
षनमा
र
ककी
यलो
नह|cār lākh nārkī dvār pāpāt (gateway to the 400.000 kinds of hell-beings on
account of sin) #53 ४लमा
षनमा
र
ककीदमा
रपमा
पमा
मा
तह#22 ४लमा
षनमा
र
ककीदमा
रपमा
पमा
तह| kām cār lākh yoni
nārkī saṃsār diśā kṣetra (desire; 400.000 birth-situations as hell-beings; the plane of
the cycle of rebirth) #38 कमा
म४लमा
ह षजलो
जन688 नमा
र
ककीसह
समा
रवदक कखे
त्र| nārkī ke jīv (souls of hell-
beings) #34 नमा
र
ककीकखेजह
र| kām tamtamprabhā sātmī narak chai (desire; the seventh
hell has the color of the deepest darkness) #36 कमा
म
हतमतमप्रभमासमा
तमहनर
क छह
७| narak (hell)
#27 नर
कfootprint

684 The row title appears inside sq. 10 at the rightmost end of the first row.
685 The row title appears in an additional square below the main grid.
686 The understanding of bhuvan as a reference to the bhavanapati gods is inferred from the other row
titles on Ja84#26. The titles of the first six rows on Ja84#26 appear one row too early because of the
omission of the first row title (nārkī dvār).
687 Several charts seem to confuse yoni (birth-situation) with yojana (a measure of distance equaling
somewhere between 5 and 10 kilometers).
688 See fn. 687.

505
Uncertain #20 लक जलो
जननमा
र
ककीकमा
म#33 लक यलो
ह जननमा
र
ह
ककीकमा
म(kām cār lākh yoni nārkī?)689 |
#23 लक जलो
जननमा
र
ककी
(
नमा
)भमा
रछह
#40 लक जलो
जमा
ननमा
रfootprint (cār lākh yoni nārkī?)690 | #17 कमा
म
व
नत नमा
(
न)दलक यलो
व
न(kām nitya nigod sāt lākh yoni, desire; 700.000 birth-situations as
permanent basic lifeforms?)

Blank #7

Sq. 3: krodh
krodh (anger)691 #3ab,4,5,8,9,13,16,17,20,26,27,33,34,38,40,55 क्रलो
ध | anantānubandhī
krodh (anger resulting in endless worldly existence) #18 अन
हतमा
न
ह
हगु
बह
धहयलो क्रलो
ध #52
अन
हतमा
न
हब
गु
ह
धहयलोक्रलो
ध | anantānubandhī krodh pāpāt (anger resulting in endless worldly
existence on account of sin) #22 अन
हतमा
शगु
बह
धहक्रलो
ध पमा
पमा
तह#53 अनगु
तमा
नगु
रह
धहक्रलो
ध पमा
पमा
तह| krodh
anantānubandhī tamprabhā 6 narak (anger resulting in endless worldly existence;
the sixth darkness-colored hell) #36 क्रलो
धअनगु
तमा
नह
ब
गु
ह
धहतमप्रभमा६नर
क | krodh leśyā (karmic
stain resulting from anger) #23 क्रलो
धलखे
श्यमा| sañjñī pañcendra bādar kaṣāy692 (conscious
five-sensed beings; gross beings; passion) #29 सह
व
नपह
चहें
द्रहबमा
दरकषमा
य

Uncertain #58 क्रलौ(

४)(krodh?)

Blank #7

Sq. 4: ajñān anantānubandhī lobh

ajñān anantānubandhī lobh (greed resulting in endless worldly existence on account
of ignorance)693 #3a अजमा
ह
न अ(
नह
क)नब
गुधह
(यलो
)लमा
भ #3b अह
जमा
न अन
हतमा
नगु
बहधह
यलोललो
भ #4,8,55 अगमा
न
अन
हतमा
नबह
धहललो
भ #5 अजमा
नअनगु
तमा
नगु
रह
धहललो#9 अजमा
नअनतमा
नबधह
ह यलोललो
भ #16 अजमा
ह
नअन
हतमा
नबह
धहयलोललो
भ #18
अजमा
ह
नअन
हतमा
न
हब
गु
ह
धहललो
भ#20 अगमा
ह
नअन
हतमा
नगु
बह
धहललो
भ#26 असमा
ह
नऽमगु
तमा
नबधह
ह यलोललो
भछह
#33 ऽ
जमा
नअन
हतमा
नरह
धह
ललो
भ #52 अजमा
न अगु
नतमा
न
हब
गु
ह
धहललो
भ #58 अजमा
ह
न अन
हतमा
नरह
धहयलोललो
भ #38 अगमा
न अन
हतमा
नगु
बह
सधयलोललो
भ|
anantānubandhī lobh (greed resulting in endless worldly existence) #17 अन
हतमा
नगु
बह
धहललो
भ
#34 अनगु
तमा
नब
ह ह
दहललो
भ#40 अनगु
तमा
नबह
धहयलोललो
भ| anantānubandhī lobh pāpat (greed resulting in
endless worldly existence on account of sin) #22 अन
हतमा
नगु
×धहललो
भ पमा
×तह
#53 अनगु
तमा
नगु
बह
धहललो
भ

689 See fn. 687.

690 See fn. 687.
691 The four main passions (kaṣāya) attracting conduct-deluding (cāritramohanīya) karma to the soul
are anger (krodh, sq. 3), pride (mān, sq. 9), deceit (māyā, sq. 10), and greed (lobh, sq. 4).
692 The readings sañjñī pañcendra and kaṣāya also occur as parts of the main reading in sq. 3 on 84-
square Jaina type b charts.
693 See fn. 691.

506
पमा
पमा
तह| ajñān anantānubandhī lobh dhūmprabhā narak pañcmī (greed resulting in
endless worldly existence on account of ignorance; the smoke-colored fifth hell) #36
अजमा
नअनगु
तमा
नगु
हबह
धहयलो(
धगु
)
मप्रभमानर
क५मह| ajñān anantānubandhī krodh694 (anger resulting in
endless worldly existence on account of ignorance) #23 अजमा
नअनगु
तमा
नबह
स
धयलोक्रलो
ध | lobh
pāp mūl (the root of the sin of greed) #27 ललो
भ पमा
पमगु
ल | bādar vanaspatikāy695 (gross
plant bodies) #29 बमा
दररनस्पव
तकमा
य

Uncertain #13 अजमा

नअन
ह हतमा
नगु
बह
धहयलो(ajñān anantānubandhī lobh?)

Blank #7

Sq. 5: ajñān moh

ajñān moh (delusion resulting from ignorance) #4,8,20,55 अगमा
न मलो
ह #9 अजमा
ह
न मलो
ह५
#13,34 अजमा
नमलो
ह ह#17,33 अजमा
नमलो
ह#38,40 अगमा
नमलो
ह ह#26 अजमा
ह
नमलो
हछखे
#29 अजमा
ह
नमलो
ह#58 अगनमा
न
मलो
ह| ajñān moh pāpāt (delusion resulting from ignorance on account of sin) #22 अजमा
न
ह
मलो
ह पमा
पमा
तह#53 अजमा
न मलो
ह पमा
पमा
तह| ajñān mohnī696 (deluding karma resulting from
ignorance) #3a,5 अजमा
न मलो
हनह#3b,16 अजमा
न मलो
ह हनह#23 अगमा
न मलो
ह हनहछह| ajñān moh
anantānubandhī māyā697 (delusion resulting from ignorance; deceit resulting in
endless worldly existence) #18 अजमा
ह
नमलो
हअन
हतमा
न
हब
गु
ह
धहममा
यमा#52 अजमा
नमलो
हअह
नतमा
नगु
रह
धह(
ममा
ऽ)य|
ajñān moh paṅkprabhā narak pṛthvī 4 (delusion resulting from ignorance; the
fourth mud-colored hell; Earth) #36 अजमा
ह
नमलो
हपह
कप्रभमानर
क प्रमा
थह४| moh karm bandh
(binding of karma resulting from delusion) #27 मलो
हकमर्वा
ब ह
ध

Blank #7

694 The reading ajñān anantānubandhī krodh is reminiscent of the main reading krodh (anger) in sq. 3
where Ja84#23 reads krodh leśyā (karmic stain resulting from anger).
695 The reading vanaspatikāy occurs as part of the main reading in sq. 5 on 84-square Jaina type b
charts.
696 Skt. mohanīya.
697 The second part of the reading (anantānubandhī māyā) is identical with the second part of the
reading in sq. 10 on Ja84#18, and thus appears twice on the chart. The reading in sq. 10 on Ja84#52 is
not available, but since the chart generally agrees with Ja84#18, we might expect the reading to be
the same.

507
Sq. 6: panar paramādhāmī, guṇsthān 1-2-3footprint
panar698 paramādhāmī guṇsthān699 1-2-3 (fifteen kinds of paramādharmika gods;700
stages of purification nos. 1-3701) #3a १
५प(
ममा
र्वा
धम)××३।१
।#3b १
५प(
समा
)
धगगु
३।२।१
।#4 १
५
पर
ममा
धरमहगगु
॰३गगु
॰२footprint #8 पर
ममा
धमा
महगगु
णसमा
ह
न३गगु
॰३गगु
५footprint #9 पर
ममा
धमा
महगगु
णसमा
नक ३गगु
३गगु
५footprint #13 पनरपर
ममा
धमा
महगगु
णठमा
णमा३#16 १
५प्र(
ममा
)
धमा
महगगु
णटमा
(
णखे
)३गगु
२गगु
१footprint #17 १
५पर
ममा
धमर्गी
गगु
णस्छमा
न#20 पर
ममा
धमर्वा
गगु
रसमा
नfootprint #29 पर
ममा
धमा
महक गगु
णसमा
नfootprint #33 पर
ह ममा
धमा
महगगु
णसमा
न१।२।३
#34 पन्नर
खे
परममा
धमा
महगगु
णटमा
णमा२।३।१footprint #38 पर
ह ममा
धमा
महगगु
णठमा
णमा३।२footprint #55 पर
धमा
महगगु
ण २।३।
१footprint #58 पर
ममा
धमा
महगगु
णठमा
णखे३ गगु२ गगु१ | panar paramādhāmī (fifteen kinds of
paramādharmika gods) #27 १
५ पर
ममा
धमा
महfootprint
#22 पनर पर
ममा
धमा
ह
महfootprint
#53 पन(
रमा
)
ह
पर
ममा
धमा
मह
ह footprint
| paramādhāmī guṇsthān 1-2-3 guṇsthān caḍhai (paramādharmika
gods; stages of purification nos. 1-3; you climb the stages of purification) #40 पर
ममा
धमा
(
मह)
(
गह
गु
)णठमा
णखे१
ह । २। ३। जखे
×ठमा
णखेचढखे
ह footprint
| dharm dhyān miśra guṇsthān 3 sāsvādan
guṇsthān 2 mithyātva 1 paramādhāmī guṇsthān (virtuous meditation; mixed stage
of purification no. 3; purification stage of having tasted right view no. 2; purification
stage of false view no. 1; paramādharmika gods; stage of purification) #18 धमर्वा
धमा नगगु
ण
स
मश ग
हगु
णसमा
न३ससह
दखे
गगु
ण २स
मथमा
त(५)पर
ममा
धमा
ह महग
हगु
णठमा
णलो
footprint
#23 अ(
र)×गगु
ण ४स
मश गगु
(ण)समा
न३
समा
श्वमा
द(न)गगु
ण २स
मथमा
(
त)( ण १footprint #52 धर
गगु
) मधमा
नगगु
ण मह
(स्र)गगु
(णस)×सस×गगु
ण( २)मह
थत×
पर
ममा
धमा
महगगु
णठमा
णलो
footprint

Uncertain #26 पर
ममा
द्धिमा
ह
(
मह)गगु
णसमा
नदखे
ह (र)×नमाघरछखे
footprint
(paramādhāmī guṇsthān ... ghar chai,
this is the square of ... the paramādharmika gods and the stages of purification?) | #36
पर
ममा
धमा
ह
(
महहनर
) क कखे
त्रल(...) (
यलो
)
जन(paramādhāmī narak kṣetra lākh yoni, paramādharmika
gods; plane of hell; one hundred thousand birth-situations?) | #5 कमर्वा
( र) घमा
मह
(paramādhāmī?)

Blank #7

698 Hi. pandrah.

699 Several charts prefer the Prakritic spelling guṇaṭṭhāṇa, or a variation thereof.
700 The paramādharmika, or extremely unjust, gods are divided into fifteen types, and reside in the
three uppermost hells below the earth (Caillat & Kumar 2004: 68).
701 The three stages of purification (guṇasthāna) enumerated are false view (mithyādṛṣṭi, no. 1), having
tasted right view (sāsvādana, no. 2), and right and wrong view (samyak-mithyātva, no. 3) (Tatia 1994:
279-81). The third stage is also known as the mixed (miśra) stage which finds further mention in sq.
7.

508
Sq. 7: jñān, miśra, śubh pariṇām▲44
jñān miśra śubh pariṇām (knowledge; mixed stage of purification;702 auspicious
transformation) #3a गमा
नस
ह म(
सश)(
शगु
भ)पर
(णमा
)
मह▲44
#3b गमा
नस
ह मस
श शगु
भ पर
णमा
मह▲44,703
#8 स
मश गमा
ह
न
शगु
भपरणमा
मह▲44
#9 मह
शजमा
नशगु
ह भपतमा
मह▲44
#13 जमा
नस
ह मशशगु
भपरह
णमा
मह
ह ▲44
#16 जमा
नसमशसगु
भपरर
णमा
म#18 जमा
न
ह
स
मश शगु
भ पर
णमा
म▲44 #20 गमा
नस
ह मश शगु
भ पर
रणमा
म▲13 #23 जमा
नसमश शगु
भ प्रणमा
स
म▲13 #26 गमा
न मह
ह शहशगु
भ
पर
णमा
मह
ह (▲32),704
#29 जमा
नसमस्र शगु
भ पर
रणमा
म▲44 #33 गमा
ह नस
ह मशशगु
भ पर
णमा
मह▲50
#34 गमा
नस
ह मथ शगु
भ पर
हणमा
मह
ह ▲44

#38 गमा
नसमशशगु
भपरर
णमा
म▲44 #40 गमा
नमह
ह शशह
भ
गुपर
हणमा
म▲44 #55 गमा
ह नमखे
शगु
भपरह
णमा
मह▲44
#58 स
जनस
मशशगु
भ
पमर्वा
णमा मह
▲44
#17 जमा
नसमश शगु
भ पर
रणमा
म जमा
णरलो
▲44
| ajñān miśra śubh pariṇām (ignorance;
mixed stage of purification; auspicious transformation) #36 अजमा
ह
नसमशपमा
र
गमा
मह
ह ह #4 अगमा
▲44
न
स
मश सगु
भ पर
रणमा
म▲44 | ajñān miśra śubh pariṇāmāt (ignorance; mixed stage of
ह
purification; auspicious transformation) #22 अजमा
ह
नसमश शगु
भ पर
रणमा
ममा
ह तह
▲44
#53 अजमा
नसमश शगु
भ
पर
णमा
ममा
तह
▲44
| ajñān miśra (ignorance; mixed stage of purification) #5 अजमा
नसमश▲44

Uncertain #27 गमा

नसगु
ह भ मन▲44 (jñān śubh man, knowledge; auspicious mind?) | #52 (...)
शगु
(...)णमा
(...)▲? (jñān miśra śubh pariṇām?)

Blank #7▲14

Sq. 8: machar
machar, matsar (jealousy) #3a मच्चर#4,17,20,33 मचर#8,34 मतसर#9 मत्सर#13,27,55,58
मछर#40 मछह
छर#23 मछरभमा
रछह
#3b मछर
▼bottom
#16 मचर
▲44
| matsar bhāv pāpāt (feeling of
jealousy on account of sin) #22 मछरभमा
रपमा
पमा
तह#53 मचर
भमा
रपमा
पमा
तह| parmachar jīv (soul
jealous of another) #26 पर
मछरजह
र▲42? | mad matsar (pride; jealousy) #38 मदमचर|
matsar vālukāprabhā narak pṛthvī 3 (jealousy; the third sand-colored hell; Earth)
#36 मछररमा
लगु
प्रभमानर
क पकृ
थह३ | anantānubandhī krodh705 (anger resulting in endless
worldly existence) #29 अन
हत
गुमा
नब
ह ह
स
द्धियलोकलो
ध

Uncertain #5 मदर
मा(mad? matsar?) | #18 भखे
दमछरनमा
मसमशगु
ग
हण
गु(bhed matsar nām miśra guṇ,
the kind (of karma) known as jealousy; mixed stage of purification?)
702 Miśra, or mixed, is the third stage of purification (guṇasthāna), also known as samyak-mithyātva, or
right and wrong view. Cf. sq. 6.
703 The ladder originates in an unnumbered and uninscribed square below sq. 7.
704 The ladder originates in an unnumbered square inscribed with additional text below sq. 7.
705 The reading anantānubandhī krodh is similar to the main reading krodh (anger) in sq. 3 where
Ja84#29 reads bādar vanaspatikāy (gross plant bodies). It is also reminiscent of the main reading
anantānubandhī māyā (deceit resulting in endless worldly existence) in sq. 8 on 84-square Jaina type
b charts.

509
Blank #7 | N/A #52

Sq. 9: anantānubandhī ahaṃkār

anantānubandhī ahaṃkār (pride resulting in endless worldly existence)706 #8
अनतमा
नबह
धहअहह
कमा
र#9 आनतमा
नब
ह ह
स
ध अहह
कमा
र#13,18 अन
हतमा
न
हब
गु
ह
धहअहह
कमा
र#16 अन
हतमा
णबह
धयलोअहह
कमा
र#17
अहह
कमा
रअन
हतमा
नगु
बह
धह#26 अनगु
तमा
नब
ह ह
धहयलोअहक
हमा
रछह#29 अन
हत
गुमा
न(
ह ब
ह)स
द्धि अहह
कमा
र#58 अन
हतमा
नरह
धहयलोअ×क |
anantānubandhī pāp ahaṃkār (the sin of pride resulting in endless worldly
existence) #38 अन
हतमा
नगु
रह
सधयलोपमा
प अहह
कमा
र| ahaṃkār anantānubandhī śarkarāprabhā
narak pṛthvī 2 (pride resulting in endless worldly existence; the second pebble-
colored hell; Earth) #36 अहह
कमा
रअनत
गुमा
न
हब
गु
ह
धहरसकर
प्रभमानर
क पकृ
थह२| ajñānbandhī ahaṃkār
(pride resulting from ignorance) #20 अगमा
ह
नबह
(धह
)अहह
कमा
र#23 अजमा
ह
नबह
स
द्धिऽ
हहकमा
रछह
#33 अजमा
नरह
धह
ऽ
हकहमा
र#34 अजमा
नअहह
ह कमा
र| ahaṃkār (pride) #27 अहह
कमा
र| anantānubandhī mān (pride
resulting in endless worldly existence) #3a अन
हतमा
नगु
बह
धहममा
ण #3b अन
ह ह(
तमा
)
नगु
ब
हधहममा
न #55
ह
अनगु
तमा
नबह
धहममा
न | anantānubandhī mān pāpāt (pride resulting in endless worldly
existence on account of sin) #22 अन
हतमा
न
हगु
बह
धहममा
ह
नपमा
पमा
तह#53 अनगु
तमा
नगु
बधहममा
ह
नपमा
पमा
तह| mān (pride)
#40 ममा
न| anantānubandhī (resulting in endless worldly existence) #5 अनगु
ह तमा
नरह
धह

Uncertain #4 अममा
र
तनब
हधह
यलोअहह
कमा
र(anantānubandhī ahaṃkār?)

Blank #7 | N/A #52

Sq. 10: ajñān māyā

ajñān māyā (deceit resulting from ignorance)707 #3a,9,17,29 अजमा
नममा
यमा#3b,13,16,34 अजमा
ह
न
ममा
यमा#4 अगमा
नममा
यमा
708
#8 अगमा
नममा
यमा| ajñān anantānubandhī māyā (deceit resulting in
endless worldly existence on account of ignorance) #18 अजमा
न अन
ह हतमा
न
हब
गु
ह
धहममा
यमा#55 अ॰
अनगु
तमा
नबह यमा| māyā (deceit) #40 ममा
धहममा यमा#5 अजमा
न| ajñānbandhī māyā (deceit resulting in
ignorance) #23 अजमा
नब
ह ह
स
ध ममा
यमा#26 अगमा
नब
ह ह
धहनममा
यमा#33 अजमा
नरह
धहममा
यमा| ajñānvantī māyā
(ignorant deceit) #20 अगमा
नर
ह ह
तहममा
यमा| ajñān kapaṭ anantānubandhī māyā (ignorance,
trickery, deceit resulting in endless worldly existence) #22 अजमा
ह
नकपटअन
हतमा
न
हब
गु
ह
धहममा
यमापमा
पमा
तह
#53 अजमा
नकपटअह
नगु
तमा
नगु
रधहममा
यमापमा
पमा
तह| ajñān māyā kapaṭ (deceit resulting from ignorance;
trickery) #38 अगमा
ह
नममा
यमाकपट| māyā kapaṭī (malicious deceit) #27 ममा
यमाकपटमा
ई| ajñān
kapaṭī (deceitful ignorance) #58 अजमा
न कपटमा
इ | ajñān māyā ratnaprabhā pṛthvī 1

706 See fn. 691.

707 See fn. 691.
708 The reading appears in the same square as row title #1.

510
(deceit resulting from ignorance; the first jewel-colored hell, earth) #36 अजमा
ह
नममा
यमार
त्नप्रभमा
पकृ
थह१

Blank #7 | N/A #52

Row #2
Row title: bhavanpati dvār
bhavanpati dvār (gateway to the bhavanapati gods)709 #8 भगु
रनपव
तदमा
र३#9 भगु
रनषमा
व
तदमा
र३
#16 भरनपव
तदमा
र#58 भरषव
तदमा
र| das nikāy dvār (gateway to the group of ten)710 #3a दश
व
नकमा
यदमा
र#3b,5,53 दशव
नकमा
यदमा
र| sthāvar dvār 8711 (gateway to stationary beings, no. 8)
#26 समा
ररदमा
ह र८
ह

Uncertain #4 भगु
दखे
रव़
पतहदव़
मा
र
712
(bhūdevpati dvār, gateway to the divine lords of the
earth?)713 | #22 पमा
लनह
कमा
×भगु
रनकखे
(त्र)२714 (pāl nikāy bhuvan kṣetra 2, group of protectors;715
plane of the earth; no. 2?)

N/A #7,13,17,18,20,23,27,29,33,34,36,38,40,52,55

Sq. 11: vyavahār rāśi

vyavahār rāśi (group of specifiable souls) 716 #3a वरहमा
(
र )र
मा
(स
श)#4 व
रहमा
ररमा
स717 #5 वरहमा
र
स
शरर
मा#8 व
ररहमा
ररस #9 व
ररमा
हमा
ररसfootprint #13,17,22,33 वरहमा
ररमा
स
श #16,34,36,58 वरहमा
ररमा
सह#18
रह
रहमा
ररमा
सह#20,55 व
ररहमा
ररमा
सह#23 रह
रहमा
ररमा
सहछह
#29 रह
रहमा
ररमा
सह#38 व
ररहमा
ररमा
स#40 रह
ररमा
हमा
ररमा
सह
#53 वरहमा
ररमा
स
स| vāyukumār718 (vāyukumāra gods) #27 रमा
यगु
कगु
ममा
रfootprint

709 The bhavanapati, or palace lord, gods are divided into ten types named by the main readings in sqs.
12,14,16,18,19. They live in the highest jewel-colored hell (ratnaprabhā) in the lower world (Kirfel
1920: 262).
710 I.e. the ten bhavanapati gods. Cf. fn. 709.
711 See fn. 686.
712 The row title appears inside sq. 11 at the rightmost end of the second row.
713 I am not aware of any instances of bhūdevapati being used synonymously with bhavanapati, though
that does indeed seem to be the case here.
714 The row title appears in an additional square below the main grid.
715 Pāl nikāy appears to refer to the bhavanapati gods.
716 See fn. 682.
717 The reading appears in the same square as row title #2.
718 The reading vāyukumār is identical with the main reading in sq. 19 where Ja84#27 reads asurkumār
(asurakumāra gods).

511
Uncertain #26 (
रहह
र)र
मा
सहछखे
(vyavahār rāśi chai, there is the group of specifiable souls?)
| #3b अपषमा
ररमा
स
श(avyavahār rāśi?)

Blank #7 | N/A #52

Sq. 12: suvarṇkumār 2, asurkumār 1

suvarṇkumār 2 asurkumār 1 (asura- and suvarṇakumāra gods nos. 1-2) #4 सभ
गुणर्वा
कगु ममा
र१
२असगु
रकगु
ममा
र#8,9 सगु
रणर्वा
कगु ममा
र२असगु
रकगु
ममा
र#17,20,33,55 सगु
रणर्वा
कगु ममा
रअसगु
रकगु
ममा
र#18 सबू
रणर्वा
कगु ममा
र२असबू
र
कगु
ममार१#23 सलो
रणर्वा
कगु ममा
रअसगु
रकगु
ममा
र#29 सबू
रणर्वा
कबू ममा
रअसगु
र( कगु
)ममा
र#34 सबू
रणर्वा
कगु ममा
रअसबू
रकगु
ममा
र#36 शगु
रणर्वा
कगु
ममार२असगु
रकगु
ममा
र१#40 सगु
रणर्वाकगु
(ममा
)
रअसगु
रकगु
ह
ममा
र| suvarṇkumār (suvarṇakumāra gods)
#5,13,38,53,58 सगु
रणर्वा
कगु ममा
र#16 शगु
भर णकगु
ममार#22 शगु
रणर्वा
कगु ममा
र#26 शगु
रणर्वा
कगु ममा
रदखे
रतमा
ह

Uncertain #3a (
सर)
×कगु
ममार(suvarṇkumār?) #3b णर(
ण)कगु
ममार| #27 (
र)×य(...)र(?)

Blank #7 | N/A #52

Sq. 13: parjīv spardh▼8

parjīv spardh (envious of another soul) #9पर
जहबखे
स्पद्धिर्वा
▼8
#13,58 पर
जहरस्पद्धिर्वा
▼8
#17 पर
जहर
सद्धिमा
र्वा
▼8
#26 पर
जहरस्पर
धमा
ह
(
त)▼8
#29 पर
जहरस्पमा
द्धि▼8 | parjīv hiṃsā doṣ719 (the sin of injuring
another soul) #18 पर
जह हह
रवसमाव
ररलो
धदलो
ष▼8 #33 जह
रहतमाकर
ह
▼8
#38 पर
जहरव
ररलो
ध▼8 #55 पर
जह हह
रवसमा
दलो
ष▼8 | parjīv pīṛā720 (inflicting pain on another soul) #34 पर
जहरपह
ड़मा
▼?
| droh721 (injury)
#36 द्रलो
ह▼8 | sthāvar jīvasya sthiti722 (the state of a soul as a stationary being) #40 रमा
रर
जह
रस सह
तह▼8
| diśākumār723 (diśākumāra gods) #27 दह
समाकगु
ममार
▼8
| parjīv spardh
maithun sañjñā724 (envious of another soul; consciousness of sexual intercourse) #20
पर
जहरस्प(
द्धिर्वा
)मखे (
रगु
)
णसह
(गमा
)
(▲31),▼8

719 The reading parjīv hiṃsā doṣ is reminiscent of the main reading pardroh (injuring another) in sq. 52
which also appears on Ja84#18,33,38,55.
720 The reading parjīv pīṛā is reminiscent of the main reading pardroh (injuring another) in sq. 52
which also appears on Ja84#34.
721 The reading droh is reminiscent of the main reading pardroh (injuring another) in sq. 52 which also
appears on Ja84#36.
722 The reading seems slightly out of place as the plane of stationary beings only appears in the third
row (cf. row title #2 and sq. 24).
723 The reading diśākumār is similar to the main reading in sq. 18 where Ja84#27 reads parjīv
duḥkhdāyī (causing grief to another soul).
724 The reading maithun sañjñā is reminiscent of the main reading maithun sevā (addiction to sexual
intercourse) in sq. 13 on 84-square Jaina type b charts.

512
Uncertain #3a पर
जहरदमा
र#3b पर
ह
जहरदमा
र#4 पर
जहरव़
स( दव़
मा
)
▼8
#5 पर
जहरदमा
र
▼8
#8 पर
जहरस दमा
र
▼8
#16
पर
ह
जहरदमा
र
▼8
(parjīv dvār, gateway to another soul?) | #22 पर
जहरब
हध दमा
रपमा
पमा
स्मतनमह
▼8
#53
पर
ह
जहरबद्धिदमा
रपमा
पमा
तह
▼8
(parjīv bandh dvār pāpāt, gateway to the binding of another soul on
account of sin?) | #23 जह
रमा
र
रहह
समाकर
हें
स( रर्वा
)जह र(▲49),▼8 (jīvādi hiṃsā karai sarv jīv,725 all souls
cause injury to other souls, etc.?)

Blank #7▼8 | N/A #52

Sq. 14: agnikumār 4, vidyutkumār 3

agnikumār 4 vidyutkumār 3 (vidyut- and agnikumāra gods nos. 3-4) #3a अव
गकगु
ममार५
व
र(दगु
)तकगु
(...) #3b अव
गकगु
ममार५व
रदगु
तकगु
ममा
र४#4 अगहकगु
ममारव
रदगु
कगु
ममा
र#5,20,22 अव
गकगु
ममारव
रदगु
तकगु
ममा
र
#8 अव
गकगु
ममार४व
रदगु
तकगु
ममा
र२#9 अव
गकगु
ममार४व
रदगु
तहकगु
ममार२footprint #13,40 अगहकगु
ममारव
रदगु
तकगु
ममा
र#16
अस
जकगु
ममारव
र(दगु
)तकगु
ममार#17 अगव
नकगु
ममारव
रदगु
तगुममा
र#18 अव
गकगु
ममार४व
रदगु
तकगु
ममा
र३#23 व
रदगु
तकगु
ममा
रअगह
कगु
ममार#29 अजहकबू
ममाररह
दगु
तकबू
ममा
र#33 ऽ
वगकगु
ममारव गुकगु
रदत ममार#34 अव
गकगु
ममारव
रदगु
तगु
हममा
र#38 अगहकगु
ममार
व
रदबू
तकगु
ममा
र#53 अव
गकगु
ममारव
रदगु
तगुममा
र#55 ऽ
वगकगु
ममारव
रदगु
तगुममा
र#58 अगव
नकगु
ममार४व
र३#26 अगनहकगु
ममार
दखे
रतमा| udadhikumār726 (udadhikumāra gods) #27 उदस
धकगु
ममार

Uncertain #36 अगहकगु

ममार४ व
रसव
द कगु
ममार३ (agnikumār 4 viśadkumār 3, viśada- and
agnikumāra gods nos. 3-4?)727 | #52 अ(...)ममा
र(४)(...)ममा
र(...) (agnikumār 4 vidyutkumār 3?)

Blank #7(▲26)

Sq. 15: das nikāy kṣetra, guṇsthān 4-5-6footprint

das nikāy kṣetra guṇsthān728 4-5-6 (plane of the group of ten;729 stages of purification
nos. 4-6730) #3a दशव
नकमा
य(कखे
त्र)(
गगु
)६।४#3b दशव
न(कमा
)
य(कखे
)त्रगगु
६।×#5 दशव
नकमा
यकखे
त्रगगु
णटमा
ण#8
दसमाव
नकमा
यषखे
त्रगगु
णसमा
न६गगु
ह ५गगु
८footprint #9 १
०वनकमा
यकखे
त्रगगु
णसमा
नक (
३)गगु
॰५गगु
×footprint #16 दसव
नकमा
य
कखे
त्र गगु
णटमा
णहें(
६)गगु५ गगु४footprint #17 दश व
नकमा
य कखे
त्र गगु
णस्छमा
नक ४ गगु
ण ५ ६ #22 दश रह
कमा
य कखे
त्र
गगु
णटमा
णमा
ह footprint
#29 दश नह
कमा
यकखे
त्र ग
हण
गु(
समा
ह
)
नfootprint #38 दश व
नकमा
यकखे
त्रगगु
णठमा
ण ४।(
ह ६)।७।×footprint

725 The reading jīvādi hiṃsā karai sarv jīv is reminiscent of the main reading pardroh (injuring another)
in sq. 52 which also appears on Ja84#18,33,38,55.
726 The reading udadhikumār is identical with the first part of the main reading in sq. 16 where Ja84#27
reads agnikumār.
727 I am not aware of any type of kumāra gods referred to as viśada (spotless), though it might have
been used synonymously with vidyut (lightning) in the sense of something white, pure, and bright.
728 Several charts prefer the Prakritic spelling guṇaṭṭhāṇa, or a variation thereof.
729 I.e. the ten bhavanapati gods. See fn. 709.
730 The three stages of purification (guṇasthāna) enumerated are right view (samyagdṛṣṭi, no. 4), partial
restraint (deśavirata, no. 5), and total restraint (sarvavirata, no. 6) (Tatia 1994: 281-82).

513
#55 दस व
नकमा
य कखे
त्र गगु
ण( ६)
।५।४footprint #58 दश नकमा
य कखे
त्र गगु
ण॰| bhavanpati das kṣetra
devvṛtti guṇsthānak chai (this is the plane of the ten bhavanapati gods divine
existence, and the stages of purification) #23 भरनपव
त१०कखे
त्रदखे
ररवतर्वा
गगुणसरनक छह
footprint
| dev
nikāy guṇsthān 4-5-6 (group of (bhavanapati) gods; stages of purification nos. 4-5-6) #4
दखे
रव़
वनकमा
यगगु
॰५(गगु
॰४)footprint
| das nikāy kṣetra (plane of the group of ten) #13 दसव
नकमा
यष्यखे
त्र
#20 दस व
न×य षखे
(त्र)
footprint
#33 दस नह
कमा
य कखे
त्र #34 दस व
नकमा
य कखे
त्रfootprint? | sanikāy kṣetra
guṇsthān (plane of the group (of ten); stages of purification) #18 सनह
कमा
यमाकखे
त्र
ग
हगु
णठमा
णलो
footprint
| udadhikumār dvīpkumār731 (udadhi- and dvīpakumāra gods) #26 उ(
द)स
ध
(
कगु
)
×र(
दह)
×footprint | dvīpkumār732 (dvīpakumāra gods) #27 धह
पकगु
ममारfootprint

Uncertain #52 (
तमा
)
नकयष
हत्रगगु
णठमा
णलो
footprint
(sanikāy kṣetra guṇsthān?) | #53 द(...)यकखे
(त्र)(...)
(
टमा
)
णfootprint (das nikāy kṣetra guṇsthān?) | #36 दर
सण(...) कखे
त्र भबू
रन(...) (darśan ... kṣetra
bhavanpati, perception ... field of the bhavanapati gods?)

Blank #7,40footprint

Sq. 16: udadhikumār 6, dvīpkumār 5

udadhikumār 6 dvīpkumār 5 (dvīpa- and udadhikumāra gods nos. 5-6) #3ab उदस
धकगु
ममार
७दह
पकगु
ममार६#4 उधदहकगु
ममारदह
(प)
××कगु
ममार#5 उधदहकगु
ममारदह
पकगु
ममार#8 उदस
धकगु
ममार५६दह
पकगु
ममार#9
उदधहकगु
ममार६(
दहप)कगु
ममार५#13,16,17,53 उदस
धकगु
ममारदह
पकगु
ममार#18 उदधहकगु
ममार(
६)दह
पकगु
ममार५#20
उदस
ध कगु
ममारदह
पकगु
ममार#22 भगु
दसध कगु
ममार(
वद)
पकगु
ममार#29 उदस
ध कगु
ममारव
दपकबू
(ममा
र
)#33 उदधहकगु
ममारऽ
दहप
कगु
ममार५#34 व
दपकगु
ममार५उदस
धकगु
ममार#36 उदस
धकगु
ममार५दह
पकगु
ममार४#40 उदस
धकगु
ह
ममारदह
पकगु
ममार#52 उदधह
कगु
ममार६दह
पकगु
ममार(
५)#55 उदधहकगु
ममारदह
पकगु
ममार| udadhikumār (udadhikumāra gods) #23 उदस
द्धि
कगु
ममार#38,58 उदस
ध कगु
ममार| agnikumār733 (agnikumāra gods) #27 अव
ग कगु
ममार| das nikāy
kṣetra guṇsthān734 (plane of the group of ten; stages of purification) #26 दस नह
कमा
यकखे
त्र
गगु
ण

Blank #7

731 Ja84#26 switches around the readings udadhikumār dvīpkumār (sq. 15) and das nikāy kṣetra
guṇsthān (sq. 16).
732 The reading dvīpkumār is identical with the second part of the main reading in sq. 16 where Ja84#27
reads agnikumār.
733 The reading agnikumār is identical with the first part of the main reading in sq. 14 where Ja84#27
reads udadhikumār.
734 Ja84#26 switches around the readings udadhikumār dvīpkumār (sq. 15) and das nikāy kṣetra
guṇsthān (sq. 16).

514
Sq. 17: pāñc bhed mithyātva▼1
pāñc bhed mithyātva (five kinds of false views) 735 #5 स
मथमा
त्व भखे
द▼1 #8 पमा
चस
ह मथमा
त्व ८भखे
द▼1
#9 पमा
चमास
मथमा
त्व ८भद▼1 #13 प
हचस
मथमा
त्व भखे
द▼1 #20 स
मथमा
तभखे
द▼1 #26 पमा
चस
ह म(
थमा
ह
)
त्व भखे
दछह▼1
#29 पमा
च
ह
मह
थमा
त्व भखे
द▼1 #33 स
मथमा
मत्तभखे
द५▼3 #34 स
मथमा
त्व ×भखे
द▼? #38 पमा
चसमथमा
त्व▼1 #40 मह
थमा
त्व भखे
द▼1 #55
स
मथमा
त५भखे
द▼1 #58 प
हचस
मथमा
त▼1 | pāñc mithyātva doṣāt (five false views on account of
sin) #53 प
हचस
मथमा
तदलो
षमा
तह
▼1
| pāñc mithyātva doṣāt patana736 (falling on account of the
fault of the five false views) #22 प
हचस
मथमा
×दलो
षमा
तहपत▼1 | pāñc mithyātva 58 bhed doṣ
kṣetra (plane of five kinds of false views and 58 kinds of faults) 737 #4 प
हचस
मथमा
त्वव़
५८
भखे
द▼bottom #16 पमा
चस
ह मथमा
त्व ५८भखे
द▼1 #17 प
हचस
मथमा
तअ ५८भखे
दजमा
णरमा
▼1
#18 प
हच मह
थमा
त५८भखे
ददलो
ष
षखे
(त्र)
▼1
#52 प
हचस
मथत५८××(
दलो
ष)कखे
त्र▼1 | mithyātva bhed chai kudev kuguru kudharm
chai (there are the kinds of false views, there are bad gods, bad gurus, and bad
religion) #23 स
मथमा
तभखे
दछहकगु
दखे
रकगु
गगु
(रु)कगु
धमरमाचह
▼1

Uncertain #36 प
हचस
मथमा
त्व (
सखे
)
वलो
▼1
(pāñc mithyātva ...?) | #3a ×(
थमा
)
त×▼1 #3b ×स
मथमा
तद▼1
(pāñc mithyātva bhed?) | #27 रह
जगु
कगु
ममा
र
▼1
(vidyutkumār, vidyutkumāra gods?)738

Blank #7▼1

Sq. 18: stanitkumār 8, diśākumār 7

stanitkumār 8 diśākumār 7 (diśā- & stanitakumāra gods nos. 7-8) #3a सव
रतकगु
ममारव
दस
कगु
ममार#3b सव
रतकगु
ममारव
दस कगु
ममार#4 रणह
तकगु
ममारव
दस कगु
ममार#5 सव
नतकगु
ममार१
०वदश कगु
ममार८#8 स्तव
नत
कगु
ममार८व
दससकगु
ममार#9 सव
नतकगु
ममार७व
दसकगु
ममार७▼1 #36 श्वव
नतकगु
ममार८दह
पकगु
ममार९#53 (
रवन)
तकगु
ममारव
दगह
कगु
ममार #55 स्तव
नत कगु
ममारव
दशमाकगु
ममार | stanitkumār 8 pavankumār739 7 (pavana- and
stanitakumāra gods nos. 7-8) #20 स(
वन)
तकगु
ममारपरनकगु
ममार#33 रनतकगु
ममार८परनकगु
ममार७ |
nāgkumār740 diśākumār (nāga- and diśākumāra gods) #40 नमा
ग कगु
ममार(
दह)
शहकगु
ह
ममार|
735 The five kinds of false views (mithyātva) are one-sided views (ekānta), contradictory views (viparīta),
doubt (saṃśaya), all-accepting views (vainayika), and ignorance (ajñāna) (Jaini 1979: 118).
736 The reading patana is inferred from similar readings in sqs. 60,75 on Ja84#22.
737 The 58 kinds of faults (doṣa) may refer to the 58 kinds of karma that Jainas are susceptible to at the
beginning of the eighth stage of purification (guṇasthāna) (Tatia 1994: 216). However, the eighth
stage of purification is only mentioned in row #3 above (cf. sq. 24).
738 The reading might also be rendered as vāyukumār, but since that reading already appears in sq. 11
on Ja84#27, the more likely reading seems to be vidyutkumār which does not appear elsewhere on
Ja84#27 (cf. sq. 14).
739 The reading pavankumār is synonymous with the second part of the main reading vāyukumār in sq.
19, and thus appears twice on Ja84#20,33. The readings stanitkumār and pavankumār also occur as
parts of the main reading in sq. 6 on 84-square Jaina type b charts.
740 Ja84#40 switches around the readings stanitkumār (sq. 18) and nāgkumār (sq. 19).

515
stanitkumār (stanitakumāra gods) #13 स्तनह
त कगु
ममार#23 थ
सनतकगु
ममार#29 स्तनह
त कगु
ममार#58
व
स्
छनतकगु
ममार८| sāt lākh bādar nigod741 (700.000 gross basic lifeforms) #22 समा
तलमा
षबमा
दर
व
नगलो
द| parjīv duḥkhdāyī (causing grief to another soul) #27 पर
जह गुदमा
रदष इ

Uncertain742 #16 (
सध)
नयकगु
ममारव
दशमाकगु
ममार(...kumār diśākumār?) | #17 सनव
तकगु
ममार८व
दसशकगु
ममार
७ #18 सनत कगु
ममा८ व
दस कगु
ममार७ #38 सनत कगु
ममार८ व
दस कगु
ममार#52 स(
नमा
)कगु
ममारदह
सहकबू
मर(७)
(stanitkumār 8 diśākumār 7, diśā- and stanitakumāra gods nos. 7-8?) | #26 सनतकगु
ममारभगु
रन
इद्र(stanitkumār bhuvanindra,743 stanitakumāra bhavanapati gods?) | #34 सनतगु
ममार८परन
कगु
ममार७(stanitkumār 8 pavankumār 7, pavana- and stanitakumāra gods nos. 7-8?)

Blank #7

Sq. 19: nāgkumār 10, vāyukumār 9

nāgkumār 10 vāyukumār744 9 (vāyu- and nāgakumāra gods nos. 9-10) #3a (
ममा
ग)कगु
ममार
(
रमा
)
उकगु
(ममा
)
र#3b ममा
गकगु
ममाररमा
उकगु
ममार#4,13,22,53 नमा
गकगु
ममाररमा
यगु
कगु
ममा
र#5 नमा
गकगु
ममाररमा
उकगु
ममार#8 नमा
ग
कगु
ममार१
०रमा
उकगु
ममार९#9 नमा
गकगु
ममार१
०रमा
(
उ)कगु
ममार९#16 नमा
गकगु
ममाररमा
यकगु
ममार#17 नमा
गकगु
ममार१रमा
यगु
कगु
ममा
र
(
८)जमा
णरलो#18 नमा
गकगु
ममार१
०रमा
ऊ कगु
ममार(
९)#20 नमा
गकगु
ममार(
रमा
)
उकगु
ममार#26 नमा
गकबू
ह ममाररमा
यगु
कगु
ममा
र#33
नमा
गकगु
ममार१
०(रमा
पगु
)कगु
ममा
र(५)#34 नमा
गकगु
ममार१
०रमा
यगु
कगु
ममा
र९#36 नमा
गकगु
ममार१
०रमा
यगु
कगु
ममा
र११#38 रमा
यगु
कगु
ममारनमा
गकगु
ममार#55 नमा
गगु
कगु
॰रमा
यगु
कगु
॰| stanitkumār745 vāyukumār (stanita- and vāyukumāra
gods) #40 सनह
तकगु
ममाररमा
यगु
कगु
हममा
रfootprint | nāgkumār (nāgakumāra gods) #23 नमा
गकगु
ममार#29 नमा
ग
कबू
ममार| asurkumār746 (asurakumāra gods) #27 असगु
रकगु
ममा
र

Uncertain #52 ××कबू

ममार१(
रमा
)
ऊ(कगु
मर )९#58 नमा
गकगु
ममाररमा(nāgkumār 10 vāyukumār 9?)

Blank #7

741 This reading appears to be a mistake as the same reading appears on Ja84#22 in sq. 21 directly
above, as is also the case on Ja84#38,53.
742 Several charts seem to confuse stanitakumāra with sanatkumāra. Sanatkumāra is not a bhavanapati
god, but the name of one of the twelve universal emperors (cakravartin) born in the current half-
cycle of time (Wiley 2006: 63). It is also the name of the Vaimānika heaven which appears as the
main reading in sq. 62.
743 The reading bhuvanindra is synonymous with bhavanapati (palace lord) which refers to the class of
gods prevalent in row #2. Sanatkumāra may have been wrongly classified as a bhavanapati god
because of the appellation kumāra (prince) suffixed to the classes of such gods (cf. fn. 742).
744 Several charts prefer the vernacular reading vāükumār.
745 Ja84#40 switches around the readings stanitkumār (sq. 18) and nāgkumār (sq. 19).
746 The reading asurkumār is identical with the main reading in sq. 12 which is uncertain on Ja84#27. It
is also identical with the main reading in sq. 19 on 84-square Jaina type b charts.

516
Row #3
NB! Ja84#20,23,33 follow the 84-square Jaina type b charts in omitting the main reading in sq.
21, and displacing the main readings shared between the type a1 and b charts in sqs. 22,23,24
one square to the left. The main readings unique to the type a1 charts in sqs. 25,26,27 are also
displaced one square to the left.

Row title: pāñc sthāvar kṣetra dvār

pāñc sthāvar kṣetra dvār (gateway to the field of the five forms of stationary beings)
#3ab समा
ररकखे
त्रदमा
र#22 रमा
ररकखे
त्रदमा
र३747 #53 रमा
ररकखे
त्रदमा
र#4 ५रमा
रव़
रदव़
मा
र
748
#5 सव
ररषखे
त्र#8 ५रमा
रर
दमा
र२#9 ५रमा
ररदमा
रमा
र२#16 पमा
चधमा
ह ररदमा
र#58 प
हचरमा
ररदमा
र| vikalendrī dvār 7749 (gateway to
beings with deficient sense organs; no. 7) #26 व
रगलखे
द्रहदमा
र७
ह

N/A #7,13,17,18,20,23,27,29,33,34,36,38,40,52,55

Sq. 20: upaśam yog

upaśam yog (activity of suppressing karma)750 #3a (
उप)
सह(
यलो
ग) #3b उपसहयलो
ग
#4,8,18,29,34,36,38 उपसमयलो
ग#27,40,53 उपसमयलो
गfootprint #5 उपसह
जलो
ग#9 उपशमयलो
ग#13 उपसम
यलो
(
ग)#16 उपसह
यलो
ग#17 उपसमयलो
गजमा
णरलो#20 उ(
प)समयलो
गह#26 उपसमजलो
गह#52 उपसमयलो
ग#55,58
उपसमजलो
ग| upaśam yog dvār (gateway to the activity of suppressing karma) #22 उपसम
यलो
गदमा
र

Uncertain #23 उपसमरलोछह

#33 उपसयलो(upaśam yog?)

Blank #7

Sq. 21: sāt lākh itar nigod

sāt lākh itar nigod (700.000 non-permanent basic lifeforms)751 #4 ७लक तरनह
गलो
द #8 समा
त
लकइतरव
नगलो
द७#9 ७लमा
कइतर
हवनगलो
द#17,58 ७लकइतरव
नगलो
द#18 समा
त७लमा
षयलो
व
नइतरव
नगलो
द#26 लकह
ईतरनह
गलो
दछह
#29 समा
तलमा
षइतरव
नगलो
द#40 ७लमा
षइतमा
रनह
गलो
द#52 समा
त७लमा
षयलो
व
नइत×नह
गलो
द#55 व
नगलो
द
७लमा
षइतर| sāt lākh bādar nigod (700.000 gross basic lifeforms) #22 समा
तलमा
षबमा
दरव
नगलो
द

747 The row title appears in an additional square below the main grid.
748 The row title appears inside sq. 28 at the rightmost end of the third row.
749 See fn. 686.
750 The soul has three qualities (guṇa): consciousness (caitanya), bliss (sukha), and energy (vīrya).
Energy affects the activities (yoga) of the soul, and can be divided into eight categories, the fifth of
which is suppression of karma (upaśamanā) (Tatia 1951: 254; Jaini 1979: 139).
751 See fn. 682.

517
#38 १
३लमा
षरमा
दरव
नगलो
द#53 समा
तलमा
षरमा
दरव
नगलो
द| sāt lākh pṛthvīkāy752 (700.000 earth-bodies)
#20 ७लमा
षपथह
कृ कमा
य#23 सप्ति(
ल)क प्रथ
थ कमा
य७#33 ७लमा
षपकृ
थहकमा
य| cavde753 lākh sādhāraṇ
vanaspati (1.400.000 collective plant-bodies)754 #36 चरदखे
लमा
षसमा
धमा
र
णरनस्पतह१
४| manuṣya
kṣetra755 (field of human beings) #27 मनगु
क कखे
त्र | cār lākh nārkī756 (400.000 (birth-
situations as) hell-beings) #34 चमा
रलमा
षनमा
र
ककी

Uncertain #3a लक प्रत(

ड)व
न(गलो
द)#3b लक प्रतव
न(गलो
)
द#5 लक प्रव
तरव
नगलो
द६#13 लष्य समा
तवन×गलो
×
#16 २लकइव
त(sāt lākh itar nigod?)

Blank #7

Sq. 22: sāt lākh yoni pṛthvīkāy

sāt lākh yoni pṛthvīkāy757 (700.000 birth-situations as earth-bodies) #3ab पकृ
थहकमा
य७
लमा न#4 ७लकप्ररहकमा
षजलो य#5 प्रथहकमा
य७लमा
षजलो
जन758 #8 ७प्रररहकमा
य#9 ७पकृ
थहकमा
य#13 समा
तलष्य
(
यलो
)
नहप्रररहकमा
य#16 समा
तलमा
षप्रररहकमा
य#17,58 ७लकपकृ
थहकमा
य#18 समा
त७लमा
षयलो
व
नप्रररहकमा
य#22
समा
तलमा
ष×नहपकृ
ररह×यर
ह#26 ७समा
तप्र(
रमा
)
रहकमा
य#29 समा
तलमा
ख प्रररहकमा
ययलो
नह#34 समा
तलमा
षपकृ
रवरकमा
य
#36 समा
तलमा
षपकृ
ररहकमा
य७#38 ७समा
तलमा
षप्रथहकमा
य#40 ७लकप्रररह
(र)कमा
य#52 सत७लमा
षयलो
व
नप्रररह
कमा
य#53 समा
तलमा
षयलो
यनयलो
व
न759 पकृ
थहकमा
य#55 समा
तलमा
षप्रथहकमा
य| pṛthvīkāy (earth-bodies) #27
पमा
र
थहकमा
य| sāt lākh apkāy760 (700.000 water-bodies) #20 ७लमा
षअपकमा
य#23 समा
तलमा
षअप्प
कमा
य७#33 ७लमा
षऽपकमा
य

Blank #7

752 The reading sāt lākh pṛthvīkāy is identical with the main reading in sq. 21 on 84-square Jaina type b
charts.
753 Hi. caudah.
754 The 1.400.000 collective plant-bodies comprise the 2 x 700.000 permanent (nitya) and non-
permanent (anitya, itara) basic lifeforms (nigoda) mentioned in sq. 1 on Ja84#36. The basic lifeforms
are thus enumerated twice on the chart.
755 The reading manuṣya kṣetra is identical with the main reading in sq. 51, and thus appears twice on
Ja84#27.
756 The reading cār lākh nārki is identical with the main reading in sq. 2 (except for the implied yoni)
where Ja84#34 reads nārkī ke jīv (souls of hell-beings).
757 Several charts prefer the vernacular spelling prathvī, or a variation thereof.
758 See fn. 687.
759 See fn. 687.
760 The reading sāt lākh apkāy is identical with the main reading in sq. 22 on 84-square Jaina type b
charts.

518
Sq. 23: sāt lākh yoni apkāy
sāt lākh yoni apkāy (700.000 birth-situations as water-bodies) #3ab अपकमा
य७लमा
षजलो
न
#4,40,58 ७लकअपकमा
य#8,9 ७अपकमा
य#16 ७समा
तलमा
षअपकमा
य#17 ७अप्प कमा
यलक#18 समा
त७लमा
ष
यलो
व
नअपकमा
य#22 समा
तलमा
षअपह
कमा
यनहयलो
नह#26 ७लकह
अपकमा
य#29 समा
तलमा
ख अपकमा
ययलो
नह#36 समा
तलमा
ष
अप्प कमा
य७#38 समा
तलमा
षअप्प कमा
य#52 समा
त७लमा
षयलो
व
न(अ)
पकमा
य#53 समा
तलमा
षअपकमा
ययलो
नह#55 समा
॰
लमा
॰अप्प॰| apkāy (water-bodies) #34 अप्प कमा
य| apkāy sthāvar (stationary water-bodies)
#27 अपकमा
यरमा
रर| sāt lākh teükāy761 sthāvarkāy762 (700.000 stationary fire-bodies) #20
७लमा
षतखे
उकमा
यरमा
ररकमा
य| sāt lākh sthāvarkāy (700.000 stationary bodies) #23 समा
त(७)लमा
ष
रमा
ररकमा
य७| sthāvarkāy (stationary bodies) #33 रमा
ररकमा
य

Uncertain #5 अपकमा
य७लमा
षजलो
स
जन#13 समा
तलष्य यलो
नह(sāt lākh yoni apkāy?)

Blank #7

Sq. 24: pāñc sthāvar kṣetra, guṇsthān 7-8-9footprint

pāñc sthāvar kṣetra guṇsthān763 7-8-9 (plane of five kinds of stationary beings;764
stages of purification nos. 7-9 765) #4 रमा
रव़
रकखे
त्र गगु
ण ९footprint #8 रमा
रर५षखे
त्रगगु
णसमा
न६गगु
ह ५गगु
७footprint #9 रमा
रर५कखे
त्रगगु
णसमा
न७footprint #16 समा
(
र)रकखे
त्रगगु
॰९गगु
॰गगु
॰
footprint
#18 प
हच५रमा
ररषखे
त्रग
हण
गुसमा
(
९)footprint
#22 रमा
ररकखे
त्र गगु
णटमा
णमा
ह footprint
#34 रमा
ररकमा
य ५ गगु
णटमा
ह६।७footprint? #38 रमा
ररकखे
त्र व
नकमा
य
गगु
णठमा
णमा९
।८।७footprint #52 (
पमा
च)५रमा
ह ररषखे
(त्र)गगु
णसमा
न९footprint #53 रमा
(
र)रकखे
त्रगगु
णटमा
णfootprint #55
रमा
ररकखे
॰७।८।९footprint #58 रमा
ररकखे
त्रगगु
९।८।७| sthāvar kṣetra guṇsthān lākh yoni (plane
of stationary beings; stages of purification; 100.000 birth-situations) #3a सव
र(कखे
त्र)गगु
ण
ष)×न#3b सव
लमा
( रकखे
त्रगगु
(ण)लमा
षजलो
न| sthāvar kṣetra (plane of stationary beings) #26
समा
र×कखे
ह त्रfootprint | sāt lākh teükāy766 (700.000 fire-bodies) #20 ७लमा
ष×उकमा
यfootprint #23 सप्ति

761 Skt. tejaskāya.

762 The reading sāt lākh teükāy is identical with the main reading in sq. 23 on 84-square Jaina type b
charts, while the reading sthāvarkāy is reminiscent of the reading sthāvar kṣetra (plane of stationary
beings) in sq. 24 on type a1 charts. Ja84#20 thus appears to be combining the type b reading with the
displaced type a1 reading (see the note at the beginning of row #3 above). Cf. the readings in sq. 23
on Ja84#23,33.
763 Several charts prefer the Prakritic spelling guṇaṭṭhāṇa, or a variation thereof.
764 The five kinds of stationary beings are the earth-, water-, fire-, air- and plant-bodies named by the
main readings in sqs. 22,23,25,26,27. Note that fire- and wind-bodies are not considered stationary in
the Śvetāmbara tradition (Schubring 1935: 143, fn. 5).
765 The three stages of purification (guṇasthāna) enumerated are attentive restraint (apramattavirata,
no. 7), unprecedented action (apūrvakaraṇa, no. 8), and not turning back (anivṛttikaraṇa, no. 9)
(Tatia 1994: 282-83).

519
लक तखे
उ कमा
य ७footprint #33 ७ लमा
ष तखे
उकमा
य ३ | teükāy767 (fire-bodies) #27 तखे
उ कमा
यfootprint |
śrāvaknā bāhar vrat768 guṇsthān caḍhai (the twelve vows of laypeople; you climb the
stages of purification) #29 शमा
रक(
नमा
)बमा
रव्रतगगु
णटमा
णखे
ह (
च)ढतलो
footprint

Uncertain #5 ७लमा
षजलो
स
जन769 सरखे
रकखे
त्रगगु
णटमा
ण (sāt lākh yoni sthāvar kṣetra guṇsthān, plane
of 700.000 birth-situations as stationary beings; stages of purification?) | #13 समा
नमा
गगु
णठमा
णमा(sthāvar guṇsthān, stationary beings; stages of purification?) | #17 गगु
ण( ९
)५(
शह)
७गगु
णलक (guṇsthān 7-8-9 pāñc sthāvar lākh, stages of purification nos. 7-9; five kinds of
stationary beings; 100.000 birth-situations?) | #36 (...) कमा
यकखे
(त्र)(...kāy kṣetra, plane of ...
bodies?) | #40 ७समा
र(र
)×गमfootprint (sāt lākh sthāvar ..., 700.000 stationary beings ...?)

Blank #7

Sq. 25: sāt lākh yoni teükāy

sāt lākh yoni teükāy770 (700.000 birth-situations as fire-bodies) #3b तखे
उकमा
य७लमा
षजलो
न
#4,40,58 ७लकतखे
उकमा
य#8 ७तखे
ऊ कमा
य#9 ७तखे
उकमा
य#13 समा
तलष्य यलो
नहतखे
उकमा
य#16,38 ७लमा
षतखे
उकमा
य
#17 ७लक यलो
व
नतखे
उकमा
य#18 समा
त७लमा
षयलो
व
नतखे
उकमा
य#22 समा
तलमा
षतखे
उकमा
यनहयलो
नह#26 ७लकह
तखे
उकमा
य
ह
#29 समा
तलमा
ख तखे
उकमा
य#34 तखे
उकमा
य#36 समा
तलमा
षतखे
उकमा
य७#53 समा
तलमा
षतखे
उकमा
ययलो
व
न#55 समा
॰लमा
॰तखे
उ
कमा
य| sāt lākh vāükāy771 (700.000 wind-bodies) #20 ७लमा
षरमा
उकमा
य#23 सप्तिलक रमा
उकमा
य७
#33 ७लमा
षरमा
यगु
कमा
य| vanaspatikāy772 (plant-bodies) #27 रनमा
सपतहकमा
य

Uncertain #3a तखे

उकमा
य७लमा
(
ष) (यलो
)
( जलो
)
न#5 तखे
उकमा
य७लमा
षजलो
स
जन#52 समा
त(...)षयलो
व
न(...)उकमा
य
(sāt lākh yoni teükāy?)

766 Skt. tejaskāya. Ja84#20 repeats the reading sāt lākh teükāy from sq. 23, this time as a displaced
reading from sq. 25 (see the note at the beginning of row #3 above). Ja84#23,33 also adopt the
displaced reading from sq. 25.
767 The reading teükāy (fire-bodies) is reminiscent of the main reading sāt lākh yoni teükāy (700.000
birth-situations as fire-bodies) in sq. 25 where Ja84#27 reads vanaspatikāy (plant-bodies).
768 The Gujarati reading śrāvaknā bāhar vrat (the twelve vows of laypeople) is reminiscent of the main
reading śrāvakvratī (adhering to the vows of laypeople) in sq. 24 on 84-square Jaina type b charts.
The twelve vows comprise the five small vows (aṇuvrata, i.e. a less strict version of the five
mahāvrata, or great vows, cf. sq. 50), the three subsidiary vows (guṇavrata, cf. sq. 49), and the four
vows of spiritual discipline (śikṣāvrata, cf. sq. 53).
769 See fn. 687.
770 Skt. tejaskāya.
771 Skt. vāyukāya. The reading sāt lākh vāükāy is displaced from sq. 26 (see the note at the beginning of
row #3 above).
772 The reading vanaspatikāy (plant-bodies) is reminiscent of the main reading das lākh yoni pratyek
vanaspatikāy (1.000.000 birth-situations as individual plant-bodies) in sq. 27 where Ja84#27 reads
vikalendrī (beings with deficient sense organs).

520
Blank #7

Sq. 26: sāt lākh yoni vāükāy

sāt lākh yoni vāükāy773 (700.000 birth-situations as wind-bodies) #3b रमा
उकमा
य७लमा
षजलो
न
#4 ७लकरमा
यगु
कमा
य#8 ७रमा
ऊ कमा
य#9 ७रमा
उकमा
य#13 लष्य यलो
नहरमा
उकमा
य#16 ७लमा
करमा
उकमा
य#17 ७लक
यलो
व
नरमा
यगु
कमा
य#18 समा
त७लमा
षयलो
व
नरमा
ऊकमा
य#22 समा
तलमा
षरमा
ऊकमा
यमायलो
नह#26 ७लकह
रमा
उकमा
यरमा
ह यरलो#29
समा
तलमा
ख रमा
उकमा
य#34 रमा
उकमा
य#36 समा
तलमा
षरमा
उकमा
य७#38 ७लमा
षरमा
उकमा
य#40 ७लकयलो
नहरमा
यगु
कमा
य
#53 समा
तलमा
षयलो
व
नरमा
यगु
कमा
य#55 समा
॰लमा
॰रमा
उकमा
य#58 ७ लक जलो
नरमा
उकमा
य|das lākh pratyek
vanaspatikāy774 (1.000.000 individual plant-bodies) #20 १
०लमा
षप्रतखे
क रनस्पव
तकमा
य#23 दश
लक प्रतखे
क रनमा
सपव
त कमा
य१०|sāt lākh pratyek vanaspatikāy (700.000 individual plant-
bodies) #33 ७लमा
षप्रतखे
क रनमा
स्पतह|śubh karmī775 (performing auspicious actions) #27 सगु
भ
कर
मह

Uncertain #3a ×(
उ)कमा(
७)(
क)(...)▼13 #5 रमा
उकमा
य७लमा
षजलो
स
जन(sāt lākh yoni vāükāy?)

Blank #7(▲44) | N/A #52

Sq. 27: das lākh yoni pratyek vanaspatikāy

das lākh yoni pratyek vanaspatikāy (1.000.000 birth-situations as individual plant-
bodies) #4 १
०लक प्रतक रनसपतहकमा
य#8 दसलक यलो
व
नप्रतखे
क रनसपव
त#9 १
०लमा
षयलो
व
नप्रतखे
क रनस्प(
वत)
#13 १
०लष्य यलो
नहरनस्पतहकमा
य#16 १
०लमा
षप्रतखे
क रनस्पतहकमा
य#17 १
०लकयलो
व
नपकृ
तखे
क रनमा
स्पतहकमा
य#18
दश१
०लमा
षयलो
(
वन)प्रतखे
क रनस्पतहकमा
य#22 दशलमा
षप्रतखे
क रनस्पतह
नहयलो
नह#29 दसलमा
ख प्रतखे
क रनस्पव
तकमा
य
#36 दस लमा
षप्रतखे
क रनस्पव
त१०#38 १
०लमा
षप्रतखे
क बनस्पतहकमा
य#40 १(
०)लक प्रतखे
क रनस्पव
तकमा
य#53
प्रतखे
क रनमा
स्पतहदस लमा
ष | sāt lākh yoni pratyek vanaspati (700.000 birth-situations as
individual plant-bodies) #3b प्रतखे
क रनस्पत७#26 ७लकहयलो
नहप्रतखे
क रनमा
स्पह
तह#55 समा
तलमा
षप्रतखे
क
रनस्पव
त| sāṭh lākh yoni pratyek vanaspati (6.000.000 birth-situations as individual
plant-bodies) #5 प्रतखे
क रनस्पव
त६०लमा
षजलो
स
ज | pratyek vanaspati (plant-bodies) #34 प्रतखे
क
रनस्पव
त | cavde776 lākh sādhāraṇ vanaspatikāy777 (1.400.000 collective plant-bodies)

773 Skt. vāyukāya.

774 The reading das lākh pratyek vanaspatikāy is displaced from sq. 27 (see the note at the beginning of
row #3 above). Cf. the reading in sq. 26 on Ja84#33.
775 The reading śubh karmī is identical with a close variant of the main reading in sq. 28 where Ja84#27
reads dharmī nar (righteous man).
776 Hi. caudah.
777 The 1.400.000 collective plant-bodies (sādhāraṇavanaspatikāya) comprise the 2 x 700.000 permanent
(nitya, vyavahāra) and non-permanent (anitya/itara, avyavahāra) basic lifeforms (nigoda) mentioned
in sq. 1 on Ja84#23,33. The basic lifeforms are thus enumerated twice on the charts.

521
#23 चरदह
लक समा
धमा
र
ण अन
हतकमा
य१४०००००#33 समा
धरण रनमा
स्पतह१
४| vikalendrī778 (beings with
deficient sense organs) #27 रह
गलखे
इह
द्रह

Uncertain #3a प्र(

तखे
क)र(
ण)(...) (pratyek vanaspati, individual plant-bodies?) |#20 ४लमा
ष
समा
धमा
र
ण रनस्पव
तकमा
य(cavde lākh sādhāraṇ vanaspatikāy?) |#58 १
०लक जलो
व
नप्रतखे
क (das lākh
yoni pratyek vanaspati?)

Blank #7 | N/A #52

Sq. 28: śubh karm

śubh karm (auspicious karma) #3a शगु
(भ)कमर्वा
#3b शगु
भकम#4 सगु
भकरम779 #5,34,38 शगु
भकमर्वा
#8
सगु
भ कर
म #29 सगु
भ कमर्वा#36 शगु
भ कमर्वा#40 शगु
भ कमर्वा
footprint
#53 शगु
भ करर्वा
footprint
| śubh karmī
(performing auspicious actions) #9 शगु
भ कममा
र्वा
footprint
#13,16 शगु
भ क(
मर्गी
)#17 शगु
भ करर्गी#23 शगु
भ
कर
सम#33,58 शगु
भ कमर्गी| śubh karm yog chai (this is the activity of producing auspicious
karma) #26 शगु
भ कर
मयलो
गछह| śubh karmī jīv puṇyavant (a virtuous soul performing
auspicious actions) #18 शगु
भ कर
महजह
रपबू
नर ह
तणः#55 सगु
भ कमर्वा
( २)पगु
नर ह
त| śubh karm pāpṇī780
(auspicious karma; sinful woman) #22 शगु
भकरर्वा
पमा पणह| dharmī nar (righteous man) #27
धर
महनर

Uncertain #20 शगु

भकगु
ममा
र(śubh karm?)

Blank #7 | N/A #52

Row #4
Row title: vikalendrī kṣetra dvār
vikalendrī kṣetra dvār (gateway to the plane of beings with deficient sense organs)
#3a व
रगलहें
वद्रयदमा
(
र )#3b व
र(ग)
लहें
व
द्रयदमा
र#4 व
रकलद्रहकखे
त्रदव़
मा
र२781 #5 (
वर)
कलहें
द्रहदमा
र#8 व
रगलहें
द्रहकखे
त्रदमा
र२२
#9 व
रगलहें
द्रहकखे
त्रदमा
र२×#16 व
बगलखे
द्रहदमा
र#22 व
रकलखे
द्रह
यकखे
त्रदमा
र४782 #53 व
रकलहें
वद्रयदमा
र#58 व
रगलहें
द्रहदमा
र|
tiryañc kṣetra chai783 (this is the plane of plants and animals) #26 व
तयर्यं
चकखे त्रछह
६

N/A #7,13,17,18,20,23,27,29,33,34,36,38,40,52,55

778 Skt. vikalendriya. The reading vikalendrī is reminiscent of the main reading vikalendrī kṣetra (plane
of beings with deficient sense organs) in sq. 33 where Ja84#27 reads nirmal man (spotless mind).
779 The reading appears in the same square as row title #3.
780 Skt. pāpinī.
781 The row title appears inside sq. 29 at the rightmost end of the fourth row.
782 The row title appears in an additional square below the main grid.
783 See fn. 686.

522
Sq. 29: dharm ārādhan icchā
dharm ārādhan icchā (desire for loyalty toward religion)784 #4 धर
ममा
र
मा
धनइछमा
785
#8,20
धममा
र
र्वा
मा
धनइचमा#9 धमर्वा
र लो
धनइछमा
footprint
#13 धमर्वा
र मा
धनखे
इछमा#23 धमर्वा
आर मा
धनइछयमा#29,36 धमर्वा
आर मा
धनइछमा
#33 धमर्वाआर
मा
धन (
ई)छमा#34 धमर्वाआर
मा
धनमाईछमा#58 धम र
लो
धन इछमा| dharm ārādhan niścay
(resolve of loyalty toward religion) #18 धमर्वा
आर मा
धखे
व
नश्चखे
| dharm ārādhan (loyalty toward
religion) #40 धममा
र
र्वा
मा
धनfootprint | dharm sādhan icchā (desire for accomplishing religious
duty) #26 धमर्वा
समाधन
हईछमा
ह
#55 धमर्वा
समाधनइचमा| dharm dhyān icchā (desire for virtuous
meditation) #3a धमर्वा
(धमा
)
नइ(
छमा
)#3b धमर्वा
धमाह
न(इचमा
)#16 धर
म धमा
नइचमा| dharm dhyān
icchā pariṇām (transformation resulting from desire for virtuous meditation) #22 धमर्वा
धमा
ह
नइछमापर
रणमा
म#53 धमर्वा
ह धमा नइछमापर
ह रणमा
मfootprint

Uncertain #5 धमर्वा
(...) इछमा#17 धमर्वा
आयर्वा
धनइछमा#38 धमर्वा
आरमाछमा
ह य(dharm ārādhan icchā?) | #27
पमा
पमा
धरमह
footprint
(pāpādharmī, unrighteous on account of sin?)

Blank #7 | N/A #52

Sq. 30: śubhāśubh uday

śubhāśubh uday786 (arising of auspicious and inauspicious karma) #3a अशगु
भशगु
भउद·#3b
६७अशगु
भ शगु
भ उय#4 सगु
भमा
सगु
भ उदय#5,13,17,18,22,36,38,53 शगु
भमा
शगु
भ उदय#16 शगु
भ शगु
भ उदय#26 शगु
भमा
ह
सगु
भ उदय#27 सगु
भमा
सगु
उदय#29 सगु
भमा
सगु
भ( उ)
दय#33 शगु
भमा
शगु
भ उदह
य#34 शगु
भमा
सबू
भलो
दय▼? #55 शगु
भमा
शगु
भ उपमा
य
#58 शगु
भमाऽ
शगु
भ उदय | śubh uday (arising of auspicious karma) #20 शगु
भ उदय | śubh
pariṇām (auspicious transformation) #23 शगु
भप्रणमा
स
म

Uncertain #8 शगु
भमा
अशगु
भहउदखे
शमा
ह#9 शगु
भ शगु
भ उदश (śubhāśubh udeṣyan, auspicious and
inauspicious karma about to arise?) | #40 सगु
भमा
सगु
भ(śubhāśubh uday?)

Blank #7 | N/A #52

Sq. 31: śubhāśubh udīrṇā

śubhāśubh udīrṇā787 (stirring up of auspicious and inauspicious karma) #3a शगु
भमा
भ उदह
#3b शगु
भमा
शगु
भ उदह#4 सगु
भमा
सगु
भव दर
णमा#5,22 शगु
भमा
शगु
भ उदह
णमा
र्वा
#8,13,18,33,38 शगु
भमा
शगु
भ उदह
रणमा#9 सगु
भमा
शगु
भ

784 Loyalty (ārādhana) is sometimes divided into loyalty toward cognition (jñāna), religion (dharma),
and conduct (caritra), and sometimes into loyalty toward religion (dharma) and the state of
omniscience (kevalin) (Schubring 1935: 205).
785 The reading appears in the same square as row title #4.
786 Udaya (arising) indicates the natural fruition of karma (Tatia 1951: 257).
787 Udīraṇā (stirring up) indicates the premature fruition of karma (Tatia 1951: 257-58).

523
उदह
रणमा#16 शगु
भमा
शगु
भउदह
रणमा#17 शगु
भमा
शगु
भउदमा
र
ण#29 सगु
भअसगु
भउदमा
र
णमा#34 सबू
भमा
सबू
भलो
दहर
णमा#36 शगु
भमा
शगु
भ
उव
दणमा
र्वा
#40 सगु
भमा
सगु
भ उदह
रण #53 शगु
भमा
सगु
भ उदह
णमा
र्वा
#55 सगु
भमा
सगु
भ उदह
रणमा| śubhāśubh udīrṇā nes788
(square of stirring up of auspicious and inauspicious karma) #26 शगु
भमा
ह
शगु
भ उदमा
र
णलोनखे
स|
śubh udīrṇā (stirring up of auspicious karma) #20 शगु
भ उदह
रणमा
▲50
| sukh kṣetra udīrṇā
(plane of happiness; stirring up of karma) #27 सगु
ष कखे
त्र उदह
रणमा| śubh pariṇām
(auspicious transformation) #23 शगु
भ प्रणमा
स
म| śubhāśubh uday789 (arising of auspicious
and inauspicious karma) #58 शगु
भमाऽ
शगु
भउदय

Blank #7 | N/A #52

Sq. 32: śubhāśubh sattā

śubhāśubh sattā790 (existence of auspicious and inauspicious karma) #4,55 सगु
भमा
सगु
भ सतमा
#5 शगु
भमा
शगु
भ सत्त #13 शगु
भमा
शगु
भ शमा
तमा#16,17 शगु
भमा
शगु
भ सत्तमा#18 शगु
भमा
शगु
भ सतमा#29 सगु
भ असगु
भ सत्तमा|
śubhāśubh samatā (equal disposition toward auspicious and inauspicious karma) #22
शगु
भमा
शगु
भ शमतमा#53 शगु
भमा
शगु
भ समतमा| śubhāśubh yog (auspicious and inauspicious activity)
#26 शगु
भमा
सगु
भमा
मयलो
ग(▲42) | śubhāśubh udīrṇā791 (stirring up of auspicious and inauspicious
karma) #8 शगु
भमा
शगु
भ उदह
रणमा#9 शगु
भमा
सगु
भ उदह
रणमा#58 शगु
भमाऽ
शगु
भ उदह
णर्वा| śubhāśubh mati
(auspicious and inauspicious thoughts) #20 शगु
भमा
सगु
मतह
नखे
#33 सगु
भमा
सगु
भ मतह
नह#34 सबू
भमा
सगु
भ मतह|
śubhāśubh matinī udīrṇā (stirring up of auspicious and inauspicious thoughts) #23
शगु
भमा
शगु
भ मव
तन उदह
णमा
र्वा| śubh sātā aśubh asātā (auspicious pleasant feelings and
inauspicious non-pleasant feelings)792 #38 शगु
भ समा
तमाअशगु
भ असमा
त| satyavacan śubh (true
speech; auspicious)793 #27 सत रचनसगु
भ

Uncertain #3a शभ
गुमा
शभ
गु स(
भमा
)#3b शभ
गुमा
शभ
गु सभमा#36 शभ
गुद्रसगु
भ समा
त#40 सगु
भमा
सगु
भ सत (śubhāśubh
sattā?) | #52 शगु
भमा
(...) (śubhāśubh ..., auspicious and inauspicious ...?)

Blank #7

788 Skt. nivāsa.

789 The reading śubhāśubh uday is identical with the main reading in sq. 30, and thus appears twice on
Ja84#58.
790 Sattā (existence) indicates the duration of karma from its initial attraction to its final fruition (Tatia
1951: 259).
791 The reading śubhāśubh udīrṇā is identical with the main reading in sq. 31, and thus appears twice
on Ja84#8,9. Ja84#58, however, reads śubhāśubh uday in sq. 31.
792 Feeling-producing (vedanīya) karma is divided into that which produces pleasant (sātā) and
unpleasant (asātā) feelings (Jaini 1979: 125).
793 True speech (satyavacana) is one of the fifteen activities (yoga) attracting karma to the soul
(Schubring 1935: 113).

524
Sq. 33: vikalendrī kṣetra, guṇsthān 10-11-12footprint
vikalendrī794 kṣetra guṇsthān795 10-11-12 (plane of beings with deficient sense organs;
stages of purification nos. 10-12796) #3a व
दगलहें
×कखेत्रण (
गगु
ण)(१
)#3b व
रगलहें
द्रहकखे
त्रण (
गगु
)ण ५#4
व
बकलखे
(यह)कखे
त्रग
हगु
॰१ ०-
१२ग
हगु
॰१ १footprint #5 व
रकलखे
द्रहषखे
त्रगगु
णटमा
ण #8 व
रगलहें
द्रहषखे
त्रगगु
॰(...) १
२गगु
११footprint #9
समा
नवरगलखे
(द्रह
)कखे
त्र(
गगु
)१ २गगु
(
१ )
१००footprint #16 व द्रह
बगलहें
व (य)कखे
त्रगगु
णटमा
णमागगु
॰१ १footprint #17 व
रगलहें
द्रह(
कखे
त्रखे
)
गगु
ण #22 व
रकलहें
द्रह
यगगु
णटमा
णमा
footprint
#26 व
रगलखे
द्रहकखे
त्रगगु
णfootprint #38 व
रकलखे ह
द्रहगगु
णठमा
णमा१
ह १।१
२footprint #53
व
ब(कलहें
)वद्रगगु
ण×णfootprint #55 व
रगलहें
द्रहकखे
त्रगगु
ण१ ०।१
११२footprint #58 व
रगलद्रह
यकत्रगगु
ण( स्
ठमा
)
न१०गगु
१२|
vikalendrī kṣetra upaśam 11 sūkṣma 12 guṇsthān (plane of beings with deficient
sense organs; purification stage of suppression no. 11; purification stage of subtle
passion no. 12)797 #18 रह
गलखे
द्रहषखे
त्रउपसम१
१सबू
षम१२र
माग
हण
गुfootprint | vikalendrī kṣetra (plane
of beings with deficient sense organs) #34 रह
गलखे
वद्र कखे
त्रfootprint? #36 व
रगव
लह
द्रह
यमा
र
ह
माषखे
तह#40
व
रगलहें
(द्रह
)षखे
त्रfootprint | vikalendryādi kṣetra (plane of beings with deficient sense organs,
etc.) #13 व
रगलहें
द्रह
यमा
व
दकखे
त्रखे
| vikalendrī (beings with deficient sense organs) #20 व
रग×(
द्रह
)
(
९)footprint
| apramatta guṇsthān798 (purification stage of attentive restraint) #29 अप्रमत
गगु
णटमा
णह
हगु
footprint
| śubhāśubh mati (auspicious and inauspicious thoughts) #23 शगु
भमा
शगु
भ
मव
तfootprint | nirmal man (spotless mind) #27 नह
रमलमनfootprint

Uncertain #33 व
रगलहें
द्रहषखे
त्रगगु
प्ति१
०(vikalendrī kṣetra guṇsthān 10(-11-12)?) | #52 ×(
रहय
ह)
द्रह
षखे
(त्र)(
उ)पसम१
१×नप्र×गगु
णfootprint (vikalendrī kṣetra upaśam 11 ... guṇsthān?)

Blank #7

794 Skt. vikalendriya.

795 Several charts prefer the Prakritic spelling guṇaṭṭhāṇa, or a variation thereof.
796 The three stages of purification (guṇasthāna) enumerated are subtle passion (sūkṣmasāmparāya, no.
10), suppressed delusion (upaśāntamoha, no. 11), and destroyed delusion (kṣīṇamoha, no. 12) (Tatia
1994: 283-84).
797 The stage of subtle passion (sūkṣmasāmparāya) should be no. 10 instead of no. 12.
798 The reading apramatta guṇsthān (purification stage of attentive restraint) is reminiscent of the main
reading pramatta virat guṇsthān (purification stage of inattentive restraint) in sq. 33 on 84-square
Jaina type b charts. Attentive restraint is the 7th stage of purification mentioned by the main reading
in sq. 15 on type a1 charts, while inattentive restraint - also known as total restraint (sarvavirata) - is
the 6th stage of purification enumerated by the main reading in sq. 15 on type a1 charts.

525
Sq. 34: be lākh yoni sañjñī beïndrī
be lākh yoni sañjñī799 beïndrī800 (200.000 birth-situations as conscious beings with two
sense organs) #17 दलोलकयलो
व
नषहें
द्रहजमा
णरमा#18 सव
नबखे
रह
द्रह२लमा
षयलो
व
न#22 बखे
लमा
षबखे
द्रहर
हयलो
नह#27 बखे
इह
दरह
जलो
नह#29 बहें
लमाक यलो ह
नबहें
रहद्र
ह#34 सह
जहबहें
रह
वद्र#36 दलो
यलमा
षयलो
व
नसह
जमा
यमाबह
र
रद्रह#52 सव
नरखे
(द्रह
)२रखे
लमा
षयलो
व
न
#53 दलो
यलमा
षबहें
द्रहयलो
व
न#55 स॰बहें
द्रह| be lākh yoni asañjñī beïndrī (200.000 birth-situations
as non-conscious beings with two sense organs) #16 २लमा
कयलो
व
नऽसह
जनहषहें
द्रह| be lākh yoni
asañjñī teïndrī801 (200.000 birth-situations as non-conscious beings with three sense
organs) #20 २ लमा
ष यलो
व
न असह ह
गहतखे
रर
द्रह#33 २ लमा
ष यलो
व
नऽसह
गहतखे
रह
द्रह| be lākh yoni sañjñī
caurindrī802 (200.000 birth-situations as conscious beings with four sense organs) #3a
चउर
ह
द्रह#3b चउर
ह
वद्र#5 चलो
र
हें
द्रह#26 बखे
लकह
यलो
नहचउर
रद्रहजह
र#58 २लक जलो
व
नसह
जहयमाचलो
(
र ह
ह
द्र
ह
)| cār lākh
yoni sañjñī caurindrī (400.000 birth-situations as conscious beings with four sense
organs) #40 ४०००००सह
जहचलो
र
खे
द्रह| vikalendrī803 be lākh yoni (200.000 birth-situations as
beings with deficient sense organs) #38 व
रकलहें
द्रह२लमा
षयलो
व
न| vikalendrī kṣetra chai804
#23 व
रकलहें
वद्र कखे
त्र छह(this is the plane of beings with deficient sense organs) |
vikalendriyādi kṣetra805 (plane of beings with deficient sense organs, etc.) #13
व
रगलहें
द्रह
यमा
दहकखे
त्र

Uncertain #4 २लमा
ष(बखे
द्रह
)सह
हह#8 बखे
लमा
षजलो
व
नस(
द्धि)बखे
रह
द्रह#9 बखे
लमा
षसरहबर
ह
द्रह(be lākh yoni sañjñī
beïndrī?)

Blank #7

799 The distinction between conscious (sañjñī) and non-conscious (asañjñī) beings is usually reserved
for five-sensed beings (Jaini 1979: 110), but several charts also apply it to beings with fewer senses. It
should, however, be noted that the distinction is also used to separate one-sensed beings from multi-
sensed beings (Tatia 1951: 54).
800 Skt. dvīndriya.
801 Skt. trīndriya. Ja84#20,33 omit two-sensed beings, and instead distinguishes between conscious and
non-conscious three-sensed beings in sqs. 34,35.
802 Skt. caturindriya. Ja84#3ab,5,26,40 switch around two- and four-sensed beings between sqs. 34 and
36. Ja84#58 omits two-sensed beings, and instead mentions four-sensed beings twice in sqs. 34,36.
803 Skt. vikalendriya. The reading vikalendrī (beings with deficient sense organs) is wrong for beïndrī
(beings with two sense organs), as the former already appears in sq. 33 on Ja84#38, and as it refers to
all beings with less than five sense organs enumerated in sqs. 34,35,36.
804 The reading vikalendrī kṣetra (plane of beings with deficient sense organs) is identical with the main
reading in sq. 33 where Ja84#23 reads śubhāśubh mati (auspicious and inauspicious thoughts).
805 The reading vikalendriyādi kṣetra is identical with reading in sq. 33 on Ja84#13, and thus appears
twice on the chart.

526
Sq. 35: be lākh yoni sañjñī teïndrī
be lākh yoni sañjñī teïndrī806 (200.000 birth-situations as conscious beings with three
sense organs) #3a तखे
(रह
)द्रह#3b तखे
रह
द्रह#4 २लमा
षसह
गहव ह
तद्रह#8 तखे
रर
द्रहलक २दलो
यऽजलो
व
न#9 तर
ह
द्रहलक ३(
२)
#17 २लकयलो
व
नसह
जहतहें
द्रह#18 सव
नतखे
रह
द्रह२लमा
षयलो
व
न#20 २लमा
षयलो
व
नसह ह
गहतखे
रर
द्रह#26 बह
लकह
यलो
नहतखे
रह
द्रहजह
रणः
#27 तखे
इह
दरहजलो
नह#29 बखे
लक जलो
नतखे
रह
द्रह#33 २लमा
षयलो
व
नसह
गहतखे
रह
द्रह#34 सव
न्नतखे
रह
द्रह#36 दलो
यलमा
षयलो
नहसह
जमा
तह
र
रह
द्रह#38 तखे
इह ह
द्रह२लमा
षयलो
व
न#40 २०००००सह
जहतखे
रखे
द्रह#52 सव
नतखे
रह
द्रह२लमा
षयलो
नह#53 दलो
यलमा
षतहें
द्रहयलो
व
न#55
स॰तखे
रहें
द्रह#58 २लकजलो
व
नसह
जहयमातखे
रहह
द्र
ह| be lākh yoni asañjñī teïndrī (200.000 birth-situations
as non-conscious beings with three sense organs) #16 २लमा
कयलो
व
नअसह
जव ह
नयलोतखे
रर
वद्रह
#23 २लमा
ष
यलो
व
नऽसह
स
ज तखे
रह
द्रह| be lākh yoni beïndrī807 (200.000 birth-situations as beings with two
sense organs) #13 २लष्य यलो
नहबखे
द्रह

Uncertain #5 (...)द्रह(teïndrī?) | #22 दलो

यलमा
ष×(
द्रह
)रहयलो
व
न(doy lākh teïndrī rī yoni, 200.000
birth-situations as beings with three sense organs?)

Blank #7

Sq. 36: be lākh yoni sañjñī caurindrī

be lākh yoni sañjñī caurindrī808 (200.000 birth-situations as conscious beings with
four sense organs) #4 २लमा
षचलो
र
हद्रह#13 २लष्य यलो
नहसह
जहयमाचलो
र
द्रह#17 २लकयलो
व
नसह
जहचलौ
र
हें
द्रह#18 सनह
चलो
र
ह
द्रह२लमा
षयलो
व
न#20 २लमा
षयलो
व
नचलो
र
रह
द्रह#22 दलो
यलमा
षचउर
रह
व
द्रर
हयलो
व
न#23 २लमा
षयलो
व
नसह
स
जचलो
र
ह
द्रह#27
चलो
इह
दर
हजलो
नह#29 बखे
लकजलो
नचलो
र
ह
द्रह#33 २लमा
षयलो
व
नसह
जह४र
मा
द्रह#34 चलौ
ह र
हें
द्रह#36 दलो
यलमा
षयलो
नसह
जमाचलौ
र
त
द्रह#38
सनहचलो
इह
द्रह२लमा
षयलो
व
न#52 सव
नचलो
द्रह२लमा
षयलो
व
न#53 दलो
यलमा ह
षचलो
र
हद्रहयलो
व
न#55 सनहचलो
र
हें
द्रह#58 २लकयलो
व
न
सह
×यमाचलो
र
द्रह| be lākh yoni asañjñī caurindrī (200.000 birth-situations as non-conscious
beings with four sense organs) #16 २लमा
ष यलो
व
न असह
जवनयलोचलो
र
रह
द्रह| be lākh yoni sañjñī
beïndrī809 (200.000 birth-situations as conscious beings with two sense organs) #3a
सह
(जह
)(रहें
द्रह
)(२)(
लमा
)
षजलो
न#3b सह
जहरहें
द्रह२लमा
षजलो
न#5 सह
गहरहें
द्रह
रलमा
षजलो
स
जन#8 बखे
लमा
षजलो
व
नशह ह
नहबखे
रर
द्रह
#9 बखे
लमा
षजव
नशव
नबखे
रद्रह#40 २०००००बखे
रखे
द्रह| ek lākh yoni sañjñī beïndrī (100.000 birth-
situations as conscious beings with two sense organs) #26 ईकलकह
यलो
नहसह
जहबखे
रह
द्रह

Blank #7

806 Skt. trīndriya.

807 Skt. dvīndriya. The reading be lākh yoni beïndrī is identical with the reading in sq. 34 where Ja84#13
reads vikalendriyādi kṣetra (plane of beings with deficient sense organs, etc.).
808 Skt. caturindriya.
809 Skt. dvīndriya. Ja84#3ab,5,26,40 switch around two- and four-sensed beings between sqs. 34 and 36.
Ja84#8,9 omit four-sensed beings, and instead mention two-sensed beings twice in sqs. 34,36.

527
Sq. 37: āsrav pāñc rodhan, saṃvar
āsrav pāñc rodhan saṃvar810 (five hindrances of karmic influx; stoppage of karmic
influx) #4 आशरव़
(
र लो
ध)नसह
बर#8 आशर५र
लो
धनसह
बर#9 ५आशरर
लो
धनसररfootprint #13,55 आशर५र
लो
धन
सह
रर#17 आशरर
लो
धसह
रमा
रभमा
रजमा
णरलो#18 आशर५प
हचर
लो
धनसह
रर#22 आशरव
नरलो
धसह
ररधमा
र
इह#29 आसव
र
र
लो
धन सह
ररभमा
र #38 आशर र
लो
धन १सह
बरदमा
र#52 आशर ५प
हचहर
लो
धन सह
रर#53 आशर व
नरलो
ध कर
हसह
रर
धमा
र
ह
footprint
#58 ऽ
शर र
लो
ध सह
रर | āsrav dhyān saṃvar pāñc rodhan (karmic influx;
meditation; stoppage of karmic influx; five hindrances) #3a अस्रर (
धमा
न)(
सह)
र ×× #3b
आस्ररधमा
ह
नसह
ररलो
ध#5 आशरधमा
ह
नसह
ररनह
रलो
ध#16 आशरधमा
ह
नसह
ररर
लो५| āsrav pāñc rodhan (five
hindrances of karmic influx) #20 आशरर
लो
धन#23,36 आशरर
लो
धन#33 आशरर
लो
धन५#34 प
हच
आशरलोककीर
लो
ध | saṃvar bhāv (mental stoppage of karmic influx)811 #40 सह
ररभमा
र| pāp
bandh saṃvar dvār (gateway to stoppage of karmic influx bound by sin) #27 पमा
पबह
ध
सह
बरदमा
र

Uncertain #26 आह
शर बलो
ध सह
(र)
र(āsrav rodhan saṃvar, hindrances of karmic influx;
stoppage of karmic influx?)

Blank #7

Row #5
Row title: tiryañc kṣetra dvār
tiryañc kṣetra dvār (gateway to the plane of plants and animals) 812 #3b,16 व
तयर्यं
चकखे त्रदमा
र
#4 ५व
तयर्यं
चदमा र
813
#5 (
वत)
यर्यं
चकखे ×दमा
र#8,9 व
तयर्यं
चकखे त्रदमा
र५#22 व
तयर्यं
चकखे त्रदमा
र५814 #53,58 व
तयर्यं
चकखे त्रदमा
र|
manuṣya kṣetra dvār815 (gateway to the plane of humans) #3a मनगु
ष्य कखे
त्रदमा
र#26 मनगु
कहकखे
त्र५

N/A #7,13,17,18,20,23,27,29,33,34,36,38,40,52,55

810 The reading is reminiscent of TAAS 9.1 which reads āsravanirodhaḥ saṃvaraḥ (stoppage is
hindrance of karmic influx). The means of stopping karmic influx are usually listed as six (Tatia
1951: 264), but it is possible that the five hindrances (rodhana) mentioned here refer to the fivefold
subcategories of either self-regulation (samiti) or conduct (caritra) (ibid. 263-64).
811 Stoppage of karmic influx has both a mental (bhāva) and a material (dravya) aspect. Mental
stoppage is when the mind withdraws from the world, while material stoppage is when karmic
influx ceases because of the withdrawal of the mind (Tatia 1994: 213).
812 The rebirth category of tiryañc (animal) includes both plants and animals in Jaina karmic theory.
813 The row title appears inside sq. 46 at the rightmost end of the fifth row.
814 The row title appears in an additional square below the main grid.
815 See fn. 686.

528
Sq. 38: jin pūjā āṭh prakār, jin bhakti
jin pūjā āṭh prakār jin bhakti (eightfold worship of the spiritual teachers; 816 devotion
to the spiritual teachers) #4 स
जनपगु
जमाप्रकमा
रजह
नभव
क्ति #17 स
जनपबू
जमास
जनभव
क्ति कर
ह#20,33 स
जनपबू
जमा८
प्रकमा
रसजनभव
क्ति #22 स
जनपगु
जमाभव
क्ति भमा
र#23 स
जनपबू
जमा८प्रजह
नभव
क्ति #52 स
जनपबू
जमाभक्तिकी८प्रकमा
र
खे
#29 स
जन
पबू
जमास
जन भक्तिकी
▲80
#53 स
जन पबू
जमाभव
क्ति भमा
र▲80 #34 स
जन पबू
जमाभव
क्ति | jin pūjā bhakti mehū817
(worship of and devotion to the spiritual teachers; cloud) #36 स
जनपबू
जमाभक्ति मखे
ह| jin pūjā
āṭh prakār (eightfold worship of the spiritual teachers) #8 स
जनपबू
जमा८प्रकमा
रजह
र#9 जह
नपबू
जमा
अठमाप्रकमा
रजह
रfootprint #26 जह
न पबू
जमा#40 जह
न पगु
जमादह८(
प्र)
चर| jin bhakti (devotion to the
spiritual teachers) #13 स
जनभक्तिकी#27 जह
नमव
हममाभगव
तfootprint | jin dhyān prakār jin bhakti
(kinds of meditation on the spiritual teachers; devotion to the spiritual teachers) #3a
स
जनधमा
नप्रकमा
ह र(स
जन)(
भ)व
क्ति #3b स
जनधमा
नप्रकमा
ह रसजनरव
क्ति #5 स
जनधमा
नप्रकमा
रसजनभव
क्ति #16 स
जनधमा
न
प्रकमा
रसजन भव
क्ति | jin dhyān trikāl jin bhakti (meditation on the spiritual teachers;
threefold time;818 devotion to the spiritual teachers) #58 स
जनधमा
नव
ह त्रकमा
लसजनभव
क्ति | āsrav
pāñc rodhan saṃvar819 (five hindrances of karmic influx; stoppage of karmic influx)
#55 आशर५र
लो
धनसह
रर| bārah vinay bhāvnā820 (twelve contemplations, proper conduct)
#38 (
१२)व
बनयभमा
रनमा

Uncertain #18 आशर ५ प

हचर
लो
धन सह
रर(...)ष (
प्रकमा
)
र(āsrav pāñc rodhan saṃvar821 ... aṣṭ
prakār, five hindrances of karmic influx; stoppage of karmic influx ... eightfold
worship?)

Blank #7

Sq. 39: nīl leśyā

nīl leśyā (blue karmic stain) #3ab,17,38,58 नह
ल लखे
श्यमा #4 व
नल लखे
समा #5 नह
ल लखे
समार्वा
#8,13,20,22,29,40,53 नह
ललखे
समा#9 नह
ललखे
समा#16 नह
ललखे
शमा#23 व
नललखे
श्यमा२#26 नह
ललखे
समाह
#27 नह
ल

816 The eightfold worship of the spiritual teachers comprises worship with water (jala), sandalwood
paste (candana), flowers (puṣpa), incense (dhūpa), a lamp (dīpaka), unbroken rice (akṣata), food
offerings (naivedya), and fruits (phala) (Babb 1996: 84-91).
817 Skt. megha. The reading mehū (cloud) appears in five squares in row #5 on Ja84#36 (sqs.
38,40,42,44,46). It may indicate the realm of clouds in the terrestrial realm.
818 Threefold time (trikāl) comprises past, present, and future.
819 Ja84#55 repeats the reading āsrav pāñc rodhan saṃvar from sq. 37 directly below. The same copying
error is made in the subsequent sqs. 39,40,41,42.
820 Ja84#38 switches around the readings bārah vinay bhāvnā (sq. 38) and das vidh vinay (sq. 55).
821 The reading āsrav pāñc rodhan saṃvar is identical with the main reading in sq. 37, and thus appears
twice on Ja84#18.

529
लखे
सह यमा#33 नह
ल लखे
श्यमा२#34 नह
ल लखे
समा#36 व
नल लखे
श्यमा××| be lākh yoni sañjñī caurindrī822
(200.000 birth-situations as conscious beings with four sense organs) #55 सव
न्नचलौ
र
ह
द्रह२लमा
ष
जलो
नह

Uncertain #18 नह
ल लखे
समामठखेप्रणमा
मऽशभ
गु #52 नह
ल(लखे
)समामठखेप्रमा
णमा
मऽशभ (
nīl leśyā maṭhe823
pariṇām aśubh, you stir up blue karmic stain; inauspicious transformation?)

Blank #7

Sq. 40: kāpot leśyā

kāpot leśyā (gray karmic stain) #3a कमा
पलो
तलखे
श्यमा#3b कलो
पलो
तलखे
श्यमा#4,8,9,13,20,29,34,40,53
कमा
पलो
तलखे
समा#16 कमा
पलो
तलखे
शमा#17,38 कमा
पलो
तलखे
श्यमा#23,33 कमा
पलो
तलखे
श्यमा३#26 कमा
पलो
तलखे
समाह
#27 कलो
पलो
त
लखे
समा#58 कपलो
तलखे
समा| kāpot leśyā mehū824 (gray karmic stain, cloud) #36 कमा
पलो
तलखे
श्यमामखे
ह|
kāpot leśyā duṣṭ pariṇām (wicked transformation resulting from gray karmic stain)
#18 कमा
पलो
त लखे गु प्रणमा
श्यमादष मह#52 (
कमा
पलो
त)(
लखे
) गुप्रणमा
समादष मह| sañjñī teïndrī825 yoni826 (birth-
situations as conscious beings with three sense organs) #55 सन्नहतखे
रहें
द्रह(
जलो
)

Uncertain #5 (...)तलखे
समा#22 कमा
पलो
त(लखे
)×(kāpot leśyā?)

Blank #7

Sq. 41: teju leśyā

teju827 leśyā (red karmic stain) #3ab तखे
जगुलखे
श्यमा#4,9,20,22,34,40,58 तखे
जलोलखे
समा#5,8,13,27 तखे
जगु
समा#16 तखे
लखे जबूलखे
शमा#17 तखे
जलोलखे
श्यमा#18,29,36,38 तखे
जगुलखे
श्यमा#23 तखे
जबूलखे
श्यमा४#26 तखे
जगुलखे
समाह
#33 तखे
जलोलखे
श्यमा
४ #52 (
तखे
जगु
)लखे
श्यमा#53 तखे
ज लखे
समा| sañjñī beïndrī828 (conscious beings with two sense
organs) #55 स॰बहें
द्रह

Blank #7

822 Skt. caturindriya. See fn. 819.

823 Skt. √math (to churn).
824 Skt. megha. See fn. 817.
825 Skt. trīndriya.
826 See fn. 819.
827 Skt. tejas.
828 Skt. dvīndriya. See fn. 819.

530
Sq. 42: tiryañc kṣetra, cār lākh yoni, sayogī kevalī guṇsthān 13 footprint
tiryañc kṣetra cār lākh yoni sayogī kevalī guṇsthān 829 13 (plane of plants and
animals;830 400.000 birth-situations; sayogakevalin stage of purification no. 13831) #3b
व
तयर्यं
चकखे त्र४लमा
षयलो
नस×गहकखे
रलगगु
णतमा
ण#4 व
तरच
र्यंकखे
त्र४लकसह
यलो
गहकखे
रव़
लङ१
३गगु
॰७footprint #5 व
तयर्यं
चकखे त्र४
लमा
षजलो
जन832 सजलो
गकखे
रलङगगु
णठमा
ण #8 व
त(यर्यं
) च कखे
त्र४लक (
यलो
)
वनसह
यलो
गकखे
रल (
गगु
ण) समा
न१
ह ३footprint #9
तह
रयह
च कखे
त्र४लक यलो
व
नएकखे
रगगु
णठमा
णलो
footprint
#13 व
तरच
र्यं ष्यखे
त्र४लष्य यलो
नहसह
यलो
गहकखे
रलङगगु
णठमा
णमा१
३#17
व
तयर्यं
चकखे त्रखे
४लकयलो
व
न(स)
रलो
गकखे
रलङगगु
॰#18 तह
रजह
चषखे
त्र४लमा
षयलो
व
नसह
यलो
गहकखे
रलङग
हण
गुठमा
णलो
footprint
#29 तह
यर्यं
च
षखे
त्रचमा
रलमा
ख सह
यलो
गहकखे
रलङfootprint
#52 ×(
यमा
क)(
ष)
खे
त्र४लमा
षयलो
(
वन)सह
यलो
गहकखे
रलङ×णठमा
णलो
footprint
#58
व
तरयर्यं
च कखेत्रचमा
रलक जलो
स
जनसह
जलो
गकखे
रलङगगु
१३| tiryañc kṣetra sayogī kevalī guṇsthān 13
(plane of plants and animals; sayogakevalin stage of purification no. 13) #16 व
तयर्यं
च कखेत्र
कखे
रलङगगु
णटमा
णमा१
३footprint #22 तह
रर्वा
कखेत्रसह
यलो
गहकखेगगु
णटमा
णमा
ह footprint
#27 तह
रजह
चकखे
त्रकखे
रलङfootprint
| tiryañc
kṣetra cār lākh yoni (plane of plants and animals; 400.000 birth-situations) #3a व
तयर्यं
च
कखे
त्र४(
लमा
ष)( न)(...) #20 व
यलो
व तह
यर्यं
च (...) ४लमा
षयलो
(
वन)
footprint
#23 व
तयर्यं
च कखेत्र४लमा
षजलो
व
नछह
footprint
#26
तह
यर्वा
च कखेत्र४लकहयलो
नहfootprint
#33 व
तयर्यं
च कखेत्र४लमा
षयलो
जन833 | tiryañc kṣetra 34 lākh mehū834
(plane of plants and animals; 3.400.000 birth-situations; cloud) #36 व
तयर्यं
चषखे त्र३
४लमा
षमखे
ह|
vikalendrī835 kṣetra guṇsthān 10-11-12836 (plane of beings with deficient sense organs;
stages of purification nos. 10-12) #55 व
रगलहें
द्रहकखे
त्रगगु
ण१ ०।१
१।१
२footprint

Uncertain #34 व
तयर्यं
चकखे त्रलमा
षजलो
जनfootprint? (tiryañc kṣetra cār lākh yoni?)
837
| #38 व
तयर्यं
चकखे त्रगगु
१
१४लमा
ष सजन सह
यलो
गहकखे
रलङगगु
णठमा
ण१३footprint (tiryañc kṣetra guṇsthān 11 cār lākh sajjan
sayogī kevalī guṇsthān 13, plane of plants and animals; stage of purification no. 11;
400.000 good people; sayogakevalin stage of purification no. 13?) | #40 व
रसल(
ष)
खे
×लक कखे
(
ब्रम)(
ललो
)
कfootprint (viśāl kṣetra lākh ke838 brahmlok,839 the 100.000 yojanas wide field of

829 Several charts prefer the Prakritic spelling guṇaṭṭhāṇa, or a variation thereof.
830 See fn. 812.
831 The sayogakevalin stage of purification is the stage in which a person has achieved omniscience, yet
remains physically active (Tatia 1994: 284-85).
832 See fn. 687.
833 See fn. 687.
834 Skt. megha. See fn. 817.
835 Skt. vikalendriya.
836 See fn. 819.
837 See fn. 687.
838 In Rajasthani Braj Bhāṣā, the postposition ke can be used in masculine genitive constructions
regardless of number (Thiel-Horstmann 1983: 49).
839 The reading brahmlok is synonymous with the main reading brahm devlok in sq. 64, and thus
appears twice on Ja84#40.

531
the Brahmaloka heaven?) | #53 व
त(यर्यं
च)कखेत्रस(
यलो
गह)व
तकखेगगु
ण×णfootprint (
tiryañc kṣetra sayogī
kevalī guṇsthān?)

Blank #7

Sq. 43: śubh tiryañc bhavya pariṇām

śubh tiryañc bhavya840 pariṇām (auspicious transformation of plant and animal souls
capable of liberation)841 #3a शगु
भव तयर्यं
च( भव)पर
(...) #3b शगु
भव तयर्यं
चभव पर
णमा
मह#4 सगु
ह भव तरच
र्यंभव
पर
हणमा
मह#5 शगु
भव तयर्यं
चभव पर
णमा
म#13 सगु
भपरह
णमा
महव
ह तयर्वा
चभव #18 शगु
भतहर
जहचभव प्रणमा
मह#34 सबू
भव तयर्यं
च
(
भ)व पर
रणह
म #58 सगु
भव तयर्यं
त भव पर
णमा
मह| śubh tiryañc bhadra pariṇām (auspicious
transformation of auspicious plants and animals) #22 सगु
भव तयर्यं
च भद्रपर
रणमा
म #23 शगु
ह भ गव
त
व
तयर्यं
चशगु भ प्रणमा
स
म#33 सगु
भव तयर्वा
चसगु भ प्रणमा
मह#38 शगु
भव तयर्यं
चकखे त्रभद्रपर
णमा
मह#53 शगु
भव तयर्यं
चभद्रपर
णमा
स
ह
म|
śubh tiryañc bhavya (auspicious plant and animal souls capable of liberation) #36 शगु
भ
व
तयर्यं
च भव #40 शगु
भ वतयर्वा
च भवरह
न | śubh tiryañc bhavya dharm dhyān pariṇām
(auspicious transformation of plant and animal souls capable of liberation resulting
from virtuous meditation) #16 शगु
भव तयर्यं
च भव धमर्वा
धमान पर
रणमा
म | śubh tiryañc kṣetra842
(auspicious plane of plants and animals) #26 शगु
भव तयर्वा
चकखे त्र| śubh pariṇām (auspicious
transformation) #27 सगु
भपरणमा
मह

Uncertain #8 सगु
भव तर
जहचभयएभयपर
रणमा
म#9 शगु
भव तय
हचभय४३843 भयर
ममा
ह
(śubh tiryañc bhavya
abhavya pariṇām, auspicious transformation of plant and animal souls capable and
incapable of liberation?) | #17 व
तयर्यं
चभयपरणमा
महस(
पर्वा
) (मयगु
)रमा
व
द#29 तह
यर्यं
चभव प्रणमा
महक सपर्वा
मयगुर
(tiryañc bhavya pariṇām sarp mayurādi, transformation of animal souls capable of
liberation, such as snakes, peacocks, etc.?) | #20 शगु
भव तयर्यं
च शगुभ(
द)णमा(śubh tiryañc śubh
dhyān, auspicious transformation; auspicious meditation?) | #52 शगु
(...)मह(śubh tiryañc
bhavya pariṇām?) | #55 सगु
भमा
सगु
भ सत्तह
यमा
च भरक पर
ह हणमा
मह(śubhāśubh sattiryañc bhavya
pariṇām, auspicious and inauspicious transformation of good animal souls capable of
liberation?)

Blank #7
840 Souls (jīva) are divided into those that are capable (bhavya) and those that are incapable (abhavya)
of attaining final liberation (mokṣa) (Jaini 1979: 139-41).
841 See fn. 812.
842 The final part of the reading (tiryañc kṣetra) is identical with the first part of the reading in the
adjacent sq. 42, and thus appears twice on the chart.
843 The number "43" is likely intended as the number of the square, though the wrong number "41" is
given at the bottom of the square.

532
Sq. 44: dharm dhyān▲50
dharm dhyān (virtuous meditation) #3a (
ध)रर्वा
( धमा
)
नह▲50
#3b धरर्वा
धमा नह
▲50
#4 धमर्वा
धमा न▲61 #5
धमर्वा
धमा नह
ह(▲50)
#13,40 धमर्वा
धमा ह
नह
▲50
#8 धर
मधमा
न▲49 #9 धर
ह म(धमा
)
न▲50,footprint #16 धर
मधमा
न▲50 #17 धमर्वा
ह
(
धमा
)
ह
नह(▲50)
#20 धमर्वा
धमाह
नह#33 धमर्वा
धमानह
▲50
#58 धमर्वा
धमानह
(▲50)
#38 धमर्वा
धमान▲50 #55 धमर्वा
ह धमान▲50 |
dharm dhyān kī śreṇī (ladder of virtuous meditation) #22 धमर्वा
धमानककीशखे
ह णह▲50
#27 धर
म
धमा
ह
न शखे
णह(▲50)
#53 धमर्वाधमा
ह
न ककीशखे
णह(▲50)
| dharm dhyān ḍāṇḍī844 (path of virtuous
meditation) #29 धमर्वा
धमा ह
नड़मा
ड़ह
ह ▲top#6
| śubh dharm dhyānī uttam (supreme practitioner of
auspicious and virtuous meditation) #18 शगु
भधमर्वा
धमा नहउतम(▲51)

dharm dhyānī dharm ārādhan chai (practitioner of virtuous meditation; there is

loyalty toward religion) #23 धमर्वा
धमाव
नधमर्वा
आर मा
स
द्धि छह| dharm dhyān mehū845 (virtuous
meditation; cloud) #36 धमर्वा
धमा ह
नमखे
ह▲50

Uncertain #26 धमर्वा

धमा न(
ह धमा
ह
)
ररलो(dharm dhyān ..., virtuous meditation ....?)

Blank #7▲50 | N/A #52,34846

Sq. 45: kṛṣṇa leśyā▼9

kṛṣṇa leśyā (black karmic stain) #3a ककृ
ष लखे
(श्यमा
)
▼9
#3b ककृ
ष लखे
श्यमा
▼bottom
#4,5 क्रष लखे
समा▼9

#17,29 ककृ
ष लखे
श्यमा
▼9
#20 ककृ
ष लखे
समा▼9
#23,33 ककृ
ष लखे
श्यमा१▼9 #55 क्रष लखे
समा▼12
| kṛṣṇa leśyā
pāpāt (black karmic stain on account of sin) #53 ककृ
ष लखे
समापमा
पमा
तह
▼9
| kṛṣṇa leśyā pāpāt
patanaṃ syāt (there should be falling down on account of the sin of black karmic
stain) #22 ककृ
ष लखे
समापमा
पमा
तपतन
हसमा
तह
▼9
| kṛṣṇa leśyā adharmī (irreligious person resulting
from black karmic stain) #27 क्रखे
ष लखे
समाअधर
मह▼9
| kṛṣṇa leśyā adharm aśubh pariṇām
(irreligion resulting from black karmic stain; inauspicious transformation) #8 ककृ
ष लखे
समा
अधमर्वा
असगुभ पर
रणमा
म▼9 #13 ककृ
ष लखे
समाशगु
भ पर
हणमा
मह▼12
#16 ककृ
ष लखे
शमाऽ
धमर्वा
ऽ सगु
भ पर
रणमा
म▼9 #18 ककृ
ष लखे
श्यमा
अधर
महअशगु
भप्रणमा
मह▼9
#38 ककृ
ष लखे
श्यमाऽ
धमर्वा
ऽ शगु
भपर
रणमा
म▼9 #58 ककृ
ष लखे
(श्यमा
)ऽधमर्वा
सगुभपर
णम▼9 | kṣaya
kṛṣṇa leśyā (destruction (of karma?); black karmic stain) #26 कय
हक्रसह
लखे
समा
ह
▼9

Uncertain #9 ककृ
ष लखे
स्
यमाअ अ(
ध)मर्वा
म▼9 (kṛṣṇa leśyā adharm?) | #36 ककृ
ष लखे
समाधरह
असगु
भ
प्रणमा
म▼9 (kṛṣṇa leśyā ... aśubh pariṇām?) | #40 (
ह ककृ
ष)××▼9 (kṛṣṇa leśyā?)

Blank #7▼9 | N/A #52,34847

844 Skt. daṇḍikā.

845 Skt. megha. See fn. 817.
846 Apparently omitted by mistake in the manuscript (JBRR) which is our only source for Ja84#34.
847 Apparently omitted by mistake in the manuscript (JBRR) which is our only source for Ja84#34.

533
Sq. 46: padma leśyā
padma848 leśyā (pink karmic stain) #3ab प
हसलखे
श्यमा#4 पदमलखे
त्र(
यमा
)
849
#8,9,13,20 पदमलखे
समा#16
पदमलखे
शमा#17,29,38 पद्मलखे
श्यमा#23,33 पद्मलखे
श्यमा५#26 पदमलखे
समाह
कहहछखे
▲80
#34,55,58 पद्मलखे
समा#40,53
पद्म लखे
समाfootprint
| padma leśyā śubh (auspicious pink karmic stain) #27 पदम लखे
स सगु
भ|
padma leśyā śubh śuddh jīv (pink karmic stain; auspicious purified soul) #18 पदमलखे
श्यमा
शगु
भ शगु
द्धिजह
र| padma lesyā mehū850 (pink karmic stain; cloud) #36 पद्मलखे
श्यमामखे
ह| padma
leśyā rī pāvṛī851 caḍhai (you climb the footprint of the pink karmic stain)852 #22 पद्मलखे
समा
र
हपमा
रडहचह
ढह

Uncertain #5 प(
द्म)(...) (padma leśyā?)

Blank #7 | N/A #52

Row #6
Row title: manuṣya kṣetra dvār
manuṣya kṣetra dvār (gateway to the plane of human beings) #3b मनगु
ष्य कखे
त्रदमा
र#8 मनगु
ष्य
कखे
त्रदमा
र(१
)५#9 मनगु
ष्य कखे
त्र(
दमा
)
र५#16,53 मनगु
ष्य कखे
त्रदमा
र#22 मनगु
ष्य कखे
त्रदमा
र६853 | kapāṭ jyotiṣī854 (the
roof (of intermediate space over) the jyotiṣī gods) #26 कपमा
टजलो
तषह४

Uncertain #5 (...)

N/A #3a,4,7,13,17,18,20,23,27,29,33,34,36,38,40,52,55,58

Sq. 47: bārah bhed tap, śuddh saṃyam, śuddh samyaktva ▲top#1
bārah bhed tap śuddh saṃyam śuddh samyaktva 855 (twelve kinds of austerities;856

848 Ja84#3ab prefer the Prakritic pamha rendered as paṁs.

849 The reading appears in the same square as row title #5.
850 Skt. megha. See fn. 817.
851 Skt. pādukā.
852 The reading is problematic since there is not any footprint to be climbed in the square.
853 The row title appears in an additional square below the main grid.
854 See fn. 686.
855 A few charts prefer the vernacular spelling samkit.
856 The twelve kinds of austerities are divided into six external and six internal austerities. The six
external austerities comprise fasting (anaśana), decreasing one's intake of food and drink
(avamaudarya), limiting the number of houses visited when begging (vṛttiparisaṅkhyāna), giving up
flavorful food (rasaparityāga), staying in isolated places (viviktaśayyāsana), and mortifying the body
(kāyakleśa). The six internal austerities comprise repentance (prāyaścitta), reverence (vinaya),
service (vaiyāvṛttya), study (svādhyāya), renunciation (vyutsarga), and meditation (dhyāna) (Jaini

534
purified restraint; purified right view) #8 १
२भखे
दतपसगु
द्धिसह
जमहसगु
द्धिसमक्ति▲81 #9 भ्
दखे
त्प १
२शगु
द्धि
सह
जसमशगु
द्धिसममा
क्ति▲top#1,footprint #16 बमा
र
हभखे
दतपसगु
द्धिसह
जनहसगु
द्धिसमव
क्ति▲top#1 #17 समक्ति शगु
द्धितपशगु
द्धिसह
यमभखे
दहें
जमा
णरलो
▲top#1
#18 सगु
भसहयमसगु
धसहमककी
त१२बमा
र
खे
भखे
दखे
तप▲top#1 #29 समक्ति तप१
२भखे
दसगु
द्धिसह
जमशखे
णह ▲top#1
|
bārah bhed tap śuddh saṃyam samyaktva sarvārthsiddhi śreṇi caḍhai (twelve
kinds of austerities; purified restraint; right view; you climb the ladder to the
Sarvārthasiddhi heaven) #22 बमा
र
माप्रकमा
रतपशगु
सद्धिसह
जमसह
मक्ति सरमा
रस
र्वा
र्वा
स( द्धिमा
)(च)
ड़खे
▲top#3
#53 रमा
र
माप्रकमा
र
तपशगु
द्धिसह
यमसमक्ति सरमा
रस
र्वा
र्वा
सस द्धिशखे
णह ▲top#3
| bārah bhed tap saṃyam samyaktva ādarai (you
honor the twelve kinds of austerities, restraint, and right view) #20 तप१
२सह
यम आदर
खे
समक्ति▲top#1 #33 १
२भखे
दखे
तपसयमसमक्ति आदर
ह
▲top#1
| bārah bhed tap śuddh saṃyam śuddh
samyaktva śrāvak (twelve kinds of austerities; laypeople with purified restraint and
purified right view) #36 बमा
रभखे
दतपसगु
भसह ह
जमहसगु
द्धिसमक्तिकीशमा
रक▲top #1 | bārah bhed tap śuddh
saṃyam (twelve kinds of austerities; purified restraint) #4 १
२भखे
दखे
तपसगु
भ सयमह
▲top#1
#13
बमा
र
खेभखे
दखे
तपसगु
ध सह
यमह
▲top#1
#38 रमा
र
ह भखे
दखे
तपसह
जम शगु
द्धि | bārah bhed tap śuddh samyaktva
(twelve kinds of austerities; purified right view) #3b रमा
र
माभखे
दतपशगु
द्धि शगु
भ समक्ति | bārah
bhed tap 17 bhed saṃyam pālnīyā (the twelve kinds of austerities and the seventeen
kinds of restraint should be observed) 857 #23 बमा
र
खेभखे
दखे
तप१७भखे
दहसह
जमपमा
लनहें
जमा ▲top#1
| bārah
bhed śubh saṃyam (twelve kinds of austerities; auspicious restraint) #3a (
बमा
)
र माभखे
(...)
शगु
भ( सम)
▲top#3
#34 १
२भखे
दखे
सबू
भ सह
जमह
▲top#1
| bārah bhed tap śubh bhāv (twelve kinds of
austerities; auspicious state) #40 १
२भखे
दखे
तपसगु
भ भमा
र▲top#6,footprint | bārah bhed tap śubh
(twelve kinds of austerities; auspicious) #58 रमा
र
हभखे
दतपसगु
भ▲top#1 | bārah bhed tapasyā
(twelve kinds of austerities) #26 (
रमा
र
खे
)( भखे
दखे
)( तपसमा
)
▲64
| tapasyā śubh saṃyam
(austerity; auspicious restraint) #27 तपसह
यमा सगु
भ सह
जमह
▲top#3,footprint
| tapasvī śubh
samyaktva (ascetic; auspicious right view) #55 तप(
श्वह
)शगु
भ( सम)
वकव
त▲top#1

Uncertain #5 शगु
द्धिसह
(...) शगु
(...)मक्ति▲top#3 (śuddh saṃyam śuddh samyaktva?)

Blank #7▲top#1 | N/A #52

1979: 250-51).
857 The seventeen kinds of restraints (saṃyama) pertaining to laypeople comprise the eight basic
restraints (mūlaguṇa), the five small vows (aṇuvrata, i.e. a less strict version of the five mahāvrata, or
great vows, cf. sq. 50), the three subsidiary vows (guṇavrata, cf. sq. 49), and the first vow of spiritual
discipline (śikṣāvrata, cf. sq. 53) (Jaini 1979: 190).

535
Sq. 48: sāt vyasan▼10
sāt858 vyasan859 (seven vices)860 #5 सप्ति(
वर)
सन▼10 #8,9,16 सप्तिव गुमा
रसन▼10 #13 सप्तिदर सन▼10 #18
र्वा
समा
तरह गु▼10 #20 समा
सनदष तवसन▼10 #23 सप्तिकगु
वरसन▼10 #26 समा
तरह
ह सन७▲49,▼10 #34 समा
तवसन#36 सप्ति
गुसन▼10 #38 समा
दवर्वा तवरसनकखे
त्र▼10 #40 ७ व
रसन▼11 #55 समा
तवरसनह
▼10
#58 (
समा
)
त( गु
द)व
रसन▼10 | sapt
vyasan pāpāt narak gaman (going to hell on account of the sin of the seven vices) #22
सप्तिवसनपमा
पमा
तनर
क गमन
ह▼10
#53 सप्तिरसनसखे
रनपमा
पमा
तहनकर्वागमन▼10 | sapta vyasan ādarai (you
honor the seven vices) #17 सप्तिवसनआदर
ह
▼10
| maithun sevnā861 (addiction to sexual
intercourse) #33 मह
रगु
नसखे
रनमा
▼10
| sadā duḥkh adharmī (constantly unhappy irreligious
गुअधर
person) #27 सदमादष मह▼10
| śatru (enemy) #4 सत्रगु
▼10

Uncertain #3a (...)▼10 (?) | #3b सप्तिकगु

वरसध▼bottom #29 रनसनसमा
त×▼10 (sāt vyasan?)

Blank #7▼10 | N/A #52

Sq. 49: tīn guṇvrat, pāñc dhyān

pāñc dhyān tīn guṇvrat (five meditations;862 three subsidiary vows863) #3b ५धमा
ह
न३
(
गगु
ण) ×त#18 प
हचधमा
न५तह
न३ग
हण
गुरकृ
त#36 धमा
ह
नगगु
णव्रत५#55 ५धमा
न३गगु
णव्रत#58 ५धमा
नगगु
णव्रत| tīn
guṇvrat (three subsidiary vows) #5 ३गगु
णव्रत#17 गगु
णरकृ
ततह
नजमा
स
णरलो
▲62
#20 गगु
णरवत#23,34
गगु
णव्रत#27 गगु
णररतसगु
भ #33 गगु
णव्रतह#40 ३गगु
णरकृ
त| cār dhyān tīn guṇvrat (four meditations;
three subsidiary vows) #13 ४(
यमा
ह
)धमा
ह
नम ३गगु
णरकृ
त#16 ४धमा
ह
न३गगु
णव्रत| dhyān guṇvrat
(meditation; subsidiary vows) #22,53 धमा
ह
नगगु
णव्रत#38 धमा
ह
नगगु
णव्रतकखे
त्र| mahāvrat guṇvrat
(great vows; subsidiary vows) #8 महमा
व्रतहगगु
णव्रत▲top#1 #9 ममा
हव्रतहगणव्रत| śubh (auspicious)

858 Several charts prefer the Sanskritic spelling sapta.

859 Several charts prefer the vernacular spelling visan.
860 The seven vices (vyasana) comprise gambling (dyūta), drinking alcohol (madya, surā), eating meat
(māṃsa), having sexual intercourse with prostitutes (veśyā), hunting (kheṭa, pāparddhi, mṛgayā),
stealing (caurya, stena), and having sexual intercourse with the wife of another (paradāra) (Williams
1998: 247).
861 The reading maithun sevnā is closely related to the main reading maithun sevā in sq. 13 on the 84-
square Jaina type b charts.
862 Traditionally, only four kinds of meditation (dhyāna) are enumerated: anguished (ārta), wrathful
(raudra), virtuous (dharma), and pure (śukla) (Jaini 1979: 252). The only fivefold enumeration of
meditational practices that I am aware of is that of the five contemplations (dhāraṇā) which
constitute the first of four meditations focused on objects (piṇḍa), words (pada), forms (rūpa), and
that which lies beyond forms (rūpātīta) (Sogani 2016: 168-69).
863 The three subsidiary lay vows comprise limiting the distance one will travel (digvrata), restricting
the use of certain items and the performance of certain tasks (bhogopabhogaparimāṇavrata), and
prohibiting various aimless activities (anarthadaṇḍavrata) (Jaini 1979: 178-80).

536
#4 सगु
भ| śrāddhguṇ (merit of ancestor worship) #29 शमा
द्धिगगु
ण864

Uncertain #3a ५धमा

ह
न(pāñc dhyān ...?) | #26 (...)(▲80) (?)

Blank #7 | N/A #52

Sq. 50: pāñc mahāvrat, śubh kriyā, kevaljñān, śukla leśyā▲top#6

pāñc mahāvrat śubh kriyā kevaljñān śukla leśyā (five great vows;865 auspicious
action;866 omniscience; white karmic stain) #8 महमा
व्रतहशगु
भव क्रयमाकखे
रलगमा
नशगु
ह कललखे
श्यमा#9 महमा
व्रत
शगु
भक्रकी
धमाकखे
रलगमा
नशगु
ह क्ल लखे
समा(▲top#6)
#36 प
हचममा
हमा
व्रव
तशगु
ककृ
यमाकखे
रलजमा
नह
ह ह
शगु
क्ल लखे
श्यमा
▲top#6
#55 महमा
व्रतशगु
वक्रयमा
कखे
रलगमा
नशगु
क्ललखे
समागगु
ण१ ३(▲top#6) | mahāvratī śubh bhakti kevaljñān śukla leśyā (follower
of the great vows; auspicious devotion; omniscience; white karmic stain) #29 महमा
व्रतहशगु
भ
भक्तिकीकखे
रलजमा
न शगु
ह क्ल लखे
श्यमा| pāñc mahāvrat kevaljñān śukla leśyā (five great vows;
omniscience; white karmic stain) #4 महमा
व्रव
तकखे
रव़
लङगमा
नहसगु
क्ल लखे
समा#13 प
हचमहमा
रकृ
तकखे
रलजमा
नशगु
क्ल
लखे
समा▲top#7
#18 (
पह
)च(
ममा
)
हमा
व्रतशगु
(भ)(
कखे
)
रलजमा
नशबू
ह (क्ल)(
लखे
)
श्यमा#38 महमा
व्रतशगु
भकखे
रलगमा
ह
नशगु
भलश्यमा
▲top#6

| pāñc mahāvrat śubh kriyā kevaljñān śukla dhyān (five great vows; auspicious
action; omniscience; pure meditation) #5 महमा
व्रत(
शगु
)
भवक्रयमाकखे
रलजमाशगु
कलधमा
ह
न(▲top#6) | pāñc
mahāvrat kevaljñān śukla dhyān mukti śreṇi caḍhai (five great vows; omniscience;
pure meditation; you climb the ladder to liberation) #22 प
हचममा
हमा
व्रतह
शगु
क्ल धमा
ह
नकखे
रलगमा
नमगु
ह वक्ति
शखे
सणचढह
ई(▲top#6) #53 पमा
चममा
ह व्रतशगु
क्ल धमा
ह
नकखे
रलगमा
नमगु
ह वक्ति शखे
सण(▲top#6) | pāñc mahāvrat śubh kriyā
kevaljñān (five great vows; auspicious action; omniscience) #40 प
हच ममा
हमा
व्रत सगु
भ क्रकी
यमा
कखे
रलगमा
ह
नह▲top #6
| mahāvratī śubh kevalī (follower of the great vows; auspicious;
omniscient being) #27 ममा
हमा
व्रतसगु
भ कखे
रलङ(▲top#6)
#34 महमा
रकृ
वतसबू
भ कखे
रव ल▲? | mahāvrat (great
vows) #58 महमा
व्रत(▲top#6) | kevaljñān śubh dhyān śukla leśyā (omniscience; auspicious
meditation; white karmic stain) #20 कखे
रलगमा
नशगु
ह भधमा
ह
नशगु
क्ल लखे
समा▲51
#33 शगु
क्ल लखे
श्यमाकखे
रलजमा
नसगु
भ
धमा
न▲top#6 | kevaljñān śukla leśyā (omniscience; white karmic stain) #23 शगु
क्ल लखे
श्यमा
कखे
रलजमा
न▲61 #26 (
ह सगु
कल)(
लखे
)
×कखे
रल(गमा
ह
)
नह

864 Ancestor worship (śrāddha), though often considered antithetical to Jaina doctrine (e.g. (Jaini 1979:
154), is in fact practiced in several Jaina communities (Sangave 1959: 269-70). It is, of course, also
possible that the intended reading is "śraddhā guṇ" (the merit of faith).
865 The five great vows (mahāvrata) comprise non-injury (ahiṃsā), truth (satya), not stealing (asteya),
chastity (brahmacarya), and non-possession (aparigraha) (Jaini 1979: 170-78).
866 The actions, translated as "urges" by Tatia, are enumerated as twenty-five, only two of which can be
identified as auspicious (i.e. actions that cause the ascetic to abstain, and actions that lead to an
enlightened world-view) (Tatia 1994: 153).

537
Uncertain #3a × (
म)हमा
(
व्र)
त शगु
(...)(▲top#5) #3b ५ महमा
रकृ
त शगु
भव क्रयमाकखे
(...)क्ल धमा
न(▲top#5) (pāñc
ह
mahāvrat śubh kriyā kevaljñān śukladhyān?) | #16 ममा
हमा
व्रतसगु
भव क्रयमाकखे
रलजमा
नसगु
ह कल▲61 (pāñc
mahāvrat śubh kriyā kevaljñān śukla leśyā?) | #17 गगु
ण कखे
त्र(
रकृ
)तलजमा
ह
शगु
भनशगु
(व
क्ति)लखे
श्यमा
▲top#4

(guṇ kṣetra vrat kevaljñān śubh śukla leśyā, plane of subsidiary vows; omniscience;
auspicious white karmic stain?)

Blank #7(▲62) | N/A #52

Sq. 51: manuṣya kṣetra, sādhu bhavya jīv, ayogī kevalī guṇsthān 14,
caudah lākh yonifootprint
manuṣya kṣetra sādhu bhavya jīv ayogī kevalī guṇsthān 867 14 caudah lākh yoni
(plane of human beings; mendicant souls capable of liberation; ayogakevalin stage of
purification no. 14;868 1.400.000 birth-situations) #5 मनगु
क षखे
त्रसमा
धभव जह
रअजलो
गहगगु
णठमा
ण१४
लमा
षजलो
स
जन#16 मनगु
ष्य कखे
त्रसमा
धगु
भव जह
रऽजलो
गहगगु
णटमा
णगु
यलो
न१४footprint #38 मनगु
ष्यह
कखे
त्रसमा
धगु
भव जह
रसमा
धगु
१
४ अयलो
गहकखे
रलङ१
४ लमा
ष जलो
व
नfootprint | manuṣya kṣetra sādhu bhavya jīv ayogī kevalī
guṇsthān 14 (plane of human beings; mendicant souls capable of liberation;
ayogakevalin stage of purification no. 14) #8 मनगु
(क)कखे
त्र समा
धगु
भ× (
अ)जलो
गहकखे
रलङ(
गगु
)णटमा
ण
हखे
१
०footprint #9 मनगु
षकखे
त्रखे
समा
धगु
भरमाअजलो
गहकखे
रलङगगु
णठमा
णखे
footprint
#13 मनगु
ष्य कखे
त्रभरऽ
जलो
गहकखे
रलङगगु
णठमा
णलो
ऽ
यलो
गह१
४#53 म(
नगु
ष्य)कखे
त्रसमा
धभव जह
रअ(
यलो
)
गहगगु
णटमा
णfootprint #55 मनगु
ह कखे
त्रसमा
धभव जह
रऽजलो
गहकखे
रलङ
गगु
णमा
ठमा
णमा
footprint
| manuṣya kṣetra bhavya jīv yogī kevalī guṇsthān (plane of human
beings; souls capable of liberation; yogakevalin stage of purification) #29 मनगु
ष्य कखे
त्रभव
जह
रयलो
गहकखे
रलगगु
णस्छमा
नfootprint | manuṣya kṣetra bhavya jīv caudah lākh yoni (plane of
ह
human beings; souls capable of liberation; 1.400.000 birth-situations) #18 (
मनगु
ष)(षखे
)त्र
भ(
व)जह
र१४लमा
षयलो
व
न(▲top#5),footprint | manuṣya kṣetra bhavya abhavya jīv caudah lākh
yoni (plane of human beings; souls capable and incapable of liberation; 1.400.000
birth-situations) #36 मनगु
ष्य षखे
त्र भव ऽ
भव १
५ लमा
ष | manuṣya kṣetra sādhu bhavya jīv
(plane of human beings; mendicant souls capable of liberation) #34 मनगु
स कखे
॰३समा
धगु
लव
जह
व footprint? | manuṣya kṣetra bhavya jīv śubh (plane of human beings; souls capable
of liberation; auspicious) #27 मनगु
कखे
भव जह
र सगु
भfootprint | mangupt sādhu bhavya jīv
ayogī kevalī bhāvgupt 14 (guarding the mind;869 mendicant souls capable of

867 Several charts prefer the Prakritic spelling guṇaṭṭhāṇa, or a variation thereof.
868 The ayogakevalin stage of purification is the stage in which a person has achieved omniscience, and
his soul has become perfectly still (Tatia 1994: 285).
869 The three guards (gupti) against karmic influx comprise the guarding of mind (manas), body (kāya),
and speech (vāc) (Jaini 1979: 247).

538
liberation; ayogakevalin stage of purification no. 14; guarding emotions 870) #23 मनगगु
प्ति
प्रसमा
धगु
भव जह
रऽजलो
व
गकखे
रलङभमा
र१४(
यलो
)
footprint
#33 मनलो
गगु
प्तिप्रसमा
धगु
भव अजलो
गहकखे
रमालयखे
भमा
रगगु
प्ति१
४|
tiryañc kṣetra lākh yogī kevalī871 (plane of plants and animals; 100.000 (birth-
situations); yogakevalin stage of purification) #40 व
तमज (
ष)
खे
×(ल)
क जलो
गकखे
(रलङ
)footprint
| guṇ
kṣetra yogī kevalī guṇsthān (plane of virtue; yogikevalin stage of purification) #17 गगु
ण
कखे
त्रयलो
गहकखे
रलङगगु
णस्छमा
न| pardroh872 (injuring another) #26 पर
ह द्रलो
हfootprint

Uncertain #3a मनगु

×कखे
(
त्र)(...) (manuṣya kṣetra?) | #3b मनगु
ष्य कखे
त्रसमा
धगु
भव जह
तजलो
(...) ३४लमा
ष
यलो
(जन) (manuṣya kṣetra sādhu bhavya jīv 14 lākh yoni?) | #4 मनगु
ककखे
त्रसमा
धगु
भव यलो
गहकखे
रव़
वलगगु
॰
१
४१४महर
नहfootprint
(manuṣya kṣetra sādhu bhavya ayogī kevalī guṇsthān 14?)| #20 मनलो
गगु
प्ति
इसमा
(...) जह
रअ×गह(...)(गगु
)×▲top#5,footprint (
mangupt sādhu bhavya jīv ayogī kevalī bhāvgupt?)|
#22 मनस
शरसगु
षअरसलो
क कमा
र
ण गगु
णटमा
णमा
ह footprint
(man śiv sukh ... kāraṇ guṇsthān?)873 | #58 मनगु
ष्य
कखे
त्रसमा
धगु
भव जह
(र) ऽ
जलो
गसमगगु
(manuṣya kṣetra sādhu bhavya jīv ayogī kevalī guṇsthān?)

Blank #7 | N/A #52

Sq. 52: pardroh

pardroh (injuring another) #3a,8,9,13,17,36,38,40,58 पर
द्रलो
ह #3b पर
द्रलो
(
ह)#5 (
परद्रलो
)
ह #16
पर
द्रलो
ह| pardroh doṣ kṣetra (plane of the sin of injuring another) #18 पर
द्रलो
हहदलो
षषखे
त्र|
pardroh duḥkhdāyī (injuring another; causing grief) #27 पर
द्रलो
(हमा गु दमा
) दष इ| pardroh
kapṭī (injuring another; deceitful) #55 पर
द्रलो
ह कपटह | pardroh brahmvrat nav
śikṣāvrat874 (injuring another; nine vows of chastity; vows of spiritual discipline) #29
पर
द्रलो
हव्रह्मव्रत९सह
कमा
व्रत| droh (injury) #4 द्रलो
ह| manuṣya kṣetra yogī kevalī875 (plane of
human beings, yogakevalin) #26 (मनषह
) कखे
त्र×गहकखे
रलङ▲top#6

870 The reading bhāvgupt might also be taken as synonymous with mangupt (guarding the mind) in the
same legend.
871 The reading tiryañc kṣetra lākh yogī kevalī is similar to the main reading tiryañc kṣetra cār lākh yoni
sayogī kevalī guṇsthān 13 (plane of plants and animals, 400.000 birth-situations, sayogakevalin stage
of purification no. 13) in sq. 42 directly below where Ja84#40 appears to read viśāl kṣetra lākh ke
brahmlok (the 100.000 yojanas wide field of the Brahmaloka heaven).
872 Ja84#26 switches around the readings pardroh (sq. 51) and manuṣya kṣetra yogī kevalī (sq. 52).
873 The final part of the reading (kāraṇ guṇsthān) is reminiscent of the main reading apūrvkaraṇ
guṇsthān (purification stage of attaining unprecedented purity) in sq. 51 on 84-square Jaina type b
charts. Apūrvakaraṇa is the 8th stage of purification mentioned by the main reading in sq. 24.
874 The final parts of the reading (brahmvrat nav śikṣāvrat) is identical with the main reading in the
adjacent sq. 53, and thus appears twice on Ja84#29.
875 Ja84#26 switches around the readings pardroh (sq. 51) and manuṣya kṣetra yogī kevalī (sq. 52).

539
Uncertain #20 पर
द्रलो
हतणलोपमा
प(pardroh teṇo pāp, the sin of injuring another?) | #22 पर
द्रलो
त
व
रततह
रनपमा
पकमा
र
णमा
तह#53 पर
द्रलो
हसचतरनपमा
पकमा
र
ण (pardroh cintan pāp kāraṇāt, contemplating
to injure another on account of sin?) | #23 पर
द्रलो
हपणलोतखे
पमा
प#33 पर
द्रलो
हपणलोतखे
पमा
प#34 पर
द्रलो
ह
पणलो(pardroh paṇo876 te pāp, the sin of vowing to injure another?)

Blank #7 | N/A #52

Sq. 53: cār śikṣāvrat, nav brahmcarya

cār śikṣāvrat877 nav brahmcarya878 (four vows of spiritual discipline;879 nine kinds of
chastity880) #29 व्रह्मव्रतभखे
द९सह
कमा
व्रत४#34 ९व्रह्मचमा
यर्वा
४स सकमा
व्रत#38 नरव्रह्मचयर्वा
ससष्यमा
व्रत| cār
śikṣāvrat (four vows of spiritual discipline) #3a (
चमा
)
रसशख मा
व्रत#3b चमा
रसशख मा
व्रत#13 चमा
र
स
शष्यमा
रकृ
त#16,58 चमा
रसशष्यमा
व्रत#22 आरस
शकव्रत#36 चमा
रससष्यमा
व्रत४#53 चमा
रससष्यव्रत#55 ४स
सकमा
व्रत|
nav bhed brahmcarya (nine kinds of chastity) #4 व्रह्मचर
य भखे
द #20 भखे
द व्रह्मचयर्वा
रकृ
त #26
(
ब्रह्मचमा
)
यर्वा
भखे द#33 ९भखे
दव्रह्मचयर्वा
व्रत#40 नरभखे
दखे
व्रमचयर्वा
| nav brahmcarya, cār dīkṣāvrat (nine
kinds of chastity; four vows of initiation881) #8 ९व्रह्मचयर्वा
४दहकव्रत#9 ९व्रह्मरयर्वा
४दकमा
व्रत|
brahmcarya śubh882 (chastity; auspicious) #27 व्रह्मचर
ज सगु
भ | brahmvrat bhed āṭh
siddhvrat (eight parts of the vow of chastity;883 vow of the perfected ones) #17 रकृ
ह्मरकृ
तभखे
द
(
८)स
सद्धिरकृ
त्त

876 Skt. pratijñā. Paṇo might also be also be taken as a variant of pāñc (see paṇ in RSK, p. 3100), with
reference to the five infractions of the vow of non-injury (ahiṃsā) (Jaini 1979: 173).
877 The majority of charts either read cār śikṣāvrat or nav brahmcarya, while only a few read both. Still,
I have chosen to include both in the main reading, as it did not make sense to privilege one over the
other.
878 Some charts prefer the alternative designation brahmvrat (vow of chastity).
879 The four lay vows of spiritual discipline (śikṣāvrata) comprise temporary restrictions on movement
(deśāvakāśika), equanimity (sāmāyika), fasting on particular days (poṣadhopavāsa), and charity
(dāna) (Jaini 1979: 180-81).
880 The vow of chastity (brahmacarya) is one of the five great vows (mahāvrata) mentioned by the main
reading in sq. 50. The number of supporting practices engaged in to uphold the vow is usually
enumerated as five or six (Tatia 1994: 171), though nine are mentioned as part of the 36 qualities of
mendicant leaders (ācārya) which, in turn, form part of the 108 qualities of the five supreme beings
(pañcaparameṣṭhin) (Johnson 1931: 452). It is unclear to me whether those nine qualities are
intended here.
881 The five great vows (mahāvrata) are formally adopted during initiation (dīkşā), but there are no
initiation vows as such (Jaini 1979: 243-46).
882 Ja84#27 reads brahmcarya here and śikṣāvrat in the adjacent sq. 54.
883 I am unaware of any eightfold enumeration of the vow of chastity.

540
Uncertain #5 (...)समा(cār śikṣā(vrat)?) | #18 नर भखे
दव्र
ह
ह्मचयर्वा९रमा
ड़खे
कर हसह
ष्यमा
व्रत (nav bhed
brahmcarya nav vārkarī884 śikṣāvrat, nine kinds of chastity; nine ... vow of spiritual
discipline?) | #23 व्रह्मचमा
यर्वा
पणलोपमा
लह
तखे
रकृ
त(brahmcarya paṇo885 pālīt vrat, vow of chastity;
keeping the vow?)

Blank #7 | N/A #52

Sq. 54: pāñc prakār dān

pāñc prakār dān (five kinds of charity)886 #4 ५प्रकमा
रदमा
न#8 दमा
न५प्रकमा
ह र#9 प्रमा
कमा
रदमा
न
ह#13 दमा
न
पमा
ह
(
च)प्रकमा
र
खे
#16,#26 दमा
नपमा
ह च
हप्रकमा
र#17 दमा
नभखे
ह द५#18 दमा
नप
ह ह
चप्रकमा
र#38 दमा
नभखे
ह द#40 दमा
नप्रकमा
ह र
▲72
#55
दमा
न५प्रकमा
र
खे#58 दमा
नप्रकमा
र| pāñc dān bhed, das vinay bhed 887 (five kinds of charity, ten
kinds of proper conduct) #29 दमा
न भखे
द५ (
रह)
नय भखे
द१ ० | dānāntarāy (hindrance to
charity)888 #20 दमा
ममा
तर
ह मा
यरलोपमा
प #23 दमा
नमाअह
तर
मा
य #33 दमा
न
हतर
मा
यरलोपमा
प #34,36 दमा
नमा
ह तर
ह मा
य | pāñc
prakār sthāvar rakṣā (protection of the five kinds of stationary beings) 889 #22 प
हचपकमा
र
रमा
ररर
कमा#53 प
हच प्रकमा
ररमा
ररककीर
ष्यमा| śikṣāvrat890 śubh (vows of spiritual discipline;
auspicious karma) #27 सह
कमारर
तसभ
गु

Uncertain #3ab प
हचप्रकमा
र#5 प
हचप्र(...) (pāñc prakār dān?)

Blank #7 | N/A #52

884 In Marathi, a vārkarī can either refer to a person who performs periodical pilgrimages, or who gets
a daily meal in charity (DME, p. 749). It refers specifically to members of the vārkarī bhakti sect in
Maharashtra (Zelliot 1987: 92-93), but that can hardly be the intention here.
885 Skt. pratijñā. Cf. fn. 876.
886 Charity (dāna) is one of the four lay vows of spiritual discipline (śikṣāvrata) mentioned by the main
reading in sq. 53. It comprises the four acts of offering food, residence, medicine, and books (Jaini
1979: 187). It is unclear to me what the five kinds referred to here comprise.
887 The final part of the reading (das vinay bhed) is identical with the main reading das vinay (ten
proper conducts) in the adjacent sq. 55, and thus appears twice on Ja84#26.
888 Antarāya (hindrance) is one of the four forms of destructive (ghātiyā) karma. Dānāntarāya
(hindrance of charity) is a result of this form of karma (Jaini 1979: 123).
889 See fn. 764.
890 Cf. fn. 882.

541
Sq. 55: bārah bhāvnā, das vinay▲80
bārah bhāvnā das vinay (twelve contemplations;891 ten proper conducts892) #8 भमा
रनमा१
२
दस व
रनय१
०▲80 #9 भरमा
नमा१
२दस भखे
दव रनमा
य▲80,footprint #16 भमा
र१२भखे
द१ ०दसनव
र(ध)व
रष▲80 #17 १
०
व
रनयभमा
रनमा१
२▲80 #18 भमा
र(नमा
)×व
रधहरह
×(य)
▲80
#29 व
रनयभमा
रनमा#36 भमा
रनमाबमा
र
खे१
२दस व
रसद्धिव
रनय
१
०▲80 #55 ममा
नभमा
रनमा१
०वरध१
२▲80 | bārah bhāvnā (twelve contemplations) #4 १
२भमा
रव़
नमा
▲80

#23 बमा
र
खेभमा
रनमा
▲80
#13 बमा
रभरनमा
▲80
#26 भमा
रनमाछह| das vidh vinay (ten kinds of proper
conduct) #3a दश (
वर)
ध(व
र)▲79
#3b दश व
रध व
र▲80 #5 (
दश)व
रसद्धि व
रनय▲80 | das vidh dharm
vinay bhāvnā (ten kinds of righteousness; contemplation of reverence) #22 दशव
रषधमर्वा
व
रनयभमा
रनमा
▲80
#53 दसव
रधधमर्वा
वबनयभमा
रनमा
ह
|

Uncertain #38 स
जनपबू
जमागगु
भवक्ति▲80 (
jin pūjā guru bhakti, worship of the spiritual teachers;
893
devotion to the teacher?) | #40 भमा
रवरबबू
ध(bhāv vibuddh, awakened state of being?) |
#58 भमा
रनमा१
०रह
▲top#1
(bārah bhāvnā das vinay?) | #20 १
२भमा
रनमाव
रप्रव
र(भखे
)▲80
#33 १
२भमा
रनमाव
रप्र
व
रजह
▲80
#34 दमा
दसभमा
रनमाबखे
प्रव
रलह
▲?
(dvādaś bhāvnā ..., twelve contemplations, ...?) | #27 रह
नय
धर
(न) मगु
×( सगु
)भ▲80 (vinay dharaṇ ... śubh, upholding proper conduct ... auspicious?)

Blank #7▲80 | N/A #52

891 The twelve contemplations (bhāvanā, also known as anuprekṣā) comprise focus on the transient
nature of things (anitya), the helplessness of one's condition (aśaraṇa), the cycle of rebirth (saṃsāra),
the loneliness of existence (ekatva), the separation between body and soul (anyatva), the impurity of
the body (aśucitva), the influx of karma (āsrava), the stoppage of karma (saṃvara), the gradual
destruction of karma (nirjarā), the nature of the universe (loka), the difficulty of attaining
enlightenment (bodhidurlabha), and the truth of the teachings (dharmasvākhyātatva) (Tatia 1951:
263; Jaini 1979: 248-49).
892 The term vinaya (reverence) usually refers to one of the six internal austerities (tapas) mentioned in
sq. 47, but since the reverences are only four in number that cannot be the intention here. It is
therefore possible that vinaya should be understood in the sense of proper conduct, with reference
to the ten forms of righteousness (dharma) listed in TAAS 9.6 immediately prior to the twelve
contemplations (bhāvanā, anuprekṣā) listed in TAAS 9.7. Cf. the readings on Ja84#22,53 which refer to
both vinaya and dharma.
893 Ja84#38 switches around the readings bārah vinay bhāvnā (sq. 38) and das vidh vinay (sq. 55).

542
Left Side Square
Sq. 56: vaimānik 1, vyantar 9, jyotiṣī pāñc prakār
vaimānik 1 vyantar 9 jyotiṣī pāñc prakār (vaimānika gods 1;894 vyantara gods 9;895
five kinds of jyotiṣī gods896) #8 रह
ममा
व
नक १वह
(त)
र९जमा
व
तजलो
×षहप
हच प्रकमा
र५#9 रह
ममा
व
नक १वह
तर९
जलो
तषह(
पच)
च(प्र)
कमा
र#13 रह
ममा
व
नक वह
तरयलो
व
तषह#18 वह
तररह
ममा
न९प्रकमा
रयलो
तहककी५प्रकमा
र#20 रह
ममा
णहक
वह
तरजमा
तजलो
तषहपमा
चप्रकमा
ह र#23 व
रममा
स
ह
णक वतरजमा
त२जलो
तककी५प्रकमा
र
खे
#29 व
रममा
नह
ह क १वह
तर२यलो
तसह३#33
रह
ममा
नहक वह
तरजमा
त२जलो
तककी५प्रकमा
र#34 रह
ममा
नह
ह क वह
त्ररलो
व
त#36 व
रममा रह
न१वतर९यलो
व
तषह५प्रकमा
र
नमा#38
रह
ममा
नक वह
तररलो
तषह५#40 रह
ममा
नहकखेवह
तरजलो
तषहप
हचप्रकमा
रछह
#55 व
रममा
व रह
नक १वतर९जलो
तषह५५×#58
रह
ममा
न१वह
तरजमा
व
तजलो
व
तगह५प्रकमा
र| bhavanpati 1 vyantar 2 jyotiṣī 3 vaimānik pāñc prakār
(bhavanapati gods 1;897 vyantara gods 2; jyotiṣī gods 3, five kinds of vaimānika gods898)
#4 भरव़
प(तह
)१वतर२जमा
व
तषह३रह
ममा
व़नक (
५)प्रकमा
र| vaimānik vyantar devtā (vaimānika and
vyantara gods) #26 रह
ममा
नहक वतरदखे
रतमा
▲80
| jyotiṣī devtā (jyotiṣī gods) #27 जलो
तषहदखे
रतमा
footprint

| devlok (heaven) #3a दखे

(र)ललो
क #3b दखे
रललो
क #16 दखे
रललो
क१२ | antarikṣ devlok (divine
realm of intermediate space) #22 अह
त(...) दखे
रललो
× #53 अह
तर
हक दखे
र( ललो
)
क | kapāṭ bandh
sāmānik devtā 5 vaimānik 1 vyantar jāti pāñc āṭh jyotiṣī (confined under the roof
(of intermediate space); sāmānika gods 5;899 vaimānika gods 1; eight kinds of vyantara
gods; five kinds of jyotiṣī gods) #17 कपमा
टरह
धसमा
ममा
व
नकदखे
रतमा५रह
ममा
व
नक १वह
तरजमा
व
त५८रलो
व
तषह

Uncertain #5 (...)(र)ललो
(...) (devlok?)

Blank #7 | N/A #52

894 The vaimānika, or aerial palace-dwelling, gods live in the heavens of the upper world (Kirfel 1920:
291ff.), including the kalpa heavens listed as devalokas in rows #7,8, the graiveyaka heavens listed in
row #9, and the anuttara heavens listed in top sqs. 1-5. The meaning of the numeral "1" is not clear to
me.
895 The vyantara, or interstitial, gods live above the highest hell (ratnaprabhā) in the lower world, yet
below the earth in the middle world (Kirfel 1920: 272). The meaning of the numeral "9" is not clear to
me, though it might be noted that the vyantara gods are divided into eight classes (ibid. 273).
896 The jyotiṣī (also known as jyotiṣka), or stellar, gods live in the upper parts of the middle world, and
consist of five kinds: moon (candra), sun (sūrya, āditya), planets (graha), lunar mansions (nakṣatra),
and stars (tāraka) (Kirfel 1920: 278).
897 See fn. 709.
898 It would seem that the five kinds of gods mentioned here should refer to the five jyotiṣī instead of
the eight vaimānika gods.
899 See fn. 924.

543
Row #7
Row title: [none]
bhavanpati (bhavanapati gods)900 #3ab भरनपव
त| antarā kṣetra (plane of intermediate
space) #26 अह
तर
माकखे
त्र३

Uncertain #16 रललो

रभयणतह×(devlok bhavanpati, heaven; bhavanapati gods?)

N/A #4,5,7,8,9,13,17,18,20,23,27,29,33,34,36,38,40,52,53,55,58

Sq. 57: saudharm devlok 1

saudharm devlok 1 (Saudharma heaven no. 1)901 #3b,58 सलौ
धमर्वा
१#4 सलो
धरम दखे
रल
व़लो
क #5
(
सस)
धमर्वा
१#8,9,23,55 सलो
धमर्वा
दखे
रललो
क १#13 सगु
धमर्वा
दखे
रललो
क #16 सलो
धमर्वा
दखे
रजलो
क १#18 सलो
धमर्वा
( दखे
)
र(ललो
)
क१
#22 सलौ
धरर्वा
दखे
रललो
क #26 सगु
धमर्वा
दखे
रललो
क #27 सगु
धर ममादखे
रललो
क #29 सलो
धरर्वा
दखे
रललो
क स१दखे
२#33 सगु
धमर्वा
दखे
रललो
क
१पखे
ललो#34 सबू
धमर्वा
दखे
रललो
क #36 सलौ
धमर्वा
दखे
रललो
क १#38 सलो
धमर्वा
दखे
रललो
क #40 सलो
धमर्वा
दखे
रललो
क(१)#53 सलौ
धरर्वा
दखे
रललो
क | saudharm devlok vimān (palace of the Saudharma heaven) #17 सलौ
धमर्वा
दखेरललो
क
व
रममा
न| avrat doṣ kṣetra902 (plane of the fault of not observing vows) #3a अ(
रकृ
त)दलो
(
ष)कखे
त्र
| bārah bhāvnā903 (the twelve contemplations) #20 १
२भमा
रनमा|

Blank #7 | N/A #52

Sq. 58: avrat doṣ kṣetra▼21

avrat doṣ kṣetra (plane of the fault of not observing vows) #3b,16,38 अव्रतदलो
षकखे
त्र▼21
#8,22 अव्रतदलो
षषखे
त्र▼21 #9 अव्रदलो
क कखे
त्र▼21 #13 अरकृ
तदखे
ष(...)▼21 #18 (...)(
र)र
तहदलो
षषखे
त्र▼21 #23 अ(
व्र)
त
दलो
ष▼21 #29 अव्रतदलो
षकखे
त्र▼18 #36 अव्रव
तदलो
ष▼21 #40 अरकृ
तदलो
षषखे
त्र▼21 #53 अव्रतदलो
ष(कखे
त्र)
▼21
#55 अरर
वत
कखे ष▼36 | avrat devlok (divine realm of not observing vows) #17 अरकृ
त्रदलो तदखे
रकखे
(त्र)
▼36
#20
अरकृ
त दखे
र॰ ▼21
#33 ऽ
व्रत दखे
रललो
क▼21 #34 अरकृ
त दखे
रललो
क▼? #58 ऽ
व्रत दखे
र▼21 | duṣṭ aśubh (wicked;
गु असगु
inauspicious) #27 दष भ▼21 | abhūt doṣ (fault of falsehood) #26 अभगु
त दलो
ष▼22 |
saudharm 1904 (Saudharma heaven no. 1) #3a सलौ
ध(मर्वा
)( १
)▼21

Uncertain #4 अचतकखे
त्र▼21 #5 अव्र(...)(
त्रमा
न)▼21?
(avrat kṣetra, realm of not observing vows?)

900 See fn. 709.

901 Saudharma constitutes the southern half of the first heaven (kalpa) of the vaimānika gods in the
Śvetāmbara and Digambara systems of cosmography (Kirfel 1920: 291).
902 Ja84#3a switches around the readings avrat doṣ kṣetra (sq. 57) and saudharm 1 (sq. 58).
903 The reading bārah bhāvnā (twelve contemplations) is identical with the main reading in sq. 55
below, and thus appears twice on Ja84#20.
904 Ja84#3a switches around the readings avrat doṣ kṣetra (sq. 57) and saudharm 1 (sq. 58).

544
Blank #7▼21 | N/A #52

Sq. 59: īśān devlok 2

īśān devlok 2 (Aiśāna heaven no. 2)905 #3a (
ईशमा
ह
न)दखे
रललो
क #3b ईशमा
ह
( दखे
)दखे
दखे
रललो
क #4 इसमा
न
दखे
रव़
ललो
क २#8,23 इसमा
नदखे
रललो
क २#9 इसमा
न४दखे
रललो
क #13 इसमा
ह
नदखे
रललो
×▼40 #16 ईशमा
न२#17 इशमा
नदखे
र
व
रममा
न#18 इशमा
नदखे
ह रललो
क २#20 ईशमा
नदखे
॰#22 ईशमा
ह
×(दखे
)र(ललो
)
×#26 ईशमा
इणदखे
रललो
क #27,58 इसमा
नदखे
रललो
क
#33 ईशमा
नदखे
रललो
क २#34 ईसमा
ह
नदखे
रललो
क #36 इसमा
नदखे
ह कललो
क २#38,55 ईशमा
नदखे
रललो
क #40 इसमा
नखे
द्र#53 ईसमा
न
दखे
रललो
क

Uncertain #5 (...)न(...)ललो
(...) (īśān devlok?) | #29 (
ई)(...) (
दखे
र) ललो
क (...)(
हमा
)(७)(īśān devlok ...
hāth 2, Aiśāna heaven ... seven cubits?)906

Blank #7 | N/A #52

Sq. 60: asaṃyamī doṣ▼41

asaṃyamī doṣ (fault of not practicing restraint) #3a,13 असह
यमहदलो
ष#3b,9,36 असह
यमहदलो
ष▼41
#4 असदलो
सजमह#5 असजममा
व
ददलो
ष▼41 #8,40,58 असह
जमहदलो
ष▼41 #16,26,38 असह
जमदलो
ष▼41 #29 असह
जमह
दलो
स▼41 #34 असह
जमहदलो
ष| asaṃyamādi doṣ pāpāt (fault of non-restraint, etc. on account
of sin) #53 असह
ममा
व
ददलो
षपमा
पमा
तह
▼41
| asaṃyamādi doṣ pāpāt patana (falling on account of
the sin of the fault of non-restraint, etc.) #22 असह
जममा
व
ददलो
षपमा
पमा
रपतन
ह▼41
| asaṃyamī doṣ
aśubh (the fault of not practicing restraint; inauspicious) #27 असह
जमहदलो
ष असगु
भ▼41 |
asaṃyam doṣ kṣetra (plane of the fault of non-restraint) #18 असह
जमदलो
षषखे
त्र▼41 #55 असह
जम
षखे
त्र▼41 | asaṃyamī doṣ devlok (divine realm of the fault of not practicing restraint) #17
असह
जमहदलो
षदखे
रललो
▼41
#20 असह
यमहदलो
षदखे
॰▼41
#33 असह
यमदखे
रललो
क▼41 | asaṃyam vrat doṣ (fault of
the vow of non-restraint)907 #23 असह
जमव्रतदलो
ष▼41

Blank #7▼41 | N/A #52

Sq. 61: devlok kṣetra, bhavyābhavya jīv, cār lākh yoni

devlok kṣetra bhavyābhavya jīv cār lākh yoni (plane of heavens; souls capable and

905 The charts consistently read īśān instead of the expected aiśān. Īśāna is the name of the king (indra)
of the heaven, whereas Aiśāna is the name of the heaven itself. Aiśāna constitutes the northern half
of the first heaven (kalpa) of the vaimānika gods in the Śvetāmbara and Digambara systems of
cosmography (Kirfel 1920: 291).
906 The height of the gods in the Aiśāna heaven is fixed at seven cubits (Jain 1992: 118).
907 Non-restraint (asaṃyama) should obviously not be considered a vow.

545
incapable of liberation; 400.000 birth-situations)908 #4 दखे
रव़
ललो
क कखे
त्र भव भव स
जरव़४
लमा
ष▲top#6,footprint #5 कखे
त्रभवमा
भव जह
रदखे
रललो
क ४लमा#8 दखे
रललो
क कखे
त्रभवमा
भ(व)जह
र४लक (
यलो
व
न)footprint

#9 दरललो
क कखे
त्रभरनभव जह
र४चमा
रलषयलो
व
नfootprint #13 दखे
रललो
क भवमा
भव जह
र४यलो
(
नह)#16 दखे
रललो
क
भवमाऽ
भव जह
र४चमा
रलमा
षजलो
न(▲top#6),footprint #17 दखे
रललो
क कखे
त्रभवमा
भव यलो
व
न(ष॰
)#18 दखे
रललो
क षखे
त्रभव
जह
र४लमा
षयलो
नहfootprint
#29 दखे
रललोकखे
त्रभवमा
भव (
यलो
नह)लक चमा
र४footprint #33 दखे
रललो
क भवमा
भव ललो
क ४०
#36 दखे
रललो
क षखे
त्रभव अभव ४लमा
ख #58 दखे
रललो
क कखे
त्रभवमा
भव जह
र४जलो
व
न| devlok kṣetra bhavya
jīv cār lākh yoni (plane of heavens; souls capable of liberation; 400.000 birth-
situations) #3b दखे
रललो
क कखे
त्र भव जह
त ४ लमा
ष यलो
जन909 | devlok kṣetra bhavyābhavya jīv
(plane of heavens; souls capable and incapable of liberation) #34 दखे
रललो
क कखे
त्रममा
ह
भवमा
भव
जह
रfootprint? #26 दखे
रललो
कनमा
हभवमा
भव जह
ह रfootprint #53 कखे
त्र ×वमा
भ(व)(...)footprint #55 दखे
रललो
क कखे
त्र
भवमा
भव जह
रfootprint | devlok kṣetra madhye bhavya upajai cār lākh yoni (souls
capable of liberation born in the plane of heavens; 400.000 birth-situations) #38 दखे
रललो
क
षखे
त्र मधखे(
भ)व उपजह४ लमा
ष जलो
व
नfootprint | devlok bhavya jīv (heavens; souls capable of
liberation) #3a दखे
रललो
क भव जह
(र)
▼42
| bhavya jīv śubh kṣetra (auspicious plane of souls
capable of liberation) #27 भव जह
र सगु
भ षखे
त्रfootprint | kṣetra bhavyābhavya cār lākh
guṇsthān (plane of 400.000 souls capable and incapable of liberation; stage of
purification) #22 कखे
त्रवमा
भव ४लमा
षगगु
णटमा
णमा
ह footprint

Uncertain #20 दखे

रललो
क भव ललो
क ४लमा
(
ष)(
रलो
)
जनfootprint #40 त्रह
ललो
क ×व जह
र।लमा
ष(जलो
ज)नfootprint
(devlok kṣetra bhavya jīv cār lākh yoni?)910 | #23 दखे
रललो
क(भ)
रनरलभ ४(
लमा
त)
ह कव
रममा
न(▲top#5)
ह
(devlok bhavyābhavya lākh cār lāntak911 vimān, heaven; 400.000 souls capable and
incapable of liberation; palace of the Lāntaka heaven?)

Blank #7 | N/A #52

Sq. 62: sanatkumār devlok 3footprint

sanatkumār912 devlok 3 (Sānatkumāra heaven no. 3)913 #3a सन(
तगु
)
ममा
र३#3b सनतगु
ममार्वा
र३
#4,17 सनतकगु
ममार३#5,22,27,34,38,40 सनतकगु
ममारदखे
रललो
क #8,36,55 सनतकगु
ममारदखे
रललो
क ३#9 शनपगु
अर
908 Cf. the almost identical main reading in sq. 71.
909 See fn. 687.
910 See fn. 687.
911 The reading lāntak (Lāntaka heaven) is identical with the second part of the main reading in sq. 64
where Ja84#23 only reads the first part brahm devlok (Brahma heaven).
912 The charts consistently read sanatkumār instead of the expected sānatkumār. Sanatkumāra is the
name of the king (indra) of the heaven, whereas Sānatkumāra is the name of the heaven itself.
913 Sānatkumāra constitutes the southern half of the second heaven (kalpa) of the vaimānika gods in the
Śvetāmbara and Digambara systems of cosmography (Kirfel 1920: 291).

546
दरललो
क #13 सनतगु
ममारदखे
रललो
×#16 शनतकगु
ममारदखे
रललो
क ३#18 सन
हतकगु
ममारदखे
रललो
क ३#20 सनतकगु
ममारदखे
॰#23
शनतकगु
ममारदखे
रललो
क #26 शह
न(त)
कगु
×रदखे
रललो
क #33 सनतकगु
ममारललो
क ३#53 सनतगु
ममारदखे
रललो
क #58 सनतकगु
ममारदखे
| sanatkumār 3 sāgar 7 hāth 6 (Sānatkumāra heaven no. 3, seven sāgaras, six
cubits)914 #29 सनतकगु
ममार२३समा
गर७हमा(६)

Blank #7(▲71) | N/A #52

Sq. 63: māhendra devlok 4

māhendra devlok 4 (Māhendra heaven no. 4)915 #3ab ममा
हहें
द्र४#4 ममा
हखे
द्रदखे
रव़
ललो हह
क ४#5 ममा
व द्र४
दखे
रललो
क #8,18 ममा
हखे
द्रदखे
रललो
क ४#9 ममा
हमा
(
द्र)दरलमा
क #13,20,22,38,53,55 ममा
हहें
द्रदखे
रललो हह
क #16 ममा
व द्रदखे
रललो
क
४#23 ममा
हखे
द्रदखे
रललो
क #26 ममा
हखे
द्रदखे
रललो
क #27 महहें
द्रदखे
रललो
क #33 ममा
हहें
द्रदखे
रललो
क ४#34 ४महखे
द्रदखे
रललो
क #36
ममा
व
हद्रदखे
रललो
क ४#40 ममा
हखे
द्रदखे
रललो
क #58 ममा
हहें
द्रदखे
॰| māhendra devlok 4 vimān (palace of the
Māhendra heaven no. 4) #17 ममा
हहें
द्रदखे
रललो
कवरममा
न४| māhendra devlok 4 sāgar 7 jhājhau
हह
hāth 6 (Māhendra heaven no. 4, seven sāgaras, six cubits tall)916,917 #29 ममा
व द्रदखे
रललो
क ४समा
७झमा
झखे
रु
हहमा
र६

Blank #7 | N/A #52

Sq. 64: brahm devlok 5, lāntak devlok 6

brahm devlok 5 lāntak devlok 6 918 (Brahma and Lāntaka heavens nos. 5-6) #4 लमा
तक ६
ह
व्रह्म #5 व्र(
ह्म)५लमा
त
हर#8 (
व्र)
मदखे
रललो
क ५(
लह)
तक दखे
रललो
क ६#9 व्रह्ममाद×णमा
क लमा
तक दर(
व्र)#16 व्रह्म ५लह
तक
६#17 रकृ
ह्म दखे
रललो
क लमा
त#29 व्रमदखे
ह रललो
क लह
तक दखे
(र॰)
ललो
क #33 ब्रह्म लमा
तक #34 व्रह्म ५लमा
ह तक ६#36 लमा
ह तक
ह
दखे
रललो
क ६व्रमा
ह्म दखे
ह रललो
क ५ #40 (
व्र)
म लमा
त
हक दखे
रललो
क | brahm devlok (Brahma heaven no. 5)
#13,23,55 व्रह्म दखे
रललो
क #18 (
व्रह्म)दखे
रललो
क ५#20 व्रह्म दखे
॰#27 व्रर
मदखे
रललो
क #38 ब्रह्म दखे
रललो
क | brahm

914 The maximum lifespan of gods in the Sānatkumāra heaven is seven sāgara or sāgaropama years in
the Śvetāmbara tradition (Tatia 1994: 112), and their height is fixed at six cubits (Jain 1992: 118). See
fn. 933.
915 Māhendra constitutes the northern half of the second heaven (kalpa) of the vaimānika gods in the
Śvetāmbara and Digambara systems of cosmography (Kirfel 1920: 291).
916 Raj. jhājhau usually means "exceeding" (Hi. zyādā), but it can also have the sense of "large" (Hi. baṛā)
which seems to be the case here (RSK, pp. 1687-88; cf. fn. 917).
917 The maximum lifespan of gods in the māhendra heaven is seven sāgara or sāgaropama years in the
Śvetāmbara tradition (Tatia 1994: 112), and their height is fixed at six cubits (Jain 1992: 118). See fn.
933.
918 Brahma(loka) and Lāntaka constitute the entire third and fourth heavens (kalpa) of the vaimānika
gods in the Śvetāmbara system of cosmography. The Digambara system of cosmography divides the
Brahma(loka) heaven into a southern half called Brahma and a northern half called Brahmottara,
and the Lāntaka heaven into a southern half called Lāntava and a northern half called Kāpiṣṭa
(Kirfel 1920: 291-92).

547
brahmottar devlok (Brahma and Brahmottara heavens) #22 व्रह्म व्रह्मलो
त्तरदखे
रललो
क #53 व्रह्म
व्रह्मलो
तर(
दखे
रललो
क)| brahmdatta (Brahmadatta)919 #58 व्रह्मदत्त

Uncertain #26 ×दखे

रललो
क छह
(▲80)
(brahm devlok chai, this is the Brahma heaven?) | #3a
(
व्र)
ह्म५ललो
(
ष)#3b व्रह्म(५) लमा
ष▲top#3 (brahm devlok 5, Brahma heaven no. 5?)

Blank #7 | N/A #52

Sq. 65: vivek▲68

vivek (discriminating judgment) #3b,8,9,13,16,40,55 व
ररखे
क▲68 #5 व
र(र)
खे
×▲68 #34 व
ररखे
क▲? #58
रह
वरक▲68 | vivek kṣetra chai (this is the plane of discriminating judgment) #26 रह
रखे
क षखे
त्र
छखे
| vivek bhāv (state of discriminating judgment) #38 व
बखे
बखे
क( भमा
)
र▲68 | vivek bhāv śreṇi
caḍhai (you climb the ladder from the state of discriminating judgment) #22 व
ररखे
क भमा
र
शखे
सण चढह
इह
▲68
#53 व
ररखे
क भमा
रशखे
णह(चढह
)
▲68
| vivek guṇ (quality of discriminating judgment)
#4 व
ररखे
क
व़ गगु
ण▲68 | vivek āyo (you arrive at discriminating judgment) #17 व
ररखे
क आ× |
vivek dharm āyo (you arrive at the virtue of discriminating judgment) #20 व
ररखे
क धमर्वा
आयलो
▲68
#33 व
ररखे
क धमर्वा
अयलो▲68
| vivek dev (discriminating judgment; god) #3a व
ररखे
क दखे
र▲68 |
vivek ḍāṇḍī920 (path of discriminating judgment) #23 रह
रखे
क डह
डकखे
त्र▲68 #29 रह
रखे
क ड़मा
ड़ह
▲68
|
lāntak devlok921 vivek ḍāṇḍī (Lāntaka heaven; path of discriminating judgment) #18
लमा
तक दखे
ह रललो
क रह
रखे
क ड़ड▲68 | vivek śuddh pariṇām (purified transformation resulting from
discriminating judgment) #36 व
ररह
क शगु
द्धि प्रप्रणमा
म▲68 | āraṇ devlok922 (Āraṇa heaven) #27
ह
अर
णदखे
रललो
क▲68

Blank #7▲68 | N/A #52

919 Name of an unidentified person. Probably wrong reading for brahm devlok (Brahma heaven).
920 Skt. daṇḍikā.
921 The reading lāntak devlok is identical with the second part of the main reading in sq. 64 where
Ja84#18 only reads the first part brahm devlok (Brahma heaven).
922 The reading āraṇ devlok is identical with the main reading in sq. 73 where Ja84#27 reads ahaṃkār
aśubh (egoity, inauspicious). It may have been influenced by the identical main reading in sq. 66 on
84-square Jaina type b charts.

548
Right Side Square
Sq. 66: sāmānik dev 4, bhavanpati dev 5, antarikṣ kṣetra kapāṭ jyotiṣī
sāmānik dev 4 bhavanpati dev 5 antarikṣ kṣetra kapāṭ jyotiṣī 923 (sāmānika gods 4;924
bhavanapati gods 5;925 jyotiṣī gods (under) the roof of the plane of intermediate
space926) #8 समा
ममा
व
नक दखे
रतमा५भरनपव
त५अह
तर
मा
यकखे
त्रकपमा
टजलो
तषह१#13 समा
ममा
नहक दखे
रललो
क ४भगु
रनपतह
कपमा
टबबू
द्धि927 यलो
व
तषह#16 दखे
रललो
क५अह
तर
रषकखे
त्रजलो
तषहकपमा
ट५#18 समा
ममा
नहकदखे
र४भगु
रनपतहदखे
र५अह
तर
हकषखे
त्र
कपमा
टयलो
तहषह#36 समा
ममा
ह ह
व
नक दखे
रललो
क ४भर
गुनपव
तदखे
रललो
क ५अह
तर
हक कखे
त्रजलो
व
तषह५ #58 समा
ममा
व
नक दखे
रललो४
भरनपव
त५ऽ
त
हरह
क कखे
जलो
व
त(षह
)पटल| sāmānik devtā kapāṭ bandh sthir jyotiṣī 5 (sāmānika
gods; five kinds of fixed jyotiṣī gods confined (under) the roof (of intermediate space))
#17 समा
ममा
व
नक दखे
रतमाकपमा
टरह
धसरररलो
व
तवष५| sāmānik devtā 4 bhavanpati 5 antarikṣ kṣetra
(sāmānika gods 4; bhavanapati gods 5; plane of intermediate space) #55 समा
ममा
न दखे
रतमा४
भरनपव
तपमा
च
ह अह
तर
हक षखे
त्र| antarikṣ kṣetra jyotiṣī devlok (divine realm of jyotiṣī gods in
the plane of intermediate space) #22 (
अह)
×रकखे
त्र (
जलो
व
त)षहदखे
(...)क #53 अह
तर
हक कखे
(त्र)जलो
व
तषमा
दखे
रललो
क| sāmānik dev 5 bhavanpati dev (sāmānika gods 5; bhavanapati gods) #20 समा
मनह
दखे
र५भगु
रनपतहदखे क #33 समा
रललो ममा
नहक दखे
र५भरनपव
तदखे
र#34 समा
ममा
व
नक दखे
रभगु
रनपव
त#38 समा
ममा
ह
व
नक दखे
रललो
क
भरनपतहदखे
र| sāmānik dev (sāmānika gods) #4 समा
ममा
व
नक दखे
रव़
ललो
क कखे
त्र#23 समा
ममा
व
नक दखे
रललो
क #26
समा
ममा
नहक दखे
रतमा| antar kṣetra śubh (intermediate plane; auspicious) #27 अह
तरकखे
त्रसगु
भ|
sāmānik dev 5 bhavanpati ānat devlok 928 rākṣas929 kṣetra (sāmānika gods 5;
bhavanapati gods; Ānata heaven; plane of demons) #40 समा
मनह
(क)(
दखे
)र५भरनप(
तह)अन
हत
दखे
रललोर
मा
कसषखे
त्र

ललो
Uncertain #3a (...)( क)५अह
(
तरह
)क मखे
(षह
)#3b दखे
रललो
क ५अह
तर
हक मखे
षह(devlok 5 antarikṣ kṣetra?)
| #5 (...)क(...)क(...) (?) | #9 समा
ममा
व
नक दखे
रतमा५तयव
ल५अत
हर
मा
यकखे
त्रकपमा
टजमा
व
तषह१(sāmānik devtā 5 ...

923 There is disagreement among the charts as to whether the sāmānika and bhavanapati gods
mentioned in sq. 66 should be referred to as gods (deva) or heavens (devaloka). Since they are most
commonly referred to as gods, I have chosen to privilege the readings that refer to them as such.
924 Each of the four main types of gods - bhavanapati, vyantara, jyotiṣī, and vaimānika - is sub-divided
into eight or ten classes beginning with the indra gods and followed by the sāmānika gods (Kirfel
1920: 262). The meaning of the numeral "4" is not clear to me.
925 See fn. 709. The meaning of the numeral "5" is unclear to me.
926 See fn. 896.
927 Read: bandh (bound, confined).
928 The reading ānat devlok is identical with the first part of the main reading in sq. 72, and thus
appears twice on Ja84#40. It may have been influenced by the identical main reading in sq. 65 on 84-
square Jaina type b charts.
929 The reading rākṣas (demon) is probably wrong for antarikṣ (intermediate space).

549
5 antarikṣ kṣetra kapāṭ jyotiṣī 1?) | #29 (...) (?)

Blank #7 | N/A #52

Row #8
Row title: devlok dvār
devlok dvār (gateway to the heavens) #22 दखे
रललो
क दमा
र७930 #26 दखे
रललो
क दमा
र२#53 दखे
ह रललो
क दमा
र|
sāmānya devlok (similar heavens) #3a समा
ममा
न दखे
रललो
क #3b समा
ममा
न दखे
रललो
क | devlok
(heavens) #5 दखे
रललो
क#58 दखे
रललो
क२

Uncertain #16 दखे

रललो
कसमा
ममा
दखे
वनक ४(sāmānya devlok?)

N/A #4,7,8,9,13,17,18,20,23,27,29,33,34,36,38,40,52,55

Sq. 67: tāmas ahaṃkār▼16

tāmas ahaṃkār (egoity dominated by the quality of inertia) #3a (
तमा
मसमा
हह
कमा
र
) ▼16
#3b
तमा
मसमा
हह
कमा
र
▼5
#4,18,29,38,40,55 तमा
मसअहह
कमा
र
▼16
#5 तमा
मसमा
(...)कमा
(...)▼16 #7 तमा
मसअहक
हमा
र
▼16
#8 तमा
मस
अहह
कमा
र
▼23
#9 तमतमा
मसहअहकमा
र
▼16
#13 तमा
मसअहकमा
र
▼23
#16 तमा
मसअहक
हर▼16
#17 तमा
मससअहक
हमा
र
▼5
#23
तमा
मस
ह स अहक
हमा
रछह
▼16
#26,36 तमा
मस ऽ
ह हहकमा
र
▼16
#33 तमा
मसमा
हह
कमा
र
▼16
#34 तमा
मस अहक
ह हमा
र
▼16
#58 तमा
मस
ऽ
हकहमा
र
▼16
| tāmas ahaṃkār pāpāt devlok (divine realm on account of the sin of egoity
dominated by the quality of inertia) #22 तमा
मस अहक
ह हमा
रपमा
पमा
त दखे
रललो
क▼16 #53 तमा
मसमाअहह
कमा
र
दखे क▼16 | ānat devlok931 (Ānata heaven) #27 आह
रललो णतदखे
रललो
क▼16,footprint

Uncertain #20 तपसअहह

कमा
र
▼16
(tāmas ahaṃkār? tapas ahaṃkār, asceticism; egoity?)932

N/A #52

Sq. 68: abhīṣṭ siddhi sāgar

abhīṣṭ siddhi sāgar933 (desired attainments (for a period of) one sāgara) #3a (
अ)भह
ष

930 The row title appears in an additional square below the main grid. The chart reads "7" instead of "8"
because it skips the title for row #7.
931 The reading ānat devlok is identical with the first part of the main reading in sq. 72 where Ja84#27
reads sukh sāgar (happiness (for a period of) one sāgara). It may have been influenced by the
identical main reading in sq. 65 on 84-square Jaina type b charts.
932 The reading tapas ahaṃkār may have been influenced by the main reading bāl tapasvī (child
ascetic) in sq. 67 on 84-square Jaina type b charts.
933 A sāgara, or sāgaropama, is an unfathomable measure of time said to equal 10.000.000 x 15.000.000
x 1 palyopama years. A single palyopama is said to equal the number of years it would take to empty
out a hole filled with tightly packed sheep's wool if the hole measured 1 yojana (c. 5-10 km) in

550
स
स(स
द्धि)समा
ग६#3b अभह
षससद्धिहसमा
गर६#5 अस
भषस
ससद्धिसमा
गरदखे
र#16 अस
भषस
सद्धिसमा
गर६#22,53 अस
भष
स
सद्धि समा
गरदखे
रललो
क #36 अस
भप्रस
ससद्धि आगमा
र#38 अस
भष स
सद्धि समा
गर| abhīṣṭ siddhi sukh sāgar
(happiness of desired attainments (for a period of) one sāgara) #13 अभह
षससद्धिहसगु
षसमा
गर
#17 अस
भष्ठस
सद्धिसगु
षसमा
ग#18 अस
भषस
ससद्धिसगु
षसमा
गर#26 अव
तषह
ससधशगु
षसमा
गर#29 अस
ह भषस
ससद्धिसगु
ख समा
गर|
abhīṣṭ siddhi (desired attainments) #58 अभह
षससद्धि | abhīṣṭ sukh sāgar (desired
happiness (for a period of) one sāgara) #7 अभह
ष सगु
षसमा
र#8 अस
भषसगु
ष समा
र#9अस
भष सगु
ष
समा
र
णः
footprint
#40 अव
नषसगु
षसमा
गर(
१)#55 अव
नषसगु
षसमा
गर| abhīṣṭ sukh (desired happiness) #4
अभह
षसगु
ष| abhīṣṭ śuddh vivek (desired purified discriminating judgment) #23 अव
नषशगु
द्धि
व
रक ६| abhīṣṭ śuddh devlok (desired purified heaven) #33 अव
नषशगु
द्धिदखे
रललो
क | iṣṭ yuddh
devlok (heaven of desired battle) #20 इषयगु
द्धिदखे
रललो
क | prāṇat devlok934 (Prāṇata heaven)
#27 पमा
ण
हतदखे
रललो
क

Uncertain #34 शगु

सभषशगु
द्धिव
ररखे
क(abhīṣṭ śuddh vivek?)

N/A #52

Sq. 69: śukra devlok 7

śukra devlok 7 (Śukra heaven no. 7)935 #3a शगु
क्र दखे
रललो
क ७#3b,29 शगु
क्र दखे
रललो
क #5 शगु
क्र दखे
रललो
क
(...)क #7,8,9,16,18,33,36,55 शगु
क्र दखे
रललो
क ७ #13,17,20,53 शगु
क्र दखे
रललो
क #26 शगु
क्र दखे
रललो
क छखे
#34 शगु
क्र
दखे
रललो
क#38 शगु
क्रमा
रदखे
रललो
क #40 शगु
क्र दखे
रललो
कह#58 शगु
क्र दखे
र७| bhavya jīv devlok936 (divine realm
of souls capable of liberation) #27 भव जह
रदखे
रललो
क

Uncertain #4 सगु
ष७#22 (
शगु
)
क्रनमा
ह
×दखे
रललो
क#23 कगु
क्र दखे
रललो
क७(śukra devlok 7?)

N/A #52

Sq. 70: sahasrār devlok 8

sahasrār devlok 8 (Sahasrāra heaven no. 8)937 #3a सहस्रमादखे
रललो
क ८#3b,7,18 सहस्रमा
रदखे
रललो
क८

diameter and 1 yojana in depth, and if one only were to take out a single fiber of wool every 100
years (Tatia 1994: 273).
934 Ja84#27 seems to switch around the readings in sqs. 68 and 73 (despite deviating from the main
readings in both squares).
935 Śukra constitutes the entire fifth heaven (kalpa) of the vaimānika gods in the Śvetāmbara system of
cosmography. The Digambara system of cosmography divides the Śukra heaven into a southern half
called Śukra and a northern half called Mahāśukra (Kirfel 1920: 292).
936 The reading bhavya jīv devlok is reminiscent of the main reading bhavyābhavya jīv (souls capable
and incapable of liberation) in sq. 71 where Ja84#27 reads mahāśukra devlok (Mahāśukra heaven).
937 Sahasrāra constitutes the entire sixth heaven (kalpa) of the vaimānika gods in the Śvetāmbara
system of cosmography. The Digambara system of cosmography divides the Sahasrāra heaven into a

551
#4 सहशमा
र८#5 सहशमा
र८दखे
रललो
क #8 सहशदखे
रललो
क ८#9 सहस्रदखे
रललो
क ८#13,27,40,55 सहसमा
रदखे
रललो
क #16
सहस्रमा
रदखे
रललो
क ८#17 सहस्रमादखे
रललो
क #20,34,38 सहस्रमा
रदखे
रललो
क #22 सहशमा
रदखे
रललो
क #23 सहशमा
रदखे
रललो
क८
#26 सहसमा
रदखे
रललो
क #29 (
स)हसमा
रदखे
र( ललो
)
क #33 सहशमा
दरललो
क ८#53 सहशमा
रदखे
रललो
क #58 सहसमा
र(८)|
ānat devlok938 9 sahasrār devlok 8 (Sahasrāra and Ānata heavens nos. 8-9) #36 अनत
दखे
रललो
क९सहशमा
रदखे
रललो
क८

N/A #52

Sq. 71: devlok kṣetra, bhavyābhavya jīvfootprint

devlok kṣetra bhavyābhavya jīv (plane of heavens; souls capable and incapable of
liberation)939 #5 कखे
त्र भवमा
भव जह
र दखे
रललो
क #8 दखे
रललो
क कखे
त्र भवमा
×वहजह
रfootprint #9 दखे
रललो
क कखे
त्र
भवमा
भव जह
रfootprint #13 दखे
रललो
क ष्यखे
त्रभवमा
भव #16 कखे
त्रभवमाअभव जह
रदखे
रललो
कfootprint #26 दखे
रललो
क षखे
त्र
भ(...)व जह ×footprint #34 दखे
रछह रललो
कगुमखे
भवमा
भव▲?,footprint? #36 दखे
रललो
क कखे
त्रभव अभव कखे
त्र९(
॥९)#53
(
कखे
त्र)(
भ)वमा
भव (
जह)
रदखे
रललो
कfootprint #55 दखे
रललो
क षखे
त्रभ(
वमा
भ)व जह
रfootprint #58 षखे
त्रभवमाऽ
भव जह
र
ललो
क | devlok kṣetra bhavyābhavya jīv cār lākh yoni (plane of heavens; souls capable
and incapable of liberation; 400.000 birth-situations) #38 दखे
रललो
क कखे
त्रभव अभव जह
र४लमा
ष
यलो
जनfootprint,940 | devlok kṣetra bhavya jīv (plane of heavens; souls capable of
liberation) #3a कखे
त्र भय(
रन)जह
र(दखे
)रललो
क #3b कखे
त्र भरय जह
र दखे
रललो
क #4 दखे
रव़
ललो
क कखे
त्र भव जह
रव़
१footprint #22 कखे
त्र वमा
भव जह
र दखे
रललो
कfootprint | bhavyābhavya jīv (souls capable and
incapable of liberation) #20 भवमा
(
भ)व जह
(र)
footprint
#23 भवभव
रसजर #33 भवमा
भव जह
र|
śukla pakṣ devlok yoni lākh (heaven of the white half (of the moon); 100.000 birth-
situations) #17 श(क्ल)पकहदखे
गु रललो
क यलो
व
नल#29 शक्ल
गु (...) (
दखे
र)यलो
नह(
लक)
footprint
| ānat devlok 9941
(Ānata heaven no. 9) #18 आन
हत दखे
रललो
क ९footprint | mahāśukra devlok942 (Mahāśukra
heaven) #27 ममा
हमा
सगु
करदखे
रललो
कfootprint | devlok (heaven) #7 दखे
रललो
क(▲top#5)

Uncertain #40 बलो

ध कखे
× ×व जह
र ल×footprint (bodh kṣetra bhavya jīv lok, plane of
understanding; realm of souls capable of liberation?)

N/A #52

southern half called Śatāra and a northern half called Sahasrāra (Kirfel 1920: 292).
938 Ja84#36 adds the reading ānat devlok here instead of in the usual sq. 72.
939 Cf. the almost identical main reading in sq. 61.
940 See fn. 687.
941 The reading ānat devlok is identical with the first part of the main reading in sq. 72 where Ja84#18
omits it.
942 The reading mahāśukra devlok is synonymous with the main reading śukra devlok in sq. 69 (cf. Tatia
1994: 106) where Ja84#27 reads bhavya jīv devlok (souls capable of liberation, heaven).

552
Sq. 72: ānat devlok 9, prāṇat devlok 10
ānat devlok 9 prāṇat devlok 10943 (Ānata and Prāṇata heavens nos. 9-10) #3a आन
हत
प्रमा
णतदखे
रललो१(
१)#5 आनत९प्रमा
णत१
०दखे
रललो
क #7 आनस दखे
रललो
क१०९प्रणत#8 अन
हतदखे
रललो
क१०पमा
ण
हत
दखे
रललो
क९#9 अन
ह(
त)दखे
रललो
क१०प्रमा
(
कमा
)
तदखे
रललो
क९#13 प्रमा
णतदखे
रललो
क आनतदखे
रललो
क #16 आन
हत९प्रमा
णह
त्त१
०
#22 आह
णतप्रमा
णतदखे
ह रललो
क #40 अनतप्रमा
णह
तदखे
रललो
क #53 आणतप्रमा
णतदखे
रललो
क #55 प्रमा
णतदखे
रललो
क आन
हत
दखे
रललो
क #58 प्रमा
णतआन
हत| ānat devlok 9 (Ānata heaven no. 9) #20 आनतदखे
रललो
क #23 अन
हत
दखे
रललो
क #33 आनतदखे
रललो
क ९#34 ९नरमलोआन
हतदखे
रललो
क | prāṇat devlok (Prāṇata heaven no. 10)
#18 प्रमा
णमा
त
हदखे
रललो
क१०944 #26 प्रह
णमा
तदखे
ह रललो
क छह#36 प्रमा
णतदखे
ह रललो
क१०945 #38 प्रमा
णतदखे
ह रललो
क | āraṇ
devlok 11946 (Āraṇa heaven no. 11) #3b आर
णदखे
रललो
क११| sukh sāgar947 (happiness (for a
period of) one sāgara) #27 सगु
षसमा
गर

Uncertain #4 आममा
न९▼41 #17 ममा
नतदह
रललो
क (ānat devlok 9?) | #29 (...) (
दखे
)रललो
क ×णतदखे
रललो
क
(ānat devlok prāṇat devlok?)

N/A #52

Sq. 73: āraṇ devlok 11

āraṇ devlok 11 (Āraṇa heaven no. 11)948 #3b आर
ण दखे
रललो
क १
१ #5 अर
ण दखे
रललो
क १
१
#7,8,18,23,36 आर
णदखे
रललो
क११#13,20,29,33,38,40,53 आर
णदखे
रललो
क #16 आर
ण११#17 आर
णदह
रललो
क
#26 आर
ण दखे
रललो
क #55 आर
ण दखे
र( ॰
)११#58 आर
ण | āraṇ devlok agiyārmo (the eleventh
heaven of Araṇa) #34 आर
ण दखे
रललो
क अगह
आरमलो| ānat 9 prāṇat 10949 (Ānata and Prāṇata
heavens nos. 9-10) #4 आनत९प्रमा
णत१
०| ahaṃkār950 aśubh (egoity; inauspicious karma)
#27 अहह
कमा
रअसगु
भ

943 Ānata and Prāṇata constitute the southern and northern halves of the seventh heaven (kalpa) of the
vaimānika gods in the Śvetāmbara and Digambara systems of cosmography (Kirfel 1920: 292).
944 Ja84#18 omits ānat devlok, and reads it in sq. 71 instead.
945 Ja84#36 omits ānat devlok, and reads it in sq. 70 instead.
946 The reading āraṇ devlok 11 is identical with the main reading in sq. 73, and thus appears twice on
Ja84#3b.
947 Ja84#27 seems to switch around the readings in sqs. 68 and 73 (despite deviating from the main
readings in both squares).
948 Āraṇa constitutes the southern half of the eighth heaven (kalpa) of the vaimānika gods in the
Śvetāmbara and Digambara systems of cosmography (Kirfel 1920: 292).
949 The reading ānat 9 prāṇat 10 is identical with the main reading in sq. 72 where Ja84#4 reads āmān 9
(Ānata heaven no. 9?).
950 The reading ahaṃkār is reminiscent of the main readings tāmas ahaṃkār (egoity dominated by the
quality of inertia, sq. 67) and rājas ahaṃkār (egoity dominated by the quality of activity, sq. 75), none
of which are included on Ja84#27.

553
Uncertain #3a (
आर)(
दखे
)#9 अस
णदखे
रललो
क११#22 आर
ण(नमा
ह
)
(...) दखे
रललो
क(āraṇ devlok 11?)

N/A #52

Sq. 74: acyut devlok 12

acyut devlok 12 (Acyuta heaven no. 12)951 #3a अचगु
तदखे
(
र)ललो
क१२#3b,5,7 अचगु
तदखे
रललो
क१२
#8 अचगु
दखे
रललो
क१२ #9 अचगु
त दखे
रललो
क१२ #13 अचबू
त दखे
रललो
क #16 अचगु
त्त #18,36 अचबू
त दखे
रललो
क१२
#20,53,55 अचगु
तदखे
रललो
क #22 अचगु
तदखे
रललो
क #23 उचतदखे
रललो
क१२#29 अचगु
तदखे
रललो
क #33 ऽ
चगु
तदखे
रललो
क
#34 बमा
र
मलोअचबू
तदलो
रलमा
क #38 अचगु
तदखे
रललो
कलो१
२#40 अचगु
त दखे
रललो
क #58 आ(
चगु
)
तदखे
रललो
क | acyut
devlok vimān (palace of the Acyuta heaven) #17 अचगु
तदहरललो
कवरममा
न| ānat 11 acyut
12952 (Ānata and Acyuta heavens nos. 11-12) #4 आणत१
१अचगु
त१ २| bhavanpati953 devlok
(divine realm of bhavanapati gods) #27 भरनपव
तदखे
रललो
क

Uncertain #26 अबगु

तदखे
रललो
क(acyut devlok?)

N/A #52

Sq. 75: rājas ahaṃkār▼2

rājas ahaṃkār (egoity dominated by the quality of activity) #3a र
मा
जसमा
हह
(कमा
)
र ▼2
#3b
र
मा
जसमा
हह
कमा
र
▼1
#4 र
मा
जसअहह
कमा
र१०▼2 #5,13,17,18,26,38,40 र
मा
जसअहह
कमा
र
▼2
#7 र
मा
जअहह
कमा
र
▼52
#8,16,29
र
मा
ज अहह
कमा
र
▼2
#9 र
मा
जऽहक
हमा
र
▼2
#20 अकमा
ररमा
ज हह
▼52
#23 र
मा
जसऽ
हहकमा
र
▼52
#33,58 र
मा
जऽहह
कमा
र
▼2
#34 र
मा
र
अहह
कमा
र
▼?
#36 र
मा
जस अहह
कमा
र २▼19 #55 र
मा
जचखेअहह
कमा
र
▼2
| rājas ahaṃkār pāpāt (egoity
dominated by the quality of activity on account of sin) #53 र
मा
जसमाअहह
कमा
रपमा
पमा
तह
▼2
| rājas
ahaṃkār pāpāt patana (falling on account of the sin of egoity dominated by the
quality of activity) #22 र
मा
जसअहह
कमा
रपमा
पमा
त्पतन
ह▼2
| vivek954 abhavya aśubh (discriminating
judgment; souls incapable of liberation; inauspicious) #27 व
ररखे
कअभव असगु
भ▼2

951 Acyuta constitutes the northern half of the eighth heaven (kalpa) of the vaimānika gods in the
Śvetāmbara and Digambara systems of cosmography (Kirfel 1920: 292).
952 The first part of the reading (ānat 11) is reminiscent of the first part of the main reading in sq. 72
where Ja84#4 reads āmān 9 (Ānata heaven no. 9?), and closely related to the first part of the reading
(ānat 9) in sq. 73 on Ja84#4. Number "11," however, indicates that the intended reading was āraṇ 11
found in the main reading in sq. 73.
953 The reading bhavanpati is reminiscent of the main reading bhavanpati dvār (gateway to the
bhavanapati gods) in row title #2, and synonymous with the main readings das nikāy (group of ten,
sq. 15) and bhavanpati dev (bhavanapati gods, sq. 66). However, Ja84#27 only includes the main
reading from sq. 15.
954 The reading vivek is identical with the main reading in sq. 65 where Ja84#27 reads āraṇ devlok
(Āraṇa heaven).

554
N/A #52

Row #9
Row title: graiveyak kṣetra dvār
graiveyak kṣetra dvār (gateway to the plane of graiveyaka heavens) #8 ग्रखे
रखे
क कखे
त्रदमा
र#9
ग्रखे
रखे
क कह
त्र दमा
र२ #22 नर ग्रखे
रहयक कखे
त्र दमा
र८955 #26 गकृ
हखे
रखे
क दमा
र१| graiveyak kṣetra (plane of
ह
graiveyaka heavens) #4 ग्रखे
रखे
य
व़क कखे
त्र956 | nav graiveyak devlok (nine graiveyaka heavens)
#3ab नरग्रह
रहकदखे
रललो
क #5 नर(
ग्रह
)रक#16,58 नरग्रह
रखे
क#53 नरग्रह
रखे
यक

N/A #7,13,17,18,20,23,27,29,33,34,36,38,40,52,55

Sq. 76: mohnī karm▼52

mohnī957 karm (deluding karma)958 #3a मलो
हनहकमर्वा
७ #3b मलो
हनहकमर्वा
७▼52 #5 ममा
हनहकमर्वा
▼52

#8,13,17,18,33,34,40,58 मलो
हनहकमर्वा
▼52
#9,16 मलो
हनहकमर्वा
▼52
#20 मलो
हनहकमर्वा
▼2
#26 मलो
हनहकर
म▼34 #29
मलो
हनहकरर्वा
▼52
#36 मलो
हनहकमर्वा
१▼41 #55 मलो
हनहकर
म▼52 | mohnī karm 70 koṛākoṛī959 sāgar varṣ
(deluding karma (for a period of) 70 karoṛākaroṛī sāgara years960) #4 मलो
हनहकर
म७०कलो
समा
गर▼52
#23 मलो
हवनकमर्वा
( वन)थ
सवत७०कलो
डमा
कलो
डवन▼2 #38 मलो
हनहकमर्वा
७०कलो
कलो
ड़मा
ड़हरर
स▼52 | mohnī
karmodayāt (delusion on account of arising karma) #22 मलो
हनहकमर्लो
दयमा(
स)▼52
#53 मलो
हनह
कमर्लो
दयमातह
▼52
| acyut devlok961 (acyuta heaven) #27 अचगु
तदखे
रललो
क▼52,footprint

Blank #7▼2 | N/A #52

955 The row title appears in an additional square below the main grid. The chart reads "8" instead of "9"
because it skips the row title for row #7.
956 The row title appears inside sq. 84 at the rightmost end of the ninth row.
957 Skt. mohanīya.
958 Mohanīyakarman is the most important of the eight forms of karma. It is divided into vision-
deluding (darśanamohanīya) and conduct-deluding (cāritramohanīya) karma (Jaini 1979: 117-21).
The five false views (mithyātva) of vision-deluding karma are mentioned by the main reading in sq.
17, while the four main passions (kaṣāya) of conduct-deluding karma are named by the main
readings in sqs. 3,4,9,10.
959 Hi. karoṛākaroṛī (10.000.000 x 10.000.000).
960 I.e. 70 x (10.000.000 x 10.000.000) x 1 sāgara. See fn. 933.
961 The reading acyut devlok is identical with the main reading in sq. 74 where Ja84#27 reads
bhavanpati devlok (bhavanapati gods, heaven).

555
Sq. 77: bhadra graiveyak 1
bhadra graiveyak962 1 (Bhadra graiveyaka heaven no. 1)963 #3b भद
खे
१ग्रह
रहक #4 भदखे
ग्रखे
रखे
क
व़ १
#5 भद
खे
ग्रह
रमा
क
ह १#9 भह
दग्रह
रखे
क १#13 भदखे
ग्रखे
रखे
यक #16 भदखे
१ग्रह
रखे
क #17 भखे
दग्रह
रखे
यक #18,58 भखे
दग्रह
रखे
क #20
भद्रग्रह
रखे
क #22 भद्रग्रह
रखे
यक नमा
ह
ममा#23 १भद्रव
ग्ररखे
रखे
ग#29 (
भखे
)
दगकृ
रखे
क #33 भद्रग्रह
रखे
क १#34 सद्रग्रह
रखे
यक #40
भखे
दग्ररखे
क #53 भद
खे
ग्रह
रखे
क #55 भखे
दगकृ
रखे
क १| bhadra graiveyak 2 subhadra graiveyak 964 1
(Subhadra and Bhadra graiveyaka heavens nos. 1-2)965 #36 भखे
दग्रह
रखे
क २सगु
भद्रग्रह
रखे
क १|
subhadra graiveyak 2966 (Subhadra graiveyaka heaven no. 2) #3a (
सगु
)
भदखे
२ग्रह
(रह
)क▼52 |
acyut devlok graiveyak967 (Acyuta heaven; graiveyaka heaven) #26 अचगु
तदखे
रललो
क गकृ
हरखे
क|
nav graiveyak (nine graiveyaka heavens) #38 नर ग्रह
रखे
क १| rājas ahaṃkār śubh968
(egoity dominated by the quality of activity; auspicious karma) #27 र
मा
जसऽ
हकहमा
रसगु
भ

Uncertain #8 रखे
दग्रखे
रखे
यक१(bhadra graiveyak 1?)

Blank #7 | N/A #52

Sq. 78: subhadra graiveyak 2

subhadra graiveyak969 2 (Subhadra graiveyaka heaven no. 2)970 #3b सगु
भद खे
२ग्रह
रहक #5 सगु
भद खे
ग्रह
रमा
कणः२#8 सगु
ह भखे
दग्रखे
रखे
क २#9 शगु
भखे
दग्रह
रखे
क २#13 सगु
भदखे
ग्रह
रहयक #16 सगु
भदखे
२#17 सगु
भखे
दग्रह
रखे
यक #18 सगु
भद

962 Several charts prefer the vernacular spelling grīvek, or a variation thereof.
963 Kirfel does not mention Bhadra among the nine graiveyaka heavens, though he mentions
Sarvatobhadra as the fourth graiveyaka heaven in the Śvetāmbara system of cosmography, and
Subhadra as the fifth graiveyaka heaven in the Digambara system of cosmography (Kirfel 1920: 294).
Bhadra (spelled bhadde) does, however, appear as the first graiveyaka heaven in an 18th-century
Śvetāmbara manuscript illustration from Rajasthan published by Caillat and Kumar (2004: 89, fig.
32).
964 The reading subhadra graiveyak is identical with the main reading in sq. 78 where Ja84#36 appears
to read sujāt graiveyak 3 subhadra graiveyak (Sujāta graiveyaka heaven no. 3, Subhadra graiveyaka
heaven).
965 Ja84#36 switches around the numbers assigned to the Bhadra and Subhadra graiveyaka heavens.
966 Ja84#3a switches around the readings subhadra graiveyak 2 (sq. 77) and bhadra graiveyak 1 (sq. 78).
967 The first part of the reading (acyut devlok) is identical with the main reading in sq. 74, and thus
appears twice on Ja84#26.
968 The first part of the reading (rājas ahaṃkār) is identical with the main reading in sq. 75 where
Ja84#27 reads vivek abhavya aśubh (discriminating judgment, souls incapable of liberation,
inauspicious).
969 Several charts prefer the vernacular spelling grīvek, or a variation thereof.
970 Subhadra constitutes the fifth graiveyaka heaven in the Digambara system of cosmography (Kirfel
1920: 294), and appears as the second graiveyaka heaven (spelled subhadde) in an 18th-century
Śvetāmbara manuscript illustration from Rajasthan published by Caillat and Kumar (2004: 89, fig.
32).

556
ग्रह
रखे
क #20 सगु
भद्रग्रह
रखे
क #22 सगु
भद्रग्रह
×यक #23 शगु
भद्रव
ग्रव
ररखे
ग२×#26 शगु
भखे
दग्रहरखे
क छखे
णः#27 सगु
भ ग्रह
रखे
ग
दखे
रललो
क #29 सगु
भखे
दगकृ
रखे
यकणः#33 सगु
भद्रग्रह
रखे
क २#34 सगु
भद्रग्रह
रखे
क #38 शगु
भदमाग्रह
रखे
क २#53 शगु
भमा
दखे
ग्रह
रखे
क #55
शगु
भखे
दगकृ
रखे
क २| bhadra graiveyak 1971 (Bhadra graiveyaka heaven no. 1) #3a भद
खे
१ग्रह
रहक|
sujāt graiveyak972 (Sujāta graiveyaka heaven) #40 सगु
जमातहग्रह
रखे
क

Uncertain #4 सगु
भ दखे
र#58 शभ
गु दखे
र२(subhadra devlok 2, Subhadra heaven no. 2?) | #36
सगु
जमातग्रह
रखे
क ३सगु
भग्रह
रह
क (sujāt graiveyak 3973 subhadra graiveyak, Sujāta graiveyaka heaven
no. 3; Subhadra graiveyaka heaven?)

Blank #7 | N/A #52

Sq. 79: sujāt graiveyak 3

sujāt graiveyak974 3 (Sujāta graiveyaka heaven no. 3)975 #3a सगु
जमात७(
ग्रह
)रह
क #3b सगु
जमात७
ग्रह
रहक #4 सगु
जमाण ३#5 सगु
जमातग्रह
रमा
क ३#8 सगु
ह जमायग्रखे
रक #9 सगु
जमातग्रह
रक ३#13 सगु
जमातग्रह
रहयक #16 सगु
जमातखे
३
#17,22 सगु
जमातग्रह
रखे
यक #18,20,53 सगु
जमातग्रह
रखे
क #23 सबू
जमातव
ग्रव
ररखे
ग३#26 सबू
जमातग्रहरखे
क #27 सगु
जमातग्रह
रखे
ग
दखे
रललो
क #29 सगु
जमातगकृ
रखे
यक #33 सगु
जमातग्रह
रखे
क ३#34 सबू
जमातग्रह
रखे
क #38 सगु
जमातग्रह
रखे
यक ३#55 सगु
जमातगकृ
रखे
क ३|
pāp darśan sujāt graiveyak 4 (sinful perception; Sujāta graiveyaka heaven no. 4) #36
पमा
पदशर्वा
नसगु जमा
तग्रह
रह
क४

Uncertain #58 पबू

जमात(
सगु
भ)३ (sujāt subhadra976 3? pūjāt śubh, auspicious karma on
account of worship?)

Blank #7,40 | N/A #52

Sq. 80: sumanas graiveyak 4, priyadarśan graiveyak 5footprint

sumanas graiveyak977 4 priyadarśan graiveyak 5 (Sumanas and Priyadarśana
graiveyaka heavens nos. 4-5)978 #5 सगु
मनसग्रह
रमा
क
ह ५व
प्रयदर
सन५#8 सगु
(मन)
स४(
प्रह
य)दशर्वा
न( ५)
footprint

971 Ja84#3a switches around the readings subhadra graiveyak 2 (sq. 77) and bhadra graiveyak 1 (sq. 78).
972 The reading sujāt graiveyak is identical with the main reading in sq. 79 which Ja84#40 leaves blank.
973 The reading sujāt graiveyak 3 is identical with the main reading in sq. 79, and thus appears twice on
Ja84#36.
974 Several charts prefer the vernacular spelling grīvek, or a variation thereof.
975 Kirfel does not mention Sujāta among the nine graiveyaka heavens (Kirfel 1920: 294), but it appears
as the fourth graiveyaka heaven (spelled sujāe) in an 18th-century Śvetāmbara manuscript
illustration from Rajasthan published by Caillat and Kumar (2004: 89, fig. 32).
976 The reading subhadra is identical with the main reading in sq. 78 where Ja84#58 appears to read the
same.
977 Several charts prefer the vernacular spelling grīvek, or a variation thereof.
978 Sumanas constitutes the sixth graiveyaka heaven in the Śvetāmbara system of cosmography (Kirfel
1920: 294), and appears as the third graiveyaka heaven (spelled somaṇase) in an 18th-century

557
#9 सगु
मनस४प्रयदशर्वा
न५footprint #13 सगु
मनसप्रह
यदशर्वा
न#16 सगु
मनस४व
प्रयदर
सण ५footprint #17 सगु
मनग्रह
रखे
यक ४
व
प्रयदशर्वा
नग्रहरखे
यक #18 सगु
मनसखे
प्रह
यदशर्वा
नग्रहरखे
कfootprint #33 सलो
मन४प्रह
यदशर्वा
न५#55 सगु
मनस ४प्रह
यदर
सन|
sumanas graiveyak 4 (Sumanas graiveyaka heaven no. 4) #7 सगु
मनमा
मगह
रखे
क ४#22 सगु
मनस
ग्रह
रखे
यकणः
footprint
#27 सगु
ममा
नस ग्रह
रखे
ग दखे
रललो
कfootprint | priyadarśan graiveyak (Priyadarśana
graiveyaka heaven) #26 प्रह
यदसन ग्रहरखे
कfootprint | śrīmat 4 priyadarśan (the illustrious
Priyadarśana graiveyaka heaven no. 4) #34 शह
मन ४ प्रह
यदर
सण▲top #1,footprint
| kṣāyik
samkīt 979
(right view due to destruction of karma) #29 कमा
यकसमककी
त footprint

Uncertain #3a सगु

जह (
द) (
प्र) ग्रह
रहक (sujāt980 priyadarśan graiveyak, Sujāta and
Priyadarśana graiveyaka heavens?) | #3b सगु
मनसव
प्रयदक #20 (...)म(
वप्रय)
×शर्वा
नfootprint #23 सलो
मन
रखे
ग( य)
दरशण (
ग्र)
रखे
ग५#36 प्रमा
(...) सगु
मनस ग्रह
रखे
क ५#38 सगु
मनग्रह
रखे
क ४ग्रह
यदशर्वा
नग्रहरखे
यक ५footprint #58 नस
व
प्रयदशर्वा
न४(sumanas graiveyak 4 priyadarśan graiveyak 5?) | #4 सगु
गमानस सगु
प(प्रह
)बगु
धfootprint
(sumanas suprabuddh, Sumanas and Suprabuddha981 graiveyaka heavens?) | #53
×(
म)नसग्रह
रखे
कfootprint (sumanas graiveyak?)

Blank #7,40footprint | N/A #52

Sq. 81: sudarśan graiveyak 6

sudarśan graiveyak982 6 (Sudarśana graiveyaka heaven no. 6)983 #3b,55 सगु
दशर्वा
न ६ #5
सगु
दरसनग्रह
रमा
क ६#8 सगु
ह दरसनग्रखे
रखे
क ६#9 सगु
दशर्वा
नग्रह
रक ६#13 सबू
दशर्वा
नग्रह
रखे
यक #16 सगु
दरसण ६#17,22 सगु
दशर्वा
न
ग्रह
रखे
यक #18 सबू
दशर्वा
नग्रह
रखे
क #20 सगु
दशर्वा
नव ग्ररक
खे #23 सगु
दशर्वा
णव ग्रव
ररखे
ग६#26 शगु
दशहण गकृ
हर
खेखे
क #29 सगु
दशर्वा
नगकृरखे
यक
#33 सगु
दशर्वा
नग्रह
रखे
क ६#34 सगु
दरसणग्रह
रखे
क #36 सगु
दशर्वा
नग्रह
रह
क ६#38 सगु
दशर्वा
नग्रह
रखे
यक ६#53 सगु
दशर्वा
नग्रह
रखे
यक #58
सगु
दशर्वा
ण ६| priyadarśan984 6 (Priyadarśana graiveyaka heaven no. 6) #4 व
पयदसण ६#27

Śvetāmbara manuscript illustration from Rajasthan published by Caillat and Kumar (2004: 89, fig.
32). Kirfel does not mention Priyadarśana among the nine graiveyaka heavens, but it appears as the
fifth graiveyaka heaven (spelled prīyadaṁsane) in the manuscript illustration.
979 Skt. samyaktva. The reading kṣāyik samkīt is identical with the main reading in sq. 80 on 84-square
Jaina type b charts.
980 The reading sujāt is identical with the main reading in sq. 79, and thus appears twice on Ja84#3a.
981 Suprabuddha constitutes the second graiveyaka heaven in the Śvetāmbara system of cosmography,
and the third graiveyaka heaven in the Digambara system of cosmography (Kirfel 1920: 294). It may
be identical with Suprabandha named by the main reading in sq. 83.
982 Several charts prefer the vernacular spelling grīvek, or a variation thereof.
983 Sudarśana constitutes the first graiveyaka heaven in the Śvetāmbara and Digambara systems of
cosmography (Kirfel 1920: 294), and appears as the sixth graiveyaka heaven (spelled sudaṁsaṇe) in
an 18th-century Śvetāmbara manuscript illustration from Rajasthan published by Caillat and Kumar
(2004: 89, fig. 32).
984 The reading priyadarśan is identical with the second part of the main reading in sq. 80 where
Ja84#4,27 omit it.

558
प्रह
यदर
सनदखे
रललो
क

Uncertain #3a (
सगु
)
मनस व
प्रयक (sumanas priyadarśan,985 Sumanas and Priyadarśana
graiveyaka heavens?)

Blank #7,40 | N/A #52

Sq. 82: amogh graiveyak 7

amogh graiveyak986 7 (Amogha graiveyaka heaven no. 7)987 #3b,58 अमलो
ह७#5 अमलो
हग्रह
रमा
क
ह
७#8 आमलो
हग्रर
खेखे
क ७#9 आमलो
हग्रह
रखे
क ७#13,17 अमलो
हग्रह
रखे
यक #16,55 अमलो
घ७#18 अमलो
हनहग्रह
रखे
क #20,34
अमलो
घ ग्रह
रखे
क #22 अमलो
घ नमा
ह
ममाग्रह
रखे
यक #23 अमलो
घषग्रह
वररखे
ग७ #26 अमलो
हगकृ
हरखे
क छखे#27 अमलो
हखे
ग्रह
×रखे
ग
दखे
रललो
क #29 अमलो
हगकृ
रखे
यक #33 अमलो
घग्रह
रखे
क ७#38 अमलो
हग्रह
रखे
क ७#53 अमलो
घग्रह
रखे
यक | sudarśan 6988
(Sudarśana graiveyaka heaven no. 6) #3a सगु
दशर्वा
न६#4 सगु
दरसण७

Uncertain #36 मलो

हगकृ
रह
क ७(amogh graiveyak 7?)

Blank #7,40 | N/A #52

Sq. 83: suprabandh graiveyak 8

suprabandh graiveyak989 8 (Suprabandha graiveyaka heaven no. 8)990 #8 सप्रब
हधग्रखे
रखे
क८
#9 सप्रबधग्रह
रखे
क ८#17 सगु
प्रबद्धिगर
ह
रखे
यक #18 सबू
प्रर
हधग्रह
रखे
क #26 सगु
प्रब
हधगकृ
हरखे
क छखे
#29 सगु
प्रब
हधगकृ
रखे
यक #36
सगु
प्रब
हध ग्रह
रह
क ८#38 सगु
प्रब
हधहग्रह
रखे
यक ८| supratibandh 8 (Supratibandha graiveyaka heaven
no. 8)991 #3b सगु
प्रव
तबद्धि ८#5 सगु
प्रव
तरद्धि ग्रह
रमा
क ८#13 सगु
ह प्रव
तबग्रह
रखे
यक #55 सगु
प्रव
तबह
ध ८#58 सप्र
गुतलौर
हध|

985 The reading sumanas priyadarśan is identical with the main reading in sq. 80 where Ja84#3a
appears to read sujāt priyadarśan graiveyak (Sujāta and Priyadarśana graiveyaka heavens).
986 Several charts prefer the vernacular spelling grīvek, or a variation thereof.
987 Amogha constitutes the second graiveyaka heaven in the Digambara system of cosmography (Kirfel
1920: 294), and appears as the seventh graiveyaka heaven (spelled amohe) in an 18th-century
Śvetāmbara manuscript illustration from Rajasthan published by Caillat and Kumar (2004: 89, fig.
32).
988 The reading sudarśan 6 is identical with the main reading in sq. 81 where Ja84#3a,4 omit it.
989 Several charts prefer the vernacular spelling grīvek, or a variation thereof.
990 Kirfel does not mention Suprabandha among the nine graiveyaka heavens, though he mentions the
possibly related Suprabuddha as the second graiveyaka heaven in the Śvetāmbara system of
cosmography, and as the third graiveyaka heaven in the Digambara system of cosmography (Kirfel
1920: 294). An 18th-century Śvetāmbara manuscript illustration from Rajasthan published by Caillat
and Kumar gives the name of the eighth graiveyaka heaven as supayaṭṭhe (supratiṣṭha?) (2004: 89,
fig. 32).
991 The Supratibandha graiveyaka heaven should probably be considered identical with the
Suprabandha graiveyaka heaven. See fn. 990.

559
supratiṣṭh graiveyak 8 (Supratiṣṭha graiveyaka heaven no. 8)992 #20 सगु
प्रव
तषग्रह
रखे
क #22
सगु
प्रव
तवषतग्रह
रखे
यक #23 सगु
प्रव
तषव
ग्रव
ररखे
ग#33 सगु
प्रव
तषग्रह
रखे
क ८#34 शगु
प्रव
तष(
यखे
)ग्रह
रखे
क ८#53 सगु
प्रव
तषग्रह
रखे
यक |
amogh 7993 (Amogha graiveyaka heaven no. 7) #3a अमलो
ह७#4 अमलो
घ८

Uncertain #16 सगु

प्रव
तबगु
सद्धि८(supratibuddh 8, Supratibuddha no. 8?)994 | #27 सगु
प(वड़)
भदखे
दखे
रललो
क
(suprabandh 8? supratibandh 8?)

Blank #7,40 | N/A #52

Sq. 84: yaśodhar graiveyak 9

yaśodhar graiveyak995 9 (Yaśodhara graiveyaka heaven no. 9)996 #3a यशलो
(
ध)र९#3b,16,58
यशलो
धर९#4 जसलो
धर९
997
#5 यसलो
धरग्रह
रमा
क ९#8 यसलो
ह धरग्रखे
रखे
क ९#9 यशलो
धरग्रह
रखे
क ९#13 यशलो
धरग्रह
रहयक #17
जसलो
धरग्रह
रखे
यक #18 यशलो
धरग्रह
रखे
क #20 जसलो
धरग्रह
रखे
क #22 यसलो
धरग्रह
रखे
यक #23 जसलो
धरव
ग्रव
ररखे
ग९#26 यसलो
धर
गकृ
हरखे
क छह#27 जसलो
धरग्रह
रखे
गदखे
रललो
क #29 यसलो
धरगकृ
रखे
यक #33 जसलो
धरग्रह
रखे
क ९#34 जयलो
धरग्रह
रखे
क #36
यसलो
धरग्रह
रह
क९#38 यशलो
धरग्रह
रखे
यक९#53 यसलो
धरग्रह
रखे
यक#55 यसलो
धरगकृ
रखे
क९

Blank #7,40 | N/A #52

Top Squares
Top Sq. 1: vijay anuttar vimān 1
vijay anuttar vimān 1 (palace of the Vijaya anuttara heaven no. 1)998 #7 व
रजयव
रममा
न१#8
व
रजयअनगु
त×वरममा
ह
न(१)#9 व
रजयअनगु
त्तरव
रममा
न१footprint #16 व
ह रजयव
रममा
न१footprint #26 व
रजय
हअ×तर

992 The Supratiṣṭha graiveyaka heaven should probably be considered identical with the Suprabandha
graiveyaka heaven (see fn. 990). It should, however, be noted that Supraṭiṣṭhābha is the name of one
of the eight lokāntika gods who live in or around the Brahma(loka) heaven named by the main
reading in sq. 64 two squares below sq. 83 (Tatia 1994: 108-9).
993 The reading amogh 7 is identical with the main reading in sq. 82 where Ja84#3a,4 omit it.
994 Kirfel does not mention Supratibuddha among the nine graiveyaka heavens, though he mentions the
apparently related Suprabuddha as the second graiveyaka heaven in the Śvetāmbara system of
cosmography, and as the third graiveyaka heaven in the Digambara system of cosmography (Kirfel
1920: 294).
995 Several charts prefer the vernacular spelling grīvek, or a variation thereof.
996 Yaśodhara constitutes the fourth graiveyaka heaven in the Digambara system of cosmography
(Kirfel 1920: 294), and appears as the ninth graiveyaka heaven (spelled jasodhare) in an 18th-century
Śvetāmbara manuscript illustration from Rajasthan published by Caillat and Kumar (2004: 89, fig.
32).
997 The reading appears in the same square as row title #9.
998 Vijaya constitutes the easternmost of the five highest (anuttara) heavens in the Śvetāmbara and
Digambara systems of cosmography (Kirfel 1920: 295).

560
रह
ममा
ह
(
न)१footprint #27 रह
जहयरह
××ममा
ण १footprint #33 व
ह रजयअनगु
त्तरव
रममा
न१#40 व
रज(
य)१footprint #58
व
रजय| vijay anuttar vimān 1 sāgar 32 (palace of the Vijaya anuttara heaven no. 1; 32
sāgaras)999 #4 १व
रजय३२#18 रह
जय(
अनगु
)तररह
×(न)३२समा
(
ग)रथ
सतह१#55 १व
रजयसमा
गर३२| vijay
vimān 1 āyu sāgar 301000 (palace of the Vijaya heaven; life span of 30 sāgaras) #23
व
र(जय)
तवरममा
(
ण)(
१)आ॰३०समा
गर| vaijayant vimān 11001 (Vaijayanta heaven no. 1) #38
रह
जयतव
रममा
न१| aparājit 41002 (Aparājita heaven no. 4) #3a अपर
मा
(स
जत)४#3b अपर
मा
स
जत४#5
अपर
मा
स
जत४| aparājit vimān 11003 (palace of the Aparājita heaven no. 1) #22 अपर
मा
स
जतव
रममा
न
ह
१footprint #53 अपर
मा
स
ज(१)| jayant anuttar vimān 11004 (palace of the Jayanta anuttara
heaven no. 1) #17 जय
हतअनगु
त्तरव
रममा
न१

Uncertain #13 (
वरजय
ह)
तह(१ ह
) (vijay 1?)1005 | #20 (...)य(...)footprint (vijay anuttar vimān?)1006 |
#36 (...) व
रममा
न(...)ममा
ह न(vijay vimān anuttar vimān?)1007 | #29 ×(?)
ह

N/A #34,52

Top Sq. 2: vaijayant anuttar vimān 2

vaijayant anuttar vimān 2 (palace of the Vaijayanta anuttara heaven no. 2)1008
#3ab,5,53,58 रह
जयह
त२#7 रखे
जय ह
तवरममा
न२#8 व
रजय
हतअनगु
तरवरममा
न२#9 रह
ह जयह
तअनगु
त्तरव
रमह
न२footprint
#13 (
रह
ज)य
हत(
२)#16,40 व
रजय
हत२#20 रह
जयह
तअनगु
त्तरव
रममा
न२#22 रखे
जय ह
तवरममा
न२footprint #26 व
ह रजय
हत
रह
ममा
न२#33 व
ह रजय
हतअनगु
त्तरव
रममा
न२#36 (
रहजय
हत)(...) (
अ)नगु
त्त(
र)(...)(
ममा
न)२| vaijayant vimān 2
ह

999 The gods in the Vijaya anuttara heaven are said to have a lifespan of 32 sāgara years (Tatia 1994:
113). See fn. 933.
1000 The reading sāgar 30 is probably wrong for sāgar 32, as this is the lifespan of gods in the Vijaya
anuttara heaven (Tatia 1994: 113).
1001 Ja84#38 unusually identifies Vaijayanta as the first anuttara heaven, and fails to include the Vijaya
anuttara heaven, though it is probably implied by the reading anuttar vimān 3 (palace of anuttara
heaven no. 3) in top sq. 3.
1002 Ja84#3ab,5 correctly identify Aparājita as the fourth anuttara heaven, but locates it in top sq. 1
instead of the usual top sq. 3.
1003 Ja84#22 unusually identifies Aparājita as the first anuttara heaven, and locates it in top sq. 1
instead of the usual top sq. 3.
1004 Ja84#17 only dedicates three top squares to enumerating the anuttara heavens, leaving out the first
and second anuttara heavens Vijaya and Vaijayanta, and locating the winning square in top sq. 4
instead of the usual top sq. 6.
1005 Reading inferred from related readings in the other top squares of Ja84#13.
1006 Reading inferred from related readings in the other top squares of Ja84#20.
1007 Reading inferred from related readings in the other top squares of Ja84#36.
1008 Vaijayanta constitutes the southernmost of the five highest (anuttara) heavens in the Śvetāmbara
and Digambara systems of cosmography (Kirfel 1920: 295).

561
sāgar 32 (palace of the Vaijayanta heaven no. 2; 32 sāgaras)1009 #4 २रखे
जय ह
त३२#18 रह
जयह
त
रह
ममा
न३२समा
गर२#55 २व
रजय
हतसमा
गर३२| vaijayant vimān 2 āyu sāgar 32 (palace of the
Vaijayanta heaven no. 2; life span of 32 sāgaras) #23 व
रजय
हतव
रममा
ण २आ(
यबू
)समा
गर३०जमा|
jayant vimān 21010 (Jayanta heaven no. 2) #38 जय
हतव
रममा
न२| jayant vimān 31011 (palace
of the Jayanta heaven no. 3) #27 जय
हतरह
ममा
ण ३ footprint | vijay vimān 11012 (palace of the
ह
Vijaya heaven no. 1) #29 व
रजयव
रममा
ह
न१| aparājit anuttar vimān 41013 (palace of the
Aparājita anuttara heaven no. 4) #17 अपर
मा
स
जतअनगु
त्तरव
रममा
न४

N/A #34,52

Top Sq. 3: aparājit anuttar vimān 4

aparājit anuttar vimān 4 (palace of the Aparājita anuttara heaven no. 4)1014 #7,33
अपर
मा
स
जतव
रममा
न४#8 अ(
प)र
मा
स
जतअनगु
(त)रव
रममा
ह
न४#9 अपर
मा
स
जतअनगु
त्तरव
रममा
न४footprint #13,58 अपर
मा
स
जत
४#16 अपर
मा
स
जत४footprint #20 अपर
मा
स
जतव
रममा
न४footprint #26 अपर
मा
जह(
त)रह
ममा
न४#27 अपर
ह मा
स
जतव
रममा
ण
ह
४footprint #40 अपर
मा
(जह
)त४| aparājit vimān 4 sāgar 32 (palace of the Aparājita heaven no.
4; 32 sāgaras)1015 #4 ४अपर
मा
स
जत३२#18 अपर
मा
जहतरह
ममा
न३२समा
गर४#55 ४अपर
मा
स
जतसमा
गर३२|
aparājit vimān āyu 32 sāgar (palace of the Aparājita heaven; life span of 32 sāgaras)
#23 अपर
मा
स
जतव
रममा
ण आ(
ह यह
बू
)३२समा
गर| sarvārthsiddhi 51016 (Sarvārthasiddhi heaven no. 5)
#3a सरमा
र(
र्वा
र्वा
ससद्धि)५#3b सरमा
रस
र्वा
र्वा
सद्धि५#5 सरमा
रस
र्वा
र्वा
सस द्धि५#17 सरमा
रस
र्वा
र्वा
सद्धि#34 सरमा
रस
र्वा
र्वा
सस ध#53 (...)स
स(द्धि)×|
sarvārthsiddhi vimān 31017 (palace of the Sarvārthasiddhi heaven no. 3) #22 सरमा
रस
र्वा
र्वा
सद्धि
व
रममा
न३footprint | vaijayant 21018 (Vaijayanta heaven no. 2) #29 रईजय
ह हत२

1009 The gods in the Vaijayanta anuttara heaven are said to have a lifespan of 32 sāgara years (Tatia
1994: 113). See fn. 933.
1010 Ja84#38 unusually identifies Jayanta as the second anuttara heaven, and locates it in top sq. 2
instead of the usual top sq. 4.
1011 Ja84#27 switches around the names of the Vaijayanta and Jayanta anuttara heavens in top sqs. 2
and 4, respectively.
1012 Ja84#29 only begins the enumeration of the anuttara heavens in top sq. 2, thereby displacing the
readings related to them by one square.
1013 See fn. 1004.
1014 Aparājita constitutes the northernmost of the five highest (anuttara) heavens in the Śvetāmbara
and Digambara systems of cosmography (Kirfel 1920: 295).
1015 The gods in the Aparājita anuttara heaven are said to have a lifespan of 32 sāgara years (Tatia
1994: 113). See fn. 933.
1016 Ja84#3ab,5,34,53 correctly identify the fifth anuttara heaven as Sarvārthasiddhi, but locates it in
top sq. 3 instead of the usual top sq. 5. For Ja84#17, see fn. 1004.
1017 Ja84#22 unusually identifies Sarvārthasiddhi as the third anuttara heaven, and locates it in top sq.
3 instead of the usual top sq. 5.
1018 See fn. 1012.

562
Uncertain #36 (...)त(
अनगु
त्त) ममा
(...)( ह
)
न×(aparājit anuttar vimān 4?)1019 | #38 अनगु
त्तरव
रममा
ह
न३
(vijay anuttar vimān 31020, palace of the Vijaya anuttara heaven no. 3?)1021

N/A #52

Top Sq. 4: jayant anuttar vimān 3

jayant anuttar vimān 3 (palace of the Jayanta anuttara heaven no. 3)1022
#3ab,5,16,40,53,58 जय
हत ३#8 जय
हत अनगु
तरवरममा
ह
न ३#9 जगु
यह
तवरममा
न अनगु
त्तर३footprint #13 जयत ३
#20,33 जय
हतअनगु
त्तरव
रममा
न३#26 जयतरह
ममा
न३#36 ज(
ह यह
)तव
रममा
नअनगु
त्तरव
रममा
न३| jayant vimān 3
ह
sāgar 32 (palace of the Jayanta heaven no. 3; 32 sāgaras)1023 #4 ३जय
हत३२#18 जय
हतहरह
ममा
न
३२समा
गरथ
स ३#55 ३जय
हतसमा
गर३२| jayant anuttar vimān āyu sāgar 30 1024 (palace of the
Jayanta anuttara heaven; life span of 30 sāgaras) #23 जय
हतअणगु
तरवरममा
ण आ(
ह यबू
ह
)समा
गर३०|
jayant vimān 41025 (palace of the Jayanta anuttara heaven no. 4) #22 जय
हतव
रममा
न४footprint |
ह
aparājit 41026 (Aparājita heaven no. 4) #29 अपर
मा
जहत ४ | sarvārthsiddhi vimān 51027
(palace of the Sarvārthasiddhi heaven no. 5) #38 सरमा
रस
र्वा
र्वा
सद्धि व
रममा
ह
न५| vaijayant vimān
21028 (palace of the Vaijayanta heaven no. 2) #27 रह
जयह
तरह
ममा
ण २footprint | mukti kṣetra
ह
4500000 yojan sphāṭikratnamay mukti śilā chai 1029 (plane of liberation; 4.500.000
yojana;1030 this is the place of liberation made of crystal and jewels) #17 मगु
वक्ति कखे
त्र४५०००००
यलो
॰स मा
व
टकर
त्नमयमगु
वक्ति स
सलमाछह

Blank #7 | N/A #34,52

1019 Reading inferred from related readings in the other top squares of Ja84#36.
1020 Ja84#38 unusually identifies Vijaya as the third anuttara heaven, and locates it in top sq. 3 instead
of the usual top sq. 1.
1021 Reading inferred from related readings in the other top squares of Ja84#38.
1022 Jayanta constitutes the westernmost of the five highest (anuttara) heavens in the Śvetāmbara and
Digambara systems of cosmography (Kirfel 1920: 295).
1023 The gods in the Jayanta anuttara heaven are said to have a lifespan of 32 sāgara years (Tatia 1994:
113). See fn. 933.
1024 The reading sāgar 30 is probably wrong for sāgar 32, as this is the lifespan of gods in the Jayanta
anuttara heaven (Tatia 1994: 113).
1025 Ja84#22 unusually identifies Jayanta as the fourth anuttara heaven.
1026 See fn. 1012.
1027 Given the design of Ja84#38, which puts top sqs. 3,4,5 in the same row, it may be argued that the
readings in top sqs. 4 and 5 should be switched around.
1028 Ja84#27 switches around the names of the Vaijayanta and Jayanta anuttara heavens in top sqs. 2
and 4, respectively.
1029 See fn. 1004.
1030 See fn. 1038.

563
Top Sq. 5: sarvārthsiddhi vimān 5
sarvārthsiddhi vimān 5 (palace of the Sarvārthasiddhi heaven no. 5) 1031 #7 सरमा
रस
र्वा
र्वा
सद्धि
व
रममा
न५#8 स(
त्वमा
)
रसर्वा
स( ध)व
रममा
ह
न५#13 सरमा
रस
र्वा
र्वा
सद्धि५#16 सरमा
र्वा
××स सद्धि५footprint #20 (
स)रमा
र
र्वा(
र्वा
सस)द्धि५#26
सरमा
रस
र्वा
र्वाह
धरह
ममा
नछह
५#27 श्वमा
र
रसह
धरह
ममा
ण५footprint #33 सरमा
ह रस
र्वा
र्वा
सस द्धि५#36 सरमा
र्वा
( र) र्वा
×द्धिअनगु
त्तर(...)न#40
सरमा
र(
र्वा
र्वा
सह द्धि)(
५)#58 सरमा
रस
र्वासद्धि ५ | sarvārthsiddhi vimān 5 sāgar 33 (palace of the
Sarvārthasiddhi heaven no. 5; 33 sāgaras)1032 | #4 ५सरमा
रस
र्वा
व़ र्वा
सधह३३#18 सर
रमा
र(
र्वा
सह )
धरह
ममा
न३३
समा
गरथ
सतह५#55 ५सरमा
रस
र्वा
र्वा
सद्धि व
रममा
नसमा
गर३३| aparājit anuttar vimān 41033 (palace of the
Aparājita heaven no. 4) #38 अपर
मा
स
जत व
रममा
न ४ | aparājit anuttar vimān 5
ह
sarvārthsiddhi vimān 4 (palaces of the Sarvārthasiddhi and Aparājita heavens nos. 4-
5)1034 #9 अपर
मा
स
जतअनगु
त्तरव
रममा
न५सर
बरर
(र)
ससस
धवरममा
न४footprint | vijay 11035 (Vijaya heaven no.
1) #3a व
रज(
य)१#3b,5 व
रजय १| vijay vimān 5 (Vijaya heaven no. 5) #22 व
रजय व
रममा
ह
न
५footprint | jayant 31036 (Jayanta heaven no. 3) #29 जय
हत३

Uncertain #23 ३३ समा

॰ आउ चलो
मठ×णनलो
मलो
(
वत) १ सरमा
रस
र्वा
र्वा
सध वरममा
ण (33 sāgar āyu ... 1
sarvārthsiddhi vimān, lifespan of 33 sāgaras ... palace of the Sarvārthasiddhi heaven?)
| #53 ××य×(vijay 4, Vijaya heaven no. 4?)1037

N/A #17,34,52

Top Sq. 6: mukti kṣetra sphāṭikmay, 45 lākh yojan pramāṇ, śrī

arhatpadebhyo namaḥ
mukti kṣetra sphāṭikmay 45 lākh yojan pramāṇ, śrī arhatpadebhyo namaḥ
(crystalline plane of liberation measuring 45 lākh yojana;1038 salutation to the feet of the
1031 Sarvārthasiddhi constitutes the centermost of the five highest (anuttara) heavens in the
Śvetāmbara and Digambara systems of cosmography (Kirfel 1920: 294).
1032 The gods in the Sarvārthasiddhi anuttara heaven are said to have a lifespan of 33 sāgara years
(Tatia 1994: 113). See fn. 933.
1033 Given the design of Ja84#38, which puts top sqs. 3,4,5 on the same row, it may be argued that the
readings in top sqs. 4 and 5 should be switched around.
1034 Ja84#9 switches around the numbers assigned to the Aparājita and Sarvārthasiddhi anuttara
heavens, and repeats the main reading jayanta anuttar vimān from top sq. 4.
1035 Ja84#3ab,5 correctly identify the first anuttara heaven as Vijaya, but locates it in top sq. 5 instead of
the usual top sq. 1.
1036 See fn. 1012.
1037 Reading inferred from related readings in the other top squares of Ja84#53.
1038 The measurement of 45 lākh yojanas (i.e. 4.500.000 x c. 5-10 km) can either be taken as a
Śvetāmbara reference to the diameter of the abode of liberated souls shaped like an inverted
umbrella (īṣatprāgbhāra), or as a Digambara reference to the diameter of the abode (lit. rock) of
liberation (siddhaśilā) located in the center of a much larger version of the abode of liberated souls

564
illustrious spiritual teachers) #16 ॐ मगु
वक्ति कखे
त्रस्पगु
वटकर
तन×य४५०००००शहअर
रहह
तपदभलौ(
न)मणः#58
ॐ मगु
वक्ति कखे
त्र स मा
व
टकमय छह४५०००००शहअहत
र्यंपदखे
भलोनमणःसहह#23 §O मगु
वक्ति कखे
त्र ४५लक जलो
जन प्रममा
ण
ह
ऽ
हतर्यंपदभलोनमणः#33 मगु
वक्ति कखे
त्र ४५००००ऽ
हतर्यं
ह
पदखे
भलोन(
ममा
)| mukti kṣetra sphāṭikmay 45 lākh
yojan pramāṇ (crystalline plane of liberation measuring 45 lākh yojana) #3a (
मगु
)
वक्ति
(
क)खे
त्रस मा
व
टकतय(
४५)(
लमा
)
षयलो
जन(
प्रममा
ह
)
×#3b मगु
वक्ति कखे
त्रस मा
व
टक(
म)य४५लमा
षयलो
जनप्रममा
ण #5 मगु
ह वक्ति कखे
त्र
स्पमा
व
टकम(...) लमा
ष जलो
(...) | śrī 24 namaḥ mukti kṣetra 4500000 sphāṭik siddhśilā
(salutation to the illustrious 24 (spiritual teachers); plane of liberation; 4.500.000
(yojanas); crystalline abode of the perfected ones) #8 शह२४(
नमणः
)(स
सध)
ससलमामबू
गत ह
(छह
)मगु
वक्ति
कखे
त्र ४५०००००व
फटक स
सलमा| śrī om namaḥ siddham mukti kṣetra om 4500000 yojan
sphāṭikmay siddhśilā (illustrious! om! salutation! success! plane of liberation; om!
4.500.000 yojanas; crystalline abode of the perfected ones) #9 शहॐ नमास
सद्धिह
१मगु
वक्ति ×(
त्र)ॐ
४५००००० व
फटक(
भ)यमास
शलमा#36 अ(
हु)
न(
हप)
दखे
भलोनम× मगु
वक्ति कखे
त्र सगु
टकमय ४५००००० लमा
ष जलो
×न ककी
स
सद्धिस
सलमा छह१ | mukti kṣetra 4500000 lākh 1039 yojan arhatpadebhyo namaḥ
sphāṭikmay chai ardh candramā ākār om (plane of liberation; 45 lākh yojana;
salutation to the feet of the spiritual teachers; it is made of crystal in the form of a
crescent moon; om!) #26 मगु
क्तिकीकत्र
खे
ह४५०००००लमा
ष जलो
ह जन अद्धिर्वा
मधखे भलोनम
हणःसगु
टकमध छखेअद्धि च×ममा
आकमा
र
माॐ |mukti śilā paiṁtālīs lākh yojan lambī chai jaṭhai 1040 siddh ro virājan (the
abode of liberation is 4.500.000 yojanas long where the splendor of the perfected is)
#27 मगु
गवत सह
लमापखे
तमा
लङस ४५ लमा
ष जलो
जन लह
बहछहजठहसह
धमा
हरलोव्रमा
जणलो| mukti 4500000 yojan
siddhśilā chai (liberation; 4.500.000 yojanas; this is the abode of the perfected ones)
#22 मगु
वक्ति स
सद्धिस
सलमा४५०००लमा
षजलो
जनर
हछह#40 ४५०००००लक(
जलो
)
जनसह
द्धिसलमाछखे
| siddhśilā (abode
of the perfected ones) #13 ॐ स
सद्धिस
शलमा#34 सह
धससलमा| 4500000 yojan tap śilā (4.500.000
yojanas; rock of austerities) #4 ४५००००० यलो
जन तपस
सलमा | sarvārthsiddhi 51041
(Sarvārthasiddhi heaven no. 5) #29 स(
रमा
र्वा
) र( र्वा
सस)द्धि५

Uncertain #20 (
शह)(...) (śrī ..., illustrious ...?) | #38 एक जलो
जनअललो
क तखे
हनबखे
हडहभमा
गहस
सद्धिभगर
हत
व
ररमा
जममा
ह
न४५लमा
षयलो
जनदल बखे
हडहममा
षहनमापमा
ष
हसर
हषहस्पगु
वटकर
त्नमईछह
इनमा
मतहछह
ह (ek yojan alok tihāṁ
behadai bhāgai siddh bhagvant virājmān 45 lākh yojan dal behadai mākhīnā pākh 1042
sārīkhī1043 sphāṭikratnamay chai inām tihāṁ chai, one yojana (above), beyond the
(Kirfel 1920: 301).
1039 The reading 4.500.000 lākh is excessive, and should either be reduced to 45 lākh or 4.500.000.
1040 Hi. jahāṁ.
1041 See fn. 1012.
1042 Skt. pakṣa.
1043 Skt. samān.

565
universe, in the limitless place, (there is) the splendid and divine perfected ones; 1044
4.500.000 yojanas ... (the flat side?) is made of crystal and jewels; there is the reward?)
| #53 मगु
वक्ति स
सलमाकखे
त्रस मा
व
टक(
मइ)छह
पहतमा
लङस लमा
षयलो
यनलमा
ब
हहचलो
डह८आठयलो
जनजमा
डहछह
कलो
र
मा
हममा
षहककी
ह
पमा
(
ष)सममा
नछह
ह ×तलङछह
वतहउपर
रससद्धिकत्र
खेछह(mukti śilā kṣetra sphāṭikmay chai paiṁtālīs lākh
yojan lāmbī coṭī āṭh yojan jāḍī 1045 chai korā mākhī kī pākh samān chai tih 1046 upari siddh
kṣetra chai, the plane of the rock of liberation is made of crystal; it is 4.500.000 yojanas
long, and eight yojanas thick at the center;1047 (the surface?) is flat; above it is the plane
of the perfected?) | #55 अजर्वा
न
गु स्व(
हहमयह
)ॐ मगु
क्तिकीकखे
त्र ४५००००(arjun ... om mukti kṣetra
450000,1048 white ... om! the plane of liberation; 4.500.000 (yojanas)?)

N/A #7,17,18,52

Top Sq. 7: om siddhebhyo namaḥ

mukti 4.500.000 om sampad (liberation; 4.500.000 (yojanas); om! success!) #13 मगु
क्तिकी
४५०००००अऊ
हसपदखे

N/A #3a,3b,4,5,7,8,9,16,17,18,20,22,23,26,27,29,33,34,36,38,40,52,53,55,58

1044 The liberated souls are said to reside in the non-universe (aloka) one yojana above the abode of the
perfected ones (siddhaśilā) (Kirfel 1920: 301).
1045 Raj. jāḍau (thick, solid).
1046 Hi. us.
1047 The crescent-shaped abode of liberated souls (īṣatprāgbhāra) is eight yojanas thick at the center
(Kirfel 1920: 301).
1048 Read: 4500000.

566
 Appendix E
Game Verses

Appendix E provides an overview of verses appearing on all Vaiṣṇava and Jaina charts
documented in Appendix A. Some verses only occur on a single or a few charts, while
others occur across several charts. The verses are written in Sanskrit, Prakrit, Braj
Bhāṣā, Rajasthani, Gujarati, and Hindi, and often mixes together words and forms from
different languages. As I have not received formal training in any of the languages
involved except Sanskrit and Hindi, the reconstructions and translations should be
considered tentative in nature. They await closer inspection by scholars trained in the
various languages.

567
Appendix E1: Verses on Vaiṣṇava Charts
Verse #1
Meter: Dohā1049

Charts: Va342#3,4,5,6,71050

342#3: atha sān-chaupari nivṛtti ko khele (Bhattacharyya 1995: 122)

342#4: अरमागमा ह
नचलो
पडनकृ
वरतममा
गर्वा
षखे
ल
342#6: अरजमा ह
नचलौ
पडनकृ
वरतममा
गर्वा
कलो ह
षखे
लन

[अरगमा
नचलौ
पड़व
नरकृ
सत्तममा
गर्वा
कलोखखे
ल]
Now gyān caupaṛ, the game of the path of involution:

ह
342#1: चलो
पड़रव
नयहें
जमानककीजमा
नखे
व
ररलमाकलो
ई
342#3: chaupari baniye jñāna ki jane birala kiya (?) (ibid.)
ह
342#4: चलो
पडरव
नजलोगमा
नककीजमा
नखे
व
रलमा
र्वा
कलो ई
ह
342#6: चलौ
पडरनहजलोजमा
नककीजमा
नखे
व
रलमा
र्वा
कलो ई
342#7: चलो
पडरव
न(जलो
)जमा
नककीजमा
नखे
व
ररलमाकलो
इ

[चलौ
पड़रव
न1051 जलोजमा
नककीजमा
नखे
व
बरलमाकलो
इ]
That rare one who knows the message of gyān caupaṛ /

342#1: भव
क्ति यलो
गरह
र
मा
जवतह
वह(पड़खे
) शलो
प
हवडतहलो
य
342#4: भव
क्ति यलो
गरह
र
मा
गतव
हजयव
तरमा
मकहहें
सलोई
342#6: भव
क्ति यलो
गरह
र
मा
गतव
हजयव
तरमा
मकहखे
सलो
ई
342#7: भव
क्ति यलो
गरह
गव
तवहजमा
नखे
व
ररलमाकलो
इ

[भव
क्ति यलो
गवरर
वक्ति हहजयव
तरमा
मकहहें
सलोइ]

1049 Mātrika meter consisting of two lines with 13 + 11 morae. Quarters bd should end in a long and a
short syllable which should rhyme between the quarters. For a more detailed description of the rules
of dohās, see Snell 1991 (pp. 20-21).
1050 The top panel of Va342#2 remains undocumented, but considering the consistency with which the
verse appears in the top panels of other 342-square Vaiṣṇava charts, it seems likely that it can also be
found on Va342#2. Only the top right quarter of Va342#5 containing the second part of the verse has
survived, and it therefore seems obvious that the missing top left quarter would have contained the
first part.
1051 Apparently a variant spelling of vāṇī shortened for metrical reasons.

568
 he conquers the discipline of bhakti which is freedom from desire, Rāma says //
1 //

342#3: atha pravṛtti-mārga dauśārapakṣa-māśā (ibid.)

342#4: अरमागमा ह
नचलो
पडप्ररकृ
सत्तममा
गर्वा
कलो ह
षखे
ल
342#6: अरप्ररकृ
सत्तममा
गर्वा
कलोषखे
लन

[अरगमा
नचलौ
पड़प्ररकृ
सत्तममा
गर्वा
कलोखखे
ल]
Now gyān caupaṛ, the game of the path of evolution:

342#1: जलोप्रव
रत्रमरपव
रत्रकलोपमा
रहें
खखेल(स्वरू)प
342#3: jīya-pravṛtti-nivṛttiko pāve siddhi-akṣya (ibid.)
342#4: जह
रप्ररकृ
सत्तव
नरकृ
स ह
त्तकलो
पमा
रहें
ससधअनप
बू
342#5: जह
रप्ररकृ
वतर्वा
वनरकृ
स
त्तर्वा
कलोपमा
रखे
स
सद्धिस्वरूप
342#6: जह
रप्ररकृ
सत्तव
नरकृ
सत्तकलोपमा
रखे
स
सद्धिअनबू
प
342#7: जह
रप्रव
रसत्तनकृ
रकृ
सत्तकलोपमा
रखे
स
सद्धिअनप
बू

[जह
रप्ररकृ
सत्तव
नरकृ
सत्तकलोपमा
रहें
ससधअनबू
प1052]
The accomplished (and) incomparable souls evolve and involve /

342#1: जलोखखे
लहें
इसखखे
लकलोहलो
रहें
दखे
र(स्व)रूप
342#3: yo khele is khel ko hove das rūpaṁ(m) (ibid.)
342#4: जलोषखे
लहें
इसषखे ह
लकलो
हलो
रहें
दखे
रसरूप
342#5: जलोषखे
लखे
ईसषखे
लखे
कलोहलो
रहें
दखे
रस्वरूप
342#6: जलोखखे
लहें
इशखखे ह
लकलो
हलो
रखे
दखे
रसरूप
342#7: जलोखखे
लखे
इसखखे
लकलोहलो
रखे
दखे
रसगु
रुप

[जलोखखे
लहें
इसखखे
लकलोहलो
रहें
दखे
रसरूप]
those who play this game are of a divine nature // 2 //

1052 It seems likely that anūpa (incomparable) might also be read as arūpa (formless) in contrast with
sarūpa (having a form, one's own true nature) in the following line.

569
Verse #2a
Meter: Dohā1053

Charts: Va84#12, Va121#1

Va84#12: चलो
र
मा
सहभर
म(न)णमापलो
प1054 हह
तह
1055
आ(य)
(उपमा
)सलोपडक्ति पगु
ज(हमा
)नहहनर
ककी××(प)सह
(...)

(Because of demerit?) one roams around the eighty-four (lākh birth-situations) /

(...) //

Va84#12: समजरमा
नकगु
हसमजहमगु
रषकगु×पमा
(य)
Va121#1: सम(झ)रव़
मा
नकबू
ह हसहमकहह
मगु
रषकबू
हभयपमा
इ

[समझरमा
नकबू
हसमझहह
मबू
रख कबू
हभयपमा
इ]
There is understanding for the wise; the fool (only) finds fear /

Va84#12: अहह
परममा
ररगु
जहकह
चलो
पडखखे
ललोआय
Va121#1: यहपदमा
र
रपमा
इकह
चलो
पड़षखे
ललोआइ॥१
॥

[यहपदमा
र
रपमा
ईकह
चलो
पड़खखे
ललोआइ]
having come to this understanding, one should play (gyān) caupaṛ // 1 //

Va121#1: नमा
र
दकबू
हबयकगु
ह
टतहयहर
हवल(ष) दह
(तह
) सलो
इ
Va121#1: षखे
लतहहक्रमकटगयखे
दईचलौ
र
मा
सहषलो
इ॥२॥

[नमा
र
दकबू
हरयकगु
ह
टततयहव
लख दह
तहसलो
इ]
लतहहक्रमकटगयखे
[खखे दइचलौ
र
मा
समाखलो
इ]
Nārada inscribed this (game) with (the name of) Vaikuṇṭha 1056 / merely by
playing, if you follow the steps (i.e. squares), (then) the supreme being destroys
the eighty-four (lākh rebirths) // 2 //

Va121#1: यमाचलो
पड़हह
गमा
नककीषखे
ह लतसह
तसज
गुमा
ण
ह
Va121#1: भगव
तनमा
मकगु
ह हवद्रढकर
लोपमा
रव़
लोपदव
नरबमा
ण॥३
ह
1053 See fn. 1049.
1054 Read: pāpa?
1055 Read: hūntī?
1056 An alternative reading would be to substitute naraka (hell) for nārada (sage Nārada), thus
indicating that the squares of the game chart are inscribed from Vaikuṇṭha (vaikuṇtha taiṁ) to hell
(naraka kūṁ).

570
 [यहचलौ
पड़हह
गमा
नककीखखे
लतसह
तसगु
जमाण]
[भकव
तनमा
मकबू
हवद्रढकर
लोपमा
रलोपदव
नररमा
ण]
This is the caupaṛ of knowledge; the wise saints play (it) / if you fix (your mind)
on the (divine) name through bhakti, you attain the place of Nirvāṇa // 3 //

Verse #2b
NB! Compare the related verse #8 in Appendix E2.

Meter: Dohā1057

Chart: Va72#5

नलोन(ङव़
ङ) बहत्तकलो
(ठमा
)नगणपटप्रम
हन
(चलो
)पड़ह(यमा
)1058 ग
ह(न) ककीषखे
लसहतसगु
जमाण
ह

There are nine energy channels (i.e. snakes) and seventy-two (bodily) cavities (i.e.
squares) on the cloth-board of knowledge1059 / (this is) the caupaṛ of knowledge;
the wise saints play (it) //

Verse #3
Meter: Sāra, lalitapada1060

Chart: Va72#34

व
रघनव
रनमा ह
सनकलौ
प्रनमा
मकर
रशहगगु
रदखे
रजगु
हमा
रत
र
ससकर
मा
इयहर
चहसगु
क्रकी
डमामनमत
जगुग्
(वत) व
रचमा
र
त
॥१॥

Having made obeisance to the remover of obstacles (i.e. Ganeśa), one should
salute Śrī Guru Dev / one should consider this fine game, created by Rasik Rāy, as
a mental device // 1 //

पगु
रर
षअकमा
रवपह
डमह
सेँ
दहसत
सचतगु
दहनह
कवनहमा
र
लौ
पह
वडव्रह्ममा
डएकगु
ह कहदखे
षहसलोहह
गगु
रूहममा
र
लौ
॥२॥

1057 See fn. 1049.

1058 Read: hai?
1059 An alternative reading would be to understand gaṇapaṭa (i.e. gānapaṭa, cloth-board of knowledge)
as gaṇapata (Gaṇeśa), thereby indicating that the energy channels and the squares are numbered
according to Gaṇeśa.
1060 Mātrika meter consisting of two lines with 16 + 12 morae. Quarters bd should end in two long
syllables which should rhyme between the quarters (cf. Thiel-Horstmann 1983: 60).

571
 The supreme being is visible in the body; one should watch (it) attentively / he
who sees the body and the cosmic egg as one is our guru // 2 //

गमा
नव
ह रलमा
सनमा
मगु
हहयमाकलौमनसत
षखे
लगु
वरचमा
र
लौ
नरनमा
डहसत्तर
रदह
कलो
ठमातमामत
सकलपसमा
र
लौ
॥३॥

(The game) is called gyān vilās (i.e. the pastime of knowledge); one should play it
thoughtfully / (it has) nine energy channels (i.e. snakes) and seventy-two (bodily)
cavities (i.e. squares); in this (game) everything is laid out // 3 //

र
समा
तमा
लतत
व्र
हह्मललो ह
कललौ
जहनमजनमपचहहमा
र
लौ
दखे
रक्रपमाअ(रु) व्र
हह्मगमा
नवरनगु
सबू
झतगु
नमा
व
हनह
दमा
र
लौ
॥४॥

From rasātal (i.e. sq. 1) to brahmlok (i.e. sq. 67) one toils in vain birth after birth /
without the grace of god and the knowledge of Brahman, one does not see the
door // 4 //

धमगु
र्वा
सगुरखे
कगुअरर्वा
दह कव
हयह
कमा
ह
तहव
न(ठ)हर
मा
ऐ
मलो छ) चमा
(व् र
रऐकपमा
समह
(चमा
)चलौओररनमा
ऐ॥५॥

(Number) "1" (on the die) is called dharm, (number) "2" arth; (number) "3" is
established as kām / (number) "4" as mokṣ; one should inscribe (them) on the four
sides of a single die // 5 //

र
समा
तमा
लमत
समाचह
र
मा
षहजखे
जनषखे
लनरमा
र
खे
अपनत ह
क्रमसलौ
पमा
सहडमा
र
तपर
हभमा
गअनगु
समा
रखे
॥६॥

The persons who choose to play are like transmigrating souls [caurāsī] in rasātal
(i.e. they begin in sq. 1) / they throw the die on their own turn; it falls according to
their fate // 6 //

स
मतगु
र्वा
ललो क जरसमा
र
हआरह
परह
(कमा
म) अरुअयर
तररह
व़सबू
चहमगु
षमतपर
ईपचहगुमत
दष वरर
॥७॥

If a pawn lands on mṛtyulok (i.e. sq. 8), and kām (i.e. "3") or arth (i.e. "2") is
thrown / then it falls into sūcīmukh (i.e. bottom sq. #4), and is pointlessly
consumed by sorrow // 7 //

र गऐह
जमत रह
समा
तलआरह
फहर
रषखे
वलयह
तलौ
हह
भकृ
समयह
धरधरप
हरजगतकखे ह
जनमजनमललौ
यलौ
हह॥८॥

If one goes to raj [(i.e. rajoguṇa, sq. 71), then one arrives in rasātal (i.e. sq. 1); thus

572
 one should play again / just like one wanders the path from house (i.e. square) to
house from birth to birth // 8 //

धमगु
र्वा
सगु मलो
छपर
खे
तहव
नकसह
प्रस
ररहऊपरआरह
मबू
लमा
धमा
रसगु
चक्रगऐतत
गवतऊर
धककीपमा
रह
॥९॥

If dharm (i.e. "1") or mokṣ (i.e. a "4") is thrown, then one moves (from rasātal) to
pṛthvī (i.e. sq. 9) above / if one goes to the good cakra mūlādhār (i.e. sq. 14), then
from there one attains the upward course (i.e. to top sq. #2) // 9 //

धमर्वा
मलो छइकगु
इकगु
घरुऊर
धचढह
जलो
गमगगु
लङनत
अरर्वा
कमा मतत
रमा
व
हरभकृ
समयह
औरप
हरजखे
ककी
नह
॥१०॥

By means of dharm (i.e. "1") and mokṣ (i.e. "4") one follows the path of yoga, and
climbs up the houses one by one / because of arth (i.e. "2") and kām (i.e. "3") one
wanders outside [or: along?] the other path // 10 //

अह
धकमा
रतमा
मसमत
तमगु
लहअर
हकगु
ह
भह पमा
कह
व
रकटमा
णर्वा
रह अव
रदमाअर
हजव
गवदषमा
रहनमा
कह
ह ॥१
१॥

(From) andhakār (i.e. ahaṃkār, sq. 37?) one comes to a halt in tāmas (i.e.
andhatāmas, bottom sq. #1), from tam (i.e. sq. 72) in kumbhīpāk (i.e. bottom sq.
#2) / (from) avidyā (i.e. sq. 42) one comes to a halt in vikaṭārṇav (i.e. bottom sq.
#3); (one should present a sacrifice and throw again?) // 11 //

करर
समतगु
र्वा
ललो कमत
लमा
रहधमर्वा
मलो छमगगु
लवहयह
यमाप्रकमा
रतत ह
जनमजनमललौ
नमा
नमाव
रसधव
फरररव
हयह
॥१२॥

(From) karm (i.e. kām, sq. 43?) one lands in mṛtyulok (i.e. sq. 8); one should take
the path of dharm (i.e. "1") or mokṣ (i.e. "4") / in this way, again (and again),
various destinies1061 carry one from birth to birth // 12 //

सतह
ललो
क सममा
स
धवदषमा
रहईसललो
क ललो ह
कललौ
भ(तह
)
महत्तत्वगु
लहसतगु
व
दषमा
रहजमा
ललौजमा
ककीसतह
॥१३॥

Samādhi (i.e. sq. 60) shows (the way to) satyalok (i.e. sattva, sq. 70?);1062 one is
carried from this world to that world / sat (i.e. sattva, sq. 70) shows (the way to)
mahattattva (i.e. sq. 68) (...) // 13 //

1061 Note how vidhi can both be taken as a reference to the destinies of the players and the rules of the
game.
1062 The ladder on the chart leads from samādhi (i.e. sq. 60) to brahmlok (i.e. sq. 67).

573
महत्तत्व मत
आरपर
ह ह
सलौ
अरर्वा
कमा मनव
हछव
लयह
धमगु
र्वा
सगु मलो छ) पर
(व् खे
तहसमा
र
हधरधरऊर
धचव
लयखे
॥१ ४॥

If one (comes to a halt?) in mahattattva (i.e. sq. 68), then one should not be
tricked by arth (i.e. "2") and kām (i.e. "3") / if dharm (i.e. "1") or mokṣ (i.e. "4") is
thrown, then the pawn moves up house by house // 14 //

सतगगु
रुक्रपमागमा
नपमा
ह ऐतत
सचदमा
न
हदमत
समव
लयह
फखे
ररसगु
पमा
इआपगु
आपगु
नगु
मतममा
यमादखे
वषनछव
लयह
॥१५॥

By means of the knowledge attained by the grace of the true guru, one comes to
cidānand (i.e. saccidānanda, top sq. #1) / if one attains oneself (i.e. self-
realization), and sees phenomenal reality [māyā] in oneself, then one is not
tricked (by it) // 15 //

(सलो
) हमा
र
तजलोजलो
इअधलो
गवतपर
तअपनह
पमा
सत
सलो
ईजह
तहदमा
इसरह
जलोपर
व्र
हह्मस
मवलभमा
सह
॥१६॥

Those who go downward because of the fall of their dice lose / those who
experience the supreme being [parabrahman] win in every way // 16 //

र
ससकर
मा
ययहषखे
लगु
रनमा
यलौजमामत
तत्तगु
व
रचमा
र
त
गगु
रूक्रपमातह
षखे
ललौजह
तलौपमा
रलौजगतअधमा
र
ह
॥१७॥

Rasik Rāy made this game in which in which one considers true being [tattva] /
by the grace of the guru, one should play, win, and attain the seat of the
universe // 17 //

574
Verse #4
Meter: Sragdharā1063

Chart: Va84#2

पह
ठहयस धर
तकृ
1064
जलधर
क(लसह लह
) (व)गममा
कमा
श(रू)प
ह
नकत्रह
पबू
ष्पममा
लमा(गकृ
)हगणकगु
सगु
मह
नखे
त्रचह
द्रमा
कर्वा
ब(हलौ
)1065
कगु
(कखे
)सप्तिणः
समगु
द्रमाभगु
जगहर
हस
श(खर
लौ
) (सप्ति)पमा
(तर्वा
)लपमादलौ
1066

बखे
दश्चत्वमा
र
ररमा
(चमा
) (द)×व
दशह
1067
रदन
हपमा
तगु
रलोनह
लकह
ठ॥१
॥

May Nīlakaṇṭha (i.e. the blue-throated one, Śiva), whose seat is the earth, whose
pitcher is the rain-holding (clouds), whose liṅga1068 is in the form of the sky, whose
garland of flowers has the stars and the host of planets as blossoms, whose eyes
are the moon, the sun, and the fire, whose belly is the seven oceans, whose arms
are the mountain tops, whose feet are the seven netherworlds, whose speech is
the four Vedas, whose face is in the ten directions, may he protect you! // 1 //

1063 The verse is a variant of a contemplative (dhyāna) verse from the Laghunyāsa chanted before the
Vedic Śrīrudrapraśna hymn found in the Taittirīyasaṃhitā of the Kṛṣṇayajurveda (TS 4.5) and the
Vājasaneyisaṃhitā of the Śuklayajurveda (VS 16). The original verse is written in the sragdharā meter
consisting of 4 x 21 syllables, though it deviates slightly from the standard distribution of long and
short syllables (‒ ‒ ‒ ‒ ᵕ ‒ ‒ / ᵕ ᵕ ᵕ ᵕ ᵕ ᵕ ‒ / ‒ ᵕ ‒ ‒ ᵕ ‒ ‒), which might have caused its omission from
some versions of the text (Narayanaswami 2007: 2, fn. 3). The full verse reads: pīṭhaṃ yasya dharitrī
jaladharakalaśaṃ liṅgam ākāśamūrtim / nakṣatraṃ puṣpamālyaṁ grahagaṇakusumaṃ
candravahnyarkanetram / kukṣiḥ saptasamudraṃ bhujagiriśikharaṃ saptapātālapādam / vedaṃ
vaktraṃ ṣaḍaṅgaṃ daśad[i]śi vasanaṃ divyaliṅgaṃ namāmi // (LN 5) [I bow down to the divine liṅga
whose seat is the earth, whose pitcher is the rain-holding (clouds), whose manifestation is the sky,
whose garland of flowers is the stars with the host of planets as blossoms, whose eyes are the moon,
the fire, and the sun, whose belly is the seven oceans, whose arms are the mountain tops, whose feet
are the seven netherworlds, whose mouth is the six-limbed Veda, and whose clothes are the ten
directions].
1064 Read: dharatrī.
1065 Read: netracandrārkavahni?
1066 Read: saptapātālapadau?
1067 Read: daśadiśi?
1068 A liṅga is a phallic symbol associated with Śiva and worshiped by Śaivas. The word is also used to
denote the subtle body.

575
Verse #5
Meter: Possibly durmilā (also ḍumilā) sāvaiyā1069

Chart: Va163#2

इस्वरनमा ह
मकलो
(धमा
)रव
हरदखे ह
महहअककलो
मत्रकखे
दखे
हलो
1070
चलमा
ई
जलोजहहलमा
इकभखे
ट(घ)र
लोनतबू
शहफलअरस ह्वदखे
हलोचढमा
ई
उतजमा
रलकबू
हसमर
रनहहतबदमा
नककी
यमा
ह
सखे
हलो
इसहमा
ई
बमा
लयगु
रमाब्रधकहमानर
नररजबू
खखे
लनकलोयहचमा
लबतमा
ई१॥

One should keep the name of the Lord in the heart and move the body (i.e. the
pawn) according to the pips (on the die) / (having placed it in the corresponding
square and applied the inevitable and illustrious result?) one should advance the
body1071 / if one is not able (to move?) upward, then (one should endure by
performing charity?) / this explains the course of the game which (can be played
by) men and women, whether children, young, or old // 1 //

(अ)पममा
नककी
यलोगगु
रुकलोजबनमा
र
दशमा
पदह
एहर
रममा
न(नमा
)ई
समकृ
रनमा ह
रकलो
दलो
सदह
यलोतगु
मबखे
दबसबू
लकयलो
व
नमखे
जमा
ई
स्वगर्वा
रुनर कव
लखखे
हररहमा
तसह
बू
खखे
लरहलोगगु
रुदखे
रबतमा
ई
गमा
नककीचलो
ह पड़हह
गगु
झखखे
जबू
1072
खखे
लहखे
समा
धगु
सदमासगु
ख दमा
ई॥२

(When Nārada showed disrespect to the guru and cursed him, then Hari (i.e.
Viṣṇu) accepted the curse?)1073 / if you give offense (to those worthy of respect?),
then from lack of respect you enter into the lākh (i.e. hundreds of thousands) of
birth-situations / the divine guru says that the game was inscribed from heaven
to hell by the hand of Hari / (this is the secret of gyān caupaṛ ... it brings eternal
bliss to the virtuous?) // 2 //

1069 Vārṇika meter consisting of 4 x 24 syllables. Each line should be made of eight anapaests (ᵕ ᵕ ‒), and
all lines should rhyme with each other. It should be noted that long vowels in this meter are
especially prone to be counted as short (Snell 1991: 27-28).
1070 Read dehī (that which has a body, soul) instead of deho (body)?
1071 The meaning seems to be that the player will necessarily land in a positive square if he keeps the
name of the lord in his heart, and thus proceed upwards by means of a ladder or a footstep.
1072 The reading khejū does not make sense to me. Since the line falls two syllables short of the meter,
perhaps we should read khelata jū (those who play), or something similar.
1073 This refers to an episode recounted in the late 16th-century Rāmcaritmānas by Tulsīdās where sage
Nārada curses Viṣṇu. Viṣṇu accepts the curse and proceeds to withdraw his power of illusion ( māyā),
causing such consternation that Nārada entreats him to render the curse ineffectual (RCM 137-38).

576
उतमजनव
प्रएहर
रकबू
हऋतगु
डमा
र
तयकबखे
कगु
हटवनरमा
सह
मधमजनसलोधबू
र हकव
जटहइकरह
स नषअनमा
कवनरमा
सह
पमा
पकलोभमा
रअव
तससर
षखे त्रह
इकव सअव गु
तदणः
ख सहें
चव ढजमा
सह1074

अगखे
जलोडमा
र
तजमा
इचढखे
न
हहहस्वगर्वा
समलखे
रहनर
कवनरमा
सह३

The best people, pleasing to Hari, throwing (the die) at the right time, reside as
yakṣas in Vaikuṇṭha / the mediocre people (reside with?) Dhūrjaṭi (i.e. Śiva), (and)
the lowest (people) reside in vain in the twenty-one (hells) / if one possesses an
abundance of sin, one climbs the thirty-one (hells?) with great pain 1075 / he who
throws (the die) with anger climbs in vain and does not reach heaven; he resides
in hell // 3 //

सह
तवकर
मा
मगु
ग
हपरमनसगु
धब्रह्मसरुभएअरतमा
रहह
दह
नसह
बू
चरणनमखे
बगु
धर मा
महहलखे
खनककीकऊस
म(लखे
) अनगु
समा
रहह
समा
क जबू
बखे
दरु(बखे
)दरसबू
चह
दसरतव
नसधमगु
वनग्रहव
ल(षमा
र
ह) हह
भमा
(द)रबमा
ढतचह
दप्रकमा
सजबू
सबू
रजर र) व
(व तसरहह
यहबमा
र(हह
)४

(The saint is the incarnation of Rām ...?) / one should bow down to the feet (of the
saint) and unite with the writing (i.e. the game chart) of the wise Rāma
accordingly / (the writer Nidhi Muni Grah(?) (drew this in) saṃvat moon (i.e. 1),
the vasu gods (i.e. 8), the Vedas (i.e. 4) ...?) 1076 / (Sunday, the 4th day of the bright
half of Bhādoṁ?) // 4 //

1074 I understand jāsī as a form of jāi (to go) used as an auxiliary with caḍhi (see DoB, p. 727).
1075 It is unclear to me whether "thirty-one" is a mistake for twenty-one, or whether it refers to
something other than hells. An alternative reading might be to take iktriṁs together with atiduḥkh,
though I am not aware of any enumeration of thirty-one "great afflictions."
1076 The line appears to give the date of the chart by means of bhūtasaṅkhyā, or words substituting for
numbers. The date given above the chart (apparently in the same hand) reads bhādav sūd 4 samvat
1890 (i.e. the 4th day of the bright half of Bhādoṁ in VS 1890) which does not seem to match the date
given in the verse. It is also possible that the name of the writer is not a name at all, but rather a
sequence of numbers, i.e. liṣārī/liptārī (?), graha (9), muni (7), and nidhi (9).

577
Appendix E2: Verses on Jaina Charts
Verse #1a
Meter: Matta-gayand (also māltī) sāvaiyā1077

Charts: Ja84#4,5,6,8,9,10,11,15,18,22,23,24abc,28,29,34,36,38,40,41,42,49,56,571078

Ja84#4: लषचलो
र
मा
सहभ्रमणमहमानरव़
नमा
ड़हजतनपतहखे
तमा
जह
Ja84#5: लषह
चलो
र
मा
सहभ्रमनमहमानररमा
डहजतनसगु
तमा
जह
Ja84#6: लषचलो
र
मा
सहयमहमा
(त) नर
पवतजनतसहें
हह इहलमा
जह
Ja84#8: लषचलो
र
सहयभ्रमणमहमानरनमा
डहयतनपतन
हतह
जह
Ja84#9: लकचलो
र
मा
सहयत्रमणममा
हमानरनमा
ड़हयतनपतनतमा
जह
Ja84#10: लषचलो
र
मा
सहयभ्रममहमा
तचनमा
र
रयतनयतनतमा
जह
Ja84#11: लषचमा
र
मा
ससयभ्रह
मममा
हमानरनमा
र
रपतनजतनसखे
तमा
जह
Ja84#15: लकचलो
र
मा
सहयव्र
हम मलो
हमानरनमा
र
हममा
हमाकरर्वा
कर खे
(सलो
) तमा
जह
Ja84#18: लकचलो
र
मा
सहभ्रमणमहमानमा
ड़हनरपतनहखे
तमा
जह
Ja84#22: लषचलो
र
मा
सशयभ्रमणमहमानरनमा
डहजतनपतनहतमा
जह
Ja84#23: लषचलो
र
मा
ससभ्रमणममा
हमानररमा
व
ड़च॥मणजतनपहें
तनसतमा
जह
Ja84#24a: लख चलो
र
मा
सहभमतमहमानरनमा
डहयपत्तनयत्तनसहें
तमाजह
Ja84#24b: लख चलो
र
मा
सहभमतमहमानरनमा
डहयपत्तनयत्तनसहें
तमाजह
Ja84#24c: (...) सहें
तमाजह
Ja84#28: लमा
षचलो
र
मा
सहयभ्रमतमहमानरनमा
र
हपत्तनजत्तननमातमा
जह
Ja84#29: लख चलो
र
मा
ससयव्रह्म ममा
हमानरनमा
व
ड़पतन्नजतनसहें
तमाजह
Ja84#34: जलो
परसखे
मवतदमा
यक लमा
यकरलोयहसखे
त्रगु
जब्रह्म
Ja84#36: लकचलौ
र
मा हह
सहममा
व
ह ह
भ्रमतइमहहनरभमा
स
मयह
तनसगु
नमा
जह1079

Ja84#38: चलो
र
मा
सहलषभ्रमणममा
हमानरषमा
डरमा
मव
ह तएहअनमा
नदह
Ja84#40: लकचलो
र
मा
सहयभ्रमममा
हमान(र) नमा
व
ड़पतन(य)×(म) सखे
तमा
जह
Ja84#41: लषचलो
र
मा
सहयभ्रममहमानरनमा
र
र(प)त्तनजतनसहें
तमाजह

1077 Vārṇika meter consisting of 4 x 23 syllables. Each line should be made up of seven dactyls (‒ ᵕ ᵕ)
and a spondee (‒ ‒), and all lines should rhyme with each other. It should be noted that long vowels
in this meter are especially prone to be counted as short (Snell 1991: 27-28).
1078 The readings on Ja84#34,38,49 diverge from those on the other charts in several respects, and
sometimes appear to mix up phrases from different lines.
1079 The last part of the line has been corrected or glossed above the line as follows: [लक चलौ
र
मा हह
सहममा
ह
व ] जखे
ममा
ह
नरभ्रम(न) व
फरखे
जहर(लखे
)हसगुनमा
जह.

578
Ja84#42: लकचलो
र
मा
सहयव्र
हह्ममहमानरनमा ह
ड़हप(त)नजत
हनसहें
तमाजह
Ja84#56: लख चलो
र
मा
ससयभ्रमममा
हमा
व्रतनमा
मपत्तन्नयत्तन्नसखे
ह तमा
व
न्न
Ja84#57: लमा
ख चलो
र
मा
सह(...)1080

[लमा
ख चलो
र
मा
सहयभ्रममहमानरनमा
ड़हपतनयतनसहें
तमाजह
]
With great effort, one is freed from falling down the nine great energy channels
and roaming the eighty-four lākh (birth-situations) /

Ja84#4: चलो
पड़सखे
तगु
जव ककहमार
मा
मतऐहअनमा
मतभ्रमव
कबमा
जह
Ja84#5: चलो
पडहस
सत्रगु
जककीकहमार
मा
मतएहअनमा
मतकमर्वा
ककीरमा
जह
Ja84#6: चलो
पडह
सहें
त्र
हगु
जककीकहमार
मा
मतएहअनमा
म×(ब्रम) ककीबमा
जह
Ja84#8: चलो
पडसखे
(त्रगु
)जककीकहमार
मतएहअनमा
मतभ्रमककीबमा
जह
Ja84#9: चलो
पट्टशत्र
हगु
जककीकहहर
मा
मतएहअ×मतभ्रमककीबमा
ह जह
Ja84#10: चलो
पटसहें
त्रगु
जकहमाकहमार
मा
मतएहअनमा
मत×ह्मककीममा
जह
Ja84#11: चलो
पटसखे
त्रगु
जककीकहमार
मा
मतएहअनलो
ह पमभ्रमककीबमा
जह
Ja84#15: चलो
पसखे
त्रगु
जककीकमा
हमा
ह
रमा
मवतअनमा
मतव्रम ककीममा
जह
Ja84#18: चलो
पड़शखे
त्रगु
जककीकहमा
ह
रमा
मतएहअनमा
मतभ्रमककीबमा
जह
Ja84#22: चलो
पडशह
त्र
हगु
जककीकहह
यहर
मा
मतएहअनमा
ह मतभ्रमककीबमा
जह
Ja84#23: चलो
पड़सखे
त्रगु
जहककीकमा
हमार
मनएहअधमा
मतव्रह्मककीरमा
जह
Ja84#24a: चमा
पटशत्र
हगु
जहककीकहमार
मा
मतएहअनमा
मतब्रह्मककीबमा
जह
Ja84#24b: चमा
पटशत्रबू
जह ह
ककीकहमार
मा
मतएहअनमा
मतब्रह्मककीबमा
जह
Ja84#24c: चमा
पटशत्रबू
जहककीकहमार
मा
मतएहअनमा
मत(...)
Ja84#28: चलो
पटककीसखे
त्रगु
जहककीकमा
हमार
मा
मतअखे
ह ह1081 अनमा
मतब्रमककीबमा
जह
Ja84#29: चलो
पटसहें
×जककीकमा
हमार
मा
ह
मतएहअनमा
स
मतव्रह्मककीबमा
जह
Ja84#34: लकचलो
र
मा
सहभरखे
नरनमा
र
हभमखे
नहहममा
नरकखे
ह तनतमा
जह
Ja84#36: (चलो
)पड़सखे
त्र
हगु
जककीकहमार
मा
मतएहअनमा
ह ह
मतव्र
हदककीबमा
जह
Ja84#38: व्रह्मककीरमा
जहरमा
जहर
महतसमलो
हरडमा
र
णगमा
नरधमा
ह र
ण
Ja84#40: चलो
पटसखे
त्र
हगु
जककीकहमार
मा
मतएकअनमा
ह सहतव्रह्म ककीममा
जह
Ja84#41: चलो
पटसहें
त्रगु
जककीकहमार
मा
मव
ह तएहअ(नमा
म)तव्रह्मककीममा
जह
Ja84#42: चलो
पटशह
त्र
हगु
जककीकहमार
मा
मतएहअनमा
ह मतब्र
हह्मककीबमा
जह
Ja84#49: जमा
नककीरमा
जहर
मलोस
चतलमा
यकह
एहअनमा
(...) व्रह्मककीममा
जह
Ja84#56: चलो
पटसहें
त्रबू
जककीकमा
हमार
मा
मव
ह तएहअन्नमा
मत्तव्रह्मककीबमा
स
ज

1080 It was not possible for me to transcribe the rest of the verse when I inspected the chart.
1081 अखेis probably a Devanāgarī rendering of Gujarati એ which transliterates as "e."

579
 [चलो
पटसखे
त्र
हगु
जककीकहमार
मा
मतएहअनमा
मतब्रह्मककीबमा
जह]
what is the game of caupaṛ setruñj (i.e. the caupaṛ of Shatrunjaya)? It is the game
of the nameless Brahman /

Ja84#4: बमा
जहर
मखे
तसगु
क्रलो
धसमखे
भ्
भरव़
ममाहहर
मखे
दहलहलो
तहखे
र
मा
जह
Ja84#5: चलो
पडहर
महमसक्रलो
धसमह
भरमलो
न(र
ह)दह
(इ)हमह
हलो
तजगु
रमा
जह
Ja84#6: बह
जहर
महतसक्रलो
धसमह
भरमह
नभमह
वदलहलो
तहह
रमा
जह
Ja84#8: बमा
जहर
महतसक्रलो
धसमह
भरममा
ह
नभमह
वदलहलो
तहह
रमा
जह
Ja84#9: बमा
जहर
मखे
तशक्रलो
धसमखे
भममा
ह
नभ(मह
) दह
लहलो
तहह
रमा
जह
Ja84#10: बमा
जहर
महें
तसक्रलो
धसमहें
भरममा
ह
नभमहें
वदलहलो
तहखे
र
मा
जह
Ja84#11: बमा
स
जरमखे
तसक्रलो
धसमखे
भरममा
ह
(न) भमखे
दहलहलो
तहखे
(रमा
)जह
Ja84#15: बमा
जहर
महें
नसक्रलो
धसमहें
भरममा
ह
नभमखे
दलहलो
तरमा
जह
Ja84#18: बमा
जहर
मखे
तसक्रलो
धसमखे
भरमह
नभमखे
व
दलहलो
तहखे
र
मा
जह
Ja84#22: बमा
जहर
महतशक्रलो
धसमह
भरममा
ह
नभमह
वदलहलो
तहह
रमा
जह
Ja84#23: बमा
जहर
महें
तसक्रलो
धसमहें
भरममा
नरदखे
ह रमहें
हलोतहह
रमा
जह
Ja84#24a: बमा
जहर
मखे
तसक्रलो
धसमखे
भरममा
ह
नभमखे
व
दलहलो
तहह
रमा
जह
Ja84#24b: बमा
जहर
मखे
तसक्रलो
धसमखे
भरममानभमखे
व
दलहलो
तहह
रमा
जह
Ja84#24c: (...)
Ja84#28: बमा
जहर
मखे
तखे
सक्रलो
धसमखे
भरममा
(नसेँ )मखे
) नभ(मखे दहलहलो
तहखे
र
मा
जह
Ja84#29: बमा
जहर
महें
त×सकलो
धसमहें
भरममानभमहें
दह लहलो
तहखे
र
मा
जह
Ja84#34: बमा
जहर
मखे
तस क्रलो
धसमखे
भरनमा
हहभमखे
व
दलहलो
तहखे
र
मा
जह
Ja84#36: बमा
जहर
महतसगु
क्रलो
धसमह
भरममा
ह
नभमह
वदलहलो
तहह
रमा
जह
Ja84#38: गमा
न॥समतमा
ह र
सहहें
सगु
वरतमा
जहचलो
घटसखे
त्रगु
हें
जककीकमा
हमाक्रलो
ध
Ja84#40: बमा
जहर
महें
तसक्रलो
धसमहें
भव रमलो
हनकलोदह
लहलो
तहखे
र
मा
जह
Ja84#41: बमा
जहर
(महें
) तसक्रलो
धसमहें
भरममा
नभमखे
ह व
दलहलो
लहलो
तहत
रमा
जह
Ja84#42: बमा
जहर
महें
तसक्रलौ
धसमहें
भरमहें
नभमहें
दह लहलो
यतहहें
रमा
जह
Ja84#49: पमा
पघट
हअरुममा
नबधह
एहर
ममाव
दलहलो
तवहर
मा
जह
Ja84#56: बमा
स
जरमहें
तसक्रलौ
धसमहें
भरममा
ह
नभमहें
दल्य हलो
तहहें
रमा
सजह

[बमा
जहर
मखे
तसक्रलो
धसमखे
भरममा
ह
नभमखे
व
दलहलो
तहह
रमा
जह]
if one plays this game, one extinguishes one's anger and does not roam around in
existence; one is joyful at heart /

Ja84#4: पमा
पतखे
टमा
रणमलो
हवरडमा
र
णगमा
नरधमा
र
णगमा
नवकबमा
जह
Ja84#5: पमा
पघटमा
र
णमलो
हवरडमा
र
णगमा
नरधमा
ह र
णगमा
नककीरमा
जह

580
Ja84#6: क्रलो
धघटमा
र
ण×(ह) व
रड़मा
र
णजमा
नरधमा
रणजमा
नककीरमा
जह
Ja84#8: पमा
प(घ)टमा
र
णमलो
हवरड़मा
र
णगमा
न(रधमा
ह )रणगमा
नककीबमा
ह जह॥१
॥
Ja84#9: पमा
पघटमा
र
णमलो
हवरड़मा
र
णगमा
नरधमा
र
णगमा
नककीबमा
ह जह॥
Ja84#10: पमा
पघटमा
र
णमलो
हवरड़मा
र
णजमा
नरधमा
र
णजमा
नककीबमा
जह१
Ja84#11: पमा
पघटमा
र
नमलो
ह(बह
)डमा
र
नजमा
ह
(ब)धमा
र
नजमा
नककीबमा
ह जह
Ja84#15: (पमा
पघटमा
र
णमलो
हरड़मा
र
णजमा
न) (...)(र
ण) जमा
नककीबमा
जह१
Ja84#18: पमा
पघटमा
र
णमलो
हरड़मा
र
णगमा
नरधमा
ह र
णगमा
नककीबमा
ह जह१
॥
Ja84#22: पमा
पघटमा
र
णमलो
हवरड़मा
र
णगमा
नरधमा
ह र
णगमा
नककीबमा
ह जह॥१
॥
Ja84#23: पमा
पघटमा
र
णमलो
हरमा
ड़मा
र
ण(गमा
)ह
नरधमा
र
नजमा
नवकबमा
जह२
Ja84#24a: पमा
पघटमा
र
नमलो
हवरदमा
र
नझमा
नरधमा
र
नजमा
नककीबमा
जह॥१
॥
Ja84#24b: पमा
पधटमा
र
नमलो
हवरदमा
र
नझमा
नरधमा
र
नजमा
नककीबमा
जह॥१
॥
Ja84#24c: पमा
पधटमा
र
नमलो
हवरदमा
×(न) झमा
नरधमा
र
नजमा
नककीबमा
जह॥१
॥
Ja84#28: पमा
पघटमा
र
णमलो
हबह
ड़मा
र
णमाजमा
नरधमा
ह र
णजमा
नककीबमा
ह जह॥१
॥
Ja84#29: पमा
पघटमा
र
णमलो
हरह
ड़मा
र
णगमा
नरधमा
ह र
णगमा
नककीबमा
ह जह१
॥
Ja84#34: पमा
पकटमा
बनमलो
हवबदमा
र
नममा
नर(र)धमा
ह र
णजमा
नककीबमा
ह जह॰
॥१
Ja84#36: पमा
पघटमा
र
णमलो
हवरड़मा
र
ण(२) गमा
×
हरधमा
र
णजमा
नककीबमा
ह जह॥१
॥
Ja84#38: पमहें
भरममा
ह
नरदखे
हमहें
हलोयतर
मा
जहपमा
पघटमा
रणककीरमा
जह१
Ja84#40: पमा
पघटमा
र
णमलो
×(व
र)ड़मा
र
णगमा
नरधमा
ह र
णगमा
नककीबमा
ह जह१
Ja84#41: पमा णनमलो
पघटमा
र हवरड़मा
र
नगमा
नर×र
ह णगमा
नककीबमा
ह जह
Ja84#42: गमा
न(र)धमा
ह र
णपमा
पघटमा
(स)णमलो
हरह
ड़मा
र
णगमा
ह
नरधमा
र
णजमा
नककीबमा
ह जह॥१
॥
Ja84#49: बमा
यघटमा
र
णपगु
ण्य बधमा
र
णजमा
नरधमा
र
णजमा
× ककीबमा
जह॥१
॥
Ja84#56: पमा
पघट
हें
अनहें
मलो बह
हवड़मा
र
णजमा
नव
ह रधमा
र
णजमा
नककीबमा
ह स
ज॥१
॥

[पमा
पघटमा
र
णमलो
हवरदमा
र
णजमा
नरधमा
र
णजमा
नककीबमा
जह]
the game of knowledge reduces sin, tears apart delusion, and increases
knowledge // 1 //

Verse #1b
NB! This variant of verse #1a appears on Ja84#5 which also includes the standard version of
verse #1a.

Meter: Matta-gayand (also māltī) sāvaiyā1082

Chart: Ja84#5
1082 See fn. 1077.

581
चलो
र
मा
ससघट
हसजरडगु
षस मट
ह××रमा
ससमट
हसचत(समा
)ह
वतव
कयमा
ह
सज
सरक्रलो
धहर
लौर(हु) दलो
××ट
हर
हअषमदहरगगु
णगमा
नलङ
यमाजह
सगु
रललो
करमह
र(हु) दह
रनमह
सरषखे
(त्र) ×मह
जहरहलो
तजण
गु1083 जह
ममा
न1084 व
रडमा
र
णपमा
पवनरमा
र
णगमा
(न) रधमा
र
णषखे
लतरमा
जह१

If the soul reduces the eighty-four (lākh rebirths), removes fault, and removes ...
the mind becomes peaceful / if it (i.e. the soul) removes all anger, and stops
(fault?), it attains (the eighth subtle quality of?) knowledge / if the soul enjoys the
realm of the gods, bows down to the divine, and (enjoys?) all planes (of
existence), it becomes (virtuous?) / playing the game tears apart (delusion?),
prevents sin, and increases knowledge // 1 //

Verse #1c
NB! This appears to be an independent verse, but has been classified as a variant because it
follows the meter and rhyming pattern of verse #1a.

Meter: Matta-gayand (also māltī) sāvaiyā1085

Chart: Ja84#17

पमा
इमहमामगु
वनरमा
जसममा
जकगु
हकहव
ररहमा
रसगु
रमाशखे
इ1086 लमा
जह
चलोगव
तखखे
तमहें
चखे
नतचखे
तमहें
पमासखे
स
सद्धिमा
तस
ह जतखे
भरखे
गमा
जह
ओररकृ
रमाव
रकघमा
तसज1087 भमा
रषगु
समा
लङसगु
लङ(उ) र
हहव
नठर
मा
जह
गमा
नकमारखे
ह वल1088 र(रह
) गगु
नकखे
व
लयह
गु
षखे
लतजमा
नहसगु
ह )नककीरमा
(गमा जह१

If one attains the company of a great king of sages, (one's conduct becomes shy of
the gods?) / having completely conquered the final goal in the mind in the field of
the four categories of rebirth, the soul becomes calm / (if the goal is in vain, if
there is destruction of existence, and if joy and sorrow remains, then calmness is
difficult?) / the virtuous should play (the game?) of knowledge; the learned play
the good game of knowledge // 1 //

1083 Read: guṇa?

1084 Read: moha?
1085 See fn. 1077.
1086 Read: kai?
1087 Read: vighātī?
1088 Read: khela?

582
Verse #2
Meter: Possibly durmilā (also ḍumilā) sāvaiyā1089

Chart: Ja84#17

अह
सहें
आर जदखे
शमतउत्तमर
हशह
कगु
हपमा
इसजनखे
शकह
गु
अरचलो
नह
कखे
(पगु
)न कखे
रमासरषखे
लसगु
पमा
सरहत
भवरजह
तलहखे
घरचलो
जमा
तहें
ललोकअललो
कवरललो
कवरर
मा
जतआन
हदअन
हतर
चलो
इनहहचलो
परचलो
परचलो
परचलो
परचलो
परचलो
परचलो
॥२॥

Having attained the best family line in the best country, one should worship (the
signs of the spiritual teachers?) / the ocean of good merit (brings well-being in the
game?); a soul capable of liberation (is victorious ...?) / (one who has?) seen the
world and the non-world (enjoys?) splendid bliss eternally / (this is?) co-par-co-
par-co-par-co-par-co-par-co-par-co1090 // 2 //

Verse #3
Meter: Unidentified1091

Charts: Ja84#1,6,8,9,23,24abc

Ja84#1: ललो
कमा
कमा
रसगु
कखे
त्रव
तहमा
ह
चलो
र
मा
सहलषजलो
नह
Ja84#6: (ललो
)कमा
कमा
सगु
सगु
कखे
त्रव
तहमा
ह
लमा
षचलो
र
मा
सहयलो
व
न
Ja84#8: ललो
कमा
कमा
रसबू
षखे
त्रव
तहमा
ह
चलो
र
सहलषजलोन)
(व
Ja84#9: ललो
कमा
कमा
रसबू
कखे
त्रव
तहमा
ह
चलो
र
मा
ससलकयलो
व
न
Ja84#23: ललो
कमा
कमा
रसह
क
गुखे
त्रजह
हमा
ह
लषचलो
र
मा
ह
सहमहें
जलोव
न
Ja84#24a: ललो
कमा
करसगु
कखे
त्रव
तहमा
ह
चलो
र
मा
सहलख जह
रमाजलो
नहह
Ja84#24b: ललो
कमा
करसगु
कखे
त्रव
तहमा
ह
चलो
र
मा
सहलख जह
रमाजलो
नहह
Ja84#24c: (...)

1089 See fn. 1069.

1090 The repetition of caupaṛa creates the auditory effect of hearing both caupaṛa (i.e. game) and
paṛacau (Skt. paricaya, i.e. knowledge). This is similar to the well-known repetition of haṃsa (i.e.
goose, soul) resulting in the auditory effect of also hearing ahaṃ sa (i.e. I am that).
1091 Ja84#6,23,24ab introduce the verse as a kavitt, with Ja84#6,23 adding ṣaṭpadī. Kavitt can either
mean a verse in general, or the kavitt meter in particular. Here the former seems to be the case, as
the meter does not fit the definition of a kavitt meter (Snell 1991: 28; Thiel-Horstmann 1983: 61).
Ṣaṭpadī also merely seems to indicate that the verse has six feet (pada).

583
 [ललो
कमा
कमा
रसगु
कखे
त्रव
तहमा
ह
चलो
र
मा
सहलमा
षयलो
व
न]
There are eighty-four lākh birth-situations in the good field that is the universe /

Ja84#1: सबू
कर बू
मदकरमभखे
दजहरव
तहमा
ह
वफर
तअपगु
वन्न
Ja84#6: सगु गु
कमर्वा
दणः कमर्वा
कखे भखे
दजहरव
त(हमा
ह
)वफरअ(न) (असगु
त
)व
Ja84#8: (सगु
)कमर्वा
कखे जह
रवतहमा
ह
अपगु
नह
Ja84#9: सगु गुमर्वा
कमर्वा
दक कखे जह
रवतहमा
ह
अपगु
नह
Ja84#23: सह
क
गुमर्वा
कखे (भखे
द) स
जरव
तहमा
ह
वफर
नहें
असहगु
वन
Ja84#24a: सक गु
गुमर्वा
दणः कमर्वा
कमाभखे
दजहरव
तहमा
ह
वफर
तअफगु
नह ह
Ja84#24b: सगु गु
कमर्वा
दणः कमर्वा
कमाभखे
दजहरतहमा
ह
वफर
तअफगु
नह ह
Ja84#24c: सगु गु
कमर्वा
दणः कमर्वा
कमाभखे
दजहरतहमा
ह
वफर
तअफगु
नह ह

[सगु
कर गु
मदणः
करमकखे
भखे
दजह
रवतहमा
ह
वफर
तअपगु
वन]
there the souls roam around again and again because of the various kinds of
good and bad karma /

Ja84#1: सदगगु
रुकखे
सहयलो
गभयलोवरहमा
रचलो
र
मा
सह
Ja84#6: सदगगु
रुकखे
सहजलो
गभयलोव
ररहर
मा
स
स
Ja84#8: सदगगु
रुकखे
सहजलो
गभयलोव
ररहमा
रसबू
रमा
सह
Ja84#9: सदगगु
रुकखे
सहयलो
गभयमाव
ररमा
हमा
रसबू
रमा
सह
Ja84#23: शदगबू
रकहें
सह जलो
गभयलोरह
रहमा
ररमा
सह

[सदगगु
रुकखे
सहयलो
गभयलोवरहमा
ररमा
सह]1092
those who associate with the true guru enter the group of specifiable souls (i.e.
vyavahār rāśī, sq. 11) /

Ja84#1: महमा
व्रतहमबू
वनरमा
जकखे
इक भयखे
अवरनमा
सह
Ja84#6: महमा
व्रतअनगु
व्रतजह
रकखे
इभएअव
रनमा
समा
Ja84#8: म(हमा
)व्रतह(मगु
वनस्व)रजह
र(कखे
)इकभयलोअव
रनमा
सह
Ja84#9: महमा
व्रतमगु
ह नहश्वरजह
रकखे
इहकभयखे
अवरनमा
सह
Ja84#23: ममा
हमा
व्रतअणगु
व्रतकखे
ईजहरभयखे
अरह
नमा
सह

[महमा
व्रतहमगु
नहश्वरजह
रकह
कभयखे
अवरनमा
सह]
the few souls, the chiefs of sages, who follow the great vows, become
indestructible /

1092 This line only counts 23 morae against 26 morae in the other lines.

584
Ja84#1: सगु
गइकखे
त्रव
तहमा
ह
आत्म नयआगमममा
र हह
गममा
व
ह
Ja84#6: चलो
ग(ई) (कखे
त्र) व
तहमा
ह
आतमभएआगममहें
Ja84#8: (डह
)इषखे
त्रव
त×हमा
ह
आतमभयआगमममा
र
गममा
व
ह
ह
ह
Ja84#9: (मगु
)द्रषखे
त्रव
तहमा
ह
आतममानयआगमममा
र
गम(व
ह)
Ja84#23: चलो
गईकखे
त्र
हजहहमा
ह
आत्म भयहें
आगमममा
गर्वा
महें

[चलो
गड़कखे
त्रव
तहमा
ह
आतमभयआगमममा
र
गमहें
]
in the field of the four directions, the self follows the path of scripture [āgama] /

Ja84#1: भलपमा
समाव
नकखे
पभरमा
तर
ह खे
व
रनयरहजमा
उमबू
गवतचव
ल१
Ja84#6: भलहें
पमा×समाव
नकखे
पभरमा
तर
ह हें
वरनयकहहें
जह रमगु
वक्ति (च)लहें
१
Ja84#8: भलङपमा
समातमा
इयह
परभरमा
तर
ह खे
व
रनयकहहें
जह र(कगु
)गतचल॥१
॥
Ja84#9: भमा
लङपमा
सतमा
इयखे
परभयमा
त
हरखे
व
रनयकहखे
जहरकगु
ह
गत(चमा
)१
Ja84#23: भलहें
पमासमाव
नकखे
पभरमा
तरव
ह रनयकहत
मगु
वक्ति चलह
१

[भलपमा
समाव
नकखे
पभरमा
तरव
ह रनयकहह
मव
गु
क्ति चलह
]1093
having made a good throw, it goes to liberation without a following rebirth // 1 //

Verse #4
Meter: Dohā1094

Charts: Ja84#14,31a

Ja84#14: चलौ
दह-
रमा
ज-सगु
ललो
क-पटचलौ
र
मा
सहलख चमा
ल
Ja84#31a: चलौ
दह-र
मा
ज-सगु
ललो
क-पटचलौ
र
मा
सह-लख चमा
ल

The eighty-four lākh (birth-forms) move on the cloth of the fourteen universal
realms [rājaloka] /

Ja84#14: लखे
श्यमागगु
णसहयलो
गतहें
वनतनरबमा
जह-
ख मा
ल॥१
॥
Ja84#31a: लखे
श्यमागगु
णसहयलो
गतहें
वनतनरबमा
जह-ख मा
ल॥१
॥

because of contact with the karmic stains [leśyā],1095 they always regard the game
as new // 1 //

1093 This line counts 27 morae against 26 morae in the other lines, though this might be remedied by
counting one of the long syllables as short.
1094 See fn. 1049.
1095 The parable of the six karmically stained men and the rose-apple tree is illustrated in the left side
panel of Ja84#14,31a.

585
Ja84#14: छहआर
मा
मयकमा
लकखे
चक्रअनन्तमा
नन्त
Ja84#31a: छहआर
मा
मयकमा
लकखे
चक्रअनन्तमा
नन्त

The six-spoked wheel of time is endless /

Ja84#14: मधगु
-व
बनगु
सगु
ख कखे
व
लयखे
सह
समा
र
हखखे
लन्त॥२॥
Ja84#31a: मधगु
-व
बनगु
सगु
ख कखे
वलयखे
सह
समा
र
हखखे
लन्त॥२॥

those caught in the cycle of rebirth play for the joy of a drop of honey 1096 // 2 //

Ja84#14: चढहें
-पड़हें
भर-भलो
गतखे
अपनखे
-अपनखे
दमा
र
Ja84#31a: चढहें
-पडहें
भर-भलो
गतहें
अपनखे
अपनखे
दमा
र

They experience existence as they climb and fall according to their own throw (of
the die) /

Ja84#14: गगु
णसमा
नकसह
ढहअचलजलोपमा
रखे
शगु
भभमा
र॥३॥
Ja84#31a: गगु
णसमा
नकसह
ढहअचलजलोपमा
रहें
शगु
भभमा
र॥३॥

those who attain the firm ladder of the stages of purification [guṇasthāna] have
an auspicious nature // 3 //

Ja84#14: “
हरर
-करह
न्द्र"ककी
व
तर्वा
तव रजय-
ससद्धि-
सशलमाहहरमा
स
Ja84#31a: "
हरर
-करह
न्द्र"ककी
व
तर्वा
तव रजय-
ससद्धि-
सशलमाहलोरमा
स

The abode Vijay-Siddh-Śilā (i.e. the triumphal abode of the perfected ones) is
known as "Hari-Kavīndra"1097 /

Ja84#14: '
नरमल'स
चवत्रतजमा
नककीबमा
जहखखे
ललोखमा
स॥४॥
Ja84#31a: '
नरमल'स
चवत्रतजमा
नककीबमा
जहखखे
ललोखमा
स॥४॥

the special game of jñān kī bājī was drawn by 'Nathmal' // 4 //

1096 The parable of Madhubindu (lit. honey-drop) is illustrated in the right side panel of Ja84#14,31a.
1097 An alternative reading might be: "The celebrated Hari Kavīndra dwells in the triumphal abode of
the perfected ones."

586
Verse #5
NB! The verse is attributed to Kabīr in the western or Rajasthani tradition of his songs. 1098

Meter: Dohā1099

Charts: Ja84#8,9,23

Ja84#8: हदचलह
सलोआदमहव
रहदचलह
सलोसमा
ध
Ja84#9: हद(च)लह
सलो(आद)महव
रहदचललोसलोसमा
ध
Ja84#23: हदचलहें
सलोआदमहरखे
हदचलखे
सलोसमा
ध

[हदचलहें
सलोआदमहव
रहदचलहें
सलोसमा
ध]
He who moves within the boundary is a man, (and) he who goes beyond the
boundary is a saint [sādhu] /

Ja84#8: हदव
रहददलो
नगु
चचलह
तमा
कमामतमाअगमा
(ध)
Ja84#9: हदव
रहददलो
न
हगु
चलखे
तमा
कमा
यअगमा
धर
Ja84#23: हदरखे
हददलो
नबू
चलहें
तमाकमामतमाअगमा
ध

[हदव
रहददलो
न
हगु
चलहें
तमाकमामतमाअगमा
ध]
(but) he who goes beyond both the bounded and the unbounded, his greatness1100
is unfathomable // 1 //

Verse #6
NB! The verse appears to be a vernacularized version of a Jaina gāthā originally written in
Prakrit. Unfortunately, I have not been able to trace it to any known source. The tentative
reconstruction presented below combines vernacular and Prakrit forms in an attempt to stay
true to the charts, while at the same time identifying the Prakrit forms underlying the vernacular.

Meter: Āryā1101

Charts: Ja84#18,36,38

1098 हदचलह सलोममा

नरबखेहदचलह सलोसमा
ध।हदबखेहददलोऊ तखे
जह तमा
करमतमाअगमा ध॥ (KGS 20.6). [He who walks between
boundaries is a man, he who goes beyond them is a saint, but he who transcends the limited and the
limitless, his greatness is unfathomable! (Vaudeville 1974: 262).]
1099 See fn. 1049.
1100 For the translation of matā as "unfathomable," see Vaudeville 1974 (p. 262, fn. 12).
1101 The charts introduce the verse as a gāthā which can either mean a verse in general, or an āryā
verse in particular. Āryā is a mātrika meter consisting of 12 + 18 + 12 + 15 morae.

587
Ja84#18: गलो
लमा
यअसषह
जमाअसह
षगलो
लमा
इएहह
महनह
गलो
ए
Ja84#36: गलो
लमा
यअसह
रककी
×असह
रकव
नगलो
हहरइगलो
ललो
Ja84#38: गलो
लमा
यअसह
थ
ख(जमा
) असह
खवनगलो
यहरइगलो
ललो
इ

[गलो
लमा
ईअसह
थ
खज असह
खवनगलो
अ हरईगलो
लमा
ई]
There are innumerable clusters [gola];1102 the clusters contain innumerable basic
lifeforms [nigoda] /

Ja84#18: एकह
वकह
महव
नगलो
एअन
हतस
जरमा(मबू
)णखे
इछह
छमा
Ja84#36: एव
ककव
नगलो
यगलो
ललोअसह
षजह
रमा
यमगु
णहयरमा
Ja84#38: (कह
)कह
व
पवनगमा
एअणह
तजह
रमामगु
णखे
य(द्धिमा
)

[एकइआ स
णगलो
अ असह
ख जह
रमामगु
णखे
इच्चमा
ई]
there are innumerable souls in a single basic lifeform (according to the sages,
etc.?) // 1 //

Verse #7
Meter: Possibly durmilā (also ḍumilā) sāvaiyā1103

Charts: Ja84#26,36

Ja84#26: तरखे
नरलमा
षजकखे
नरस(र)र्वाछरहह
समा
ह
तमा
गककीठलो
ह ङड़र
खे
हलो
Ja84#36: तजलोनरकषमा
यसप्पर्वा
छव हह
समातमा
गककीछड़मा
ड़हग्रहलो
ह

[तगलौनरकषमा
यकखे
नरसपर्वा
छरव हह
समातमा
गककीछड़मा
ड़हग्रहखे
ह ]
He who knows the true nature of reality [Skt. tattvajña] understands the nine
snakes as the nine passions and the six ladders as the six renunciations of
injury1104 /

Ja84#26: नरतत्वह
कखे
नरपगतमा
ह
लहलोनह
गलो
द(मखे
) समा
ररषकखे
नहकसलो
हखे
Ja84#36: नरतत्व कखे
नर××रह
रमालहलौव
नगलो
दमत
समा
ररषकत
वनकसखे
1102 Gola literally means a ball or a sphere. Golas are often illustrated as tiny dots and circles on the
Jaina charts, including Ja84#18,36 but not Ja84#38.
1103 See fn. 1069. Ja84#26 introduces the verse as a kavitt, which can either mean a verse in general, or
the kavitt meter in particular. Here the former seems to be the case, as the meter does not fit the
definition of a kavitt meter (Snell 1991: 28; Thiel-Horstmann 1983: 61).
1104 Since the forms of injury to be renounced are usually numbered as five (Jaini 1979: 242-43), it is
possible that we should understand "the six renunciations beginning with that of injury" instead.
Though the great vows (mahāvrata) associated with non-injury (ahiṃsā) only include five items, a
sixth vow prohibiting eating after dark is sometimes added (Dundas 2002: 137).

588
 [नरतत्त्व कखे
नरपगतमा
ह
लहलोव
नगलो
दमहें
समारर
षकखे
वनकसखे
]
He attains the nine footprints as the nine principles of reality; after having placed
your pawn among the basic lifeforms (i.e. nigod, sq. 1), you should move out (of
that square) /

Ja84#26: ऐकसखे
लखे
कखेछतमा
द्रहचलखे
ह अणरह
ध(ग)नमा
नप
ह ह
चहसहषखे
लङयखे
Ja84#36: एकसखे
तहलखे
कह छतमा
इह
ह चमा
लहअनगु
क्रमह
कमा
ठमाछह
1105

[एकसखे
तहलखे
कखेछरतमा
ईचमा
लखे
अणव
रधजमा
नपचह
सहषखे
लङयह
]
You should move between one and six (squares); 1106 in this manner you should
play jñān paccīsī /

Ja84#26: अकप्रममा
णखे
अनगु
क्रमखे
कलो
ठमाछह
नहगलो
रकमागलो
लमा
ह
आ(कमा
)
रजह
(र) छह
Ja84#36: इतव
रधजमा
नपचह
ह सहषखे
लङयह
अकप्रममा
णव
ह नगलो
दकमागलो
लमाआकमा
र

[अह
कप्रममा
णखे
अनगु
क्रमखे
कलो
ठमाछह
वनगलो
दकमागलो
लमा
ह
आकमा
रजह
रछह
]
The squares appear in sequence according to the numbers (inscribed in them);
the souls are in the form of clusters [gola]1107 of basic lifeforms // 1 //

Verse #8
NB! Compare the related verse #2b in Appendix E1.

Meter: Dohā1108

Charts: Ja84#6,23

Ja84#6: (न)ररव़
मा
ड़हचलो
र
मा
सहकलो
ठमासखे
ढलोचमा
रप्रममा
ण
ह
Ja84#23: नररमा
ड़चलो
र
मा
सहकलो
ठमासखे
वड़चमा
रप्रममा
ण
ह

[नरनमा
ड़हचलौ
र
मा
सहकलो
ठमासह
ढहचमा
रप्रममा
ण]1109
There are nine energy channels1110 (i.e. snakes), eighty-four (bodily) cavities (i.e.
squares), and four ladders /

1105 Ja84#36 mixes up the two final lines.

1106 This likely indicates that the game is played with a four-sided stick die configured as 1-2-5-6 which
appears to have been the norm for Jaina charts, but it might also indicate that it is played with six
cowries or a six-sided cubic die.
1107 See fn. 1102.
1108 See fn. 1049.
1109 The first line has 28 instead of 24 morae, possibly indicating a mistake occurring when the verse
was adapted from the related verse #2b in Appendix E1.

589
Ja84#6: कमर्वा
पमा सलोलखे
ईनहें
कखे
ललोचउरसगु
जमाण
ह
Ja84#23: कर
महें
पमासमालखे
(ईनहें
) षखे ह
ललो
चउरसगु
जमाण
ह

[कर
मपमा
सलोलखे
ईनहें
खखेललोचमा
रसगु
जमाण]
four wise people should take the die of karma and play //

Verse #9
Meter: Dohā1111

Chart: Ja84#4

अव
ररहमा
रवकर
मा
समखे
व
नहचखे
स
जरव़
अनह
त
कर
मयलो
गवतहमासखे
व
नकसव
ररव़
हमा
रउपजह
त॥१
॥

There certainly is an infinite number of souls in the group of unspecifiable (souls)

(i.e. bādar nigod, sq. 1?) / they emerge from there by means of the discipline of
action, and are born as specifiable (souls) (i.e. cār lākh yoni, sq. 2?) // 1 //

व
तरसगु
र(अर
)×नमा
र
वककहहचमा
रगतऐह
क्रलो
धमा
दहक(य)स1112 अखे
हमखे
भ्रमतजह
रव़
(इ)षगखे
ह॥२

The four rebirth categories are called (animals, gods, humans?) and hell-beings
(i.e. cār lākh yoni, sq. 2?) / because of the (four) (passions?) beginning with anger
(i.e. krodh, sq. 3), the soul roams among them in this square // 2 //

हलो
तउदखे
सगु
भकरमजबउचखे
पद(जखे
) (जह
)×
असगु
भजगखे
1113
फकी
रकखे
सहहव
नचहगतलखे
आय॥३॥

When auspicious karma arises, the soul goes to a place above / when
inauspicious (karma) (awakens?), the soul does indeed go back down // 3 //

छरव़
व
नसर
णहछङ
नकमह
ठ(यखे
) उर
दगतठमा
य
पगु
न उदखे
पमा
महभरहकलहहऐकछडह
1114
जमा
य॥४॥

There are six ladders; if (the soul) stops for a moment (at their feet), it goes to

1110 Vāṛa/vāṛī (enclosure, obstruction) appears to be wrong for nāḍī (energy channel), or perhaps a
conscious attempt of avoiding tantric and yogic terminology.
1111 See fn. 1049.
1112 Read: kaṣāya?
1113 Read: jagāe?
1114 Read: caḍī.

590
 stop above1115 / attaining the arising of meritorious (karma), a soul capable of
liberation climbs (them) one at a time // 4 //

नरकलो
ठखे
कखे
व
बचमहें
नरव़
पखे
ड़हसगु
भजमा
ण
इकगगु
णठमा
णखे
छडतमा
1116
अनगु
क्रमस
सधव
पछमा
ण॥५॥

There are nine footprints (of auspicious knowledge?) between (i.e. connecting)
nine squares1117 / climbing each stage of purification in succession, there is the
knowledge of the perfected ones // 5 //

कर
वरकर
णसबजह
रव़
सखे
महत्रभमा
रव़
सव़
मभमा
रव़
इहउपमा
यतगु
मपमा
यहलोनह
सरणहसगु
कदमा
य॥६॥

By doing thus, (one attains) the states of friendship and equality with all souls /
only by this means will you attain the ladder that brings happiness // 6 //

वमा
लकमा
लमगु
षआयकखे
वनश्चखे
1118
व
नश्वलोरमा
य
रचखे
जगु
कलो
इअखे
हरहपगु
न बलङकहह(रमा
)य॥७॥

If you arrive at the mouth of a black snake, then you are assuredly placed below /
some say that there is merit from this // 7 //

लषचलो
र
मा
सहयलो
नमखे
भ्रमतजह
रव़
इहर
रत
भव स
जरव़
कखे
समजकखे
चलो
र
स1119 गमा
नवकव
कत1120॥८॥

In this way the soul roams around the 84 lākh birth-situations / The gyān causar
of the understanding of the soul capable of liberation (is right view?) // 8 //

चलो
पड़सखे
तगु
जषखे
लतखे
प्रमा
णहउगव
तलहह
त
भव
रव़
समजतअखे
षखे
लङयखे
तमा
तखे
स
सरव़
पलो
हलो
चह
त॥९
॥

If one plays caupaṛ śetruñj (i.e. the caupaṛ of Shatrunjaya), the soul attains the
final state / the restrained soul capable of liberation should play; on that account

1115 I.e. if a pawn lands in a square with the foot of a ladder, it moves up to the square at the top of the
ladder.
1116 Read: caḍtā.
1117 Since the nine footprints are situated between squares, they do in fact connect ten rather than nine
squares.
1118 Read: nīce?
1119 Read: causara (a variant of the game of caupaṛa)? Otherwise, we might understand "the square
(coras) of the understanding of the soul capable of translation."
1120 The interrogative kita (where) does not make sense to me in the present context. Perhaps we
should read samakita (Skt. samyaktva, right view).

591
 it arrives at Śiva // 9 //

Verse #10
Meter: Unidentified

Chart: Ja84#56

एहममा
हहें
जखेउचबू
आवरनहें
नहें
चबूघणह
रमा
रपमा
डहें
तखेबहुलसह
समा
र
हक जह
रजमा
ण
हरलो
तरमानहें
सर णह
इहआव
रनहें
तगु
र तउ
हचलो(आ)रहें
शबू
ल(भ) जह
रजमा
णरलो
ह
तरमापड़हें
नव हसपर्वा
मबूखहें
नमारखे
तलोतगु
रतउचलोआरखे
तलोतखे
हलबू
क(मर्गी
)स जरजमा
णरलो
ह
तरमाउ
ह कह
चलोव महें
नमारहें
ममाव
ह
हममा
हहें
रड़रड़लोतलोममा
हलोममा
हखे
गगु
रर यतलोतखे
भमा
र
खे
कवमर्वा
सजरममा
हमाजमा
णरलो
ह

The many who often fall down after having gone up in this (game), they are
known as worldly souls / and those who go quickly up the ladders, they are
known as souls who obtain (the goal) easily / and those who do not fall, and do
not go into the mouth of the snakes, but go up quickly, they are known as souls
with a light karma / and those who do not go up, who roam around in
bewilderment, and who become entangled in delusion, 1121 they are known as
souls with a very heavy karma // 1 //

Verse #11
Meter: Unidentified

Chart: Ja84#56

इह
मसह
समा
र
हककमा
मनमाशबू
ह कनपणजलो
ररमा
इह
।
रखे
हललोकमा
मरमा
ह 1122
नमा
रहलो
रखे
तखे
तगु
रतउचलोआरहें
।
कमा
इढह
ह लरमा
1123
नमा
रहलो
रहें
तलोपमा
छलोपड़हें
।
मलो
ड़गु
कमा
मरमा
ह 1124
नमा
रहलो
रखे
तलोपड़ह
नइह
तगु
रतपमा
छलोपड़हें
।
कमा
मनरमा
ह 1125
नमा
रहलो
रहें
तलोममा
हलोममा
हहें
गगु
रमा
य
ईणखे
र
हतहें
शबू
भमा
शबू
भशबू
कवनपणजलो
ररमा
इह
॥१॥

1121 I read mohi māṁhī (in bewilderment/delusion) instead of the double postpositions māṁhī
māṁheṁ (2 x in) and māṁho māṁhe (2 x in) which do not make sense to me.
1122 Read: kāṁmthī (because of karma?).
1123 See fn. 1122.
1124 See fn. 1122.
1125 See fn. 1122.

592
 (Thus the king sees the omen of worldly actions?) 1126 / (if a person has a light
karma?), he goes up quickly / (if a person is negligent?), he falls back down / (if a
person has a bulky karma, then in falling?) he falls back down quickly / (if a
person is without action?), he become entangled in delusion / according to these
rules, (the king sees the omen of worldly actions?) // 1 //

Verse #12
Meter: Dohā1127

Charts: Ja84#3ab,5,53

Ja84#3a: घट
खे
नरमा
स
शवनगलो
दककीरधखे
त(सस)नअनत
Ja84#3b: घट
हनर
मा
स
शवनगलो
दककीरधखे
नस सनअन
हत
Ja84#5: (र
)टह
नरमा
सहव
नगलो
(द) ककीरधह
नसस×अन
हत
Ja84#53: घट
हनर
मा
स
सवनगलो
दककीबधह
नससधअन
हत

[घट
हनर
मा
स
सवनगलो
दककीबधह
नससद्धिअन
हत]
Through decrease (of knowledge) (one finds) the group of basic lifeforms
[nigoda]; through increase (of knowledge) (one finds) everlasting perfection.

Ja84#5: एजखे
तमा
(कमा
)तखे
(जमा
)रहह
शह(स
ज)नररनकहह
×
Ja84#53: एजखे
तमाकमातखे
तमार
हहएस
जनरचनकहह
त

[एजखे
तकमातखे
तर हह
एसजनरचनकहह
त]
(as many as there are, as many remain?); thus the spiritual teachers say // 1 //

1126 An alternative translation might be: "Thus the royal game (of gyān caupaṛ) is also an omen of
worldly actions."
1127 See fn. 1049.

593
 Appendix F
Game Texts

Appendix F1: Krīḍākauśalya 241-55

Krīḍākauśalya, or skillfulness in games, forms the 20th chapter of the 6th part of the
Bṛhajjyotiṣārṇava written by the astrologer Harikṛṣṇa Śarmā from Aurangabad,
Maharashtra. It was completed on the 8th day of the dark half of Māgha in Śaka 1793
(i.e. 2 Feb, 1872 CE), and first appeared in print as Bṛhajjyotiṣārṇavāntargate ṣaṣṭe
miśraskandhe krīḍākauśalyākhye viṃśatimo 'dhyāyaḥ at Jagadīśvara Press in Mumbai
in 1885. It was republished as Krīḍākauśalyam bhāṣāṭīkāsametam at Śrī Veṅkaṭeśvara
Steam Press in Mumbai in 1900, and subsequently reprinted as Krīḍākauśalyam by Nag
Publishers in Delhi in 1982.

The text is written in Sanskrit, with some passages occurring in Marathi, and includes
an auto-commentary in Hindi which also shows occasional traces of Marathi influence
(cf. Bock-Raming 2010: 54). The excerpt presented below is taken from the 1982 reprint
of the 1900 edition and follows the exact word division and punctuation of the original.
Though several illustrations accompany the text, none are related to gyān caupaṛ. It is,
however, clear that the 84-square Vaiṣṇava chart described in vv. 241-45 is of the type
c variety (see Appendix B1).

594
Text and Translation
अरजमा
नपट्टखखे
लनममा
ह
महमा
र
मा
षखे
[sic] पगु
रमायलो
गहजमा
नखे
श्वर
मगु
नह
श्वर
णः
॥
सह
समा
र
तमा
पदगमा
नमा
ह
वकह
सचव
दशमा
व
ह
तहखे
तरखे
॥२४१
॥
जमा
नपट्टमा
स
भधह
खखे
लह
वनमर्वा
मखेऽ व
तमनलो
हरह
॥
प
हचमा
शहव
तप्रकलो
ष्ठमा
व
नसपमा
णमा
र्वाहनरकह
तरमा
॥२४२॥
सलो
मा
पमा
नदयसह
यगु
क्तिह धकह
द्व्यस णःखखे
लन ह
भरखे
तह
॥
कपव
दक
र्वामा
सप्तिकखे
नसहख माचलो
ध्वर्वा
मगु
खमास्मकृ
तमा
॥२४३॥
जनसमा
नमा
व
दमलो
कमा
त
ह
ह यरमा
सह
खहप्रपबू
रयखे
तह
॥
सलो
पमा
नखे
नलो
ध्वर्वा
गमन ह
सपर्वा
त ह
गु
डमादधथ
सवतणः
॥२४
४॥
सतममा
द बू
र्वा
ध्वर्वा
गमन ह
कगु
थ
चतखे
1128
ऽ
वहमगु
खह स्मकृ
तमह॥
सममा
स
धयलो
गमा
दह
कगु
ह
ठमनरलो
ध्वर्वा
भ्रमणःस्मकृ
तणः
॥२४५॥
इव
तबकृ
॰क्रकी
डमा
कलौ
शल्यमा
धयखे
जमा
नपट्टखखे
लनमह
॥

Now the game called jñānapaṭṭa (i.e. game board of knowledge)1129 is explained: A
long time ago in Maharashtra, the yogi Jñāneśvara, the lord of sages, invented a
very captivating game called jñānapaṭṭa for the sake of granting some relief to
those burned by the fire of the cycle of rebirth. It should have 85 squares, nine
snakes, and two ladders,1130 and it should be played by more than two (players)1131
and seven cowries. The number (of cowries) with the mouth turned up is
declared (as the number thrown). (The game track) should be completed
according to the numbering (of squares) beginning at janmasthāna (i.e. place of
birth, sq. 1) and ending at mokṣa (i.e. liberation, sq. 85)1132. One goes up by means

1128 Kucchite does not make sense to me, though the meaning seems clear from the context. In the
translation provided below, I understand it as kucite from √kuc, i.e. something bend or crooked in the
sense of a bad action.
1129 The general meaning of paṭṭa is a flat surface, while the more specific meaning is usually a piece of
cloth. The translation "game board" reflects the conventional way of referring to a surface on which
games are played. Harikṛṣṇa probably had in mind the pieces of linen on which the game was
traditionally drawn.
1130 An earlier translation of this passage by Jonathan Katz is wrong in asserting that there should be
four ladders (Topsfield 2006a: 144). The commentary below agrees that the chart should only have
two ladders.
1131 Since most traditional board games are two-player games, the statement that it should be played by
more than two players (dvy adhikaiḥ) merely indicates that it is a game for any number of players.
1132 Sq. 85 corresponds to top sq. 1 in the description of 84-square Vaiṣṇava charts employed in the
present thesis.

595
 of a ladder, and one is placed below because of the mouth of a snake; one goes up
on account of a good action, and one finds the mouth of a snake in the case of a
bad action. Vaikuṇṭha (i.e. Viṣṇu's heaven, sq. 80) is reached by the discipline of
samādhi (i.e. intense meditation);1133 otherwise, one roams back and forth
above.1134 Thus the game called jñānapaṭṭa in the chapter of the Krīḍākauśalya (in
the Miśra section) of the Bṛhajjyotiṣārṇava.

[Comm. to vv. 241-45:] अबजमा

नपट्टखखे
लकहतखे
हत-यहखखे
लमहमा
र
मा
षसदखे
शमहें
जमानखे
श्वरसमा
धगु
नखे
सह
समा
र
तमा
पसखे
दग भयखे
हुयखे
ललो हलोव
गलो
क रशमा
व
ह
तहलो
नखे
कखेरमा
स्तखे
जमा
नचलौ
पटबनमा
यमा
.यहखखे
लदलो कह
सखे
व रमाचमा हखे
रजनलो
स खखे
लतखे
बनतमाहह
.स
जतनखे
खखे
लनखे
रमा
लखे
हलो
रहें
उतनखे
र
ह
गककीजगु
दह२1135 नर
दमा
ह
अररमाफलमा
व
दअन पदमा
रर्वा
सबपवहलखे
घरमहें
रकहपह
छखे
हमा
रमहें
७कलौ
डहलखे
कखेजमह
नपरदमा
र
ह
डमा
लह
.सजतनहकलौ
व
डयमा
ह
सहधहव
गरहें
उस सह
ख मामगु
तमा
वबक दमा
र
हपडमाऐसमासमझकखेखखे
लनखे
रमा
लखे
अपनखे
२1136 पमा
दखे
सहख मा
मबू
जब1137 अनगु
क्रमसखे
आगखे
आगखे
चलमा
तखे
जमा
रतस
जसघर
महें
पमादमार
खनखे
कमाहलो
रखे
उसघर
महें
जलोसपर्वा
कमामगु
ख हलो
रखे
तलोपमा
दखे
कलो
सपर्वा
कमापगु
चमा
ग्रजहमा
ह
हलो
रखे
उसघर
महें
रक खे
.जहसमा१
४रहें
घर महें
रखनखे
कमाहलो
रखे
तलोपमा
चरखे
ह घरमहें
रक खे
इसप्रममा
णसखे
१९।२२।
२५।४२।७२।७३।७५।४०।५६।इनघरहहें
लो
म पमादखे
आयखे
तलोअनगु
क्रमसखे
१८।१
५।१
२।१
१।२१
।२४।१
८।१
३।८
०
घर हहें
मलो
म रक खे
यमा५६रहें
घर सखे
पमा
दमा८
०रहें
रहकह
गु
ठघरमहें
पहुसेँ
चमातबआगखे
जलोएक दमा
रपडमा
ह तलोमलो
क घर
महें
जमातमाहह
एकसखे
स
जयमा
दणः
1138
पडखे
तलोसह
धखे
हमा
रपह
८४पयर्यं
तघरव गनकखेदखे
रखे
दमा
रसममा
ह प्तिनहलो
रखे
तलोपगु
नणः८
०पयर्यं
तव गनतखे
जमा
रखे
पगु
नणःजब८
०रहें
घर
महें
दमार
हपबू
रमाहलो
कखेपमा
दमारहमा
हहर
हमातलोएक जबपडखे
तलोमलो ह
ककलोगयमानहहतलोपगु
नणः८
०सखे
८४पयर्यं
त८४सखे
८०पयर्यं
त
भ्रमण कर
तमाहह
.इस खखे
लमहें
उत्पन्नहुरमाजह
रमलो
ककलोजमा
तमाहह
इस हखे
तगु
करकखेमलो
क जमा
नखे
कलोबह
चमहें
वकतनखे
समा
नहत
यह
सबू
चनमाककीहह
-अव
ररखे
क १दखे गुमलो
ष२दष ह३जमा
नमलो
ह४अहह
कमा
रतमा
मस ५अहह
कमा
ररमा
जस ६व
क्रयमा
शवक्ति ७अहह
कमा
र८
स
शश्नभलो
ग९इसमहें
आयमातलोमहमा
पमा
तक १क्रलो
ध२समगु
द्र३सह
समा
र४क्रलो
ध५शबू
न ६सगु
खसहग७सबू
लदखे
ह८हषर्वा
९इसमहें
आतमाहह
औरस
जसकलोसममा
स
धससद्धिहुईरहरह
कगु
ह
ठकलोजमा
तमाहह
रहमा
सखे
ह मलो
क नभयमातलोब्रह्मललो
कमा
व
दकमहें
वफरतमाहह
.और
कमर्वा
यलोगसखे
स्वगर्वा
कलो ,जमा
नयलो
गसखे
रह
कगु
ह
ठकलोजमा
तमाहह
॥२४१
॥२४२॥२४३॥२४
४॥२४५॥इव
तजमा
नचलौ
पटकमाखखे
लसममा
प्ति॥

Now the game called jñānapaṭṭa is explained: In Maharashtra, the sage Jñāneśvar
made this game called jñān caupaṭ1139 for the sake of granting relief to the people
burned by the fire of the cycle of rebirth. This game is played by two or four
persons.1140 As many differently colored pawns or other objects - such as seeds,
etc. - as there are players should be placed in the first square. Then you should

1133 Samādhi does not appear as a legend on any 84-square Vaiṣṇava chart known to me, nor is it
mentioned as such in the Hindi commentary.
1134 I.e. between sqs. 80 and 84 as explained in the Hindi commentary.
1135 According to Manish Modi, who assisted me with the translation of this passage, the numeral two is
sometimes written after a word instead of repeating it twice when using it distributively.
1136 See fn. 1135.
1137 Andreas Bock-Raming, who has worked on other parts of the Krīḍākauśalya, suggests a derivation
of mujāb from Gujarati mujab (like, according to) (2010: 58, fn. 41).
1138 Read: zyādā.
1139 Alternative spelling for gyān caupaṛ.

596
 take seven cowries in your hand, and throw them on the ground. As many
cowries as fall faceup, the throw is equal to that number. According to this
understanding, the different pawns of the players are moved forward step by
step a similar number (of squares). If a pawn is placed in a square in which there
is the mouth of a snake, then the pawn should be placed in the square where the
tip of the snake's tail is. If it is placed in (a square with a snake or a ladder) such
as the 14th square, then (in the case of the 14th square) it should be placed in the
5th square. By this measure, if a pawn arrives in squares 19, 22, 25, 42, 72, 73, 75,
40, or 56, then it should be placed in squares 18, 15, 12, 11, 21, 24, 18, 13, or 80,
respectively. If (a pawn) reaches the 80th square vaikuṇṭh from the 56th square,
then it goes on to mokṣ (i.e. liberation, sq. 85, see fn. 1132) if it throws a "1." If it
throws more than "1," then it counts until sq. 84 on the right hand, and if the
throw is not yet completed, then it counts until sq. 80 again. When a pawn, after
finishing a throw in the 80th square, stays there again, then it goes to mokṣ when
it throws a "1;" if not, then it roams again from sq. 80 to sq. 84, and from sq. 84 to
sq. 80. A soul (jīv) born into this game goes to mokṣ; therefore, the stages before
going to mokṣ are listed:1141 If (a pawn) has arrived in 1) avivek (i.e. lack of
discriminating judgment, sq. 14),1142 2) dveṣ (i.e. hatred, sq. 19),1143 3) duṣṭ moh (i.e.
malignant delusion, sq. 22),1144 4) jñān moh (i.e. delusion of knowledge, sq. 25), 1145
5) ahaṃkār tāmas (i.e. egoity dominated by inertia, sq. 72), 1146 6) ahaṃkār rājas
(i.e. egoity dominated by activity, sq. 73), 1147 7) kriyāśakti (i.e. power of action, sq.

1140 The commentary seems to be confusing gyān caupaṛ with caupaṛ. While caupaṛ is either played by
two persons, or by two teams of two persons each, no such rule is given for gyān caupaṛ anywhere
else in the primary or secondary sources.
1141 The list only includes the eighteen squares connected by the nine snakes. The closely
corresponding 84-square Vaiṣṇava type c charts (Va84#4,5,8) only include eight snakes.
1142 Va84#4,8 also read avivek in sq. 14; Va84#5 reads vivek (discriminating judgment).
1143 Va84#4,5 also read dveṣ in sq. 19; Va84#8 reads dharm dveṣ (hatred of religion).
1144 Va84#4,5,8 also read duṣṭ moh in sq. 22.
1145 Va84#4,5,8 also read jñān moh in sq. 25.
1146 According to the sequence of squares given above, ahaṃkār tāmas should correspond to sq. 42.
This, however, does not agree with Va84#4,5,8 which read ahaṃkār tāmas in sq. 72 and ahaṃkār in
sq. 42. The confusion is obviously a mistake on the part of the commentary which should have read
ahaṃkār here rather than in sq. 75 (see fn. 1149). This would also correct the sequence of the
following readings which otherwise perpetuate the mistake.
1147 Sq. 72 according to the sequence of squares given by the commentary, but see fn. 1146 above.
Va84#4,5,8 also read ahaṃkār rājas in sq. 73.

597
 75),1148 8) ahaṃkār (i.e. egoity, sq. 42),1149 or 9) śiśnabhog (i.e. sexual enjoyment, sq.
40),1150 then it arrives in 1) mahāpātak (i.e. the five great sins, sq. 5), 1151 2) krodh
(i.e. anger, sq. 18),1152 3) samudra (i.e. ocean, sq. 15), 1153 4) saṃsār (i.e. cycle of
rebirth, sq. 12),1154 5) krodh (i.e. anger, sq. 18),1155 6) śūnya (i.e. nothingness, sq.
21?), 7) sukhsaṅg (i.e. attachment to pleasure, sq. 24?), 8) sthūldeh (i.e. gross body,
sq. 18?), or 9) harṣ (i.e. sexual excitement, sq. 13?). He who accomplishes
samādhi1156 goes to Vaikuṇṭha.1157 If he does not become liberated (i.e. goes to
mokṣ) from there, then he moves to and fro between brahmlok, etc.1158 One goes
to svarg (i.e. heaven, sq. 46?)1159 from karmyog (i.e. discipline of action, sq. 37?), 1160
and to vaikuṇth (i.e. sq. 80) from jñānyog (i.e. discipline of knowledge, sq. 54?).1161
1148 Sq. 73 according to the sequence of squares given by the commentary, but see fn. 1146 above.
Va84#4,5,8 also read kriyāśakti in sq. 75. A possible reason that a snake leads down from this
otherwise positive square might be that it is contrasted with jñānśakti (power of knowledge) which
appears in the following square (i.e. sq. 76) on Va84#4,5,8.
1149 Sq. 75 according to the sequence of squares given by the commentary, but see fn. 1146 above.
Va84#4,5,8 also read ahaṃkār in sq. 42.
1150 Va84#4,5,8 read śiśna (penis) instead of śiśnabhog in sq. 40, and do not have a snake leading down
from the square.
1151 Va84#4,5,8 also read mahāpātak in sq. 5.
1152 Va84#4,5,8 also read krodh in sq. 18.
1153 Va84#4,5,8 also read samudra in sq. 15.
1154 Va84#4,5,8 also read saṃsār in sq. 12.
1155 From this point onward the correspondence with Va84#4,5,8 becomes more difficult to track. If we
correct for the mistake discussed in fn. 1145, the commentary has the final five snakes leading down
from sqs. 72, 73, 75, 42, and 40 to sqs. 11, 21, 24, 18, and 13, respectively. Va84#4,5,8 have the same
snakes - minus the last one (see fn. 1150) - leading down to sqs. 18, 13, 73, and 24. The snake leading
down from sq. 72 to sq. 11 in the commentary should obviously lead down to sq. 18 as on Va84#4,5,8
(see fn. 1152), but it cannot be determined which square numbers the remaining snakes should lead
down to.
1156 See fn. 1133.
1157 Since samādhi apparently does not refer to a specific legend in a specific square, this seems to be a
general rather than a game-specific statement.
1158 This means that a pawn which moves beyond vaikuṇṭh in sq. 80 must continue moving back and
forth between that square and the remaining four squares in the row until it lands on sq. 80, rolls a
"1," and moves up to mokṣ in the square above (i.e. top sq. 1). According to Va84#4,5,8, the four
squares in question are brahmlok (realm of Brahmā, sq. 81), viṣṇulok (realm of Viṣṇu, sq. 82),
satyalok (realm of truth, sq. 83), and tapolok (realm of austerity, sq. 84).
1159 Va84#4 reads svarglok (realm of heaven) in sq. 46, while Va84#5,8 read svarlok (realm of heaven) in
the same square, but none of them has a ladder leading up to the square.
1160 Va84#4,5,8 read karmyog in sq. 37, but none of them has a ladder leading up from the square.
1161 According to the sequence of squares given above, jñānyog should correspond to sq. 56. This,
however, does not agree with Va84#4,5,8 which read jñānyog in sq. 54. Only Va84#8 appears to have
a ladder leading up from sq. 56 to vaikuṇṭh in sq. 80 (though this is not completely clear from the
chart itself). Va84#4 has a ladder leading up to vaikuṇṭh from pṛthvīgurupad (the ground beneath the

598
 Thus (the description of) the game of jñān caupaṭ is completed.

अतणः
परह
प्ररक्ष्यमा
स
मकमर्वा
पट्ट ह
सगु
शलो
धनमह
॥
सह
समा
र
रणमा
ह
सगु
बलो
धमा
रर्यं
कमर्वा
पमा
कप्रसबू
चकमह
॥२४६॥

I will now explain the very splendid karmapaṭṭa (i.e. game board of karma)
which teaches the ripening of actions for the easy understanding of the
inhabitants of the cycle of rebirth.

[Comm, to vv. 246:] अबआगखे

सह
समा
र
हमनगु हलोबलो
ष्यलो
क धहलो
नखे
कखेरमा
स्तखे
कमर्वा
वरपमाकपट्टखखे
लकहतमाहह
॥२४६॥

I will now explain the game of karmvipākpaṭṭa (i.e. the game board of the
ripening of actions) (which was made) for the sake of (providing) understanding
to the inhabitants of the cycle of rebirth.

कखे
नकमर्वा
वरपमाकखे
नककी
दृशह
फलमश्नगु
तखे
॥
तत्सरर्यं
जमा यतखे
यस खखे
लनमा
न्नमा
त्रसह
शयणः
॥२४७॥

By the ripening of which action does one enjoy which fruit? This is all understood
from the playing of this (game); in that there is no doubt.

[Comm. to vv. 247:] कलौ

नसमाकमर्वा
कर नखे
सखेकलौ
नसमाफलप्रमा
प्तिहलो
तमाहह
?इसकमाजमा
नइस पट्टखखे
लनखे
सखे
हलो
तमाहह
इसमहें
सह ह
शयनहहहह
,पर
ह
तगु
अपनहनर
दसजससमा
नपरबह
ठखे
उससमा
नकमाधमा
नरकह
॥२४७॥

By performing which action is which result obtained? The knowledge of this is

acquired by playing this board game; in that there is no doubt. Nevertheless, one
should fix one's attention on the square in which one's pawn is.

प
हचशत
हकलो
ष्ठकमा
नमा
ह
कगु
यमा
दत्रसगु
र्वा बगु
सद्धिममा
नह
॥
बू
तदध्वर्यं
वरषगु
ललो
कश्चस
शरललो
कश्चतत्रव
ह॥२४८॥

The wise should make 500 squares here (on the board), and right there, above
those, (he should make) viṣṇuloka (i.e. the realm of Viṣṇu, top sq. 1?) and śivaloka
(i.e. the realm of Śiva, top sq. 2?).

[Comm. to vv. 248:] इस पट्टकखेपमा

चसलौकलो
सेँ ष्ठक कर
हउनकलो ह
ष्ठकलो
कखेऊपरदस
कणलो
त्तरभमा
गमहें
वरषगु
ललो
क,स
शरललो
क
व
नकमा
लखे
॥२४८॥

One should make 500 squares on this board. Above those squares, on the left and
right sides, one should make viṣṇulok and śivlok.

feet of the guru) in sq. 35, while Va84#5 has one leading up from bhaktiyog (discipline of devotion) in
sq. 55.

599
तयलो
रुपर
रगलो
ललो
कलोमलो
कसमा
न
ह तदखे
रव ह॥
सलो
पमा बू
नमा
दध्वर्वा
गमन ह
सपर्वा
त ह
गु
डमादधस्तरमा
॥२४९
॥

Above those two, (he should make) goloka (i.e. Kṛṣṇa's heaven, top sq. 3?) which
is the only place of liberation. One goes up because of a ladder, and down
because of the mouth of a snake.1162

[Comm. to vv. 249:] औरदलो ह

नलो
ललो ह
कलो
कखेऊपरमधभमा
गमहें
गलोललो
कवनकमा
लखे
गलो
ललो
ककलोमलो
कसमा
नकहतखे
हत
.अबइस
पट्टमहें
सजसकलो
ष्ठकमहें
सह ढह
कमापमा
रआरखे
सेँ रहमा
सखे
ह चढकखेजहमा
ह
अग्रभमा
गहलो
रखे
उसकलो
ष्ठकमहें
नर दर
कहसपर्वा
कखेमगु
खमहें
आरखे
तलो
नह
चखे
पगु
चमाग्रकखे
घरमहें
रखनमाचमा
व
हयखे
॥२४९
॥

And in the central part above both those worlds, one should make golok. Golok is
known as the place of liberation. Now, if one arrives in a square on the board
with the foot of a ladder, one should climb up from there and place one's pawn in
the square where the top (of the ladder) is. If one arrives at the mouth of a snake,
then one should place (one's pawn) in the square down at the tip of the tail.

षव
डणःकपव
दक
र्वामा
स
भश्चखखे
लन ह
परर
ककी
व
तर्वा
तमह ॥
जनसमा
न
ह ममा
नरस प्ररम
हपर
रककी
व
तर्वा
तमह ॥२५०॥

The game is (played) with six cowries. The first (square) is called janmasthāna
(i.e. the place of human birth, sq. 1).

[Comm. to vv. 250:] यहखखे

ल छणःकलौ
डह हखे
यलो
स दलोअररमाचमा
रआदमहखखे
लत
.पव
हलमाघरमनगु
ष्यकमाजनसमा
नरहमा
सेँ
खखे
लनखे
रमा
लखे
अपनहनर
दमा
ह
र कत
पश्चमा
तहजह
समादमा
रपडखे
ह रह
समाचलहें
.दमारकखेसमयस
ह जतनहकलौ
व
डयमा
ह
सचत्त ऊफर्वा
1163
सह
धहपडहें
उतनहसह
ख मालखे
रखे
जलोआदमहखखे
लतखे
खखे
लतखे
स
शरमा
व
दक ललो हहें
कलो
म नहहह
गयमाऔरपमा
चसलौकलो
सेँ ष्ठक पबू
रखे
हलोगयखे
तलोऐसमाजमा
नहव
क
ऊपर
कखे
समा
तललो
कमहें
वफरतमार
हमाहह
.खखे
लनखे
ककीअरस
धसशरललो
क,व
रषगु
ललो
क,मलो
क,गलो
ललो
कप्रमा
व
प्तिपयर्यं
तजमा ननमा
॥२५०॥

This game should be played with six cowries by two or four people. The first
square is the place of human birth. The players should place their pawns there.
Then they should move according to what is thrown. At the time of the throw, as
many cowries as fall flat side up (i.e. faceup), as many should be counted. If a
person who keeps on playing completes five hundred squares without going to
śivlok, etc. (i.e. top sqs. 1-3), then he should know that he must continue moving
around the seven upper realms. 1164 He should keep on playing until he reaches

1162 As noted by Topsfield, Andreas Bock-Raming is mistaken in asserting that there should be only one
snake and one ladder in the game as a whole (Topsfield 2006a: 144, fn. 3).
1163 Read: ūrdhva?
1164 The seven upper realms are those of of earth (bhū), atmosphere (bhuvar), heaven (svarga), majesty
(mahar), men (jana), austerity (tapas), and truth (satya). This would seem to indicate that players had

600
 śivlok, viṣṇulok, mokṣ (i.e. liberation),1165 (and) golok.

ततलोमलो
हमयहसकृ
वषणःसप्तिप्रककृ
तयस्तरमा
॥
चतगु
दश
र्वामा
त्रललो
कमा
श्चरमा
यबू
नमा
हदशकह
तरमा
॥२५१
॥
इह
व
द्रयमा
स
णचतनमा
त्रमाभव
क्तिजमा
नमा
व
दकह
तरमा
॥
यरमा
रकमा
शहव
रवलखखे
तमर्वा
पमा
कलौव
रशखे
षतणः
॥२५२॥

Then (comes) mohamayī sṛṣṭiḥ (i.e. delusional creation, sq. 2), the seven forms of
primordial matter (i.e. sqs. 3-9?), 1166 the fourteen realms (of existence) (i.e. sqs. 10-
23?),1167 the ten (bodily) winds (i.e. sqs. 24-33?), 1168 the (five) sense and (five) action
capacities (i.e. sqs. 34-43?),1169 the (five) subtle elements (i.e. sqs. 44-48?), 1170 bhakti
(i.e. devotion, sq. 49?), jñāna (i.e. knowledge, sq. 50?), and so forth. One should
write down the action and the result separately in their proper squares.

[Comm. to vv. 251-52:] अबपमा

च
सेँसलौघरहहें
लो
म नमामव
लखनखे
कमाभखे
दकहतखे
हत-मलो
हसकृ
वष,सप्तिप्रककृ
वत,चलौ
दहललो
क,दश
रमा
यगु
,दशइह
व
द्रय,व
रषय,भव
क्ति,जमा
न,रह
र
मा
गमा
व
दक इनकखेनमा
मजहमा
ह
समा
नसमलह
रहमा
ह
वलखह
कमर्वा
कखेऔरपमा
ककखेनमा
मवरचमा
र
कर
कखे
परस्परसह
रध1171 दखे
खकखे
वलखह
॥२५१
॥२५२॥

Now the secret of writing the names in the 500 squares is explained: Where the
squares are found, there one should write the names of delusional creation, the
seven forms of primordial matter, the fourteen realms (of existence), the ten
(bodily) winds, the ten sense and action capacities, the (five) sense objects,
devotion, knowledge, renunciation, and so forth. One should write them after

to make a special throw in order to reach the realms of Śiva, etc. similar to the special throw on the
84-square Vaiṣṇava chart described above (see commentary to vv. 241-45 above). If a player missed
the throw, he would apparently have to continue moving around the entire game board rather than
simply being stuck at the top as on the 84-square Vaiṣṇava chart (ibid.). This would obviously make
for an extremely long game.
1165 Mokṣ is a separate square on the 84-square Vaiṣṇava chart described above (see v. 244), but here it
appears to be identical with golok (see v. 249).
1166 The seven generative forms of primordial matter are intellect (mahat, buddhi), egoity (ahaṃkāra),
and the five subtle elements (tanmātra) (Larson & Bhattacharya 1987: 50).
1167 The fourteen realms of existence are the seven underworlds (pātāla) and the seven upper realms
(see fn. 1164).
1168 The ten bodily winds are prāṇa, apāna, udāna, vyāna, and samāna, together with the sub-winds
nāga, kūrma, devadatta, dhanañjaya, and kṛkara.
1169 The five sense organs (buddhīndriya) are hearing (śrotra), touching (tvac), seeing (cakṣus), tasting
(rasana), and smelling (ghrāṇa); the five action organs (karmendriya) are speaking (vāc), grasping
(pāṇi), walking (pāda), excreting (pāyu), and procreating (upastha).
1170 The five subtle elements are sound (śabda), touch (sparśa), form (rūpa), taste (rasa), and smell
(gandha).
1171 Read: sambandh?

601
 having considered the name of the action and the result, as well as their mutual
connection.

कखे
रलहनमा
मममा
त्रमा
स
णवलखमा
स
मकमर्वा
पमाकयलो
णः
॥
सह
शयश्चखे
त्तदमामबू
लग्र
ह
रखे
द्रषवममा
दरमा
तह
॥२५३॥

I only write the names of the action and the result; if there is doubt, one should
carefully consult the original text.

[Comm. to vv. 253:] कमर्वा

पमा ह
कलो
कखेकखे
रलनमा
मपट्टमहें
वलखतमाहह
शलो हमाप्रममा
कलो
क ह
ण नहहव
लखतमाकमा
र
णवक ग्र
हरबडमाहलो
जमा
रखे
गमाऔरजलोकमहपट्टमहें
वलखखे
हुयखे
कमर्वा
वरपमाककखे
नमा
मपरव
कसह
कलोसह
शयहलो
रखे
तलोमबू
लग्र
ह
रमहें
प्रममा
णदखे
ख लखे
रखे
॥२५३॥

I only write the names of the actions and the results on the board. I do not write
the testimony of the (authoritative) verses, because the book would become too
long; and if someone suspects a mistake in the names of the actions and results
written on the board, then he should consult the testimony of the original text.

दृषमाकमव
र्वा
रपमाकमा
कर्यं
पगुर
मा
णहगमा
रुडह
तरमा
॥
शमा
तमा तह
तपस्मकृ
व ममा
तहशह
मदमा
गरतमा
व
दकमह
॥२५४॥
ककृ
तलोमयमाकमर्वा
पट्टलोहर
रककृ
षखेनधह
मतमा
॥
सतमर्वा
सणप्ररकृ
तरर्यं
तमा गमा
रर्यं
चकगुकमर्वा
णमा मह
॥२५५॥
इव
तबकृ
॰समशसह
धखे
क्रकी
डमा
कलौ
शल्यमा
धमा
यकमर्वा
वरपमाकपट्टखखे
लन ह
नमा
मपञ्चम
हप्रकर
णमह
।

Having consulted the Karmavipākārka, the Garuḍapurāṇa, the Śātātapasmṛti, the

Matsyapurāṇa, the Śrīmad Bhāgavatapurāṇa, and so forth, the karmapaṭṭa (i.e.
game board of karma) was made by me, the learned Harikṛṣṇa, for the furthering
of good actions and the abandonment of bad actions. Thus the fifth section called
the game of karmavipākapaṭṭa in the Krīḍākauśalya chapter in the Miśra part of
the Bṛ(hajjyotiṣārṇava).

[Comm. to vv. 254-55:] मत

नखे
कमर्वा
वरपमाकमा
कर्वागरुडपगु
रमा
ण मत पगु
रमा
ण शह
भमा
गरत शमा
तमा
तपस्मकृ
वत आव
दग्र
हर दखे
खकखे
ललो हलोसतमर्वा
गलो
क महेंप्ररकृ
सत्तहलो
नखे
कखेव
लयखे
औरकगु
कमर्मों
कमातमा
गकर
नखे
कखेव
लयखे
कमर्वा
वरपमाकपट्टबनमा
यमाहह
.इसकमव
र्वा
रपमाककखेपट्ट
खखे
लनखे
सखे
जहरमा
त्ममा
कलोपगु
ण्य पमा
पकमाव
नत सहजस्मर
णरहतमाहह
॥२५४॥२५५॥
इव
तकमव
र्वा
रपमाकपट्टखखे
लन ह
नमा
मपह
चमह
प्रकर
णमह
।

After consulting the Karmavipākārka, the Garuḍapurāṇa, the Matsyapurāṇa, the

Śrībhāgavatapurāṇa, the Śātātapasmṛti, etc., I made the karmvipākpaṭṭa for the
furthering of good actions and the abandonment of bad actions among people. By
playing this board of the ripening of actions, the individual soul will bear in mind

602
the constant natural disposition toward merit and demerit. Thus the fifth section
called the game of karmvipākpaṭṭa.

603
Appendix F2: Jñān Bājī Ramvānī Rīt
Jñān bājī ramvānī rīt, or the rules of playing jñān bājī (i.e. gyān caupaṛ), forms the first
chapter of an unpublished manuscript dealing with various subjects relating to
Jainism. The manuscript is held at the L. D. Institute of Indology in Ahmedabad,
Gujarat, where it is catalogued as Jñān bājī ramvānī rīt ādi, acc. no. 12380/1. I am
grateful to Dr. Preeti Pancholi for assisting me in acquiring a copy of the manuscript.

The manuscript is written in Gujarati language rendered in Devanāgarī script. As I

have no formal training in Gujarati, the translation presented below should be
considered tentative in nature. I apologize for any errors, but feel confident that it
conveys the intended meaning of the original.

A diagrammatic representation of the chart described in the manuscript can be found

in Appendix C2 (Ja84#34). For additional information on individual legends, see the
critical reading of 84-square Jaina type a1 charts in Appendix D2.

Legend
§O = auspicious bhale sign (cf. Bhattacharya 1995: 202, fn. 5).

| = break inserted to increase readability

|2| = page break in manuscript

अ = crossed out character (e.g. लगमा

इयलो
)

× = illegible and crossed out character

(...) = one or more illegible and crossed out characters

(अ) = uncertain reading (e.g. (र)धमा

र
ण)

604
Text and Translation
|1|॥§O॥अरजमा
नबमा
ह स
जरमरमा
नहर
हतव
लष्यतखे

Now the rules of playing jñān bājī are written:

शलो
क॰§O जलोपर
सखे
मवतदमा
यकलमा
यकरलोयहसखे
त्रगु
जब्रह्म
लकचलो
र
मा
सहभरखे हभमखे
नरनमा
र नहहममा
नरकखे
ह तनतमा
जह
बमा
जहर
मखे
तस क्रलो
धसमखे
भरनमा
हहभमखे
व
दलहलो
तहखे
र
मा
जह
पमा
पकटमा
बनमलो
हवबदमा
र
नममा
नर(र)धमा
ह र
णजमा
नककीबमा
ह जह॰§O॥१

Verse: [see Appendix E2, verse #1a]

गमा
नबमा
ह जहर
मरहतखे
नहसमजण |आर
मभममा
ह
एक अररमाअनखे
क ममा
णसलोर
ह महसकखे|तखे
रहजखे
टलमा
ह
ममा
णसलोहलो
ह यतखे
टलमा
ह
ए
जबू
दह२नह
समा
नहव
ह रटहअररमासलो
पमा
र
हप्ररमनमाघर
ममा
ह
मगु
करह|पछङपमा
सलोनमा
षरलो|अनखे
ह तखे
रमा
ह
सबू
धहएक दमा
ह
णलोपड़खे
तमा
ह
सबू
सधनमा
षरलोअनखे
ह रमा
र
खेएक दमा
णलोपड़खे
ह एटलखे
प्ररमनमाघर
ममा
रहनह
ह कलङबह
जमाघर
ममा
ह
आररगु
|पस
छ पमा
सलोनमा
ह
षतमा
ह
जखे
टलमा
दमा
णमापड़खे
ह तखे
टलमाघरचमा
लरगु

Understanding how to play gyān bājī: First of all, one or more persons can play.
Therefore, one should put as many differently marked tokens [viṭī] or betel nuts
[suparī] in the 1st square [ghar] as there are persons (playing). Then one should
throw the die [pāso]. And one should keep throwing until one throws a "1," and
when one throws a "1," one should move out of the first square and into the
second square. Then, when throwing the die, one should move as many squares
as the number of pips thrown.

पण जखे
घरममा
ह
पगरहतरमानह
सरव
नहलो
यअनखे णलोप|2|ड़खे
एक दमा
ह तलोपगरह
एउपरएक घर
ममा
ह
तरमानह
सरनह
एछखे
ड़मासबू
सध
घर
ममा
ह
चढर
हगु
|जखे
मकखे
छठमाघर
ममा
ह
रहटहहलो
यअनखे
एक दमा
नलोपड़खे
ह तलोप
हदर
ममाघर
ममा
ह
जमा
र
हगु
|तरमासमा
तममाघर
ममा
ह
रहटहहलो
यअनखे
एक दमा
णलोपड़खे
ह तलोचगु
ममा
लङसममाघर
ममा
ह
जरगु
|एप्रममा
णखे
ह चमा
लतमा
ह
जखे
घरममा
ह
सपर्वा
नगुमलो
ड़गु
हलो
यतमा
हमा
ह
वबआरखे
तलोसपर्वा
तखे
नखे
गलखे
तखे
रह
तखे
नमापबू
छड़मासबू
सधतखे
नखे
उतर
रह
गु
|जखे
मकखे
सड़सटनमाघर
ममा
ह
रहटहआरखे
तलोतखे
नखे
नहचखे
उतर
हसलो
लनमाघर
ममा
ह
आरहबखे
सर ह
गु
|एप्रममा
णखे
ह
पगटहतरमाव
नसर
णहएउपरचढरगु
तरमासपर्वा
नमामहलो
ड़मा
एनह
चखे
उतर
रह
गु
|एमसरर
पगटहतरमाव
नसर
णहअनखे
सपर्वा
वरसखे
जमा
णर
ह ह
गु

However, if one throws a "1" in a square with a footprint [pagathī] or a ladder

[nisarṇī], one should move up one square above the footprint or up to the square
at the top of the ladder. For example, if a pawn is in the 6th square and it throws
"1," then it should move up to the 15th square. Likewise, if a pawn is in the 7th
square and it throws "1," then it should move up to the 44th square. Similarly, if a
moving (pawn) lands in a square with the mouth of a snake [sarp], then the snake
swallows it, (and) it should fall down from the mouth of the snake to its tail. For

605
 example, if a pawn lands in the 67th square, then - after falling below it and
landing in the 16th square - it should remain (there). Accordingly, it should move
up (when it lands) on a footprint or a ladder, and fall down (when it lands) in the
mouth of a snake. Thus one should know about all footprints, ladders, and
snakes.

एमर
मतखे
सबू
ड़तमा
लङसतरमाएसह
नमाघर
ममा
ह
रहटहआरखे
रहएक दमा
णलोपड़खे
ह तलोउपररह
ममा
नममा
ह ह
चढखे
|पण एक दमा
ण
हलोनपड़खे
तलो
चलो
र
मा
सहनमाघर
ममा
ह
आरहतमा
रह(...) समा
ह
मखे
पमा
टलो
पमा
टपमा
छमाचलो
र
मा
सह(...)नमाफखे
रमा
ममा
ह
1172
कर
मा
क फर
माकर
|3|रगु
|तखे
फरतमा
छलो
तखे
रममाघर
रहसपर्वा
गलखेममा
टखे
पमा
छमाबमा
रननमाघर
ममा
ह
उत्तर
हपमा
छमाउपरचढरगु
|एप्रममा
णखे
ह आ एसह
नमाघर
ममा
रहएक दमा
ह णलोपड़खे
ह
तलोउपररह
ममा
नममा
ह ह
चढखे
|तखे
चवढह
रलङएकएकदमा
णलोचढखे
ह तलोपड़खे
तलोपमा
छ
हममारह
ममा
नममा
ह ह
सरमा
रस
र्वा
र्वा
सधरहममा
ह
नममा
ह
चढर
हगु
|एपछङ
एकदमा
णलोपड़खे
ह तलोउपरस
सधसह
लमामगु
वक्तिइह
चवढजईबमा
जहपबू
रहरई॥१
॥

Thus, during the game, if a pawn lands in the 47th square (containing the foot of
a ladder) or the 80th square (containing a footprint), and one throws a "1," it
moves to the vimān (i.e. top sq. 1) above. However, if one does not throw a "1"
(when one is in sq. 80), then, after arriving in the 84th square, one should turn
around in the 84th square (and move) back to the opposite end (of the row). After
having moved back down from the mouth of the snake in the 76th square to its
end in the 52nd square, one should climb up again. Then, if one throws a "1"
(when one has returned to sq. 80), one climbs up from the 80th square to the
vimān (i.e. top sq. 1). When one has ascended (to that square), then every time
one throws a "1," one should climb up (one square) toward the fifth vimān, the
sarvārthsiddh vimān (i.e. top sq. 5). Then (i.e. when one has reached top sq. 5), if
one throws a "1," one climbs to siddhśilā mukti (i.e. top sq. 6) above, and the game
is finished. // 1 //

॥जमा
नबमा
ह जहनमाकलो
ठमा
नमासबलो
नमाअर॰
र्वा
॥

The meaning of the words (i.e. legends) in the squares of jñān bājī:

१पव
हलखे
बलो
लखे
नहगलो
द॥प्ररमजह
रनह
गलो
दममा
रहआरखे
ह छखे
|तखे
चउदलमा
षनह
गलो
दममा
ह
अनह
तकमा
लरहखे
तखे

1. The first (square) reads nigod (i.e. basic lifeforms). The soul initially comes
from among the basic lifeforms. It remains for an infinite period of time among
the fourteen lākh (i.e. 1.400.000) basic lifeforms.

गुर
२दस खे
बलो
लखे
नमा
र
ककीकखे
जहर॥नमा
र
ककीसमा
तजमा
तह(नमा
) छखे
|तखे
ममा
हजह
रउपजह
नखेगुदखे
दष षखे
छखे

1172 Read: gharmāṁ?

606
 2. The second (square) reads nārkī ke jīv (i.e. souls of hell-beings). Hell-beings are
of seven kinds. The soul (jīva) experiences the pain of being born among them.

३तह
सरखे
बलो
लखे
क्रलो
धकहमा
॥जह
रनखे
जखे
क्रस1173 उपजखे
छखे
तखे

3. The third (square) reads krodh (i.e. anger). The (anger?) of the soul is born.

४चलो
रखे
बलो
लखे
अनत
गुमा
नब
ह ह
दहक्रलो
धललो
भ॥|4| जखे
ममा
हखे
गमा
ननहहतखे
ह रलोअजमा
ह
नहजह
रखे
तमा
ह
सबू
स
धजखे
ललो
भरमा
षखे
छखे
तखे

4. The fourth (square) reads anantānubandhī lobh (i.e. greed resulting in endless
worldly existence). Greed will remain in the ignorant soul as long as the soul
remains one in which there is no knowledge.

५पमा
चमखे
ह बलो
लखे
अजमा
नमलो
ह ह॥अजमा
नरहजह
ह रखे
नखे
जखे
मलो
हउपजखे
छखे
तखे

5. The fifth (square) reads ajñān moh (i.e. bewilderment resulting from
ignorance). The bewilderment of the soul arises from ignorance.

६छखे
ठखेबलो
लखे
पन्नर
खे
परममा
धमा
महगगु
ह णटमा
णमा२।३।१
ह ॥ समा
तखे
नमा
र
ककी
ममा
ह
पन्नरजमा
व
तनमापर
ममा
धमा
ह
महछखे|(x)तखे
जहरनखे
पह
न्नर
जमा
तहनहरखे
दनमाकर
खे
छखे
|तखे
रहछबू
टखेतखे
पगरहऊ1174 चढखे
॥

6. The sixth (square) reads panar paramādhāmī guṇaṭṭhāṇā 2 3 1 (i.e. fifteen kinds
of paramādharmika gods; stages of purification nos. 1-3). Among the seven kinds
of hell-beings there are fifteen kinds of paramādharmika gods. The soul is pained
by those fifteen kinds of births. Freed from them it climbs up the footprint (to sq.
15).

७समा
तमखे
बलो
लखे
गमा
नस
ह मथ1175 शगु
भ पर
हणमा
मह|जमा
ह नसहह
ह तजखे
सरर
जहरनगु
सबू
भ पर
हणमा
मईछखे
ह |तखे
व
नसर
णहचढखे
|तखे
धमर्वा
धमा
ह
नममा
ह
जमा
(य)

7. The seventh (square) reads gyān (miśra?) śubh parīṇāmī (i.e. knowledge; the
mixed (or right-and-wrong-view) stage of purification; auspicious
transformation). There is auspicious transformation of all souls endowed with
knowledge. It (i.e. the soul) climbs the ladder (to sq. 44). It goes to dharm dhyān
(i.e. virtuous meditation, sq. 44).

८आटमखे
बलो
लखे
मतसर|कलो
ईजह
रसमा
रखे
(य) ईर
षमाकर
रहतखे

1173 Read: krodh?

1174 Read: ūrdhva?
1175 Read: miśra (mixed stage of purification) or samyak-mithyātva (right-and-wrong-view stage of
purification).

607
 8. The eighth (square) reads matsar (i.e. jealousy). (Jealousy arises?) in the
company of certain souls.

९नरमखे
बलो
लखे
अजमा
नअहह
ह कमा
र|अजमा
ननमाब
ह हधनरहजखे
हह
कमा
र
1176
तखे
|एमकहखे
हुकरुतखे
रमा
ईहुकरुतखे
षरू|5|

9. The ninth (square) reads ajñān ahaṃkār (i.e. pride resulting from ignorance).
There is pride because of the bondage of ignorance. In this way, (after having said
"I do," one says "I do right"?).1177

१
०दसमखे
बलो
लखे
अजमा
नममा
ह यमा|अजमा
नरहजखे
ह ललो
भ1178 उपजखे
छखे
तखे

10. The tenth (square) reads ajñān māyā (i.e. deceit resulting from ignorance).
Deceit arises from ignorance.

१
१अगह
यमा
र
मखे
बलो
लखे
वरहमा
ररमा
सह॥जह
रवनगलो
दममा
ह
जखे
अनमा
दहकमा
लनलोछखे
|तखे
बमा
हमा
रआरहममा
यमा
ममा
ह
पड़खे
छखे
तखे

11. The eleventh (square) reads vyavahār rāśi (i.e. group of specifiable souls). The
soul exists in basic lifeforms for a beginningless period of time. When it comes
out (of the basic lifeforms) it is trapped by deceit (māyā).

१
२बमा
र
सखे
बलो
लखे
सबू
रणर्वा
कगुममा
रअसबू
रकगु
ममा
र
॥एभबू
रनपतह
नमाईद्रछखे
|पगु
न हलो
यतलोएममा
ह
जईउपजखे

12. The twelfth (square) reads suvarṇkumār asurkumār (i.e. suvarṇa- and
asurakumāra gods). These are the kings (indra) of the bhavanapati gods. If one is
meritorious (puṇya), then one is born among them.

१
३तखे
रमखे
बलो
लखे
परस
जरपह
ड़मा|पमा
र
कमास
जरनखे
पहड़माककी
धहहलो
यतलोसपर्वा
गलखे|एरलोभमा
रमा
रर्वा
छखे

13. The thirteenth (square) reads parjīv pīṛā (i.e. inflicting pain on another soul).
If one has inflicted pain on another soul, then a snake swallows (him or her).
That is the result of it.1179

१
४चलौ
दमखे
बलो
लखे
अवगकगु
ममारव
रदगु
तगु
ह(ममा
)र|एभबू
रनपव
तनमाईद्रछखे
|तखे
रहअव
गकगु
ममारतरमाव
रदगु
तकगु
ममा
रई(द्र) छखे

14. The fourteenth (square) reads agnikumār vidyutkumār (i.e. agni- and
vidyutkumāra gods). These are the kings (indra) of the bhavanapati gods. Among
them are the kings of the agni- and vidyutkumāra gods.

1176 Read: ahaṃkār.

1177 Though I am uncertain about the exact translation, it seems that the text is explaining the Sanskrit
word ahaṃkāra by invoking the Gujarati phrase huṁ karuṁ (I do) which corresponds to Sanskrit
ahaṃ karomi.
1178 Read: māyā.
1179 Following the majority of other 84-square Jaina type a1 charts, the snake would lead down to sq. 8.

608
१
५पह
न्नर
मखे
बलो
लखे
दसव
नकमा
यकखे
त्र|दसव
नकमा
यतखे
दसजमा
तहनमादखे
रतमाभबू
रनपव
तनमादखे
रतमाछखे

15. The fifteenth (square) reads das nikāy kṣetra (i.e. plane of the group of ten
gods). The group of ten is the ten kinds of bhavanapati gods.

१
६सलो
लमखे
बलो
लखे
व
दपकगु
ममा ध|6|कगु
र५उदस ममार|उत्तरव
दसमा
नमाकगु
ममारअनखे
जखे
लखे
टनमाकगु
ममारतखे

16. The sixteenth (square) reads dvīpkumār 5 udadhikumār (i.e. dvīpakumāra gods
no. 5 and udadhikumāra gods). The kumāra gods of the northern direction and
the kumāra gods of those that lie down (i.e. the oceans?).

१७सत्तर
मखे
बलो
लखे
स
मथमा
त्व भखे
द।समथमा
थ
त्वनमापमा
चभखे
ह दछखे
|तखे
नखे
सपर्वा
गलखे

17. The seventeenth (square) reads mithyātva bhed (i.e. kinds of falsehood). There
are five kinds of falsehood. A snake swallows one (who lands here). 1180

१
८अढमा
र
मखे
बलो
लखे
सनतगु
ममार८परनकगु
ममार७|पर
जमाउत्पन्नपव
तअनखे
रमा
यगु
नमाजखे
धणहतखे

18. The eighteenth (square) reads sanatkumār 8 pavankumār 7 (i.e. pavana- and
sanatkumāra gods nos. 7-8). The lords of children and the masters of wind.

१
९उगणह
समखे
बलो
लखे
नमा
गकगु
ममार१
०रमा
यगु
कगु
ममा
र९|गमखे
तखे
रूपधमा
र
णकत्तमा
र्वा
दखे
रतमाअनखे
परननमाजखे
धणहतखे

19. The nineteenth (square) reads nāgkumār 10 vāyukumār 9 (i.e. vāyu- and
nāgakumāra gods nos. 9-10). The gods (capable of) taking on any form
whatsoever, and the masters of wind.

२०बह
समखे
बलो
लखे
उपसमयलो
ग|मनरचनकमा
यमाजखे
नलोसमा
व
ह
तसह
तलहलो
यतखे

20. The twentieth (square) reads upaśam yog (i.e. activity of suppressing karma).
Those who have calmness of mind, speech, and body are cool (i.e. free from
passion).

२१एकरह
समखे
बलो
लखे
चमा
रलमा
षनमा
र
ककी|नमा
र
ककी
नमाभखे
दसरर
चमा
रलमा
षछखे
तखे

21. The twenty-first (square) reads cār lākh nārkī (i.e. 400.000 hell-beings). The
total kinds of hell-beings are four lākh.

२२बमा
रहसमखे
बलो
लखे
समा
तलमा
षपकृ
रवरकमा
य|प्ररव
रकहत
खेमा
ह
ममा
टहनमाजखे
समा
तलमा
षभखे
दछखे
तखे

22. The twenty-second (square) reads sāt lākh pṛthvīkāy (i.e. 700.000 earth-
bodies). There are seven lākh (i.e. 700.000) kinds of those called pṛṭhvī who are
(made) of earth.

1180 Following the majority of other 84-square Jaina type a1 charts, the snake would lead down to sq. 1.

609
२३त्रखे
व रसमखे
बलो
लखे
अप्पकमा
य॥सघ|7|लमा
1181
अप्प कहखे
तमा
हपमा
ण
हहनमासमा
तलमा
षभखे
दछखे

23. The twenty-third (square) reads apkāy (i.e. water-bodies). There are seven
lākh (i.e. 700.000) kinds of water(-beings) called ap in total.

२४चलो
व
रसमखे
बलो
लखे
रमा
ररकमा
य५गगु
णटमा
।६।७।जखे
ह रहसजरथ
सरर
हखे
एरमा
ह
पमा
चछखे
ह |तखे
पकृ
रवरपमा
ण
हहअव
गरमा
यगु
रन्नसपव
त|
पगरहचढखे
|पमा
चममा६छठलोसमा
ह तमलोआतममाछखे
गगु
णटमा
णखे
ह

24. The twenty-fourth (square) reads thāvarkāy 5 guṇaṭṭhāṇā 6 7 (i.e. stationary

bodies, stages of purification 5-7). There are five kinds because of which the soul
remains stationary: earth-, water-, fire-, wind-, and plant-(bodies). One climbs the
footprint (to sq. 33). There are the fifth, sixth, seventh, and eighth stages of
purification.

२५मखे
बलो
लखे
तखे
उकमा
य|अव
गनमासमा
तलमा
षभखे
दछखे
|तखे
पचह
समलो

The 25th (square) reads teükāy (i.e. fire-bodies). There are seven lākh (i.e.
700.000) kinds of fire(-bodies). This is the twenty-fifth (square).

२६छव
रसमखे
बलो
लखे
रमा
उकमा
य|रमा
ऊकमा
यनमासमा
तलमा
ख भखे
दछखे
तखे
सरर

26. The twenty-sixth (square) reads vāükāy (i.e. wind-bodies). There are seven
lākh (i.e. 700.000) kinds of wind-bodies in total.

२७सतमा
व
रसमखे
बलो
लखे
प्रतखे
क रनस्पव
त॥जमह
नकह
दवरनमाबह
जमाझमा
ड़पमा
नदसलमा
ह षछखे
तखे

27. The twenty-seventh (square) reads pratyek vanaspati (i.e. individual plant-
bodies). There are ten lākh (i.e. 1.000.000) seeds, sprouts, and leaves (originating
from?) roots in the earth.

२८अठमा
रहसमखे
बलो
लखे
शगु
भकमर्वा
।समा रुकमर्वा
आचर रगु
जखे
रहसबू
भरमा
यतखे

28. The twenty-eighth (square) reads śubh karm (i.e. auspicious karma).
Auspicious (karma) comes about because of the performing of good actions.

२९ओगणव
तसमखे
बलो
लखे
धमर्वा
आर मा
धनमाईछमा
॥धमर्वा
आर मा
धनमाकर
रमा
नहईछमाछखे
तखे

29. The twenty-ninth (square) reads dharm ārādhanā īcchā (i.e. desire for loyalty
toward religion). There is the desire of being loyal toward (one's) religion.

३०व
त्रसमखे
बलो
लखे
शगु
भमा
सबू
भलो
दय|समा
र
लो
|8| ममा
ठलोजखे
उदयतखे
सपर्वा
गलखे

1181 Skt. sakala.

610
 30. The thirtieth (square) reads śubhāśūbhoday (i.e. arising of auspicious and
inauspicious karma). A snake swallows the arising of good and bad karma. 1182

३१एकत्रह
समखे
बलो
लखे
सबू
भमा
सबू
भलो
दहर
णमा
।समा
र
हममा
ठहजखे
रह1183
जह
रखे
क्रकी
यमाककी
स
धछखे
|तखे
नखे
उदयममा
ह
लमा
ररहतखे
उदह
रणमा

31. The thirty-first (square) reads śūbhāśūbhodīrṇā (i.e. stirring up of auspicious

and inauspicious karma). The soul has performed actions of a good and bad
nature. The stirring up brings about the arising of it (i.e. the karma of the
actions).

३२बत्रह
समखे
बलो
लखे
सबू
भमा
सगु
भमतह
॥समा
र
हभगु
ड़हमव
ततखे
नखे
सबू
भमा
सबू
भमतहकहह
इह

32. The thirty-second (square) reads śūbhāśubh matī (i.e. auspicious and
inauspicious thoughts). Good and bad thoughts are known as auspicious and
inauspicious thought.

३३तखे
त्रह
समखे
बलो
लखे
रहगलखे
वद्रकखे
त्र।व
रगलखे
द्रहक॰सबू
धईद्रह
नखे
र
हखे
रमा
नगु
जखे
ठखे
कमाणगु
ह तखे
गगु
णटमा
ण
हलो५मलोअमगु
क्रमखे
११सबू
सधपगरह
ए
चढखे

33. The thirty-third (square) reads vīkalendrī kṣetra (i.e. plane of beings with
deficient sense organs). The plane of beings with deficient sense organs is the
place of those missing pure sense organs. One climbs the footprint from the fifth
to the eleventh stage of purification (in sq. 42).

३४चलो
त्रह
समखे
बलो
लखे
सहजहबहें
रह
वद्र॥बखे
रह
द्रह
नखे
सरह
रममा
ढगु
हलो
य|तलोएरहबखे
लमा
षसह
ष्यमाछखे

34. The thirty-fourth (square) reads sañjñī beïndrī (i.e. conscious beings with two
sense organs). There are human bodies with two sense organs. The number of
such (two-sensed beings) are two lākh (200.000).

३५पमा
त्रह
ह समखे
बलो
लखे
सवन्नतखे
रह
द्रह|तखे
रह
द्रहतखे
आहषकमा
न
हनहहबह
जहघणईद्रह
यलोछखे
तखे

35. The thirty-fifth (square) reads sañjñī teïndrī (i.e. conscious beings with three
sense organs). Beings with three sense organs do not have the two additional
sense organs of eyes and ears.

३६छव
त्रसमखे
बलो
लखे
चलौ
र
हें
द्रह
।कमा
न
हरगरबमा
ककी
नहचमा
रईद्रह
यलो
नखे
चलो
र
हें
द्रहसलो
ष्य कखे
छखे

1182 None of the other 84-square Jaina type a1 charts include a snake leading down from sq. 30.
1183 An alternative approach might be to read jethī instead of jevī: "Because of the good and bad actions
which a soul has performed, the stirring up brings about the arising of it (i.e. the karma of the
actions)."

611
 36. The thirty-sixth (square) reads caurindrī (i.e. beings with four sense organs).
The misery of beings with four sense organs is (that they have) the four sense
organs other than ears.1184

३७समा
डत्रह
समखे
बलो
लखे
पह
चआशरलोककीर
लो
ध |जखे
रहपमा
पआतममा
ममा
ह
आरखे
तखे
आशर|
|9| पछखे
महथमा
त्व १अव
रवतर्वा
1185
२
कषमा
र्वा
३जलोग४प्रममा
दखे

37. The thirty-seventh (square) reads pāñc āsrav kī rodh (i.e. five hindrances of
karmic influx). Because of the sins that enter the self there is karmic influx. Then
follows false views, lack of restraint, attraction (of karmic matter), activity, and
negligence.1186

३८अडव
त्रसमखे
बलो
लखे
स
जनपबू
जमाभव
क्ति।प्रमखे
श्वव
नर्वा
पबू
जमाकर
खे
तखे
नखे
सजनभव
क्ति कहह
इह

38. The thirty-eighth (square) reads jin pūjā bhakti (i.e. worship of and devotion to
spiritual teachers). When one worships the supreme lord (parameśvara), it is
called devotion to the spiritual teachers.

३९उगणचमा
लङसमखे
बलो
लखे
नहललखे
समा।भगु
महलखे
समाममा
ठमापर
हणमा
मतखे
ह नहललखे
समा

39. The thirty-ninth (square) reads nīl leśyā (i.e. blue karmic stain). Blue karmic
stain is a negative transformation (of worldly karmic hue?).

४०चमा
लङसमखे
बलो
लखे
कमा
पलो
तलखे
समा।भबू
ड़मापर
हणमा
मर
ह मा
षरमातखे
नगु
नमा
मकमा
ह पलो
तलखे
समा

40. The fortieth (square) reads kāpot leśyā (i.e. gray karmic stain). Gray karmic
stain is the name of possessing negative transformation.

४१एकतमा
लङसमखे
बलो
लखे
तखे
जलोलखे
समा।कमा
ईकसमा
ह र
मापर
हणमा
मतखे
ह नखे
तखे
जलोलखे
समाकहह
इह

41. The forty-first (square) reads teju leśyā (i.e. red karmic stain). Red karmic
stain is known as a somewhat positive transformation.

४२बखे
तमा
लङसमखे
बलो
लखे
व
तयर्यं
चकखे त्रलमा
षजलो
जन1187।कखे
रलगमा
ह
ननलोगगु
णप्रगटलोतखे
हनखे
र
हरखेमा
नगु
घरजखे (x) व
सरर्वा तयर्यं
(x) कखे
त्र(x)
पगरह
यचढखे

42. The forty-second (square) reads tiryañc kṣetra lākh yoni (i.e. (four?) hundred
thousand birth-situations on the plane of plant and animal beings). All plant and

1184 I.e. they are not able to hear the teachings of the Jainas.
1185 Avirti can either be read as avirati (non-restraint) or avratī (one who does not observe vows).
1186 This seems to list five results rather than hindrances of karmic influx.
1187 Read: yoni.

612
 animal beings who stay in the square known as the purification stage of
omniscience climb the footprint (to sq. 49).1188

४३बलो
लखे
सबू
भवतयर्यं
चसव1189 पर
रणह
म॥जखे
व
तयर्यं
चमव ररईनखे
समा
र
मापर
हणमा
मपमा
ह मखे
ह छखे
तखे

43. The forty-third (square) reads sūbh tiryañc bhavya pariṇām (i.e. auspicious
transformation of plant and animal souls capable of liberation). Plant and animal
souls capable of liberation attain a positive transformation.

४
४चउममा
लङसमखे
बलो
लखे
पद्मलखे
समापद्म|लखे
समानमासमा
र
मापर
हणमा
महलो
ह यछखे
तखे

44. The forty-fourth (square) reads padma leśyā (i.e. pink karmic stain). There is
positive transformation of (those with) pink karmic stain.

४५व
पस्तमा
लङसमखे
बलो
लखे
।१ २भखे
दखे
सबू
भसहजमह|
|10| तपनमाबमा
रभखे
दछखे
|तखे
सबू
भर ह
तखे
तखे
एकटमाकर
खे
रहसमव
कत्त|(इ)मलखे
तखे
नह
सरणहचढखे

45. The forty-fifth (square) reads 12 bhed śubh saṃyamī (i.e. twelve kinds (of
austerities), practicing auspicious restraint). There are twelve kinds of austerities.
Right view (results) from following (even) a single auspicious practice. (Thus) one
climbs the ladder (to top sq. 19).

४६छखे
तमा
लङसमखे
बलो
लखे
।समा
तवसन।वसह
नसमा
तछखे
|तखे
ममा
हमगु
ष्य जबू
रटगु
छखे

46. The forty-sixth (square) reads sāt vyasan (i.e. seven vices). There are seven
attachments. The chief one among them is gambling.

४७सबू
ड़तमा
लङसमखे
बलो
लखे
गगु
णव्रत।व्रतव
कधखे
जखे
गगु
णउपजखे
तखे

47. The forty-seventh (square) reads guṇvrat (i.e. subsidiary vows). One who has
taken the vow becomes virtuous.

४८अडतमा
लङसमखे
बलो
लखे
महमा
रकृ
वतसबू
भ कखे
रव ल |समा
धगु
नमापमा
च मलो
ह टमाव्रतनहसमा
र
हक्रकी
यमा
इहकखे
रल जमा
ननहजखे
ह स
सधतमाभर
खे
तखे
व
नसर
णहचढखे

48. The forty-eighth (square) reads mahāvrat śūbh kevalī (i.e. follower of the great
vows, auspicious, omniscient being). One who completes the good actions of the
five great vows of mendicants, and accomplishes omniscience, climbs the
ladder.1190

1188 Sq. 49 in the manuscript corresponds to sq. 51 on the chart as reconstructed in Appendix C2.
1189 Read: bhavya.
1190 Following the majority of other 84-square Jaina type a1 charts, the ladder would lead up to top sq.
6.

613
४९उगणप
हचमा
समखे
बलो
लखे
मनगु
स कखे
॰३समा
धगु
लव1191 जह
व।जह
रनखे
समा
धगु
ररमा
नखे
चउदलमा
षजलो
जह
नकखे
त्रतखे

49. The forty-ninth (square) reads manuṣya kṣetra 3 sādhu bhavya jīv (i.e. plane of
human beings, mendicant souls capable of liberation). There are 14 lākh
(1.400.000) birth-situations on the plane of souls who become mendicants.

५०पचमा
समखे
बलो
लखे
परद्रलो
हपणलो|व
बजमासमा
रखे
दखे
षर मा
षरलोतखे

50. The fiftieth (square) reads pardroh paṇo (i.e. vowing to injure another?). 1192
Feeling hatred toward another.

५१एकमा
र
हनमखे
बलो
लखे
।९व्रह्मचमा
यर्वा
४स सकमा
व्रत।स
सयलपमा
लरगु
तखे
नमानरभखे
दछखे|शमा
रकलो
नखे
स
सकमा
नमा४रकृ
तपमा
लरमा
ह
|11|
कहमा
ह
छखे
तखे

51. The fifty-first (square) reads 9 brahmacārya 4 sikṣāvrat (i.e. nine kinds of
chastity and four vows of spiritual discipline). There are nine ways of observing
moral conduct (i.e. chastity). Laypeople are known as observing the four vows of
spiritual discipline.

५२बमा
रनमखे
बलो
लखे
दमा
नमा
ह तर
ह मा
य|जखे
कलो
ईदमा
नकर
ह तमाहलो
यतखे
ममा
हव
रघनकर
खे
अररमाआपरमानमा
दखे
तखे

52. The fifty-second (square) reads dānāntarāy (i.e. hindrance to charity). Some
among those who perform charity cause hindrances or (give arrogantly?).

५३तखे
पनमखे
बलो
लखे
दमा
दसभमा
रनमाबखे
प्रव
रलह
॥समा
र
हभमा
रनमाभमा
रहतखे
नमाबमा
रभखे
दछखे
|तखे
स
चत्तवमा
रहपमा
परहमगु
वक्ति रईव
नसर
णह
चढखे

53. The fifty-third (square) reads dvādas bhāvnā be pravilai1193 (i.e. twelve
contemplations ...?). There are twelve good contemplations of one who is capable
of liberation. Having become free from affliction and sin, one climbs the
ladder.1194

५४चलो
पनमखे
बलो
लखे
रह
ममा
ह
व
नकवह
त्ररलो
व
त।आकमा
सममा
ह
छखे
|तखे
व
रममा
ह
नहककहह
इहतनमाप्रकमा
रपमा
चछखे
ह |ममा
णसममा
ह ह
अजरमा
लबू
करखे
तखे
रलो
व
तषह|वह
तरभबू
ईममा
ह
छखे

54. The fifty-fourth (square) reads vaimānik vyantar jyotiṣī (i.e. vaimānika,
vyantara, and jyotiṣī gods). They are in the inhabited universe. There are five

1191 Read: bhavya.

1192 Cf. the critical reading of sq. 52 (which corresponds to sq. 50 in the manuscript) in Appendix D2.
1193 The meaning of be pravilai (two ...?) or bepravilai (without ...?) is unclear to me.
1194 Following the majority of other 84-square Jaina type a1 charts, the ladder would lead up to sq. 78 in
the manuscript which corresponds to sq. 80 on the reconstructed chart in Appendix C2.

614
 kinds called vaimānika gods.1195 The jyotiṣī gods make light among men. The
vyantara gods (live) inside the earth.

५५मखे
बलो
लखे
सबू
धमर्वा
दखे
रललो
क |एपहखे
ललोदखे
रललो
कआकमा
सममा
ह
छखे

55. The fifty-fifth (square) reads saudharm devlok (i.e. Saudharma heaven). It is
the first (kalpa) heaven in the inhabited universe.

५६छपनमखे
बलो
लखे
अरकृ
तदखे
रललो
क |जखे
हनखे
रकृ
तकलो
ईनहलो
यतअरकृ
वतदखे
रललो
कममा
ह
उपजखे
|तलोसपर्वा
गलखे

56. The fifty-sixth (square) reads avrat devlok (i.e. divine realm of not observing
vows). One who does not observe any vows is born in the divine realm of not
observing vows. A snake swallows (that one).1196

५७सतमा
रनमखे
बलो
लखे
ईसमा
न×दखे
ह रललो
क|एबह
जलोदखे
रललो
कआकमा
सममा
ह
छखे
|12|

57. The fifty-seventh (square) reads īśān devlok (i.e. Aiśāna heaven). It is the
second (kalpa) heaven in the inhabited universe.

५८अठमा
रनमखे
बलो
लखे
असह
जमहदलो
ष|जखे
हनखे
चमा
र
हत्रममा
ह
दलो
षलगमा
इयलोहलो
यतखे
नखे
सपर्वा
गलखे

58. The fifty-eighth (square) reads asaṃyamī doṣ (i.e. fault of not practicing
restraint). A snake swallows one who incurs fault in actions.1197

५९उगणसमा
ठमखे
बलो
लखे
दखे
रललो
ककखे
त्रममा
ह
भवमा
भव स
जर|जखे
य।४५लकजलो
जन1198 प्रममा
णममा
ह ह
छखे
|तखे
पगटहचढखे

59. The fifty-ninth (square) reads devlok kṣetramāṁ bhavyābhavya jīv (i.e. souls
capable and incapable of liberation on the plane of the heavens). There are 84
lākh (8.400.000) birth-situations (in the universe). One climbs the footstep (to sq.
69).1199

६०समा
व
ठमखे
बलो
लखे
सनतकगु
ममारदखे
रललो
क |एव
त्रजमादखे
रललो
कआकमा
सममा
ह
छखे

60. The sixtieth (square) reads sanatkumār devlok (i.e. Sānatkumāra heaven). It is
the third (kalpa) heaven in the inhabited universe.

६१एषटमखे
बलो
लखे
४महखे
द्रदखे
रललो
क |एचलो
रलोदखे
रललो
क आकमा
सममा
ह
छखे
1195 It is unclear to me what the five kinds of vaimānika gods might refer to. Vaimānika gods are divided
into ten classes (Kirfel 1920: 261-62), and live in the eight kalpa heavens (ibid. 291-92).
1196 Following the majority of other 84-square Jaina type a1 charts, the snake would lead down to sq. 2
1.
1197 Following the majority of other 84-square Jaina type a1 charts, the snake would lead down to sq.
41.
1198 Read: yoni.
1199 Sq. 69 in the manuscript corresponds to sq. 71 on the chart as reconstructed in Appendix C2.

615
 61. The sixty-first (square) reads 4 māhendra devlok (i.e. Māhendra heaven no. 4).
It is the fourth (kalpa) heaven in the inhabited universe.

६२बमा
सठमखे
बलो
लखे
व्रह्म५लमा
तक ६|व्रह्मपमा
ह चममादखे
ह रललो
कलमा
तकछठलोआकमा
सममा
ह
छखे

62. The sixty-second (square) reads brahm 5 lāntak 6 (i.e. Brahma and Lāntaka
heavens nos. 5-6). Brahma and Lāntaka are the fifth and the sixth (kalpa) heavens
in the inhabited universe.

६३त्रखे
सठमखे
बलो
लखे
व
ररखे
क |जखे
स
जरनखे
धमर्वा
ममा हव
ररखे
क हलो
यतखे
व
नसर
णहचढखे

63. The sixty-third (square) reads vivek (i.e. discriminating judgment). The soul
which possesses discriminating judgment in its religion climbs the ladder. 1200

६४चलो
सठमखे
बलो
लखे
समा
ममा
व
नकदखे
रभगु
रनपव
त|भगु
रनपव
तदखे
रतमा
नगु
भबू
ईममा
ह
जखे
अहव
त्रककखे
त्रछखे
तखे

64. The sixty-fourth (square) reads sāmānik dev bhuvanpati (i.e. sāmānika and
bhavanapati gods). The bhavanapati gods who (live) inside the earth. The plane of
intermediate space.

६५बलो
लखे
तमा
मसअहह
ह कमा
र|क्रलो
धसहह
तजखे
ममा
ह
न1201 र
मा
षखे
तखे
नखे
सपर्वा
गलखे|13|

65 reads tāmas ahaṃkār (i.e. egoity dominated by the quality of inertia). A snake
(leading down to sq. 16) swallows one in whom there is anger.

६६मखे
बलो
लखे
शगु
स
भष1202 शगु
द्धिव
ररखे
क।सरर्वा
सजरनगु
समा
रुईछनमा
रजखे
सबू
भ1203 व
ररखे
कतखे

66. The sixty-sixth (square) reads (abhīṣṭ?) śuddh vivek (i.e. desired purified
discriminating judgment). The good wish of every soul (to be born as a living
being?)1204 is purified discriminating judgment.

६७सड़सव
ठमखे
बलो
लखे
शगु
क्रदखे
रललो
क|एदखे
रललो
क समा
तमलोतखे
आकमा
सममा
ह
छखे

67. The sixty-seventh (square) reads śukra devlok (i.e. Śukra heaven). It is the
seventh (kalpa) heaven in the inhabited universe.

६८अड़सव
ठमखे
बलो
लखे
सहस्रमा
रदखे
रललो
क |एदखे
रललो
क आठमलोतखे
आकमा
सममा
ह
छखे

1200 Following the majority of other 84-square Jaina type a1 charts, the ladder would lead up to sq. 66 in
the manuscript which corresponds to sq. 68 on the reconstructed chart in Appendix C2.
1201 I read jemāṁn instead of jemāṁ na (i.e. one in whom there is not anger).
1202 Read abhīṣṭ?
1203 Read: śuddh?
1204 Or perhaps "... as a man," if we read icchanar instead of icchanār.

616
 68. The sixty-eighth (square) reads sahasrāra devlok (i.e. Sahasrāra heaven). It is
the eighth (kalpa) heaven in the inhabited universe.

६९बलो
लखे
दखे
रललो
कगु
मखे
भवमा
भव।दखे
रललो
कममा
ह
सरर
भवरस
जरजखे
मलो
कपमा
मरमा
ह नमातखे
नहसर
णहचढखे

69. The sixty-ninth (square) reads devlok me bhavyābhavya (i.e. souls capable and
incapable of liberation in the kalpa heavens). All souls capable of liberation in the
(kalpa) heavens climb the ladder and attain liberation (mokṣa).1205

७०स
शतखे
रमखे
बलो
लखे
९नरमलोआन
हतदखे
रललो
क |जखे
नलोअह
तनहहएदखे
रक1206 आकमा
सममा
ह
छखे

70. The seventieth (square) reads 9 navmo ānat devlok (i.e. the ninth Ānata
heaven). This is the (kalpa) heaven of those who do not die in the inhabited
universe.

७१इकलो
तरमखे
बलो
लखे
आरणदखे
रललो
क अगह
आरमलो|एदखे
रललो
कअगहआर
मलोछखे
|तखे
आकमा
सममा
ह
छखे

71. The seventy-first (square) reads āraṇ devlok agiyārmo (i.e. the eleventh
heaven of Āraṇa). This is the eleventh (kalpa) heaven. It is in the inhabited
universe.

७२बलो
तखे
रमखे
बलो
लखे
बमा
र
मलोअचबू
तदलो
रलमा
क |यलो
नहअररमापदरगर
नलोजखे
दखे
रललो
कबमा
र
मलोआकमा
सममा
ह
छखे
तखे
|14|

72. The seventy-second (square) reads bārmo acyut devlok (i.e. the twelfth Acyuta
heaven). This is the twelfth (kalpa) heaven of those who have neither birth nor
footprint1207 in the inhabited universe.

७३तलो
तखे
रमखे
बलो
लखे
र
मा
र अहक
हमा
र
।मलो
टमाअहह
कमा
रजखे
तखे
सपर्वा
गलखे

73. The seventy-third (square) reads rājas ahaṃkār (i.e. egoity dominated by the
quality of activity). A snake swallows one who has a big ego.1208

७४चगु
रलो
तरमखे
बलो
लखे
मलो
हनहकमर्वा
|आठकमर्वा
छखे |तखे
ममा
हखे
मलो
टगु
जखे
मलो
हनहकमर्वा
|स जरनखे
मलो
कजतमा
ह
अटकमा
रखे
|तलोतखे
नखे
सपर्वा
गलखे

74. The seventy-fourth (square) reads mohnī karm (i.e. deluding karma). There
are eight (kinds of) karma. Deluding karma is the most important among them. It
prevents the soul from reaching liberation. A snake (leading to sq. 52) swallows it.

७५प
हचलो
तरमखे
बलो
लखे
सद्रग्रह
रखे
यक |उचमाआकमा
सममा
ह
बमा
रदखे
रललो
कछखे
|तखे
उपरनरग्रह
रखे
कछखे
|तखे
ममा
हपहखे
ललोभद्रकग्रह
रखे
कछखे
तखे

1205 None of the other 84-square Jaina type a1 charts include a ladder leading up from sq. 71, to which
sq. 69 in the manuscript corresponds on the reconstructed chart in Appendix C2.
1206 Read: devlok.
1207 I.e. the gods in this heaven apparently walk without touching the ground.
1208 Following the majority of other 84-square Jaina type a1 charts, the snake would lead down to sq. 2.

617
 75. The seventy-fifth (square) reads bhadra graiveyak (i.e. Bhadra graiveyaka
heaven). There are twelve (kalpa) heavens in the upper part of the inhabited
universe. There are nine graiveyaka heavens above them. The first among them
is the Bhadra graiveyaka heaven.

७६छलो
तखे
रमखे
बलो
लखे
सगु
भद्रग्रह
रखे
क |सबू
भद्रव
बजलोग्रह
रखे
कतखे
आकमा
सममा
ह
दखे
रललो
कउपरछखे

76. The seventy-sixth (square) reads subhadra graiveyak (i.e. Subhadra

graiveyaka heaven). Subhadra is the second graiveyaka heaven above the (kalpa)
heavens in the inhabited universe.

७७सह
तलो
तरमखे
बलो
लखे
सबू
जमा
तग्रह
रखे
क |एदखे
रललो
कउपरछखे

77. The seventy-seventh (square) reads sūjāt graiveyak (i.e. Sujāta graiveyaka
heaven). It is above the (kalpa) heavens.

७८अठलो
तरमखे
बलो
लखे
शहमण४प्रह
यदर
सण|एचखे
ग्रह
रखे
क दखे
रललो
कउपरछखे
|15|

78. The seventy-eighth (square) reads śrīmān 4 priyadarśan (i.e. the illustrious
Priyadarśana graiveyaka heaven no. 4). It is the fourth graiveyaka heaven above
the (kalpa) heavens.

७९अगमा
एसह
मखे
बलो
लखे
सगु
दर
सणग्रह
रखे
क |दखे
रललो
कउपरछखे

79. The seventy-ninth (square) reads sudarśan graiveyak (i.e. Sudarśana

graiveyaka heaven). It is above the (kalpa) heavens.

८
०एसह
मखे
बलो
लखे
अमलो
घग्रह
रखे
क |एदखे
रललो
क उपर
खे
ग्रखे
रखे
कछखे

80. The eightieth (square) reads amogh graiveyak (i.e. Amogha graiveyaka
heaven). This graiveyaka heaven is above the (kalpa) heavens.

८
१एकमा
सहमखे
बलो
लखे
शगु
प्रव
तष(यखे
) ग्रह
रखे
क ८|समा
र
लोप्रत्तह
षआकमा
सनमादखे
रछखे
तखे

81. The eighty-first (square) reads supratiṣṭh graiveyak 8 (i.e. Supratiṣṭha

graiveyaka heaven no. 8). The excellent Pratiṣṭha (i.e. Supratiṣṭha) is a god of the
inhabited universe.

८
२बमा
सहमखे
बलो
लखे
जयलो
धरग्रह
रखे
क |एनरमलोग्रह
रखे
कछखे
|एनरग्रह
रखे
कनमारह
ममा
ह
नदखे
रललो
कउपरछखे

82. The eighty-second (square) reads yaśodhar graiveyak (i.e. Yaśodhara

graiveyaka heaven). It is the ninth graiveyaka heaven. The palaces (vimāna) of the
nine graiveyaka heavens are above the (kalpa) heavens.

618
प्र
हतगु
एनरग्रह
रक
खे रह
ममा
ह
नलो
नखे
ऊपरपमा
च अनगु
ह तरवरममा
नपमा
ह च
हवरममा
नकहमा
ह ह
छखे
|तखे
मनमाममा
रहचमा
ह रचमा
र
खेव
दसमाजमा
णरमा
ह नखे
पमा
चमलोसरमा
ह रस
र्वा
र्वा
सस धमधममाजमा
णरलो|पणमधनमाव
ह रममा
ननलोनमा
ह मनलोनमा
ह ह
मसरमा
रस
र्वा
र्वा
सस धकखे
ममगु
क लोचमा
रु|एनगु
कमा
र
णएटलगु
ज छखे
कखेएमधनमाव
रममा
नममा
ह ह
आरमापस
छ सह
समा
र
ममा
ह
अनखे
क भरनलोभ्रमण |16| कदमा
स
चतपण ररमा
नलोनरह|एटलमाममा
हखे
सरमा
रस
र्वा
र्वा
सस धनमा
मअरमा
ह र
र1209 जछखे

Moreover, above the palaces of the nine graiveyaka heavens are the five palaces
known as the palaces of the five anuttara heavens. Knowing the four among them
(as being) in the four directions, one should know the fifth (called)
Sarvārthasiddhi (as being) in the middle. But why is the name of the central
palace Sarvārthasiddhi the principal one among the four (names of the other
palaces)? The reason for this is such that when one comes to the central palace,
then the wanderings among the many beings in the cycle of rebirth never
happens (again).1210 Therefore, "the accomplishment of all aims" (i.e.
Sarvārthasiddhi) is the meaning of the name.

एमनखे
उपरपह
सतमा
लङसलमा
षयलो
जह
ननहरमा
सनह
1211
तरमामधमखे
आठजलो
जननहजमा
ड़हस
सधममा
हरमा
जनखे
व
ररमा
जरमा
नहसह
धससलमा
छखे
|तखे
यलो
नमा
ह
नमा
मईसतप्रमा
ह गभमा
र
माआव
दअनखे
कव रसखे
सणलो
रहसमा ममा
सलो ह
रणर्वा
नककी धलोछखे

Above this is the splendid Siddhaśilā (i.e. rock of the perfected ones) of the
Siddhamahārājas (i.e. perfected souls) which is forty-five lākh (4.500.000) yojanas
(long?) and eight yojanas thick at the center. It is described in the Śāstras in many
different ways as Īṣatprāgbhāra, etc.

आव
रससद्धिसह
लमा
नखे
उपरछखे करहसपर
क अललो सकर
हनखे
अनह
तससस
धबह
रमा
जरमा
नमाछखे
|तखे
मनमा
मलोअनखे
ह क प्रकमा
र
नहअरगमा
हनमा
छखे
|तरमाअनमा
व
दअन
हतनखे
समा
व
दअत
हतकर
हनखे
बखे
भखे
दछखे

Having arrived above Siddhaśilā at last, and having made contact with the non-
world (i.e. outside the inhabited universe), the eternally perfected ones are
shining. One should bow down to them. There are many ways of (immersing
oneself in them?). And having made an infinity with a beginning out of the
infinity without a beginning, the two become separate.

एरमापर
ममा
र
मा
धयतरमापर
मपगु
र अन
हतमा
बमा
धतखे
ममा
र
हरह
दनमा
॥

Thus my homage to the most respectable and venerable ones who are forever
unbound.

1209 Read: artha?

1210 Once a soul is born in the Sarvārthasiddhi heaven, it is assured liberation after one final rebirth as
a human being (Tatia 1994: 110).
1211 Read: lambī? Cf. top sq. 6 on Ja84#26,53.

619