Amari Ghosana-no Dastaveja (Proclamation of non-killing of animals)
Summary
This article reviews and contextualises an illustrated portfolio of the Vijñaptipatra (“notification letter”) popularly known as the Amārī Ghoṣaṇā, or Proclamation of Non‑Killing of Animals, produced in Mughal Agra in 1610 CE. Edited by Acharya Vijayaśīlacandrasūri and issued by the Bhadrankarodaya Śikṣaṇa Trust, the portfolio contains a critical edition of the original Persian and Sanskrit texts accompanied by nine colour plates. Author S. Andhare begins by describing the artistic and historical significance of the manuscript: the Vijñaptipatra was painted by the artist Ustad Salivahana on the orders of Mughal officials at the request of Jain monks. It records a farmān issued by Emperor Jahangir at the behest of the Jain Acharya Hiravijaya permitting a temporary ban on animal slaughter during certain festivals, reflecting the influence of Jainism at the Mughal court. The article explains the structure of the portfolio, which separates textual commentary and illustrations to facilitate study of both calligraphy and imagery. Andhare summarises each section, noting how the introduction situates the edict within the wider tradition of Jain petitions to rulers, while the annotations clarify difficult terms. He discusses the symbolism of the paintings, which depict court scenes, processions and religious ceremonies, and emphasises the high quality of the artwork. The author praises the editor’s effort to provide transliteration, translation and scholarly apparatus, arguing that the portfolio offers insights into religious toleration, interfaith dialogue and royal patronage in seventeenth‑century India. The article also highlights the didactic purpose of the proclamation: by proclaiming non‑killing, Jain leaders sought to promote ahimsa beyond their community. Andhare concludes that the publication is a valuable resource for historians of Mughal India, art historians and scholars of Jainism, and calls for more interdisciplinary studies combining manuscript analysis, art history and religious studies.
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Conclusion
By examining the Amārī Ghoṣaṇā portfolio, Andhare demonstrates how a seventeenth‑century Jain petition to a Mughal emperor can illuminate broader themes of religious interaction and state policy. The article celebrates the high artistic quality of the manuscript and appreciates the editor’s meticulous scholarship. It argues that the proclamation reflects Jain attempts to influence imperial ethics and encourages further research into similar documents to better understand the dynamics of toleration in pre‑modern South Asia.