An Obesiance to the Source of Uncreated Light

In this article P.C. Dasgupta describes a cultural performance staged in April 1977 at the Ahimsa Pachar Samiti hall in Calcutta to celebrate the birth of Tīrthaṅkara Mahāvīra. The production, written by Sri Ganesh Lalwani, combined elements of drama, dance and music to portray the fourteen auspicious dreams of Queen Triśalā and the descent of the soul of Mahāvīra, themes drawn from the Jain canonical text Kalpasūtra. The article opens with a hymn, adapted from a Latin prayer attributed to Charlemagne and paraphrased by the English poet John Dryden, that invokes the ‘Source of Uncreated Light’. Dasgupta notes that this hymn, though Christian in origin, was chosen for its universal appeal and its emphasis on the victory of spiritual light over the darkness of ignorance. The performance’s first scenes depicted astrologers interpreting Queen Triśalā’s dreams; subsequent scenes showed King Siddhartha and the queen being worshipped by gods and mortals who recognised the divine incarnation of Mahāvīra. The drama used a mixture of narration, song and dance to illustrate the joy felt by both the celestial world and the human realm at the birth of the future Jina. Dancers performed roles such as Indra, the Vāmana king, the elephant Airavata and other mythological figures, creating a vivid spectacle. Dasgupta praises the contributions of young students of the Jain Śikṣālay, whose graceful performances imbued the narrative with freshness and devotion. The author highlights the musical accompaniment, which included a blend of classical ragas, folk melodies and percussion, enhancing the emotional resonance of the scenes. Beyond its aesthetic appeal, the drama served an instructional purpose. It brought to life the narratives of the Kalpasūtra in a way that was accessible to modern audiences, particularly children, thereby fostering an appreciation of Jain values such as non‑violence, self‑restraint and enlightenment. Dasgupta remarks that the production represented a collaborative effort between scholars, artists and patrons of the Jain community, illustrating the vibrant cultural life of Jain institutions in Calcutta. He commends the stage direction by Sri Sumit Chatterji, the narration by Sri Rajendra Sharma, and the stage decoration by Sri Anil Saha. The article suggests that integrating traditional religious stories with contemporary artistic forms can invigorate religious education and create a shared sense of heritage among community members. In concluding, Dasgupta emphasises that the performance symbolised an obeisance not just to Mahāvīra but to the eternal source of spiritual light. By presenting the birth of the Tīrthaṅkara through a medium that resonated with modern sensibilities, the drama affirmed the enduring relevance of Jain teachings and demonstrated how faith can inspire creative expression.

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