Sanskrit Manuscripts : Kalāpustaka

Folio height: 7.3 cm, width: 22.3 cm.

Decorated wood cover, original binding.

Pal (1967: 23) describes the decorations of both the front and the back cover as follows: "The edge of each cover has petals of lotus; and then, within two borders in gold, a bright green dragon motif, borrowed no doubt from Chinese art through Tibet, stretches along the entire edge. In the remaining space inter-twining lotus tendrils from circular medallions, within each of which is sketched in black outline, hardly visible, a figure of a divinity. The vegetal motifs and the figures are set off against a background of light red, and the entire surface of the cover is glossed over with a lacquer slip which enhances the cover's dazzling quality."

Many pages have 1 line of caption (rarely 2), with a maximum of approximately 45 akṣaras per line.

• On page 1, the opening auspicious scene: five deities with their respective consorts and mythical vehicles, seating in five niches in some sort of highly decorated arched porch. In the middle, Śiva with Umā, on Nāndin. To the left, Brahmā with his consort, on the Haṃsa. Further to the left, Gaṇeśa on the mouse. To the right, Viṣṇu and Lakṣmī, on Garuḍa. Further to the right, Skanda on the peacock.
• On page 2, to the left, the representation known as paramātman or viṣṇu nyagrodhaśāyin: Viṣṇu is reclining on a Banyan tree while the sage Mārkaṇḍeya is represented twice, first as emaciated sage adoring the god and then jubilant in the water after discovering the universe in Viṣṇu's mouth; to the right, the representation known as yoganidrā or śeṣaśayana: Viṣṇu lying on Ananta, with Brahmā seated on a lotus coming out of Viṣṇu's navel. The caption in Nepālākṣarā characters reads: svasṛṣṭam idam āpīya śayānaṃ saha śaktitaḥ | tad ante bodhayāṃ cakrus talliṃgaiḥ śrutayaḥ [-1-]raṁ. It corresponds closely to Bhāgavatapurāṇa 10.87.12
• On page 3, the scene of the samudramanthana, the churning of the ocean of milk, with the mount Mandara as a churning stick, the nāga Vāsuki as the rope, and the gods and the demons pulling on the two sides.
• On page 4, the painting is divided in two scenes: to the left, the gems (ratnas) coming out of the churning of the ocean of milk, among which only some are represented: the horse Uccaiḥśrava, which will be taken by Sūrya (seen in an inset), the elephant Airāvata and Śrī, who is depicted on the very left as she ie being taken by Viṣṇu; to the right, adored by Brahmā and Viṣṇu, Śiva has just drunk the deadliest of the "gems", the poison known as halāhala or kālakuṭa, which turned his throat blue (hence, he is also called Nīlakaṇṭha). The two scenes are divided by the flying figure of Bhāvanī, a multi-armed aspect of the goddess Pārvatī.
• On page 5, the painting is divided in two scenes: to the left, Dhanvantari with the pot containing the amṛta, the elixir of immortality, the last gem to emerge from the ocean, is represented between a demon who is trying to snatch the magical liquor and Mohinī, i.e., Viṣṇu in disguise as a beatuful damsel, who will manage to seduce the demons and retrieve the amṛta; to the right, Mohinī distributes the elixir of life to the gods. The caption in Nepālākṣarā characters reads: ≀ manthānaṃ mandaraṃ kṛtvā, tathā netraṃ ca vāsukiṃ, | devā mathitum ārabdhāḥ samudraṃ nidhim ambhasāṃ ||. It corresponds closely to Mahābhārata 1.16.12.
• On page 6, the gods (probably, Varuṇa, Brahmā, Indra and Viṣṇu), invigorated by the amṛta, defeat the demons. The caption in Nepālākṣarā characters reads: ≀ athāvaraṇamukhyāni,, nānāpraharaṇāni ca,, | pragṛhyābhadrān_(!) devān_,, sahitā daītyadānavāḥ ||. It corresponds closely to Mahābhārata 1.17.1 (with a mistake).
• On page 7, a scene from the Mahābhārata, the Snake Sacrifice (sarpasattra). To the left, Janamejaya and a priest are hurling snakes into the fire, and they have just conjured up Indra with whom Takṣaka, the snake king who had killed Jamanejaya's father Parikṣit, had sought refuge. To the right, the sage Āstika, whose mother was the sister of the snake Vāsuki, has just been granted a boon by the king and asks for the snake sacrifice to be stopped, to the dismay of Janamejaya and his priests. The caption in Nepālākṣarā characters reads: ≀ indrasya bhavane viprā yadi nāgaḥ sa takṣakaḥ | tam indreṇaiva sahitaṃ pātayadhvaṃ vibhāvasau ||. It corresponds closely to Mahābhārata 1.51.11
• On page 8, a scene from the Mahābhārata. To the left, Bhīma sets the lacquer house on fire. To the right, Bhīma escapes with the Pāṇdavas and Kuntī. The caption in Nepālākṣarā characters reads: ≀ tato jatugṛhadvāraṃ,, dīpayām āsa pā[ṇḍa]vaḥ | samantato dadau paścā,,d agnin tatra niveśane,, ||. It corresponds closely to Mahābhārata 1.136.9.
• On page 9, the painting is divided in three scenes, from the Mahābhārata. To the left, the Pāṇḍavas and Kuntī are seating in the forest. In the centre, Bhīma is approached by a beautiful woman who proposes to him. She is Hiḍimbā, a Rākṣasa woman sent by his brother Hiḍimba to fetch the Pāṇḍavas, but she falls in love with Bhīma. To the right, Hiḍimba, enraged, wrestles with Bhīma. The caption in Nepālākṣarā characters reads: ≀ mā bhais tvaṃ vipulaśroṇi, naiṣa kaścit mayi sthite,, | aham enam hani❈ṣyami preṣyantyās te sumadhyame ||. It corresponds closely to Mahābhārata 1.140.7.
• On page 10, the painting is divided in three scenes, from the Mahābhārata. To the left, Bhīma breaks Hiḍimba's spine. In the centre, Bhīma and Hiḍimbā are united in a loving intercourse that takes them all over the world. To the right, Bhīma and Hiḍimbā are saluted by their Rākṣasa son, Ghaṭotkaca. The caption in Nepālākṣarā characters reads: ≀ bāhubhyām yokramitvā(!) taṃ valavān_ pāṇḍunandanaḥ | madhye bhaṃktvā mahābāhu,,r harṣayām āsa pāṇḍavān_ ||. It roughly corresponds to Mahābhārata 1.142.30
• On page 11, the painting is divided in three scenes, from the Mahābhārata. To the left, Bhīma is attacked from behind by the Rākṣasa Baka, as he starts eating the food that he had brought to the moster that was terrorizing the town of Ekacakrā. In the centre, Bhīma and Baka are fighting. To the left, Bhīma defeats Baka. The caption in Nepālākṣarā characters reads: ≀ tato sya jānunā pṛṣṭha,,m avapīḍya balād iva | bāhunā parijagrāha, dakṣiṇena śirodharāṃ || ≀ virathaṃ viplutaṃ taṃ tu, sa gandharvvam ma¦. 1.151.22 and 1.158.29, which continues in the next page.
• On page 12, a scene from the Mahābhārata. To the left, Arjuna is in the river Ganges, surrounded by Gandharva women (the wives of the Gandharva Citraratha). In the centre, attacked by Citraratha, Arjuna defeats him with the āgneya missile. To the left, Citraratha's wife prays for mercy, which Yudhiṣṭhira grants. The caption in Nepālākṣarā characters reads: hābalaṃ | astratejaḥpramūḍhaṃ ca, prapatantam avāṅmukhaṃ | śiroruheṣu jagrāha,, mālyavatsu dhanaṃjayaḥ || ❈ ||. It corresponds closely to the end of Mahābhārata 1.158.29, following from the previous page.
• On page 13, a scene from the Mahābhārata, the lakṣyabheda. Surrounded by the princes gathered at Drupadī's svayaṃvara, Arjuna is about to shoot an arrow and hit the target. The caption in Nepālākṣarā characters reads: ≀ sajyaṃ sa cakre tha[ni-1-]eva mātrā, ccharāṃś ca jagrāha daśārddhasaṃkhyāṇ_ | vivyādha lakṣyaṃ nipapāta tac ca chidreṇa bhūmau sahasābhividdham_ ||. It roughly corresponds to Mahābhārata 1.179.16.
• On page 14, a scene from the Mahābhārata. The fight between the Pānḍavas (here Bhīma wielding a tree and Arjuna with his bow) and the other princes, led by Karṇa and Śalya, who gathered for the svayaṃvara and are now disappointed after Arjuna's success in the challenge of hitting the target. Draupadī stands in a corner, defended by Bhīma and Arjuna. The caption in Nepālākṣarā characters reads: ≀ tāv ubhāv api nirdeśyau,, lāghavāj jayatāṃ varau | ayudhyetāṃ susaṃrabdhā,,v anyonyavijayaiṣiṇau ||. It roughly corresponds to Mahābhārata 1.181.11.
• On page 15, two scenes from the Mahābhārata. To the left, Kṛṣṇa and Arjuna meet the Fire God, who asks their help to devour the Khāndava forest, currently protected by Indra. To the right, the Fire God gives them new powerful weapons, a bow, quivers, and a chariot to Arjuna, and a discus to Kṛṣṇa. The caption in Nepālākṣarā characters reads: ≀ prādād vaī danuratnaṃ ta,,d akṣayyau ca maheṣudhī | rathaṃ ❈ ca divyāśvayujaṃ,, kapipravaraketanaṃ ||. It roughly corresponds to Mahābhārata 1.216.7cd-8ab.
• On page 16, a scene from the Mahābhārata. In an apocalyptic scene, Arjuna and Kṛṣṇa help the Fire God to destroy the Khāṇḍava forest. The caption in Nepālākṣarā characters reads: ≀ tau rathābhyām rathaśreṣṭhau dāvasyobhayataḥ sthitau ❈ dikṣu [sa]rvāsu bhūtānāṃ, cakrāte kadanaṃ mahat_ ||. It closely corresponds to Mahābhārata 1.217.1.
• On page 17, a scene from the Mahābhārata. The caption in Nepālākṣarā characters reads: ≀ sa tu senāpati rājā, sasmāra bharatarṣabha | kauśikaṃ citrasenaṃ ca, tasmin_ yuddha upasthite ||. It closely corresponds to Mahābhārata 2.20.30.
• On page 18, a scene from the Mahābhārata: the killing of Śiśupāla by Kṛṣṇa (aka śiśupālavadha). The illumination represents "Yudhiṣṭhira washing Kṛṣṇa's feet when the latter attended the Rājasūya sacrifice performed by the king. Śiśupāla, a cousin of Kṛṣṇa, who also was a guest, began insulting both Bhiṣma and Kṛṣṇa, and instigated by other, ultimately challenged Kṛṣṇa. Kṛṣṇa then decapitated him with his discus. In the illumination the princes and sages sit together in two registers, while in the middle Yudhiṣṭira is busy washing Kṛṣṇa's feet. Kṛṣṇa's right hand holds the discus, which has returned after cutting off Śiśupāla's head, and the artist even shows us the path followed by the weapon (Pal 1970, 97)." The caption in Nepālākṣarā characters reads: ≀ atha bruvuta evāsya,, bhagavān_ madhusūdanaḥ | vyapāharac chiraḥ kruddha,ś cakreṇāmitrakarṣaṇaḥ || . It closely corresponds to Mahābhārata 2.42.21.
• On page 19, a scene from the Mahābhārata: Duryodhana and Yudhiṣṭira play dice, surrounded by the Pāṇḍavas and the Kauravas. The caption in Nepālākṣarā characters reads: ≀ etac chrutvā vyavasito,, nikṛtiṃ samupāśritaḥ | jitam ity eva śakuni,,s tān akṣān_ pratyapadyata ||. It closely corresponds to Mahābhārata 2.58.10.
• On page 20, the painting is divided in two scenes, from the Mahābhārata: Duḥśāsana grabs Draupadī by the hair; and then he drags her to the court, where she begs Bhīma to save her honour.The caption in Nepālākṣarā characters reads: ≀ rajasvalā vā bhava yājñaseni, ekāmbarā vāpy athavā vivastrā | dyute jitā cāsi kṛtās \dāsi/ sā [kāmayāsmāṃś] ca yathopajoṣaṃ ||. It closely corresponds to Mahābhārata 2.60.27.
• On page 21, the painting is divided in three scenes, from the Mahābhārata. To the left, the powerful and menacing forest-dweller Hiḍimba faces the five Pāṇḍava brothers and Draupadī; in the centre, Bhīma fights with him; to the right, Bhīma finally subdues Hiḍimba. The caption in Nepālākṣarā characters reads: ≀ hiḍimbaṃ nihitaṃ dṛṣṭvā,, saṃhṛṣtās te tarasvinaḥ | apūjayan naravyāghraṃ,, bhīmasenam arindamaṃ || ❈ ||. It closely corresponds to Mahābhārata 1.142.31. Strangely, this scene is a repetition of the scene portrayed in page 10, and it is out of sequence here, as the killing of Hiḍimba occurs in the first book and here the story has moved to the second book. Probably, a mistake of the artist.
• On page 22, a scene from the Mahābhārata. The caption in Nepālākṣarā characters reads: ≀[tau] muktau sāyakau tābhyāṃ,, samaṃ tatra nipetatuḥ | mūkasya gatre vistīrṇṇe, śailasaṃhanane tada ||. It closely corresponds to Mahābhārata 3.40.14.
• On page 23, a scene from the Mahābhārata. The caption in Nepālākṣarā characters reads: ≀ tac ca mālyaṃ tadā pārthaḥ kirāṭasirasi(!) sthitaṃ | apaśyat_ pāṇḍavaśreṣṭo,, harṣeṇa prakṛtiṃ gataḥ ||. It closely corresponds to Mahābhārata 3.40.51.
• On page 24, a scene from the Mahābhārata. The caption in Nepālākṣarā characters reads: ≀ evam uktvā tataḥ kṛṣṇā,m uvāca sa ghaṭotkacaḥ | pāṇḍūnā(!) madhyago vīraḥ pāṇḍavān api cāpare ||. It closely corresponds to Mahābhārata 3.145.7.
• On page 25, a scene from the Mahābhārata. The caption in Nepālākṣarā characters reads: ≀ uccikṣepa punar dorbhyām indrāyudham ivocchritaṃ | noddhartum asakad(!) bhīmo,, dārbhyam api mahābalaḥ ||. It closely corresponds to Mahābhārata 3.147.18.
• On page 26, a scene from the Mahābhārata.
• On page 27, a scene from the Mahābhārata. The caption in Nepālākṣarā characters reads: ≀ gandharvā bahusāhasrās tilaso vyadhamad rathaṃ | tato rathād avaplutya,, sūtaputro sicarmabhṛt_ || duryodhanaṃ citraseno virathaṃ patitaṃ bhuvi ḥ | a. It closely corresponds to Mahābhārata 3.230.30cd-31ab and 3.231.6, continuing in the next page.
• On page 28, a scene from the Mahābhārata. The caption in Nepālākṣarā characters reads: bhidrutya mahābāhur jīvagrāhaṃ athāgrahīt_ || ≀ pāṇḍavenābhyanujñato,, rājā durjodhanas tadā | abhivādya dhamaputraṃ,, gatendriya ivāturaḥ || . It closely corresponds to the end of Mahābhārata 3.231.6, following from the previous page, and 3.235.23.
• On page 29, a scene from the Mahābhārata. The caption in Nepālākṣarā characters reads: ≀ ity uktvā hriyamānāṃ tāṃ,, rājaputrī yaśasvinaḥ(!) | anugacchan(!) tato dhaumyaḥ padātigaṇamadhyagaḥ || ≀ abhidrutya nijagrāha keśa[galya] tyamarṣa. It closely corresponds to Mahābhārata 3.252.27 and 3.256.2, continuing in the next page.
• On page 30, a scene from the Mahābhārata. The caption in Nepālākṣarā characters reads: ṇaḥ | sa[magṛhya] tataṃ bhīmo niṣpipeṣa mahītale || ≀ darśayām āsa bhīmas tu tadavasthaṃ jayadrathaṃ | taṃ rājā prāhasad drṣṭvā,, mucyatāṃ api cābravīt_ || . It closely corresponds to the end of Mahābhārata 3.256.2 and to 3.256.15.
• On page 31, a scene from the Mahābhārata. The caption in Nepālākṣarā characters reads: ≀ kuṇḍale me prayacchasva,, varma caiva śarīrajaṃ | gṛhāṇa karṇṇa me śakti,,m anena samayena ca ||. It corresponds closely to Mahābhārata 3.294.23.
• On page 32, a scene from the Mahābhārata. The caption in Nepālākṣarā characters reads: ≀ ākramya tu kaṭīdeśe,, jānunā kīcakādhamaṃ | apīḍayata bāhubhyām kṛṣṇakopopaśāntaye ||. It corresponds closely to Mahābhārata 4.21.58.
• On page 33, a scene from the Mahābhārata. The caption in Nepālākṣarā characters reads: ≀ ūrddhvapucchaṃ vidhunvānā,, vepamānāḥ samantataḥ | gāvaḥ pratinivarttante,, diśam āsthāya dākṣiṇāṃ ||. It corresponds closely to Mahābhārata 4.48.23
• On page 34, a scene from the Mahābhārata. The caption in Nepālākṣarā characters reads: ≀ dṛṣṭyā bhavantaḥ saṃprāptāḥ sarve kuśalino vanāt_ | dṛṣṭya ca vāritaṃ kṛcchaṃ,, kleśitāś ca durātmabhiḥ ||. It corresponds closely to Mahābhārata 4.66.25.
• On page 35, a scene from the Mahābhārata: Arjuna witnessing the cosmic form of Kṛṣṇa/Viṣṇu (aka viśvarūpadarśana). "The battlefield is indicated by the confronted chariots of Arjuna and Kṛṣṇa on the one side and of the Kauravas on the other. The dark central figure with many arms and legs, multiple heads and faces, some of them awesome and painted even on his belly and chest, represents the universal manifestation. On the chariot to the left, the bewildered and frightened Arjuna shrinks away from the manifestation with enjoined palms. The human Kṛṣṇa is seated in front of the chariot, assuring Arjuna with his right hand, and holding the reins of the horses with the left. The insignia on the Pāṇḍava standard behind Kṛṣṇa is a monkey in a flying posture. This is no doubt Hanumān who, on an earlier occasion, had told Bhīma that he would be present at the battle of Kurukṣetra. On the other side of the manifestation are the Kauravas, led by Duryodhana, and they also seem wonder-struck, although only Arjuna was supposed to have beheld the manifestation. The insignia on their standard appears to be a lion (Pal 1970, 97-98)." The barely legible caption in Nepālākṣarā characters reads: [anekabāhūdarava]ktranetraṃ paśyāmi tvāṃ sarvatonantarūpaṃ | [nāntaṃ na ma]dhyaṃ na puna[s tavā]diṃ paśyā[mi vi]śveśvara viśvarūpa ḥ || It corresponds to Bhagavadgītā 11.16.
• On page 36, a battle scene from the Mahābhārata, probably the one following the episode of the Bhagavdgītā.
• On page 37, a scene from the Mahābhārata. The caption in Nepālākṣarā characters reads: ≀ sa bhinnahṛdayo rājā, bhagadattaḥ kirīṭinā | śarāsanaṃ śarāṃś caiva, ga❈tāsuḥ pramumoca ha ||. It corresponds closely to Mahābhārata 7.28.41.
• On page 38, a scene from the Mahābhārata. The caption in Nepālākṣarā characters reads: ≀ tasmin kāle śaktinir[bhinna]marmā,, babhau rājan meghaśailaprakāśaḥ | tato ntarīkṣad apatad gatāsuḥ sa rākṣasendro bhuvi bhnnadehaḥ. It closely corresponds to Mahābhārata 7.154.59.
• On page 39, a scene from the Mahābhārata. The caption in Nepālākṣarā characters reads: ≀ dṛṣṭadyumno vadhīd dronāḥ ❈ rathatalpe nararṣabha ¦ śonitena parikli[nno] rathād bhumim arindamaḥ || lohitāmga ivādityo, du[rda]rśaḥ pratyapadyata ||. It closely corresponds to Mahābhārata 7.165.53.
• On page 40, the painting is divided in three scenes, from the Mahābhārata. To the left, Bhīma on a chariot throws an arrow at Duḥśāsana, who does the same; in the centre, they enter hand-to-hand combat; to the right, Bhīma subdues Duḥśāsana and is on the point of drinking his blood, as promised long before. The caption in Nepālākṣarā characters reads: ≀ tato nipātyāsya śiro pāhṛtya tenāśinā tava putrasya rājan_ | satyaṃ cikīrṣur matimān pratijñān_, bhimo 'pibac chonitam aysa koṣṇaṃ ||. It closely corresponds to Mahābhārata 8.61.6 (936).
• On page 41, the painting is divided in two scenes, from the Mahābhārata: Bhīma has just finished drinking the blood of Duḥśāsana; the duel between Arjuna and Karṇa, both on the respective chariots. But the wheel of Karṇa's chariot sinks, and he is killed while trying to set it free. The caption in Nepālākṣarā characters reads: ≀ pātho parāhṇe śira uccakartta, vaikarttanasyātha mahendradūnuḥ | tat prāpatac cāṃjalikena cchina,m athāsya kāyo ni❈papāta paścāt_ ||. It closely corresponds to Mahābhārata 8.67.23 (1159.5-8).
• On page 42, a scene from the Mahābhārata. After fleeing from the battle, Duryodhana, hidden in a tank, is urged by his allies to return to the fight. The caption in Nepālākṣarā characters reads: ≀ rājan uttiṣṭha yudhyasva, sahāsmābhi(!) yudhiṣṭḥaraṃ | jitvā vā pṛthivīṃ bhuṃkṣva, hato vā svā❈rav(!)āpnuhi ❈ ||. It closely corresponds to Mahābhārata 9.29.11.
• On page 43, the painting is divided in three scenes from the Mahābhārata: Bhīma discovers Duryodhana's hideaway; he drags him out, into a fight; and overpowers him. The caption in Nepālākṣarā characters reads: ≀ sā vajraniṣpeṣasamā prahitā bhīmakarmaṇā | ūrū duryodhanasyātha,, babhaṃja priyadarśato | ≀ saṃnipatya. It closely corresponds to Mahābhārata 9.57.44 and 10.1.39, continuing in the next page.
• On page 44, a scene from the Mahābhārata. Yudhiṣṭhira and other survivors mourn the death of many warriors and the destruction on the battlefield, as ravens, vultures and other birds sweep down to feed on the corpses. The caption in Nepālākṣarā characters reads: ≀ tu śākhāyāṃ, nyagrodhasya vihaṃgamaḥ | suptāñ jaghāna subahū,n vāyasān vāyasāntakaḥ || upadeśaḥ kṛto nena, pakṣiṇā mama saṃyuge | śatrūnāṁ kṣapaṇe yuktaḥ, prāptaḥ kālaś ca me mataḥ ||. It closely corresponds to Mahābhārata 10.1.39, following from the previous page, and 10.1.44.
• On page 45, a scene from the Mahābhārata. The caption in Nepālākṣarā characters reads: ≀ vṛttaṃ bhūtagaṇair ghoraīḥ kravyādaiś ca samantataḥ | yathā dhanaṃ lipsamanai,,r bhṛtyair nṛpatisattamaḥ ||. It closely corresponds to Mahābhārata 9.64.7.
• On page 46, a scene from the Mahābhārata. The caption in Nepālākṣarā characters reads: ≀ iyam ātmānam [adyāhaṃ jātam āṃgirasaḥ kule] | agnau juhomi bhagavan_ pratigṛhnaṣva(!) māṃ baliṃ ||. It closely corresponds to Mahābhārata 10.7.54
• On page 47, a scene from the Mahābhārata. Bhīṣma is lying on his deathbed of arrows (śaraśayyā) and teaching everybody about the dharma. The caption in Nepālākṣarā characters reads: ≀ śarasaṃghakṣataṃ vīraṃ, sāśrukaṇṭhas tadā vṛṣaḥ | bhīṣma bhīṣma mahābāho ity uvāca mahādyutiḥ || It corresponds closely to Mahābhārata 6.117.4.
• On page 48, the last scene from the Mahābhārata story: the crowning of Yudhiṣṭhira surrounded by the Pāṇḍavas. The caption in Nepālākṣarā characters reads: ≀ rājasūyāvabhṛthena, snāto rājā yudhiṣṭhiraḥ | brahmakṣatriviśamadhye śuśubhe surarāḍ iva || ❈ || It actually corresponds closely to Bhāgavatapurāṇa 10.74.51.
• On page 49, the painting is divided in three parts.
• On page 50, a scene from the Buddhist Kinnarī Jātaka.
• On page 51, a scene from the Buddhist Kinnarī Jātaka.
• On page 52, a scene from the Buddhist Kinnarī Jātaka.
• On page 53, a scene from the Buddhist Kinnarī Jātaka.
• On page 54, a scene from the Buddhist Kinnarī Jātaka.
• On page 55, a scene from the Buddhist Kinnarī Jātaka.
• On page 56, a scene from the Buddhist Kinnarī Jātaka.
• On page 57, a scene from the Buddhist Kinnarī Jātaka. Sudhana scaling mountains and facing dangers in search of Kinnarapura, where his beloved Manoharā lives. The king of monkeys is showing the way.
• On page 58, a scene from the Buddhist Kinnarī Jātaka.
• On page 59, a scene from the Buddhist Kinnarī Jātaka.
• On page 60, a scene from the Buddhist Kinnarī Jātaka.
• On page 61, a scene from the Buddhist Kinnarī Jātaka.
• On page 62, a scene from the Buddhist Kinnarī Jātaka.
• On page 63, a scene from the Buddhist Kinnarī Jātaka. Sudhana is finally reunited with Manoharā and back in his kingdom. They sit in front of Sudhana's father withina pavilion, while the musicians represent the jubilation of the city.
• On page 64, a scene from the Buddhist Kinnarī Jātaka, on the left. Sudhana and Manoharā ascend to heaven. The caption in Nepālākṣarā characters reads: svargavaṃḍā ||. To the right, the court of king Vikramāditya, while he is being blessed by a Brahmin. The image serves as an introduction to the following folios where scenes from the Vetālapañcaviṃśati are illustrated. The caption in Nepālākṣarā characters reads: ≀ śrīvikramādityarājasabhā sabrāhmaṇa na, cauracakravarttī ||
• On page 65, a scene from the Vetālapañcaviṃśati.
• On page 66, a scene from the Vetālapañcaviṃśati.
• On page 67, a scene from the Vetālapañcaviṃśati.
• On page 68, a scene from the Vetālapañcaviṃśati.
• On page 69, a scene from the Vetālapañcaviṃśati.
• On page 70, a scene from the Vetālapañcaviṃśati.
• On page 71, a scene from the Vetālapañcaviṃśati.
• On page 72, a scene from the Vetālapañcaviṃśati.
• On page 73, "a multi-armed Śiva dancing on his bull and attended by two companions. The lighter figure on Śiva's right is identified as Nandi, but the inscripton below the dark and fierce-looking figure to Śiva's left is illegible. But there is little doubt that it is Mahākāla, on of the many pratihāras ["guardians"] of Śiva. (Pal 1967: 24)" This page is the first one of the other side of the accordion book. It represent an alternative beginning, so to say. Pal (1967) considers it as the actual beginnig, which is also possile, although it seems more likely that the host of divinity at the other end of the book should be considered as the beginning of the work.
• On page 74, "a dancing Gaṇeśa in the company of four females—who also appear to be dancing—and a male, perhaps a gaṇa. (Pal 1967: 24)"
• On page 75, the painting is divided in three scenes from the Rāmāyaṇa: Rāma and Lakṣmaṇa bidding farewell to Daśaratha and Kaikeyī; Rāma and Lakṣmaṇa proceeding to the forest with Sītā; and Rāma and Sītā seating on a lotus-throne, probably in a cave. Here start the scenes from the Rāmāyaṇa.
• On page 76, the painting is divided in three scenes from the Rāmāyaṇa: Sītā pointing out the golden deer to Rāma and Lakṣmaṇa; Rāma chasing the golden deer; and Rāvaṇa appearing in the guise of an ascetic.
• On page 77, the painting is divided in three scenes from the Rāmāyaṇa: Rāvaṇa fights Jaṭāyu and abducts Sītā; Rāma and Lakṣaṇa talk to the dying Jaṭāyu; and a final scene, probably representing the desperation of Rāma.
• On page 78, a scene from the Rāmāyaṇa. The duel between Bali and Sugrīva.
• On page 79, a scene from the Rāmāyaṇa. Surrounded by other monkeys, Hanumaṇ prepares to jump the ocean and look for Sītā.
• On page 80, a scene from the Rāmāyaṇa.
• On page 81, the painting is divided in three scenes from the Rāmāyaṇa: Rāvaṇa visits Sītā in the aśoka grove; Hanumān converses with Sītā; Hanumān destroys the city of the rākṣasas.
• On page 82, the painting is divided in three scenes from the Rāmāyaṇa: Hanumān is defeating a rākṣasa; Hanumān is overpowered in the fight; and he is tied up with a snake and brought before Rāvaṇa.
• On page 83, the painting is divided in two scenes from the Rāmāyaṇa. On the right, Hanumān escapes from Laṅka and gives it to the flames. The caption in Nepālākṣarā characters reads: mumoca hanumān āgniṃ, saṃdīpya [vanbha]tāśanaṃ | pradīptam agniṃ pavana,s teṣu veśmasu cārayat_ ||. It roughly corresponds to Rāmāyaṇa 5.52.7a and 5.52.9cd. On the left, back in the presence of Rāma and Lakṣaṇa, surrounded by the other monkeys, Hanumān tells them about Sītā. The caption in Nepālākṣarā characters reads: praṇamya śirasā rāmaṃ,, lakṣmaṇaṃ ca mahārathaṃ | pravṛttim atha śītāyā, ākhyātuṃ upacakramaḥ. It roughly corresponds to Rāmāyaṇa 5.63.1cd and 5.63.2ab.
• On page 84, a scene from the Rāmāyaṇa, commonly known as setubandha, the construction of the bridge. Rāma, Lakṣmaṇa, Vibhīṣaṇā, Hanumān and the other monkeys assault the island of Laṅka and build a bridge over the ocean. On the other side, Rāvaṇa is flying in his vimāna.
• On page 85, a scene from the Rāmāyaṇa.
• On page 86, a scene from the Rāmāyaṇa.
• On page 87, the painting is divided in two scenes from the Rāmāyaṇa, illustrating the killing of Kumbhakarṇa. On the left, our heroes fight against Kumbhakarṇa, a younger brother of Rāvana who was fighting on his side. On the right, they defeat him. The caption in Nepālākṣarā characters reads: pravisisto balavatā, rāmena niśitaḥ śāraḥ | kumbhakarṇṇasya hṛdayaṃ dadāra tu vicā[vi]sat_ || kumbhakarṇṇavadhaḥ ||
• On page 88, the painting is divided in two scenes from the Rāmāyaṇa. On the left, prompted by Rāvaṇa, the magician Vidyujjihva presents an illusory severed head of Rāma to Sītā, in order to break her resolve. On the right, a demon theratens to kill an illusory Sītā in front of the distressed Rāma, Lakṣaṇa, Vibhīṣaṇa, Hanumān and the monkeys.
• On page 89, the painting is divided in two scenes from the Rāmāyaṇa. On the left, Sītā shows the illusory severed head of Rāma to Hanumān. On the right, Hanumān has taken the illusory head in front of Rāma, Lakṣmaṇa, Vibhīṣaṇa and the monkeys, all struck by utter amazement. The body of the illusory Sitā, slain, still lies on the ground.
• On page 90, a scene from the Rāmāyaṇa.
• On page 91, the painting is divided in two scenes from the Rāmāyaṇa. The caption in Nepālākṣarā characters reads: kathaṃ drakṣasi putrasya pitṛvyo nidhanaṃ mama ❈. It corresponds closely to Rāmāyaṇa 6.74.11cd. The caption in Nepālākṣarā characters reads: ≀ tac chiraḥ saśiras trāṇāṃ śrīmaj jvalitakuṇḍalaṃ | pramathyendrajitaḥ krodhāt pātayām āsa bhutale || It corresponds closely to Rāmāyaṇa 6.78.33.
• On page 92, the painting is divided in two scenes from the Rāmāyaṇa. On the left, a group of defeated rākṣasas inform Rāvaṇa of the death of his son, Indrajit. The caption in Nepālākṣarā characters is divided in two parts. The first reads: tataḥ paulastya sacivā, vijñāyendrajitaṃ hataṃ | vijñāya yāmāsuratho rāvaṇaṃ sahitās tadā || ❈ || The first part corresponds closely to 6.80.1ab of the Rāmāyaṇa. I On the right, the furious Rāvaṇa runs to battle. The caption in Nepālākṣarā characters reads: tato rāvaṇavegena, sudūram avagāḍhayā, śa. It corresponds closely to Rāmāyaṇa 6.88.35 and continues in the next page.
• On page 93, a scene from the Rāmāyaṇa. Rāvaṇa, riding a chariot in the clouds, fights against Lakṣmaṇa, helped by Vibhīṣaṇa and the monkeys, and defeats him. The first part of the caption in Nepālākṣarā characters reads: tyā nirbhinnahṛdayaḥ papāta bhuvi lakṣmaṇaḥ || It corresponds closely to the end of Rāmāyaṇa 6.88.35, following from the previous page, although the fall of Lakṣṃaṇa is depicted in the following page.
• On page 94, the painting is divided in two scenes, from the Rāmāyaṇa: Lakṣmaṇa, unconscious after the fight with Rāvaṇa, lies on the lap of Vibhīṣaṇa, surrounded by the wailing monkeys. The monkeys, led by Hanumān, inform Rāma about the defeat of Lakṣmaṇa.
• On page 95, a scene from the Rāmāyaṇa. A broken-hearted Rāma seats with the wounded Lakṣmaṇa on his lap. Vibhīṣaṇa, Hanumān and the monkeys surround them.
• On page 96, the painting is divided in two scenes from the Rāmāyaṇa: Hanumān flies through the air, carrying the mountain Gandhamādana, the seat of numerous magical medicinal herbs, while Bharata and Śatrughna unwittingly shoot arrows at him. Still on Rāma's lap, Lakṣmaṇa is restored to life by the elixir viśalyakaraṇī, under the astonished eyes of Vibhīṣaṇa and the monkeys. The second part of the caption reads: tāṃ viśalyāṃ samāghrāya lakṣmaṇaḥ paravīrahā || viśalyo nīrujaḥ śighram udatiṣṭḥat_ mahītale ||. It corresponds closely to Rāmāyaṇa 6.89.24.
• On page 97, a scene from the Rāmāyaṇa. Lakṣṃaṇa is now restored to life and greets Rāma. Vibhīṣaṇa, Hanumān and the monkeys surround them.
• On page 98, a scene from the Rāmāyaṇa. Rāvaṇa's great sacrifice is disrupted by Rāma, Lakṣmaṇa and the army of monkeys.
• On page 99, a scene from the Rāmāyaṇa. The final duel between Rāma and Rāvaṇa. The caption in Nepālākṣarā characters is divided in two parts. The first part reads: ≀ nāma rāvaṇayuddhaḥ || ❈ ||. The second part reads: ≀ gatāsur bhīmavegena rā..seto gatadyutiḥ | papāta sahasā bhumau, vṛtro vajrahato yathā ||. It corresponds closely to Rāmāyaṇa 6.97.21
• On page 100, a scene from the Rāmāyaṇa. Sītā's agniparīkṣā.
• On page 101, a scene from the Rāmāyaṇa. After Sītā's trial by fire, Rāma and his wife are happily reunited, and surrounded by all victors,
• On page 102, a scene from the Rāmāyaṇa. Vibhīṣaṇa is consecrated king of Laṅkā by Rāma and Hanumān, surrounded by Lakṣmaṇa and the monkeys. The caption in Nepālākṣarā characters reads: tathety uktvā tu saṃhṛṣṭaḥ sauvarṇaghaṭam ādade | sutena tena saumitri,r abhyaṣiṃcat vibhīṣaṇaṃ ||. This corresponds closely to Rāmāyaṇa 6.100.11 (with a mistake). The caption continues.
• On page 103, a scene from the Rāmāyaṇa. the journey back to Ayodhyā.
• On page 104, Rāma and Sītā back in Ayodhyā are consecrated by Brahmins, surrounded by Lakṣmaṇa, Hanumān and the monkeys. The final scene from the Rāmāyaṇa.
• On page 105, representation of three of the sixty-four mahāsiddhas: Ādinātha and Pārvati seated on Nandi and ensconsed in a cave; Macchendranātha, one of the patron saints of Nepal ("first seen appearig from a fish with his arms raised. Then he is seated with a yogapaṭṭa tied around his knees, and surrounded by four fishes. He is also given the horizontal third-eye); and Cauraṅgī, seated on a tiger skin.
• On page 106, representation of four of the sixty-four mahāsiddhas: Vaṃsāpā, playing the flute; Gorakṣanātha, seated on a bull and overpowering another; Lūyīpā (Luipa) eating entrails of fish in front of Dānīrāja, king of Orissa; and Indrabhūti with an elaborate crown, accompanied by a female partner.
• On page 107, representation of three of the sixty-four mahāsiddhas: Virūpā carrying a skull in his right hand and pointing at the sun and the moon with his left, accompanied by a female partner whose caption seems to read Śauṇḍinī; Vyākipā (probably Vyālipā) with a female partner; and Nāgārjuna seating on a serpent (whose hoods form a canopy over his head), in front of a disciple.
• On page 108, representation of three of the sixty-four mahāsiddhas: the first one (caption illegible) seated on a nāga and accompanied by a female partner; the second one (caption illegible) feeding a monkey and accompanied by a female partner; Gorakṣanātha, seated on a bull and overpowering another, accompanied by a female partner.
• On page 109, representation of four of the sixty-four mahāsiddhas: Jñānākarapā, with a bull and a female partner; Kāmālīpā (probably Kāmāripā) working metal with a female partner; Karṇṇapā with two attendants; and Bhadrapā (?) while beating a female character.
• On page 110, representation of four of the sixty-four mahāsiddhas: Camārīpā killing a boar, accompanied by a female partner; Kukkurīpā carrying a dog, accompanied by a female attendand; Ghaṇṭāpā dancing with a female partner; and Godhiyāpā with birds and a female partner.
• On page 111, Sūrya is represented in his chariot within a circular golden frame, with two attendants throwing arrows at rākṣasas on the backgound of a forest.
• On page 112, horses from the Aśvaśāstra.
• On page 113, horses from the Aśvaśāstra.
• On page 114, horses from the Aśvaśāstra.
• On page 115, horses from the Aśvaśāstra. The captions in Nepālākṣarā characters read: ≀ sūryavāhana ; ≀ uttara ; ≀ sunāha
• On page 116, horses from the Aśvaśāstra. The caption in Nepālākṣarā characters reads: ≀ kurāha
• On page 117, horses from the Aśvaśāstra.
• On page 118, horses from the Aśvaśāstra.
• On page 119, horses from the Aśvaśāstra.
• On page 120, horses from the Aśvaśāstra.
• On page 121, horses from the Aśvaśāstra.
• On page 122, horses from the Aśvaśāstra.
• On page 123, horses from the Aśvaśāstra.
• On page 124, horses from the Aśvaśāstra.
• On page 125, horses from the Aśvaśāstra.
• On page 126, horses from the Aśvaśāstra.
• On page 127, the painting is divided in two scenes. A man, probably a groom, is leading a saddled horse from its bridles, probably to his master. A man is riding a horse, accompanied by two attendants.
• On page 128, a hunting scene. The hunter is in the position known as pratyālīḍha
• On page 129, sports of animals.
• On page 130, a scene with birds, possibly representing a tale from the Hitopadeśa or some similar collection of fables. "Along the left we see a man discoursing with two birds, one of them white (a dove?) and the other a raven. In the middle portion the white bird is apparently attacked by a flock of ravens. To the right the white bird with a raven biting its neck arrives before the same man, and again he appears to be instructing them (Pal 1967: 26)."
• On page 131, the painting is divided in two scenes. On the left, the king of elephants, Gajendra, and several other elephants are sporting on a river bank, while a crocodile, or some aquatic monster, is approching from below. On the right, Viṣṇu appears in the skies riding Garuḍa and rushes to save his devotee, Gajendra, as the crocodile has caught its foot. This episode is known as gajendramokṣa.
• On page 132, this painting is divided in three scenes. On the right, Viṣṇu in the form of the avatāra Vāmana, the dwarf, tricks the now too powerful demon Bali, along with his priest Śukrācārya, into giving him as much land as he could cover with three steps. In the centre, to the amazement of the onlookers, Viṣṇu assumes his cosmic form and covers the three worlds with three effortless strides. To the right, Bali is subdued by Garuḍa in front of Brahmā and Indra. This episode is commonly known as trivikrama.
• On page 133, the painting is divided in three scenes. Kaṃsa is depicted with a raised sword, just about to kill his own sister Devakī, the future mother of Kṛṣṇa. She is lying on a chariot with his husband Vasudeva, who with clasped hands is trying to dissuade Kaṃsa from the dreadful act. The scene captures Kaṃsa's murderous intent after the prophetic dream that his sister's eighth son would kill him. But Vasudeva manages to dissuade him on the promise that all their children will be handed over to him. The central scene represents Kaṃsa taking the eight son from Devakī and Vasudeva. The third scene represents Kaṃsa as he is about to smash the baby on a stone altar, but the goddess Māyā appears in the sky and reveals that the child is just a substitute and that the real son of Devakī is safe and sound and out of his reach. The caption in Nepālākṣarā characters reads: ity uktaḥ sa khalaḥ pāpo, bhojanāṃ kulapāṃśalaḥ | bhaginīṃ hantum ārabdhaḥ khaḍgapāṇiḥ kace grahīt ||. This closely corresponds to Bhāgavatapurāṇa 10.01.35. The caption continues: sā taddhastāt samutpatya, sadyo devyombaraṃ(!) gatā | adṛśye. It closely corresponds to the beginnig of Bhāgavatapurāṇa 10.04.09, and it ends in the next page.
• On page 134, the painting is divided in two scenes. To the right, Kṛṣṇa is represented with his foster mother Yaśodā. To the left, Kṛṣṇa is represented as he jumps out of Yaśodā's arms and suckles one of the breasts of the demoness Putanā, who in pain falls over Kṛṣṇa's foster father Nanda and two other shepards. The episode is known as Putanāvadha. The caption in Nepālākṣarā characters is divided in two portions. The first is the second part of a verse (Bhāgavatapurāṇa 10.04.09) referred to the previous page: [-1-]nujā viṣṇoḥ sāyudhāṣṭā mahābhujā ||.
• On page 135, the painting is divided in three scenes: to the right, the Gopīs and the cows behold the fight represented in the central scene; in the centre, by dancing on his flaming hoods, Kṛṣṇa defeats the nāga Kāliya, who had poisoned the river Yamunā. Kṛṣṇa's elder brother Balarāma is represented in the tree beholding the fight; and to the right, Kṛṣṇa plays the flute, surrounded by the cows and the dancing Gopīs. The episode is known as Kāliyadamana.
• On page 136, a representation of the scene known as vastrāharaṇa: as the Gopīs, the cowgirls, are bathing in the river Yamunā, Kṛṣṇa playfully steals their clothes and climbs up a nīpa tree. The caption in Nepālākṣarā characters reads: ≀[so] mbhasy alaṃ yuvatibhiḥ pariṣicyamānaḥ premnokṣitaḥ(!) prahasatībhi❈r itas tato ṃga | vaimānikaiḥ ku❈su❈mavarṣibhir īdyamāno, reme sva❈yaṃ svaratir atra gajendralīlaḥ ||. It closely corresponds to Bhāgavatapurāṇa 10.33.23.
• On page 137 and 138, a two-page-wide maṇḍala-like representation of the episode known as rāsalīlā, the joyful dance and amorous sport among Kṛṣṇa and the Gopīs that occured on the night of the full moon in the month of Kārttika (aka rāsapūrṇimā). Kṛṣṇa is represented at the centre of the maṇḍala as he plays with his flute the melody that enchants all the Gopīs. In the outer circle, Kṛṣṇa is represented again and again, for eight times, as he amorsouly sports with eight Gopīs at the same time, thanks to his supernatural powers. Outside the circle, deities and gandharvas are playing drums in the skies, while the animals of the forest of Vṛndāvana are raptured by the melody of the divine cowherd. On the bottom, the river Yamunā flows alive with fishes of various colours.
• On page 139, the painting is divided in two scenes. On the left, Kṛṣṇa defeats the elephant Kuvalayapīḍa. The caption in Nepālākṣarā characters reads: kuvalayapīḍavadhaḥ, the name of this episode. On the right, while a number of wrestlers (?) are engaged in an acrobatic feat, Kṛṣṇa defeats, and dances over, his evil uncle Kaṃsa, in front of his warriors and, probably, his wife. The rest of the caption reads: pragṛhya keśeṣu caratkirīṭaṃ, nipātya raṃgopari tuṃgamaṃcāt_ | tasyopariṣṭāt_ svayam abjanābhaḥ prapāta(!) viśvāśraya ātmatantraḥ ||. It closely corresponds to Bhāgavatapurāṇa 10.44.37.
• On page 140, unidentified scene.
• On page 141, unidentified scene.
• On page 142, unidentified scene.
• On page 143, unidentified scene.
• On page 144, unidentified scene.

The pictorial style of the images has been thoroughly discussed in the often quoted Pal (1967). It is worth quoting one more paragraph (1967, 28): "The most striking feature of the style is the manner of the delineation of the background, which is conceived as a sort of a stage back-drop, decorated with a florid pattern of scroll work. This not only adds to the exuberance of the style but also enhances its decorative quality. The design of the scroll-work shows a remarkable variation, from stylized floral motifs, tracery-like light arabesques, swaying flame or cloud patterns to naturalistic lotuses, curving and voluting on slender and inter-twined tendrils. Generally, the colours employsed for this ornate and delicately rendered background are red and blue, but occasionally green is also used."

Descriptions of the manuscript

Secondary Literature