FROM THE CLEVELAND MUSEUM OF ART’S CATALOG
By the 1400s, paper had replaced palm leaves as the primary support for Jain manuscripts. Although binding strings were no longer passed through holes in the manuscript, since they would tear the paper, the location of the holes was maintained by means of ornamented gold lozenges. Followers of Jainism commissioned copies of sacred manuscripts in order to accrue spiritual merit for themselves and their families; adorning the manuscript with paintings increased the merit. The main figure, painted in gold, sits in eternal meditative bliss, bejeweled to denote his success in reaching liberation. His long hair and the tiny, white bull beneath his crossed ankles identify him as Rishabha.
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The Fourteen Dreams of Queen Trishala, folio 14 (recto), fro
Nemi's Omniscience and First Teaching (below) and Nemi in th
Mahavira Gives Away his Possessions, Folio 35 (verso), from 
Queen Trishala's Grief and Happiness, Folio 29 (recto), from
Kalpa-sutra manuscript with 24 illuminations
Nemi Enthroned, Folio 54 (verso), from a Kalpa-sutra
Mahavira in the Realm of Liberation (Nirvana), Folio 43 (ver
Mahavira's Omniscience and First Teaching (Samavasarana), Fo
King Siddhartha's Morning Bath, Folio 22 (verso), from a Kal
Indra Commands Harinaigameshin to Transfer the Embryo of Mah
Indra Venerates the Embryo of Mahavira, Folio 7 (recto), fro
Mahavira Rides in His Initiation Palanquin, Folio 36 (recto)