Jaina Bronzes the Patna Museum

Author(s): Harikishor Prasad
Publisher: Z_Mahavir_Jain_Vidyalay_Suvarna_Mahotsav_Granth_Part_1_012002.pdf and Mahavir_Jain_Vidyalay_Suvarna_
Catalog link: https://jainqq.org/explore/250149/1

Page #1

Jaina Bronzes in the Patna Museum
H. K. PRASAD
THE Patna Museum has got a fine collection of Jaina bronzes. These
are from two places, namely, Chausā in Shahabad District and Machuātānd Aluārā in district Manbhum. In style and execution, the Chausā Jaina bronzes are quite different from the Aluāra Jaina bronzes. They are, therefore, discussed here separately.
A. THE CHAUSÀ JAINA BRONZES In about the year 1931 from a field at Chausā', a hoard of 18 Jaina bronzes was discovered while digging the earth. It consisted of a
1 Chausā is a village in Buxar sub-division in the district of Shahabad.
It is very close to the Karmanāsa river which is about 4 miles west of Buxar town on the East Indian Railway, and lies in between 25° 31' North and 83° 54' East. In Indian history, it is mostly remembered as the place where the Moghul Emperor Humayun was defeated by Sher Shah in June 1539. It was also an important centre of Jainism at one time, which fact we can infer from the significant finds of the above Jaina bronzes in a hoard, and other Jaina antiquities near about it. At Masārh, not far away from Chausā and about 6 miles to the west of Arrah town (Dist. Headquarter of Shahabad), some Jaina antiquities have been found. Arrah itself abounds in a number of Jaina temples-some of them

Page #2

276 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME
Dharmacalra, a Kalpavrkșa and 16 images of Jaina Tirthankaras. The entire hoard was subsequently acquired for the Patna Museum.
The Chausā bronzes can be divided into three groups, viz., (i) one Dharmacakra and one Kalpavşkşa; (ii) ten standing images of Tirthankaras; (iii) six seated images of Tirthankaras.
First Group
The Dharmacakra of the first group has a handle flanked by two nude female figures (Yakşinis), one on each side of the handle, and coming out of the mouth of two Makaras with long upturned fish-tails (Patna Museum Catalogue, pl. XVIII).
The Yakşiņi figures are very much similar to those of Sāñci Toranas in style and execution and the Makaras have similarity with those of Bhārhut Railings. These tend to suggest that the Dharmccakra may be placed in the period of Bhārhut and Sāñci (2nd-1st centuries B.C.) i.e. in the Sunga perioda. This Dharmacakra associated with the Yakşinis and the Makaras, is an independent object of worship and does not occupy a subordinate place as we find on pedestals of a Jina figure in the later periods. The subordinate position of Dharmacakra in association with deer or bull on the pedestal of a Jina image probably took place during the Gupta period and continued onwards, but the depiction of Dharmacakra as an independent object of worship is of an earlier conception. Further, this Dharmacakra has sixteen spokes only with a hub in the centre, whereas the Dharmacakra of the Mauryan period has twentyfour spokes. This suggests that the present object is later than the Mauryan period. Hence in all proba
are quite old. Near Arrah, there is a place known as Dhanpurā where there are several Jaina shrines. There are other spots also near about Arrah where Jaina antiquities have been found. All these would tend to show that the entire area at one time was a
stronghold of Jainism. 2 Stella Kramrisch also holds the same view (vide Patna Museum
Catalogue of Antiquities, 1965, p. 107). Shah, U. P., Studies in Jaina Art, fig. 15. U. P. Shah is inclined now (after seeing the bronze in the Museum) to assign it to late first century B.C. or to the beginning of the next century, although earlier he had placed it in
the Kuşāņa period (vide Akotā Bronzes, pl. 3). 3 Vide: The Dharmacakra appearing on the Lion-Pillar of the Mauryan
period (Sārnāth Lion Capital).

Page #3

JAINA BRONZES IN THE PATNA MUSEUM : 277 bility, it may be placed in the Sunga period (2nd century B.C.). (See fig. 1 for details of the Yakṣis and Makaras supporting the Dharmacakra.)
The other object, the Kalpavskşa", may also be placed in the same period. It has various branches and leaves. A female figure is seated on the top of it. She is depicted from bust upwards carrying a full bowl in her hands. The association of female figure with tree (probably as its presiding deity) was quite common during the Sunga period. We have the image of Sālabhanjikā in the Railing-pillars at Bodh Gaya, which are assignable to the Sunga period. In Sāñci Toranas also of the Sunga period, we come across such female figures associated with trees. In terracottas of the Sunga period also we get such figures. Not only that, the female figure appearing at the top of the present Kalpavệksa has her facial features very similar to those of the female figure of the Sunga period. It is, therefore, quite probable that the present Kalpavrkņa (Asoka tree) may also be of the Sunga period.
The present KalpavȚksa is represented independently, i.e., not in association with any Jina sculpture. But from the Gupta period onwards, a Kalpavşkşa has never been represented independently. It always appears in association with a Jina sculpture as according to the Abhidhāna-Cintamani of Hemacandra, the Kalpavşkşa (or Asoka tree) was being regarded as one of the twenty-one atiśayas or supernatural symbols (qualities) of a Jaina Tirthankara and as such it is represented in association with a Jina sculpture. (For a photo of this whole tree, see Patna Museum Catalogue, pl. XVIII).
Second Group
The ten standing images of the Jaina Tirthankaras are very similar in style and execution to the Jaina sculptures from Mathura of the Kuşāņa period.
Like the Mathura Jaina sculptures of the Kuşāņa period, they are standing in Kayotsarga attitude and are naked. With the exception of the image of Pārsvanātha, none of them bear their lañchana (distinctive symbol or totem). Their whole bodies are very crudely and roughly executed and the various limbs are quite disproportionate
4 According to Abhidhana-Cintamani of Hemacandra, the Kalpavrksa
(otherwise known as the Asoka tree) is one of the twenty-one atiśayas or supernatural symbols of the Jaina Tirthankaras,

Page #4

278 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME
to their bodies. Their legs and hands are broad and they are just stumped below lifeless in a very crude manner. They stand without any grace and charm and appear quite dull and motionless. Their faces are broad and unattractive. All these characteristic features are also observed in the Mathura sculptures of the Kuşāņa period.
These Tirthankara images are represented singly, i.e., without the association of their Śāsana-devatās (i.e. Yakșa and Yakşini) or chowribearers which came in vogue during the Gupta period. In this connection, B. C. Bhattacharya has rightly observed : “From Gupta period onwards, we find the Jaina sculptors have regularly appended the Yakşa and Yakşiņī figures to the sculptures of the Tirthařkaras Thus it may be concluded that the lāñchanas as well as the Yakşa figures might have remained as isolated and in a germinal state and their actual association with the Jaina images did not take place in the Kuşāna age of Jaina art." Hence in all probability, the above images of the second group may belong to the Kuşāņa period. The image of Pārsvanātha (Arch. No. 6531, pl. 6) of this group, however, has been assigned to the early first century B.C. by U.P. Shah?, for to some extent it resembles in style and execution to that of the Pārsvanātha image preserved in the Prince of Wales Museum of Western India, Bombay,8
5 Vide : The Jaina Iconography by B. C. Bhattacharya (published by Motilal Banarsidas, Lahore, 1939), p. 41; and U. P. Shah's paper on
Introduction of Sasanadevatās in Jaina Worship’ read before the Jainism and Prakrit Section of the All India Oriental Conference at Bhuvaneśvara. “I should like to point out that no figure of an attendant yaksa or yaksi assignable to a period earlier than the sixth century A.D. is
yet known.”-U. P. Shah (Editor). 6 The characteristic features of the Kuşāņa Jaina images are: (1) The
Tirthankaras generally are depicted without their lañchana (distinct symbol for identification). (2) The Jaina Tirthankara generally remains in Kayotsarga posture. (3) The Tirthankara image is represented singly, i.e., without the association of his Śäsana-devatās, i.e., Yaksa and Yakşiņi. (4) The Jaina Tirthankara usually remains naked. (5) The pedestal on which the Tirthankara stands remains simple, i.e., without any decoration. (6) In general, the images are crude in execution-having no refinement and
delicacy which we find in the art of the Gupta period, 7 Shah, U. P., Akota Bronzes, p. 20, pl. 1b, 8 Ibid., pl. 1a.

Page #5

JAINA BRONZES IN THE PATNA MUSEUM : 279
which has long and slender limbs, the face archaic, resembling those of ancient terracotta figurines and the Harappa dancer. But a minute observation of the image in original under discussion reveals that his face is not so archaic as it appears in the photograph. His cheeks are not round but have some sloping depression ending in an oval shape; secondly his abdomen is just flat and has no bulge at the end like that of the Prince of Wales Museum's Pārsvanátha and thirdly the forehead also has a broad vertical sloping depression and not horizontal flatness. All these suggest a later date for this image at least later than the first century B.C.'
Third Group :
The images of the third group consisting of six seated Tirthankaras probably belong to the early Gupta (or the Gupta) period. In this lot, two images of the Tirthankaras are associated with their lañchana (particular symbol). There is delicacy and refinement in their execution. As a matter of fact, all the images of this group have the grace and charm, life and vigour, all that is characteristic of a human being. They all have their naturalistic body representations. The different limbs are quite in proportion to their bodies. All these may suggest that the images of this group probably belong to the early Gupta or Gupta period.10
The Chausā bronzes are now described below.
9 “I still continue to regard this bronze as dating from c. first
century B.C. Terracottas with such faces and dating from c. 2nd
or 1st century B.C., are not unknown."-U. P. Shah (Editor). 10 The characteristic features of the Gupta period Jaina images are :
(1) The image of Jaina Tirthankara is invariably associated with his particular lāñchana. (2) Generally the Jaina Tirthankara is represented in association with his Śäsana-devatā (Yaksa and Yakşiņi). (3) The nudity of Tirthankara is very much restricted. During this age, in most of the cases, the Tirthankara image is given a sitting posture. (4) In most of the cases in a Jaina sculpture of this period and onwards, we get the occurrence of trilinear umbrella, a drum player surmounting the umbrella, a Dharmacakra symbol accompanied with either a pair of bul's or deer on either side and a pair of elephants on either side of the umbrella. (5) In general, there is delicacy and repose, grace and charm, life and vigour in the depiction of an image. Every limb of an image remains quite in proportion to the body,

Page #6

280 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME
First Group (Sunga period) (1) P.M. Arch. No. 6540.
Dharmacakra. The Dharmacakra has 16 spokes with a hub in the centre. It has got a handle which is flanked by two nude female figures (probably Yakṣiṇīs) coming out from the mouth of two Makaras -one on either side of the handle. The Malcaras have long upturned fish tails. In between the upturned fish tails there is a flowery design. The Dharmacakra has two sides. There are perforations in between the two sides. The outer rim is beset with triratna devices. Its height along with the handle is 12" and diameter 8" (Fig. 1).11 (2) P. M. Arch. No. 6550.
Kalpavšksa. The Asoka tree is shown with various branches and leaves; a female figure is seen seated on top of the tree-she is depicted from bust upwards carrying a full bowl in her hands and has scarf across arms with lotuses on her shoulders. It is very much corroded. It has pale yellow tinge throughout suggesting thereby that originally it was probably gold gilted. Broken. Height : 131". (Fig. 2) 12.
Second Group (Kuşana period) (3) P. M. Arch. No. 6538.
Image of Rşabhanātha or Adinātha recognised as such from his Keśavallari (wavy-hair) falling down on his shoulders and back; the Jina is standing in Kayotsarga attitude, his hands are just stumped below (reaching to his knees) without showing any movement of life in them, there is a circular halo (Širascakra) at his back; has flowery designs; the figure is nude and shows traces of gold slip on the body. Height : 101". See Fig. 3 for details of head and torso and see Patna Museum Catalogue, pl. XX, for a full view of the Bronze. 13 (4) P. M. Arch. No. 6539.
Image of Rşabhanātha or Adinātha recognised as such from his Kesavallari-long straight twisted hair-falling over his shoulders and also going back; the Jina, standing nude in Kayotsarga posture, has
11 For a full view of this Dharmacakra, see Patna Museum Catalogue
pl. XVIII. 12 For a full view of the Kalpavşkşa, see, ibid., pl. XVIII. 13 First published by Shah, U. P., Studies in Jaina Art, fig. 17, and
Akota Bronzes, fig. 2a.

Page #7

Fig. 1. Detail of lower part of bronze Dharmacakra from Chausā

Fig. 2. Detail of upper part of bronze Aśoka-tree from Chausā
(See p. 275)

Page #8

Bucation International

wwwjainelibrary.org
Fig. 3. Rşabhanātha, bronze from Chausā
Fig. 4. Pārsvanātha, bronze from Chausā

Page #9

Fig. 5. Rşabhanātha and Mahāvīra, from.Aluārā

Page #10

Fig. 7. Ambikā, bronze from Aluārā
Fig 8. Rşabhanātha, bronze from Aluārā

Page #11

JAINA BRONZES IN THE PATNA MUSEUM : 281
crudely executed hands reaching up to his knees, and pierced long ear-lobes. The limbs are not in proportion to the body. Height : 83". For a photo see Akota Bronzes, fig. 2b, and Patna Museum Catalogue, pl. XX. (5) P. M. Arch. No. 6533.
Image of Pārsvanātha recognised as such by his particular lañchana the “Serpent”; all along his back side is a serpent coil (its head broken) clinging to his body. The Jina is standing in Kayotsarga attitude on a rectangular pedestal, and wears no garment; note also the curly hair, eyes, nose and lips, chest and abdomen bulging out in a very unnatural crude manner. Height : 121". For a photo see Patna Museum Catalogue, pl. XXI. (6) P. M. Arch. No. 6531.
Image of Pārsvanātha recognised as such by his particular läñchana-the serpent hood-at the back of his head; standing in Kāyotsarga attitude, portion below knees missing, very much corroded and highly oxidized, sex exposed, damaged. Height : 10". See fig. 4 for details of the head and shoulders and Patna Museum Catalogue, pl. XX, for a full view. Also see Akota Bronzes, fig. 1b. (7) P. M. Arch. No. 6535.
Image of a Tirthankara, standing in Kayotsarga attitude, having ringlets impressed for curly hair over head, hands just stumped below in a very crude manner with no grace, charm, life or vigour in them; fingers of his hands and legs are also very crudely executed, having flattened body without showing any proper contours and features; hands and legs not in proportion to the body; sex exposed; break across upper arms. Height : 141". (8) P. M.Arch. No. 6536.
Image of a Tirthankara, standing in Kayotsarga attitude, having bulging chest; curly hair in concentric spiral shape impressed flatly over head, defaced śrivatsa symbol on chest, elongated holed ear-lobes, badly corroded bronze, break across legs; sex exposed. Height : 174". (9) P. M. Arch. No. 6537.
Image of a Tirthankara, standing naked in Kayotsarga pose and having curly locks of hair over head, struts between arms and body, Śrivatsa symbol on chest, break across knees and forearm. Height : 18". For a full view see Patna Museum Catalogue, pl. XXI.

Page #12

282 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME
(10) P. M. Arch. No. 6530.
Image of a Tirthankara, standing in Kāyotsarga attitude, having hair arranged in parallel rows, Srivatsa symbol on chest very prominent, legs not in proportion to the body, crude in execution, chest and abdomen bulging out, broader face, pupils marked, elongated ear-lobes, body slightly battered. Height : 191". For a photo see Patna Museum Catalogue, pl. XXI. (11) P. M. Arch. No. 6532.
Image of a Tirthankara, portion of hands missing, standing in Kāyotsarga pose, curly hair in spiral form over head, chest and abdomen unusually bulging out; elongated ear-lobes, faint Srivatsa symbol on chest, pupils marked; break across right leg. Height : 17". (12) P. M. Arch. No. 6534.
Image of a Tirthankara, standing in Kayotsarga pose, head without hair, legs unusually long, portion of hands missing; break across right leg, crude in execution, corroded. Height : 133"..
Third Group (Early Gupta or Gupta period). (13) P.M. Arch. No. 6553.
Image of Rşabhanātha, recognised as such by his Kesarallari (locks of curly hair falling down on his shoulders), hair over head parted in middle, seated in Vajraparyanka attitude with Dhyanamudrā, Śrivatsa symbol (?) on chest, tenon at back of head, corroded, Height: 52. (14) P. M. Arch. No. 6554.
Image of Rşabhanātha, recognised as such by his locks of hair (Keśavallari) falling down on his shoulders, two rows of curls around his forehead and rest parted in middle, seated in Vajraparyanka attitude with Dhyānamudrā, wearing elongated ear-rings, Srivatsa on chest, tenon at back of head, corroded. Height : 6". Patna Museum Catalogue. pl. XIX. (15) P. M. Arch. No. 6556.
Image of a Tirthankara, seated in Vajraparyanka attitude with Dhyānamudrā on a plain rectangular pedestal, right hand damaged, major part of halo missing, facial expression not clear, very badly corroded. Height: 31".

Page #13

JAINA BRONZES IN THE PATNA MUSEUM : 283
(16) P. M. Arch. No. 6551.
Image of Candraprabha, seated in Vajraparyanka attitude with Dhyanamudră on a double-sided rectangular pedestal; läñchana, the "crescent" on top of beaded halo (Śirascakra) at the back of his head; Makara heads on either side of throne at his back, locks of hair falling on his shoulders, Śrivatsa on chest, wearing elongated ear-rings, corroded. Height : 84". (17) P. M. Arch. No. 6552.
Image of Candraprabha recognised as such by his particular lañchana, the “crescent” on top of beaded halo (Sirascakra) at the back of his head; seated in Vajraparyanka attitude with Dhyānamudrā on a double-sided rectangular pedestal, Makara heads on either side of the throne at his back, locks of hair falling down on his shoulders, hair on head arranged in parallel rows with a knot at the top. Srivatsa on chest, wearing elongated ear-rings. Corroded and damaged. Height : 77". Patna Museum Catalogue, pl. XIX. (18) P.M. Arch. No. 6555.
Image of a Tirthankara, seated in Vajraparyanka attitude with Dhyanamudrā on a double-sided rectangular pedestal, halo (Širaścakra) at the back of his head, wearing elongated ear-rings; features and contours of body very much blurred, corroded. Height : 53".
B. THE ALUARA JAINA BRONZES In March 1947, a hoard of twentynine Jaina bronzes was discovered from a field at Aluārāle in District Manbhum. Twentyseven of them were images of Jaina Tirthankaras, one of them was an
14 Village Aluārā (also known as Machuātānd Aluārā) in P. S.
Chandankiyri District Manbhum is situated near the BengalNagpur Railway line running between Mohoda and Tegaria Railway Stations. On 16-3-47 these bronzes were discovered accidentally, while digging earth for preparing clay for building purposes.
Manbhum was once a great centre of Jainism. There are quite a large number of Jaina antiquities scattered all over the district of Manbhum. At Balrampur village, about four miles from Purulia, the district headquarter of Manbhum, there is a Jaina temple in which are kept very old Jaina images. Very near to village Boram, towards the south about a mile away, there is a Jaina shrine where there are naked Jaina images. At Kumhri & Kumardaga (the two

Page #14

284 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME
image of a female deity-probably Ambikā--and another was just a head of a Tirthankara. These have now been acquired for the Patna Museum as Treasure Trove objects.
These images are quite different from those of the Chausā in their technique, form and depiction and represent a local style of their own. The following characteristic features are noticed in these images :
1. These images are solid cast and have no core of other substance as we find in the Jaina bronzes from Chausā.
2. The images in general have delicacy and charm in them and their various limbs are quite in proportion to their body. Every portion of their body is properly delineated and finely executed.
3. The images do not stand exactly in Käyotsarga posture like those of the Kuşāņa period. Their hands are not stretched downwards exactly parallel to their body-instead their palms and fingers touch their knees.
4. Some of the images have ürņa on their foreheads and all of them are associated with their lañchanas. These peculiarities came in vogue during the Gupta period and continued onwards.
5. The pedestals on which these images stand are not simple like those of the Kuşāņa period. The designs of most of them are complex. They are divided into various tiers and some of them show vertical cuttings forming parallel lines and showing some space in between the two. Further, some of them are decorated with the figures of devotees, which tradition originated probably during the Gupta period and continued onwards.
villages about 5 miles from Chandankiyari) there are some old Jaina images. At Pakbira, about 20 miles northeast of Bara Bazar of Purulia (district headquarter of Manbhum), there are numerous temples and sculptures of the Jaina religion. Among these the most important is a naked colossal figure (74 ft. high) of a Jaina Tirthankara.
At Chhärra, about 4 miles from Purulia, are visible old remains of Jaina temples. At Dharmasthan, nearby Chhārra, there are quite a large number of broken images of Jaina Tirthankaras, some of them very old. All these would go to show that the District of Manbhum was once an important centre of Jainism.

Page #15
JAINA BRONZES IN THE PATNA MUSEUM : 285 6. The lanchanas of the Tirthankaras are depicted on the pedestal itself and not on the stole or at the top of the halo as we find during the Gupta period. This peculiarity came in vogue during the Pala period. 7. Two of the images of the Tirthankaras are shown inside canopied simhasanas, which is a very late conception. Probably it originated during the Pala period. 8. Some of the images are inscribed in characters assignable to about 11th century A.D. on palaeographical grounds. And as such these images are much later in date than the Chausa bronzes. Some of these images can be identified as follows with the help of their lanchanas : (a) Rsabhanatha, (b) Candraprabha, (c) Ajitanatha, (d) santinatha, (e) Kunthunatha, (f) Parsvanatha, (g) Neminatha, (h) Mahavira, (i) a female deity, probably Ambika. These are now described below. (1) P. M. Arch. No. 10676 : Rsabhanatha. Recognised as such by his Kesavallari falling on his shoulders and from his lanchana, the 'Bull', depicted on his pedestal; standing on a lotus pedestal with his hands reaching his knees; hair on sides arranged in curls with bends shewn upwards and hair on head arranged in a spiral knot at the top; having urna on forehead. Height: 33". (2) P. M. Arch. No. 10680 : Rsabhanatha. Recognised as such by his Kesavallari falling on his shoulders and from his lanchana, the 'Bull', appearing on his pedestal, standing on a lotus pedestal with his hands coming down to his knees, hair on sides arranged in curls with bends shewn upwards and hair on head arranged in a spiral knot at the top, having urna on forehead; traces of Srivatsa on chest, pedestal divided in various tiers and showing his emblem (lanchana), the 'Bull', and having a devotee with folded hands seated on some object which comes out from the lower portion of the pedestal itself. Inscripton on pedestal which reads " Adharya Mayila". Height: 75". (Fig. 8.) (3) P. M. Arch. No. 10681. Rsabhanatha, but without Srivatsa on chest; pedestal also not showing the figure of devotee and is differently designed than the earlier ones--its middle portion shows vertical cuttings in parallel

Page #16
286 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME lines all around having space in between the two and is not inscribed. Height : 73". (4) P. M. Arch. No. 10682 : Rsabhanatha & Mahavira. Image of Rsabhanatha and Mahavira standing together on a lotus pedestal against a high backed throne (?); Rsabhanatha having his Kesavallari falling down on his shoulders and his emblem (mutilated) "Bull" represented on the pedestal; small urna marks shewn on his forehead and a halo with triple umbrella at the back of his head, his hair over head arranged in spiral form with a knot at the top, Srivatsa on chest; Mahavira, recognised as such by his lanchana (emblem) the "Lion" depicted on the pedestal, urna marks (only the traces) shewn on his forehead and a halo with trilinear umbrella at the back of his head, Srivatsa on chest. Height : 7". For a photo see fig. 5, also see Patna Museum Catalogue, pl. XXXV. (5) P. M. Arch. No. 10683 : Rsabhanatha. He is recognised as such by his Kesavallari falling down on his shoulders and coming up to his chest; standing on a lotus pedestal with his hands coming down straight and touching his knees with fingers; his emblem "Bull" is represented on the pedestal, his hair over head arranged in spiral form with a knot at the top, urna shewn on his forehead. Height : 7". (6) P. M. Arch. No. 10684. Ditto. Height : 7". (7) P. M. Arch. No. 10685. Ditto, but pedestal differently designed-showing vertical cuttings in parallel lines having space in between the two. Height: 5". (8) P. M. Arch. No. 10686. Ditto. Height : 38". (9) P. M. Arch. No. 10687 : Rsabhanatha. He is recognised as such by his Kesavallari falling down on his shoulders and by his emblem" Bull" depicted on the pedestal, seated on lotus pedestal in Vajrasana, Dhyanamudra, hair on sides arranged in curls with bends shewn upwards, and on head arranged in spirals (not so clear) with a knot at the top. Height : 23". (10) P. M. Arch. No. 10689. Kunthunatha. Standing on lotus pedestal with his hands coming down to his knees, hair on head arranged in a top knot, his emblem "Goat" represented on the pedestal. Height : 23".

Page #17
JAINA BRONZES IN THE PATNA MUSEUM : 287 (11) P. M. Arch. No. 10690. Ditto; but the pedestal shows eight seated attendants or devotees.15 Height : 43". (12) P. M. Arch. No. 10691. Ditto, with urna on forehead and the pedestal showing nine seated devotees (or attendants).16 Height : 6}". (13) P. M. Arch. No. 10692. Ditto. Height : 6%". (14) P. M. Arch. No. 10693: Ditto; pedestal showing eight seated attendants.17 Height : 44". (15) P.M. Arch. No. 10675. Ditto; but the pedestal showing only his emblem "Goat" and is differently designed than the previous ones--it has vertical cuttings in parallel lines having space in between the two. Height : 43". (16) P.M. Arch. No. 10695. Candraprabha; standing on lotus pedestal with his hands coming down to his knees, pedestal showing his emblem the "Crescent" and divided in vertical cuttings in parallel lines with space in between the two, having urna on forehead and hair on head arranged in top knot fashion. Height: 63". (17) P.M. Arch. No. 10696. Ditto; but features blurred. Height : 43". (18) P. M, Arch. No. 10697 : Ajitanatha. Standing on lotus pedestal which is divided in various tiers and has his emblem the "Elephant" on it, having urna on his forehead, hair on head arranged in top knot fashion. Height: 51". (19) P. M. Arch. No. 10688 : Neminatha (?). Probably the image of Neminatha (his emblem conch-shell on the pedestal is not clear), standing on lotus pedestal which has vertical cuttings in the lower portion (just above the lowest support) in parallel lines with space in between the two, hair over head arranged in top knot fashion. Height : 61". 15 These may be the Planets.--U. P. Shah. 16 These may be the Planets.-U.P. Shah. 17 These may be the Planets.-U. P. Shah.

Page #18
288 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME (20) P. M. Arch. No. 10674 : Vimalanatha. Standing on lotus pedestal with his hands coming down to his knees, having urna on his forehead, hair on head arranged in a top knot fashion, his emblem "Boar" on the pedestal is not very clear. Height : 43". (21) P. M. Arch. No. 10670 : Mahavira. Standing on a simple lotus pedestal inside a four-pillared simhasana with double chatra with his hands coming down to his knees and touching them with his fingers; hair on head arranged in a top knot fashion; his emblem "Lion" is depicted on the lower portion of the simhasana on the front side; inscription on simhasana which reads : Sri Ananda tasya Putra Vannati thakur muni (?). Height of figure : 8". Height of simhasana : 21". Patna Museum Catalogue, pl. XXXVI. (22) P. M. Arch. No. 10671 : Mahavira. Standing on lotus pedestal with his hands coming down to his knees and touching them with his fingers, having urna on his forehead and hair on head arranged in top knot fashion; his emblem "Lion" is - depicted on the pedestal; inscription on pedestal which reads "Sri Acarya Ratnacandra Saha (?) yakasya." Height : 8". (23) P. M. Arch No. 10672. Ditto : Inscription on pedestal which reads "Danam pri (?) ti manvita." Height : 6%". (24) P. M. Arch. No. 10673. Ditto : With nine attendants seated on pedestal; inscription on pedestal at the back which reads "Kulistha ila kunakya." Height: 63". (25) P. M. Arch. No. 10677. Ditto, but without any attendant and inscription on pedestal. Height : 31". (26) P. M. Arch. No. 10678 : Parsvanatha. Image of Parsvanatha recognised as such by his lanchana-the seven-hooded serpent-at his back, seated on a lotus pedestal in Padmasana inside a four-pillared simhasana with double chatra, nine attendants seated on pedestal;18 inscription on simhasana which reads 18 These are the nine planets.-U. P. Shah.

Page #19
JAINA BRONZES IN THE PATNA MUSEUM : 289 "Sri Acarya (ya) Su-mayila." Height : 12''. See fig. 6 also, Patna Museum Catalogue, pl. XXXVI. (27) P. M. Arch. No. 10679. Ditto, seated on lotus pedestal with two serpent-devotees on pedestal, inscription on pedestal indistinct. Height : 5". (28) P. M. Arch. No. 10698 : Head of a Jina. Head of a Tirthankara with urna on his forehead and hair on head arranged in a top knot fashion, having half closed eyes and wearing elongated ear-rings. Height: 55". Patna Museum Catalogue, pl. XXXVII. (29) P. M. Arch. No. 10694 : Ambika (?). Image of a female deity probably19 Ambika standing in tribhanga attitude on lotus pedestal, profusely ornamented and wearing a sari as her lower garment, her left hand kept low in an artistic manner and touching the side of her knees with her fingers and her right hand raised up towards the front and holding some object; pedestal showing two attendants (only the legs one of them present) and her emblem ---the "Lion". Height : 5". See fig. 7. Also Patna Museum Catalogue, pl. XXXVII. 19 She can be safely identified as Ambika, the Yaksini of Neminatha. In the photo published here, the figure of the child on the right is mutilated but in the photo published in the Patna Museum Catalogue, the figure is clearly seen. Photo published here is from a negative prepared by the Prince of Wales Museum, Western India, Bombay. Photos of figures 7 and 8 are by courtesy of the Prince of Wales Museum, Bombay.-U. P. Shah. NX G.J.y. 19