Who painted Birth of Mahavira, folio 40 (verso) from a Kalpa-sutra?

Birth of Mahavira, folio 40 (verso) from a Kalpa-sutra was painted by Unknown in 1400.

Where can I see Birth of Mahavira, folio 40 (verso) from a Kalpa-sutra?

Birth of Mahavira, folio 40 (verso) from a Kalpa-sutra is held by Cleveland Museum of Art.

What movement is Birth of Mahavira, folio 40 (verso) from a Kalpa-sutra?

Birth of Mahavira, folio 40 (verso) from a Kalpa-sutra is associated with Mughal Painting.

Artwork

Birth of Mahavira, folio 40 (verso) from a Kalpa-sutra

Unknown , 1400

Birth of Mahavira, folio 40 (verso) from a Kalpa-sutra is an unspecified painting by the Mughal Painting artist Unknown. It dates from 1400 and is held in the collection of the Cleveland Museum of Art.

About this work

Overview

The folio illustrates the birth of Mahavira, the 24th Tirthankara and founder of Jainism, depicted on a paper page rather than the traditional palm leaf. The scene shows a queen and her infant on a golden swing, attended by two servants who lift fly whisks in reverence.

Subject & Meaning

The central figures represent Queen Trishala and the newborn Mahavira, emphasizing the sacred moment of his arrival in the 6th century BCE. The intimate gaze between mother and child underscores the spiritual significance attributed to his birth within Jain tradition.

Technique & Style

Rendered on paper, the composition includes a red circular motif with a small perforation for a binding string, a common feature in Jain manuscripts. The use of gold and delicate brushwork conveys the ceremonial atmosphere, while the fly whisks symbolize ritual honor.

History & Provenance

While Jain texts were traditionally inscribed on palm leaves, the shift to paper in the 14th‑15th centuries reflects material availability in Gujarat. This folio, part of a Kalpa‑sutra, likely originated in western India during that period, illustrating the adaptation of devotional art to new media.

Context

The Kalpa‑sutra, a compilation of Jain legends, served as a didactic and devotional resource. Visual representations such as this folio aided lay practitioners in contemplating the lives of Tirthankaras, integrating narrative and iconography within manuscript culture.